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Preisdatenbank abonnierenIncludes rare photographs and new interviews. Written with the intention of bringing to light the true essence of the human being behind the icon, the legend, the sex symbol. First published in the UK. Printed and bound in Italy. Artist: MIchelle MorganIssued: 2007Dimensions: 7.75"W x 10.25"HManufacturer: Carroll and Graf PublishersCountry of Origin: New York, United StatesCondition: Age related wear.
Joel Meyerowitz, Red Interior, ProvincetownVintage, C-Print auf Kodak-Papier (Kontaktabzug). 19,2 x 24,2 cm (27,7 x 35,4 cm). Rückseitig mit Kugelschreiber signiert, datiert und betitelt sowie von fremder Hand mit Kugelschreiber beziffert. - Leichte altersbedingte Farbveränderung.ProvenienzPrivatsammlung, RheinlandLiteraturJoel Meyerowitz, Cape Light, Ausst.kat. Museum of Fine Arts, Boston, New York 1978, Tafel 27
1978-2003 A.D. Bika Reed (trans.) - Rebel in the Soul: A Sacred Text of Ancient Egypt - London, 1978, card covers, 143 pp; Lucie Lamy - New Light on Ancient Knowledge: Egyptian Mysteries - London, 1981, card covers, 96 pp; Ian Shaw & Paul Nicholson - British Museum Dictionary of Ancient Egypt - London, 1995, hardback with dustwrapper, 328 pp; Dieter Arnold - The Encyclopaedia of Ancient Egyptian Architecture - New York, 2003, hardback with dustwrapper, 274 pp; John Anthony West - Serpent in the Sky: The High Wisdom of Ancient Egypt - London, 1979, hardback with dustwrapper, 253 pp; Alison Roberts - My Heart My Mother: Death and Rebirth in Ancient Egypt - Rottingdean, 2000, card covers, 265 pp. 5.23 kg total, 23.2 x 18.5 - 28.2 x 22.5 cm (9 1/8 x 7 1/4 - 11 1/8 x 8 7/8 in.). From the private collection of the late Mrs Belinda Ellison, a long time member of the Egyptian Exploration Society, c.1940-2020. [6, No Reserve]
3rd-4th century A.D. With a rounded body and double nozzle with volutes; the body flat with engraved volutes, raised rim and basal ring; to the rear a large crescent with Jupiter (Greek Zeus) to the centre and his eagle with spread wings before him; the god depicted with thick locks and voluminous beard, the eagle with detailed plumage and finely detailed face; accompanied by a custom-made display stand. Cf. Bailey, D.M., A catalogue of the lamps in the British Museum, IV, Lamps of metal and stone, and lampstands, London, 1996, nos. 3769-3781, for the typology; similar specimens are preserved in Berlin, see Bérard, C., Bronzes Hellénistiques et Romains, Lausanne, 1979, pl.119; a similar example from Saida has been published by Pirzio Biroli Stefanelli, L., Il Bronzo dei Romani, Rome, 1990, p.269, no.264; cf. also Rolland, H., Bronzes Antiques de Haute Provence, Paris, 1965, no.299; Petit, J., Bronzes Antiques de la collection Detuit, Paris, 1980, no.15; Oggiano-Bitar, Bronzes figurés antiques de Bouches-du-Rhône, Paris, 1984, no.232, from Marseille. Exhibited at the Harwich Museum, Harwich, Essex, UK, 14th March-9th June 2024; accompanied by a copy of a photograph of the artefact on display. 1.67 kg, 25.7 wide (3.08 kg total,18 cm high including stand) (10 1/8 in. (7 1/8 in.)). Old private British collection, pre-1965. Property of a gentleman; acquired in the UK before 2000. Accompanied by a copy of an old black and white photograph. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12034-215425.Here Jupiter is represented with his attributes connected with the crescent of goddess Luna. According to Bailey, all lamps in the category to which the map belongs, were intended for suspension. Lamps with multiple nozzles gave more light and thus were suitable for lighting large spaces.
2nd-3rd century A.D. The god standing nude on an ivy-leaf base in contrapposto pose with right arm extended and hand held palm-outwards; mantle pinned at the right shoulder and wrapped around the bent left arm; the head held erect with soft rounded facial features and luxuriant curls, diadem with radiating spikes representing beams of light; mounting stud to the reverse; mounted on a custom-made display stand. Cf. Durham, E., Metal Figurines in Roman Britain, vol. 2, Reading, 2010, pl.60, for a full-length figure from Lakenheath, England, with similar features; cf. also De Ridder, A., Les bronzes antiques du Louvre, 1, Les figurines, Paris, 1913, p.129, pl.62, no.1059, for identical. Exhibited at Harwich Museum, Harwich, Essex, UK, 14th March-9th June 2024; accompanied by a copy of a photograph of the artefact on display. 583 grams total, 17.5 cm including stand (6 1/8 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.The cult of Helios-Apollo intensified in the third century A.D. and the adoration of Sol Invictus, with the radiate crown, was often linked to that of Mithras, the god of legions, whose symbol was the bull. Under Emperor Aurelian, the Sol Invictus became the main god, protector of Rome and the Roman state. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website]
3rd century A.D. Modelled nude in advancing pose with right arm bent across the body and fist clenched to support an attribute (absent); the facial details in light relief and small forelock to the brow; mounted on a custom-made display stand. See Swan Hall, E., 'Harpocrates and Other Child Deities in Ancient Egyptian Sculpture' in Journal of the American Research Center in Egypt, Vol. 14, 1977, pp.55-58, fig.1, pl.XXVII; fig.4, pl.XXVIII, for similar types. 231 grams total, 12 cm high including stand (4 3/4 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.The cult of Harpocrates, began in Ptolemaic times, expanding considerably in the Imperial Roman period, and absorbing influences from the cult of ram of Mendes, the ithyphallic Min, the crocodile god Sobek, and Hercules. The missing left hand probably held a small cornucopia. [No Reserve]
10th-12th century A.D. Narrow T-shaped blade with curved edge, large D-shaped socket with lateral triangular flanges and rectangular extension to the rear. Cf. Sedov, B.B., Finno-Ugri i Balti v Epokhi Srednevekovija, Moscow, 1987, pl.CX, items 41,43, for the type; see also Hjardar, K. & Vike, V., Vikings at war, Oxford-Philadelphia, 2016, p.163, for the typology of eastern axes. 588 grams, 17 cm (6 3/4 in.). From the private collection of a London gentleman, from his grandfather's collection formed before the early 1970s.Slavic battle-axes also came into use in Scandinavia, especially in the Eastern part of Gotland, Denmark and Sweden. One of the types was a T-shaped axe with a broad blade. There were narrow-bladed types too, described as being very light. Another characteristic of some of the Eastern axes was an extra long hammer or more rarely a secondary blade protruding from the back of axehead.
Circa 8th-10th century A.D. Substantial cross pattée with pierced lobes to the vertical arms, each end provided with a link and hook; lateral arms pieced to accept similar links; intended for the suspension of polycandela multiple-candle chandeliers. 1.12 kg, 55.5 cm including hook (31 3/4 in.). Ex Surrey, UK, collection of a gentleman, 1960-2000s.In 563 A.D., Paul the Silentiary visited Hagia Sophia in Constantinople and described the wondrous lighting effects, ‘Thus is everything clothed in beauty…no words are sufficient to describe the illumination in the evening: you might say that some nocturnal sun filled the majestic church with light.’ The church was lit by polycandela, an early type of candelabra that held glass oil lamps rather than candles. The lamps were either conical or shaped like round bowls with an elongated stem attached beneath. Amidst the burning of incense and the chanting of prayers, the flickering light must have helped to inspire pious devotion. Contemporaries certainly attest to this feeling and among the surviving accounts, that of Arculf, Bishop of Gaul, is particularly affecting. In 670 he went on a pilgrimage to Jerusalem and visited the Church of the Ascension, ‘…to the customary light of the eight lamps…on the night of the feast of the Lord’s Ascension it is usual to add innumerable other lamps; and under the terrible and wondrous gleaming of these, pouring out copiously through the shutters of the windows, all Mount Olivet seems not alone to be illuminated, but even to be on fire, and the whole city, situated on the lower ground nearby, seems to be lit up.’
Circa 7th century A.D. Bifacial lead plaque with figurative decoration: obverse with Saint George, nimbate, on his horse killing a fallen foe with his spear; '?????' label above the horse's neck, raised border with pellets and pellet clusters; reverse with relief pattern of a double circle decorated with double arcs forming a cross pellet to the centre. 48.8 grams, 64 mm (2 1/2 in.). Private collection Mr S.A., Switzerland, before 1992, thence by descent.According to the Christian tradition, Saint George would have lived between the end of the 3rd century and the beginning of the 4th century: born into a noble Christian family, he became an officer in the Roman army and was then named a prefect by Diocletian. But when the same emperor decided to resume the persecutions, Saint George became a victim despite his important political rank. His role in the development of the faith is so important that he is included among the Great Martyrs of the Eastern Church and his fight against the dragon becomes a symbol par excellence of the fight for Good which defeats Evil. In the Christian symbolism of the Middle Ages, the circle, a perfect geometric shape which has neither beginning nor end, designates the universe whose center is the source and thus evokes Jesus, the man-light. (For this specific lot, 5% import VAT is applicable on the hammer price.)
1464-1470 A.D. First reign, light coinage. Obv: facing crowned bust, quatrefoil either side of neck, C on breast, within tressure of nine arcs, large fleurs on cusps, initial mark sun (1467-70). Rev: long cross, dual concentric inscriptions around trio of pellets in each inner angle, CIVI TAS COVE TRE for Coventry mint, rose mintmark (1464-5). S.2008, N.1581. 2.44 grams, 23 mm. . From the private collection of a Sussex, UK, gentleman. [No Reserve]
Lower Palaeolithic Period, circa 400,000-200,000 B.P. In light-pink stone with wide butt; inked collection inscriptions to one side 'S'Laikia', 'Reygasse' and 'Coll- Mortillet 2152'. 697 grams, 15.1 cm (6 in.). Believed to have been found in Reygasse, France. Ex Collection Martillet, no.2152. Collection of Mr François Bigot (1950-2009). Accompanied by a copy of a French cultural export permit, no.231578. [No Reserve]
Lower Palaeolithic Period, circa 400,000-200,000 B.P. In light brown stone, of rounded profile with thickened butt; inked collection inscription to one side ' Smaïz', 'Reygasse' and 'Coll Mortillet 2154'. 575 grams, 15 cm (6 in.). Believed Found Reygasse, France. Ex Collection Martillet, no.2154. Collection of Mr François Bigot (1950-2009). Accompanied by a copy of a French cultural export permit, no.231578. [No Reserve]
Circa 75-175 A.D. Comprising the majority of the S-shaped brooch with a transverse band across the centre filled with triangular and lozenge cells with enamel; the head with a large eye with light blue enamel, ridged and curving ear-terminal above; pin coiled around the neck of the beast. Cf. Portable Antiquities Scheme reference nos.WAW-3F7030, NLM-5D7561, and LVPL-898482, for similar; cf. also Hattatt, R., A Visual Catalogue of Richard Hattatt's Ancient Brooches, Oxford, 2000, p.351, fig.210. 7.4 grams, 50 mm (2 in.). Found whilst searching with a metal detector near North Yorkshire, UK, in 10 May 2023, by Mark Didlick. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.YORYM-1AFB8C.
Italian, Lombardy, circa 1480 A.D. Rectangular panel with cartapesta relief of Virgin and Child carved in the half-round; Mary seated, nimbate with hands pressed together in prayer, infant lying across her lap, flanked by four winged angels in poses of adoration; gilt surface with pink flesh tones; inscribed to base 'SALVE REGINA MATE[R MISERICORDIAE]' (Hail Mother the Queen). Cf. similar relief in Metropolitan Museum, accession no.1974.126.4, from North-Italy, 15th century in Castelnuovo-Tedesco, L. and Soultanian, J., Italian Medieval Sculpture in The Metropolitan Museum of Art and The Cloisters, New York: The Metropolitan Museum of Art, 2010, no.51, pp.255–259. 1.07 kg, 36.5 x 27 cm (14 3/8 x 10 5/8 in.). German private collection, 2019. Ex central London gallery. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12056-217445.Like all the ancient and medieval statues, this artwork was also originally lavishly painted and most of the colours are still visible with gold and red and light blue being the main colours used for Saint Mary. Interestingly, the inscription recalls the three first words of the Cluny prayer to the Virgin Mary: SALVE REGINA, MATER MISERICORDIAE (Hail Holy Queen Merciful Mother), used by the Templars as a war song. [No Reserve]
Southern Netherlands, 15th century A.D. Rectangular textile panel with six figural scenes within laid work borders; each figure a nimbate saint with couched robes, satin stitch facial features, threaded sequins and other detailing; modern fabric backing. Cf. for comparison an embroidered panel part of the dalmatic in MET, accession no.64.101.1381, in Hartt, F., The Metropolitan Museum of Art. Vol. 4, The Renaissance in Italy and Spain,New York, 1988, pp.67-69. 502 grams, 104 cm (41 in.). with SVV Prunier, 20 May 2018, no.86. Ex central London gallery.This substantial embroidered panel comes from an ecclesiastic Dalmatic composed up of various sections, each section comprising an applied figure embroidered in yellow-brown colours with the addition of light blue in some figures. From top to bottom two female saints, probably the Virgin Mary and her Holy Mother Anna; in the second central panels are represented Saint Peter, keys in hand, and probably his brother Andrew. Saint Augustine and Saint Thomas Aquinas are possibly the subjects of the last two vertical panels. The embroidery technique used is including fine worked nué, in which metallic threads are laid down and worked over in silk, with split stitch. [No Reserve]
Late Period, 664-332 B.C. Amulet in the form of a wadj papyrus sceptre with suspension loop; with light encrustations; supplied with a wooden display stand. Cf. Petrie, W.M.F., Amulets. Illustrated by the Egyptian Collection in University College, London, 1914, pl. II, no. 20c, for similar. 7.15 grams, 64 mm (34.4 grams total, 94 mm including stand) (2 1/2 in. (3 3/4 in.)). Ex Foxwell collection. Acquired from a London gallery. Ex Mr A.S. collection, 1990s. Property of a Bristol, UK, gentleman.The papyrus column or wadj amulet is typically made out of turquoise feldspar or faience, as is prescribed in the Book of the Dead. The word wadj, meaning “green”, evokes concepts of well-being and vitality. Papyrus amulets were often placed around the neck of the deceased to ensure eternal youth in the afterlife. They were particularly popular during the Late Period (664-332 B.C.).
7th-19th century A.D. Comprising: a cross buckle with pin; the upper plate of a small enkolpion with a praying Virgin or Saint; two orthodox pectoral crosses, both with inscription 'IC' (Iesus) 'XC' (Christos ) 'NIKA' (Christ is victorious); the smallest cross with invocation-prayer engraved on the back. Cf. Schulze-Dörrlamm, M., Byzantinische Gürtelschnallen und Gürtelbeschläge im Römisch-Germanischen Zentralmuseum. Teil 2. Die Schnallen mit Scharnierbeschläg und Schnallen mit angegossenem Riemendurchzug des 7. bis 10. Jahrhunderts, Mainz, 2009, pp.9ff, fig.227. 51.8 grams total, 36-73 mm (1 3/8 - 2 7/8 in.). Acquired on the UK art market. Property of a Ruislip, UK, gentleman, by inheritance.The fragment of the simpler Maltese cross mount corresponds to the type E2 of Schulze-Dörrlamm, here with straight arms with rounded corners. It resembles the cross-shaped hinge fittings of the belt buckles from Herrera de Pisuerga and tomb 9 from El Tesorillo from Visigoth Spain, two bronze fittings from Lusitania and the buckle with busts of saints and the Greek inscription 'Light and Life' from Korbous in Tunisia. These kind of buckles were also found in male warrior graves. [4, No Reserve]
A WILLIAM III/QUEEN-ANNE WALNUT AND FLORAL MARQUETRY EIGHT-DAY LONGCASE CLOCK JOSEPH WINDMILLS LONDON, CIRCA 1700-05 The six finned and latched inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square gilt brass dial with subsidiary seconds, ringed winding holes and conforming calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword-hilt half hour markers and signed J. Windmills, London to lower margin, the angles applied with twin cherub and crown spandrels with foliate scroll engraved infill to the plate between, the case decorated with floral and foliate marquetry and with caddy top over glazed hood door with turned columns flanking the aperture, with concave throat moulding and trunk door centred with a lenticle and decorated with three-shaped panels incorporating central bird amid flowers, on conforming plinth base with decorated shallow skirt. 232cm high excluding later finials, 49cm wide, 26.5cm deep Provenance: Acquired August 1919, 'A fine Wm & Mary long case clock with bird & flower marquetry panels'The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers' Company as a free Brother on 29th September 1671 - the same year that Joseph Knibb, Daniel Quare and Thomas Tompion also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at 'Swan Court, Mark Lane End, next Tower Street' by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to have immediately gone into business with his father; shortly after 1700 the firm became a partnership which lasted until Joseph's death in 1724. As a contemporary of Knibb, Quare and Tompion, Joseph Windmills would have had to compete with some of the finest clockmakers that have ever lived during a period of heightened scientific enlightenment. In this environment Windmills excelled, producing clocks of a quality that equalled many of his more famous peers. Condition Report: The movement is in working condition however is due for a gentle clean/service as lubrication is somewhat dry/gummy and the plates are a little tarnished with some oil staining. The escape wheel and arbor are 19th century 'service' replacements otherwise movement appears essentially all original with no visible evidence of alteration or noticeable replacements. The centre movement pillar is not fitted with a latch all other latches are present. The dial plate retains old yellow lacquer surface which has mellowed/discoloured; it is a little dirty with a few spots of oxidation, the silvering is fairly heavily oxidised; the calendar ring is operational. The hands are replacements of incorrect design and size (with respect to the hour hand). The spandrels appear original and retain good strong gilding.The movement and dial retain the original seatboard which rests at the correct level within the case with no evidence of alteration confirming that the movement and dial are original to the case. The movement backplate has spare holes from a previous securing bracket which is no longer present - there are corresponding holes to the case backboard. The case has generally survived in original 'untouched' condition, The top board to the caddy superstructure, finials and blocks are 19th century replacements; and the 'box' beneath the caddy would have been faced with scroll-pierced fretwork which has bee substituted for a piece of dark veneer. The cornice frieze would have originally also been faced with fretwork - this has been replaced by a section of marquetry veneer which appears Dutch and most likely 'salvaged' from a piece of furniture. The hood door is in good condition; the hinges are unusual being externally mounted (to the right-hand side) however they appear original. The wooden column caps and bases conform with other known examples by Windmills; the lower right front is loose and also appears to be a later turning that the others. The crossgrain chin moulding to the left-hand side is missing a section around 6 ins in length. The rear of the caddy is open and was most likely originally closed with thick paper pasted over the aperture. The throat moulding has a small veneer chip to the rear left-hand edge and a small loss to the leading upper edge of the marquetry at the front otherwise are in good condition. The trunk door is straight with some slight springing to the edge moulding to top left-hand corner and some small localised losses to the marquetry (corresponding to slight movement in the carcass board clamp) towards the lower edge. The lock and hinges appear original and undisturbed. The sides of the trunk are in good condition - the left-hand side has a small veneer chip to the rear edge and evidence of some light historic worm infestation (long gone!). The right-hand side has some 'rubbing through' of the crossbanded veneer towards the front leading edge at the level of the lower door hinge. The plinth base is original and undisturbed retaining marquetry veneers in good original condition having only slight losses to the upper left-hand edge and towards the centre. The side veneers have horizontal shrinkage cracking (but are stable) and some historic worm damage. Unusually the clock retains its original skirting faced in marquetry. The design of the marquetry suggests that the skirt may have originally been taller, there are also veneer losses to the sides and some historic worm damage. Faults to the case are otherwise limited to minor bumps, scuffs, bruises and wear commensurate with age and use. The surface/colour is particularly good and untouched with the marquetry having raised 'glue' texture around the various elements indicating that the finish is old. The backboard retains all of its origiginal height continuing all the way to the lower edge of the base.Clock is complete with pendulum, original brass-cased weights, door key and a winder. Condition Report Disclaimer
MYLES BIRKET FOSTER (BRITISH 1825-1899) LAKE ORTA Watercolour and bodycolour 14.4 x 22.2cm (5½ x 8½ in.)Provenance: Bought by William Howard Palmer in 1917 from his father-in-law William Reed Condition Report: Some scattered light foxing visible to the sky and sea, otherwise, the work appears to be in good condition. Unexamined out of glazed frame.Condition Report Disclaimer
BENJAMIN WILLIAMS LEADER (BRITISH 1831-1923) STRATFORD LOCK Oil on canvas Signed and dated 'B.W. Leader 1885' (lower left) 61 x 91cm (24 x 35¾ in.) Provenance: Sale, The estate of William Reed, Christie's, London, 10 December 1920, lot 154 (270gns)William Reed was the father of Ada Palmer, wife of William Howard Palmer. Condition Report: The canvas has been relined. Ultraviolet light reveals retouching to the edges. Otherwise, in generally good condition.Condition Report Disclaimer
λ  MARY NEWCOMB (BRITISH 1922-2008) AT THE AGRICULTURAL SHOW Oil on board Signed and dated 80 (lower right); further signed, titled, and dated At the agricultural show/80 (verso) 50 x 60cm (19½ x 23½ in.) Provenance: Crane Kalman Gallery, London Acquired from the above by the family of the present owners, November 1982 Condition Report: Very light surface dirt otherwise appears to be in good original condition. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
A CUT GLASS SIX LIGHT CHANDELIER IN THE REGENCY MANNER 20TH CENTURY With baluster shaft surmounted by three tiers of graduated drops, scrolling branches with similar drops to the drip-pans and two tiers to the base about a faceted knop, fitted for electricity approximately 103cm high Condition Report: This will require a complete clean as it has surface dirt, dust, old cleaning deposits and ceiling deposits throughout. The arms supporting lights are hollow perspex, probably replacements for when the chandelier was wired for electricity. There are scattered small damages throughout notably to section of shaft, drops, around light mounts which are part illustrated in additional images. Some damages to faux candles. ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
λ ALAN LOWNDES (BRITISH 1921-1978) A STOCKPORT STREET SCENE Oil on board Signed (lower left) 40 x 60cm (15½ x 23½ in.)Provenance: Crane Kalman Gallery, London Acquired from the above by the family of the present owners, January 1986 Condition Report: There is no evidence of retouching visible under ultraviolet light. In good original condition.Condition Report Disclaimer
λ  TRISTRAM HILLIER (BRITISH 1905-1983) WYKE CHAMPFLOWER, 1950 Oil on canvas Signed with monogram and dated 50 (on the milestone, lower right) 59.5 x 79cm (23¼ x 31 in.) Provenance: Arthur Tooth & Sons Ltd., London Exhibited: London, Arthur Tooth and Sons Ltd., Recent Paintings by Tristram Hillier and Geoffrey Tribble, October- November 1950, cat.no.13 Bradford, Cartwright Memorial Hall, 1952 (according to label verso, details untraced)London, Royal Academy of Arts, Summer Exhibition, 1953, cat.no.471A drawing related to this composition is held by the Artist's estate. Tooth's erroneously record the date of the work as 1949, possibly suggesting an early 1950 completion date. We are very grateful to the Estate of Tristram Hillier for their assistance in cataloguing this lot. Condition Report: The canvas has not been relined. There are some areas of minor pigment discoloration to the centre left above the hedge and adjacent to the barn along the horizon line. No evidence of retouching visible under ultraviolet light and the work is in overall excellent original condition.Condition Report Disclaimer
λ AUGUSTUS JOHN (BRITISH 1878-1961) THE LITTLE PILGRIMS (CAMPBELL DODGSON 92) Etching, 1906 Signed in pencil Plate: 13 x 10cm (5 x 3¾ in.)Provenance: Colnaghi's, London Acquired from the above by the family of the present owners, December 1974 Condition Report: Executed on white wove paper, hinged to the mount at two points along the left hand edge. The sheet has discoloured where is has been exposed to the light. Please refer to the department for additional images of the full sheet. Condition Report Disclaimer
λ  HENRY LAMB (BRITISH 1883- 1960) COOMBE BISSETT Oil on canvas Signed and dated 34 (lower left) 45 x 91cm (17½ x 35¾ in.)Provenance: Gallery Edward Harvane, London Acquired from the above by the family of the present owners, September 1974 Condition Report: Stretcher marks visible to the centre of the upper edge with some possible retouching in natural light. Inspection under UV reveals no obvious evidence of restoration or repair. Appears to be in good original condition. Condition Report Disclaimer
λ RUSKIN SPEAR (BRITISH 1911-1990) A BARN IN ESSEX Oil on panel Signed (lower right) 22.5 x 30cm (8¾ x 11¾ in.)Provenance: Crane Kalman Gallery, London Acquired from the above by the family of the present owner Condition Report: Ultraviolet light reveals scattered retouching throughout the sky. There is also some brown staining to the sky, upper right. Otherwise, in good condition.Condition Report Disclaimer
MYLES BIRKET FOSTER (BRITISH 1825-1899) THE ARCHES, BELLAGGIO Watercolour and bodycolour Signed with monogram (lower left) 14 x 9.5cm (5½ x 3½ in.) Condition Report: Some very light foxing and discolouration visible in the sky and to the building. One small brown stain to the centre of the left hand edge, above the flowers. Otherwise, the work appears to be in good condition. Unexamined out of glazed frame.Condition Report Disclaimer
λ  SIR MATTHEW SMITH (BRITISH 1879-1959) RECLINING NUDE Oil on canvas 53.5 x 81cm (21 x 31¾ in.)Painted circa 1925.Provenance: Arthur Tooth & Sons Ltd., London Acquired from the above by the family of the present owners, 14th September 1961 Condition Report: The canvas has been lined. Examined under ultraviolet light there appears to be scattered areas of retouching along the extreme lower edge. Condition Report Disclaimer
λ CRAIGIE AITCHISON (BRITISH 1926-2009) CRUCIFIXION Oil on canvas 45 x 35cm (17½ x 13¾ in.)Painted in 1963.Provenance: Marlborough Gallery, London Acquired from the above by the family of the present owners, 1st March 1968Exhibited: London, Marlborough Gallery, Helen Lessore and the Beaux Arts Gallery, February, 1968Scottish born painter Craigie Aitchison is renowned for his distinct style characterised by bold colour, simplified forms and emotive compositions. His father a United Free Minister, inspired Aitchison's works often exploring themes of faith, due to attending weekly services at Church from a very young age. This, in combination with a viewing of Dali's Christ of St John of the Cross at Kelvingrove Gallery, Glasgow, inspired him to explore religious or spiritual themes in his work.Having failed his law exams, Aitchison studied at the Slade, where he made friends with Michael Andrews, Paula Rego, Myles Murphy and Euan Uglow. A scholarship allowed Aitchison to travel to Italy, where the rich art and architectural history changed his approach to colour and emotion in his paintings. Aitchison had his first one man show at the Beaux Arts Gallery, London, at the age of 33, with one of his pieces purchased by the Tate. His success continued throughout his life, with a major retrospective held at the Serpentine Gallery and Royal Academy in 1981, as well as further retrospectives in Leeds in 1994. Furthermore, towards the end of his artistic career, at age seventy, he had a one man show at the Glasgow Gallery of Modern Art in 1996. Condition Report: The canvas has not been relined. There is a 2.5cm scratch with some associated paint loss to the centre right of the composition, visible in the catalogue illustration. There is some light surface dirt. Ultraviolet light reveals no evidence of retouching. Condition Report Disclaimer
λ  SIR MATTHEW SMITH (BRITISH 1879-1959) STILL LIFE WITH A CLAY EPSTEIN FIGURE Oil on canvas 53 x 72cm (20¾ x 28¼ in.) Provenance: Leicester Galleries, London Crane Kalman Gallery, London Acquired from the above by the family of the present owners, January 1986Exhibited: Adelaide, The Adelaide State Gallery, The Herald Exhibition of French and British Contemporary Art, August 1939, this exhibition travelled to Melbourne and Sydney Condition Report: The canvas has been relined. There is some flaking to the paint surface at the centre right of the composition and associated minor paint loss and retouching, visible under ultraviolet light. Condition Report Disclaimer
λ ALLAN GWYNNE-JONES (BRITISH 1892- 1982) CHURCH FARM, WENHASTON Oil on canvas Signed with initials and dated 1936 (lower left) 50 x 75cm (19½ x 29½ in.)Provenance: Captain Arthur Gibbs, M.C.Exhibited: London, British Institute of Adult Education, 1941, no.75 Condition Report: The canvas is not relined. There is some brown liquid staining to the canvas surface which would benefit from a light clean. Artist's pinholes visible to the lower left and right corners. No evidence of retouching under ultraviolet light. Condition Report Disclaimer
JAMES DICKSON INNES (BRITISH 1887-1914) LANDSCAPE, SOUTH OF FRANCE Oil on panel 30 x 40cm (11¾ x 15½ in.)Painted circa 1912. Provenance: Roland Browse & Delbanco, London Thomas Agnew & Sons Ltd., London Guy Morrison, London Acquired from the above by the family of the present owners, 13th March 1986Exhibited: Southampton, City Art Gallery, James Dickson Innes, September-October 1977, no. 98 Condition Report: Parts of the board visible through the paint as originally intended by the artist. There are also some imperfections to the board, again consistent with the original condition. Ultraviolet light reveals no evidence of retouching. In overall good original condition.Condition Report Disclaimer
λ WILLIAM BROOKER (BRITISH 1918-1983) GLOUCESTER ROAD, LONDON Oil on board Signed and dated 56 (lower right) 76 x 30cm (29¾ x 11¾ in.)Provenance: Arthur Tooth & Sons Ltd., London Acquired from the above by the family of the present owner, 20th March 1958 Condition Report: Some very minor paint loss to the upper right tip of the board, visible as currently framed. No evidence of retouching visible under ultraviolet light. Apart from some light surface dirt, in good original condition.Condition Report Disclaimer
A PAIR OF CONTINENTAL SILVER TWIN LIGHT CANDELABRA MARKS OBSCURED With reel capitals, circular drip pans, twin scroll arms, turned stems, engraved with an armorial and on circular bases 27cm (10 1/2in) high 2484g (79.9 oz) Condition Report: Candlestick 1 - Marks to base obscured, branch with partial mark, fits into the socket with a notch, armorial crisp, knock to the foot rim, stands well, stem slightly bentCandlestick 2 - Marks to base obscured, no apparent marks to branch, fits into the socket with a notch, armorial crisp, stem appears to be straight, stands wellBoth with light scratches and wear commensurate with age and useCondition Report Disclaimer
λ  RICHARD EURICH (BRITISH 1903-1992) SHELLS ON A BEACH WITH FIGURES, A FISHING BOAT AND LIGHTHOUSE Oil on panel Signed and dated 1934 (lower right) 25 x 35.5cm (9¾ x 13¾ in.) Provenance: Thomas Agnew & Sons Ltd., London Acquired from the above by the family of present owners, July 1993 Condition Report: Examined under ultraviolet light there is a small area of fluorescence around the top of the lighthouse and a horizontal line in the top right quadrant of the sky. There are some small areas of frame rubbing along the extreme upper edge and light surface dirt throughout. Subject to the above the painting appears to be in generally good condition. Condition Report Disclaimer
λ DOROTHEA SHARP (BRITISH 1874-1955) PADDLING Oil on board Signed with initials (lower left) 19 x 21.5cm (7¼ x 8¼ in.) Provenance: Purchased in July 1983 Barbara Gibbs and thence by descent Condition Report: No evidence of retouching visible under ultraviolet light. In good original condition.Condition Report Disclaimer
λ ALAN LOWNDES (BRITISH 1921-1978) BOAT AND LIGHTHOUSE, ST. IVES Oil on canvas Signed and dated 1961 (lower left), further signed, inscribed and dated Boat & Lighthouse, Completed St Ives/Aug 1961 (on the reverse) 60 x 44cm (23½ x 17¼ in.)Provenance: Crane Kalman Gallery, London Acquired from the above by W.A. Palmer, June 1984 Condition Report: The canvas is not relined. There is no evidence of retouching visible under ultraviolet light. Apart from some surface dirt, in good original condition.Condition Report Disclaimer
λ SIR CEDRIC MORRIS (BRITISH 1889-1982) NEAR BURWASH, SUSSEX Oil on canvas 62 x 77cm (24¼ x 30¼ in.) Painted in 1928.Provenance: Barbara Gibbs and thence by descentMoving with his partner Arthur Lett-Haines back to London from Paris in 1926, Cedric Morris networked with gallery owners and potential patrons to rebuild his reputation as a leading contemporary artist. The pair frequently visited the Sussex countryside to escape the metropolis, where Morris produced a variety of landscape paintings such as Near Burwash, Sussex. During the early stages of his career, Morris was interested in form, colour, and texture, as he experimented with compositional harmony. Ignoring established artistic conventions, he sought to depict his subject exactly as he viewed it, blending planes of perspective together to create a distorted composition. He was adamant in using untinned oil paint for its thick texture that could be pushed and manipulated across the canvas in an impasto style, adding movement and depth to his works. Former student Millie Hayes recalls how Morris advised not to draw with paint, but rather to 'bounce' with it across the canvas, injecting the work with energy and dynamism, evident in this piece. He worked in small, horizontal brushstrokes, resulting in a multi-dimensional composition infused with the same passion that Morris had for horticulture. Morris and Lett-Haines moved to Suffolk, where they rented what would later become known as 'The Pound.' It was here that Morris fully embraced his fascination for gardening, curating the first of his many gardens, which later became a source of inspiration for many of his works. In 1937, the pair opened The East Anglian School of Painting and Drawing, where they encouraged their students to pursue artistic experimentation over the rigid formalities of the academies. Notable students include Lucian Freud, Maggi Hambling, Waveney Frederick, and Joan Warburton. Morris' dedication to teaching led him to lecture at the Royal College of Art in 1950, where he emphasised experimentation, freedom of expression and non-conventional practices. Condition Report: The canvas is not relined. There is no evidence of retouching visible under ultraviolet light. Apart from some light surface dirt the work is in good original condition.Condition Report Disclaimer
λ LAURA SYLVIA GOSSE (BRITISH 1881-1968) LE QUATORZE JUILLET, ENVERMEU, PRÈS DIEPPE Oil on canvas Signed (lower right) 60 x 45cm (23½ x 17½ in.)Painted in 1927.Provenance: Arthur Tooth & Sons Ltd., London Acquired from the above by Bill Palmer for Cherry as a wedding anniversary present Condition Report: The canvas is not relined. Artists pinholes to the upper and lower left hand edge. No evidence of retouching visible under ultraviolet light. In overall good original condition.Condition Report Disclaimer
λ ANTHONY DEVAS (BRITISH 1911-1958) HAUTE COUTURE Oil on canvas 75 x 50cm (29½ x 19½ in.)Provenance: Thomas Agnew & Sons Ltd., London Acquired from the above as a Christmas present from Bill to Cherry, 16th December 1959 Condition Report: The canvas is not relined. The paint is thin in places, as intended and there is a faint rubbed line to the lower edge corresponding to the stretcher verso and a further short rubbed line in the same area. There are a few minor spots of surface dirt. No evidence of retouching visible under ultraviolet light. In overall good condition.Condition Report Disclaimer
λ EDWARD LE BAS (BRITISH 1904-1966) STILL LIFE Oil on board Signed (lower left), further signed and titled Still Life (on the reverse) 75 x 100cm (29½ x 39¼ in.)Provenance: Thomas Agnew & Sons Ltd, London. Condition Report: There is no evidence of retouching visible under ultraviolet light. In very good original condition.Condition Report Disclaimer
MYLES BIRKET FOSTER (BRITISH 1825-1899) CAMBUSKENNETH ABBEY, NEAR STIRLING, SCOTLAND Watercolour and bodycolour Signed with monogram (lower right) 14 x 10cm (5½ x 3¾ in.) Condition Report: A few very light spots of foxing to the sky, otherwise, the work appears to be in good original condition. Unexamined out of glazed frame.Condition Report Disclaimer
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