A FRENCH GOLD, ENAMEL AND AGATE TAZZA IN RENAISSANCE STYLE BY JEAN-VALENTIN MOREL (1794-1860), C.1838-1848 the agate bowl with winged lion handles above a strapwork, shell and leaf decorated stem above a domed foot, stamped with Jean-Valentin Morel maker's mark 'MV', with a compass and French eagle's head poincon de petite garantie 10.9cm high, 10.2cm wide Provenance Alfred de Rothschild (1842-1918) the Red Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A small agate tazza, mounted with enamelled silver gilt stem, £10.0.0.' Catalogue Note A similar cup by Morel, designed by Charles Nivillier and made for Maria Alexandrovna, wife of the future Tsar Alexander II of Russia, was shown at the Great Exhibition of 1851. The engraving of the design was published in The Art Journal Illustrated Catalogue, London, 1851,p.112. See. Lucas, Jean-Valentin Morel and the Revival of the Lapidary's Art," Apollo, January 2005, pp.51-52. Jean-Valentin Morel (French 1794-1860) was a celebrated French silversmith and goldsmith noted for his fine quality lapidary work. He trained under his father and was a student of Adrien Maximilian, maker of gold boxes to Louis XVI and Napoleon. He established his own business in 1818 and registered his own mark in 1827. He specialised in high quality inlay work and producing hardstone cups satisfying the demand from collectors for objects in the Renaissance and Baroque styles. From 1942-48 Morel was in partnership with the French architect Henri Duponchel (1794-1868), establishing themselves as Morel et Cie. They won a gold medal at the Exposition des Produits de l'industrie of 1844 in Paris, however, their partnership ended acrimoniously which resulted in a lawsuit that prohibited Morel from working in Paris. After the revolution of 1848 Morel fled to London and established a workship on New Burlington Street of over fifty staff, registering his London mark in 1849, The culmination of Morel's London career was his display at the Great Exhibition of 1852, there he displayed jewellery silver and numerous neo-Renaissance cups and he was awarded a Council Medal.
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A Georgian silver vinaigrette, the top with engine turned decoration and bearing initials to the central cartouche, opening to reveal a pierced floral decorated grille and gilt-washed interior (Birmingham, 1831), 0.4 oz, together with a 9 carat gold chain with plated folding cross pendant, total weight 2 g and a 9 carat gold mounted hanging compass
A collection of Masonic jewels and regalia relating to the Order of Women's Freemasons, including a yellow metal square and compass pendant on a 9ct gold chain, a yellow metal articulated ball pendant on a 9ct gold belcher link chain, stamped '375', approx 20g, together with gold plated jewels dating from the 1980s, books, pamphlets, paperwork, pins, etc.
An interesting selection of small collectable items, to include a Birmingham silver trowel bookmark by James Fenton; a Sheffield silver and mother-of-pearl penknife by John Yeomans Cowlishaw; cased spectacles, including a tortoiseshell-rimmed pair; an unusual Boer War bullet with suspension ring mount, engraved "Bothaville 6th Novr 1900"; a selection of wax seals, including a bronze example with nude female figural handle; a 1944-dated WW2 compass etc. Condition Report:Available upon request
A SET OF EIGHT GEORGE II WALNUT AND PARCEL GILT DINING CHAIRSCIRCA 1730With repeating eagle motifs, each vertical splat with the Altieri crest, the six stars surmounted by a galero, mantle and tassels, each with drop in seats and cabriole legs terminating in claw and ball feeteach 104cm high, 53cm wide, 49cm deep; together with a pair of later chairs to match, 19th century(10) Provenance:Possibly commissioned by Vincenzo Maria Altieri for Palazzo Altieri, Rome Formerly the Messel family collection in the Dining Room at their 104 Lancaster Gate residenceThence by descent to Oliver Messel Purchased from Oliver Messel by Frederick and Phyllis Baden Watkins for Flaxley AbbeyLiterature: J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 980, fig. 2, The Entrance Hall. Sale Room notice: One of the drop in seats are missing from the chair J. Musson, 'Bradley Court, Gloucestershire', Country Life, 15 September 2005, pp. 133-134 and fig. 5. T. Messel, Oliver Messel: in the theatre of design, New York, 2011, pp. 122-123, 'the entrance hall'. This set of ten walnut and parcel-gilt dining chairs together with two mahogany examples en suite bear the arms of the Altieri family from Rome. They were originally at 104 Lancaster Gate, the London family of Britain's greatest stage director and artist, Oliver Messel (1904-78). When Nymans burnt down in 1947, Oliver and his two siblings received some of the remaining contents, and after the death of their mother, Maud (née Sambourne), in 1960, Oliver inherited more of the furniture from Lancaster Gate and Holmstead Manor. The chairs were subsequently sold by Oliver to his clients, Frederick and Phyllis Watkins, for Flaxley Abbey, Gloucestershire, almost certainly around 1960 when he was assisting them with the renovation and refurbishment of the abbey; a project that he worked on sporadically until 1973. Frederick Baden Watkins wrote how very gifted Oliver was: 'Once he had an inspiration, he'd get a piece of paper and sketch it out. What could have taken me five years, would take him five minutes' (C. Castle, Oliver Messel: A Biography, London, 1986, p. 216). When a room was completed, Oliver would look to his own collection for furniture: 'I've got a pair of mirrors at Nymans that would look right there', and Watkins would buy them (ibid., p. 217). Furniture probably also came from Oliver's London house, Pelham Place, as he wrote: 'Poor Pelham Place, I gather, is now striped to the bone. George has gone down to Flaxley with another load' (ibid., p. 226). Two of these chairs were photographed in the Entrance Hall at Flaxley in 1973 (J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 980, fig. 2). The chairs with their Italian Altieri coat-of-arms complimented Oliver's large mural painting of an Italianate urn. A central arcaded recess with a Robert Adam-style doorway led from the entrance hall to the dining room where presumably the remainder of the suite was situated. Oliver's nephew Thomas Messel made a contemporary set of chairs modelled on the Altieri set for his own home at Bradley Court, Gloucestershire (J. Musson, 'Bradley Court, Gloucestershire', Country Life, 15 September 2005, pp. 133-134, fig. 5). In 1986, Thomas included this model of chair, both side and armchairs, in his firm's furniture range, which he named the 'Venetian' Cardinal Chair' (National Art Library, TL.Thom 1.1). The papal family of Altieri became extinct in 1955, with the death of the last prince, Prince Ludovico Altieri (1878-1955). It is not known how this set became part of the Messel collection but it is possible that they were collected by either Ludowig Messel or Leonard Messel- both enthusiastic collectors- in the early 20th century. The broad proportions of these chairs with their waisted upright back posts, solid shaped baluster splat, compass seat and cabriole legs are typical of high quality 'banister back' chairs of the 1730s. The arched crest rail has evolved from the milkmaid's yoke found in Chinese prototypes. The chair-back is slightly bent to ergonomically fit the back of the sitter. The introduction of the 'India back' - India or Indian being used to denote all of South and South East Asia - also sometimes called a 'bended', 'crook'd' or 'sweep' back chair is considered 'the most radical and far-reaching design innovation of the eighteenth century' (A. Bowett, Early Georgian Furniture 1715-1740, Woodbridge, 2009, p. 156). Related crest rails and splats can be found on a set of walnut chairs, 1734, supplied by Daniel How and Thomas Moore in the Lady Lever Art Gallery, Port Sunlight (ibid., p. 180, plate 4:73). Another example made in giltwood, 1730-40, was probably made for Richard Temple, 1st Viscount Cobham, for Stowe House, Buckinghamshire (ibid., p. 181, plate 4:75). The back of the splats of the present chairs have been chamfered to 'lighten' their appearance. These chairs are highly unusual for the carved decoration on the 'shoe' (where the splat joins the back of the drop-in seat) and the stylised claw and ball feet. Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: missing one of the drop in seats; one of the drop in seats with a hand written label in ink 'Col. Messel'; there is evidence of worm; the parcel gilt rubbed and knocked revealing in some places the underlying washes, gesso or wood; some damage and restorations including split vase shaped splats, leg and seat rail joints, dowelling repairs, metal braces, inset wood repairs, repairs with screws. The red silk damask worn, marked and some torn, the hessian webbing visible to the undersides.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Palitoy, Action Man - A vintage unboxed blonde flock haired eagle eye Action Man figure in Scout (Cowboy) outfit. The figure with gripping hands and marked 'Made in England by Palitoy Under License From Hasbro © 1964' to rear appears to be in Good condition overall with some small puncture (probably compass 'stabs') marks to torso. Outfit includes check shirt, trouser, cowboy boots, waistcoat, neckerchief, belt with two holsters and two pistols / revolvers, yellow rope, hat, water bottle and a Winchester rifle - overall outfit and accessories range Good - Excellent. (This does not constitute a guarantee)
A BOX AND A BASKET OF CAMERAS, WALKING STICKS AND SUNDRY ITEMS, to include a cased Minolta Dynax 500si 35mm film camera, fitted with a Minolta 35-70mm f3.5-4.5 lens, a cased Panasonic RX1 video camera, cased Praktica Sport 8 x 25 field binoculars, twelve walking sticks including two sticks with horn handles, a cane with a silver mount, hallmarked Chester 1908, a stick with a compass mounted in the handle, a stick carved with an eagle, and another with a brass bird's head handle, tallest stick 96cm, a shooting stick, four flat irons, etc (1 box + 1 basket) (sd)
BOOKS & SUNDRIES, six boxes, five containing approximately one hundred and eighty titles in hardback and paperback format subjects include historical, biography, letters, contemporary and classic fiction, authors include Ian Fleming, R. Austin Freeman, Dorothy L. Sayers, Stephen Fry, David Niven, Spike Milligan, Agatha Christie, Robert Harris, A.A. Milne, etc together with a small box of miscellaneous sundries to include stationery items, a mini cassette recorder, a personal DVD player, a compass, a small box of farthings and prints
Pianolin Style B coin-operated Nickelodeon with flute pipes. In silver fox finish oak cabinet. Manufactured by the North Tonawanda Musical Instrument Works circa 1912. In addition to the 44-note piano with mandolin attachment, this has 44 flute and violin pipes spanning the entire compass of the piano. Plays endless rolls, 3 included. Fully restored in 1987, now needs tuning and repair on one pipe note. Height: 172,7 cm. Width: 98 cm. Depth: 66,7 cm. Condition: Good. Location: USA, Chicago.
Leonidas military pocket watch with marked broad arrow, GSTP, Miniature SAAB Clockboy clock, various military buttons, Elizabeth II Coronation souvenir book brooch, other brooches and buttons including enamel examples, quantity of thimbles including cloisonn�, ceramic and turned wood examples, display rack, Staedtler Tradition 20422 technical drawing compass set in case, etc
PIERRE JEANNERET (1896-1967) FOR CHANDIGARH: A PAIR OF TEAK ARMCHAIRS PJ-010104T Known as 'cane and teak wood armchair' with solid teak frames, the seats and backrests in braided canework, 'compass' type double side leg assembly, with the legs connected by two crosspieces and supporting the armrests, slanted, slightly curved backrest, attached to the seat by two supports at the bottom, both chairs with white painted identification code 'A.I.I.M.S. ST. HOSTEL' , one numbered "80", the other "24", each 66cm high x 51.5cm wide x 76cm deepThe lettering on the chair 'A.I.I.M.S.' relates to the All India Institute of Medical SciencesProvenance: Part of an Important Private Collection of Furniture by Pierre Jeanneret for Chandigarh
PIERRE JEANNERET (1896-1967) FOR CHANDIGARH: A PAIR OF TEAK ARMCHAIRS PJ-010705 Solid teak and braided canework armchairs, the seat bottom and back tilting slightly rearward, double lateral of 'compass' type forming a support for the flat armrests and connected by a low rail at the front, 78.5cm high x 59.5cm wide x 68cm deepExamples of chairs of this type can be found in the Chandigarh MuseumProvenance: Part of an Important Private Collection of Furniture by Pierre Jeanneret for Chandigarh
An antique 9ct rose gold cased pocket or fob compass, 16 grams all in.Condition Report: Generally good condition, some denting and scratching to the suspension loop, light scratching to the glass on one side, the other side is more extensively scratched, a few pinhead size dents to the case and light surface scratching, 2.3 cm (d)
AN IVORY SUNDIAL, TUGUI, QING DYNASTYChina, 1644-1912. Of rectangular form, incised with characters to one side indicating time periods and to the other indicating the celestial poles, seasons, and 24 solar terms, along with how long the shadow should be for specific time periods. The top of the sundial is pierced with two small holes to insert the gnomon, which is stored in a small recess at the lower end covered by a small rectangular ivory fitting.Provenance: From a French private collection. Condition: Very good condition with minor wear, natural age cracks, few minuscule nicks and light scratches. With a naturally grown, honey-golden patina overall.Weight: 118.7 gDimensions: Length 15.8 cmTrade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0074).Some types of sundials have existed in China since around 800 BC, and these eventually evolved into sophisticated water clocks by circa 1000 AD. Sometime during the Song dynasty, a compass would also be added to the sundial. There is an early reference to sundials from 104 BC, found in an assembly of calendar experts. However, equatorial and polar sundials, as commonly found in Europe and Arabia, did not exist in China until the late Ming dynasty, when Catholic missionaries introduced them to Chinese astronomers.Literature comparison: Compare a wood sundial compass, dated possibly 18th century, in the collection of the Cooper Hewitt, Smithsonian Design Museum, accession number 1957-165-12, and another dated 1850-1900 in the Horniman Museum & Gardens, London, museum number 6.12.65/265, and an ivory compass and sundial, dated to the 19th century, at Christie's New York, 17 October 2000, lot 41.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.清代象牙日晷中國， 1644-1912年。 象牙長方形日晷，一面有南北兩極的使用指示和二十四節氣，另一面的移動式陀羅尼上有一個小格子開口，表面刻著交錯時間。 可根據緯度的不同，調節好晷版的坡度仰角，在晷版立一籤板，在晷版投影上，就可以讀出時間，在景版上，就可以讀出節氣來。 來源：法國私人收藏。品相：品相極好，輕微磨損， 年代裂紋， 一些微小的刻痕和輕微的劃痕。 整體帶有自然生長的蜜色包漿。 重量：118.7 克 尺寸：長 15.8 厘米象牙交易證書：附有此拍品在歐盟範圍內的交易證書複本(證書編號 AT 22-B-0074)。 西元前 800 年左右，中國有了日晷，最終在西元 1000 年左右演變成複雜的水鐘。 在宋朝時，日晷上也會增加一個指南針。 曾有記錄發現了西元前 104 年的日晷。然而，在歐洲和阿拉伯常見的赤道日晷和極地日晷，直到明朝末年才出現在中國，是當時的天主教傳教士將它們介紹給中國天文學家。 文獻比較：比較一件可能約為十八世紀的木雕日晷，見庫柏休伊特設計博物館，編號1957-165-12。另一件1850-1900年的木雕日晷在倫敦Horniman Museum & Gardensmuseum，編號6.12.65/265。一件十九世紀象牙日晷，見紐約佳士得，2000年10月17日，lot 41。
A BRONZE 'IMMORTAL AND BLACK TORTOISE' WEIGHT, MING DYNASTYChina, 16th-17th century. Cast in openwork, depicting an immortal leaning on a long-tailed Black Tortoise gazing up toward the sky, both standing on a rocky base, the immortal dressed in a robe with long sleeves, holding a scroll in his left, both heads raised and turned to their left.Provenance: Gerard Hawthorn Ltd. Oriental Art, London, 4 October 2005. A notable private collector in Kensington, London, United Kingdom, acquired from the above. A copy of the original signed invoice from Gerard Hawthorn, dated 4 October 2005, listing the present lot as a “Chinese bronze weight, Ming dynasty, 16th/17th century”, and stating a purchase price of GBP 2,500 or approx. EUR 4,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. Condition: Very good condition with minor wear, traces of use and casting flaws, few tiny nicks and losses. Good natural patina overall.Weight: 266.9 g Dimensions: Length 15.1 cmThe tortoise is one of the 'Four Fabulous Animals' - the most prominent beasts of China. These animals govern the four points of the compass, with the Black Tortoise being the ruler of the north, symbolizing endurance, strength, and longevity. The tortoise is sometimes depicted with supernatural features such as dragon ears, flaming tentacles at its shoulders and hips, and a long hairy tail representing seaweed and the growth of plant parasites found on older tortoise shells that flow behind the tortoise as it swims. In Daoist art, the tortoise is an emblem of the triad of earth-humankind-heaven. Depictions of immortals with tortoises are very popular in China and go back to at least the Han dynasty.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 7 April 2015, lot 3694Price: HKD 137,500 or approx. EUR 20,000 converted and adjusted for inflation at the time of writingDescription: A parcel-gilt bronze brushrest, Ming dynasty13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.明代仙人神龜銅鎮中國，十六至十七世紀。銅鑄一位仙人倚在烏龜上，雙雙立於岩石上，昂首仰天。仙人身著長袍，左手持捲軸。 來源：倫敦Gerard Hawthorn Ltd.東方藝術藝廊，2005年10月4日；倫敦肯辛頓知名私人收藏，購於上述藝廊。隨附藝廊原始發票複印件，日期為2005年10月4日，描述為 “Chinese bronze weight，Ming dynasty，16th/17th century”（明代，十六至十七世紀，中國銅鎮），價格為 GBP 2,500，相當於現在的EUR 4,500 。 品相：狀況極好，有輕微磨損、使用痕跡和鑄造缺陷，少量微小的劃痕和缺損。 整體良好的自然包漿。 重量：266.9 克 尺寸：長15.1 厘米 在中國，龜為“四靈”之一，是北方的統治者，象徵著耐心、力量和長壽。在道教藝術中，龜是地、人、天三位一體的象徵。 神仙與神龜在中國非常流行，至少可以追溯到漢代。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2015年4月7日，lot 3694 價格：HKD 137,500（相當於今日EUR 20,000） 描述：明代局部鎏金銅牧牛圖筆擱
Gilbert (William) De Magnete, first edition, woodcut device on title and coat-of-arms to verso, woodcut illustrations, folding woodcut plate torn and stained, woodcut initials and decorations, head of title with corner torn away, title and verso of final leaf a little dust-soiled, ink correction to one word on D6 recto, lacking free endpapers, contemporary limp vellum, soiled, lacking ties, bottom corner of lower cover torn away, [PMM 107; Dibner, Heralds of Science 54; STC 11883; Horblit 41; Tomash & Williams G43], folio, Peter Short, 1600.⁂ A very good, complete copy in original condition of the first really modern scientific book published in England. In this work on electricity Gilbert established that the earth itself was one great magnet. He worked out the variation and declination of the compass and he distinguished magnetic mass from weight. He first used the terms 'electricity', 'electric force' and 'electric attraction', invented the first electric measuring instrument the 'electro-meter', and considered the static quality of amber as an electric force. His book influenced Kepler, Galileo and Newton and became one of the foundation works of modern physics.
* WILLIAM COLLIE MILNE CADENHEAD (SCOTTISH 1934 - 2005),VICTORIA GLACIER, LAKE LOUISE, ALBERTA pastel on paper, signed and dated '93, titled label versoimage size 44cm x 59cm, overall size 74cm x 86cmMounted, framed and under glass.Handwritten artist's label verso. Note: Cadenhead was a Painter, draughtsman and teacher, born in Aberdeen. He studied at Duncan of Jordanstone College of Art, Dundee, under Alberto Morrocco, 1951–5, later teaching there; in Italy and France, 1956; at Patrick Allan-Fraser School of Art, Hospitalfield, Arbroath; and under Peter Greenham at Royal Academy Schools, 1957–61, gaining the David Murray Scholarship in 1957. In 1969 was elected a professional member of SSA, also showing at RSA, RSW and Compass Gallery, Glasgow. Showed solo at Scottish Gallery, Edinburgh, from 1981, and Woodstock Gallery. Scottish Arts Council and members of the Royal family owned his work. Lived at Muir of Lownie, Forfar, Angus.
* LESLEY BANKS (SCOTTISH b. 1962),PASSING BYoil on canvas, signed, titled and dated 1989 versoimage size 31cm x 21cm, overall size 42cm x 32cm Framed and under glass.Note: Born in 1962, Lesley Banks grew up in Denny, Stirlingshire. In 1980 she began a four year Degree course at Glasgow School of Art specialising in Drawing and Painting. After graduating she travelled and painted throughout Europe funded by an Elizabeth Greenshields Scholarship. In 1988 she became a gallery assistant in the Compass Gallery, Glasgow. Here, encouraged by Cyril and Jill Gerber, Lesley began to exhibit more of her artworks winning various prizes and awards, such as The 1991 Scottish Prize, Royal Overseas League London. This gave her the confidence to concentrate on painting full-time. In 1999 Lesley was appointed 'Artist in Residence' at Edinburgh Zoo where her popular ''Urban Zoo'' exhibition gained funding from the Scottish Arts Council. Since this time Lesley has exhibited throughout the U.K. and as far afield as Singapore and the USA. Works in public collections include Aberdeen Art Gallery, BBC Scotland, Motherwell District Libraries, Leicestershire Schools Collection, Lillie Art Gallery, Unilever, TSB Bank, Kelvingrove Art Gallery and Museum, Perth Art Gallery and Museum.
* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003),DIVINE FORMmixed media on canvas, signed verso, titled and dated 1991 label versoimage size 178cm x 51cm, overall size 179cm x 52cm Framed. Handwritten artist's label verso.Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.
* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003),NUDE AND HOUND AGAINST A WALLoil on board, signed, titled and dated 1979 label versoimage size 135cm x 142cm, overall size 136cm x 143cm Framed.Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.
* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003),SEA BLUSH (HARBOUR)oil on panel, signed verso, titled and dated 1995/6 label versooverall size 123cm x 53cm Unframed, as intended.Artist's labels verso.Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.
* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003),BUTTRESS (SHINGLE POEM)mixed media on board, signed and dated 1996 verso, titled labels versooverall size 79cm x 23cm, 25cm deep Unframed, as intended. Artist's labels verso.Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.
* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003),(SUM)MER BOXmixed media diorama, titled and dated 1968 label versooverall size 42cm x 42cm, 17cm deep Framed and under glass. Artist's label verso.Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.
A brass miner's dial or surveyor's compass, the silvered dial inscribed Bradford London, dial 12 cm diameter, cased and a cased Surveyor's level by Chadburn Brothers Sheffield (2)Miner's dial - Some minor wear to the silvered dial, cross hairs broken, single spirit level. case lacking fittings. Surveyor's level - general wear and rubbing to the finish. Spirit level glass cracked, some verdigris around the spirit level casing. Fitted case with adjustable tripod mount, label for J. Halden & Co Ltd.
A brass ship's compass by Sestral, the domed cover with spirit lamp, 25 cm high, a 'Seahorse' copper ship's lamp with navigation lenses, 18 cm high and a Perko copper ship's lamp, 39 cm high (3)Sestral compass retains its brass spirit burner. Some dents to the domed cover and sides. Glass intact, gimbals moving freely, possibly some later soldering.Seahorse ship's lamp with some small dents to the domed top and more significant dent to the back. Later electric light fitting added to the interior. Starboard lens with signs of re-soldering and shade to the lens has been re-soldered in the past and is now loose again. Three fitting holes to the base of the lamp.Perko Ship's lamp with minor dents and interior fittings missing. Lens also marked Perko.
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