ALFONSO OSSORIO (FILIPINO/AMERICAN 1916-1990) UNLIKELY CLUTCH Ink, wax, watercolour and wash Signed and dated 1954 (lower right) 102 x 76cm (40 x 29¾ in.) Provenance: Tower Gallery, Southampton, New York Betty Parsons, New York Private Collection, Robert Stigwood (1934-2016), music and film producer, whom purchased from the above circa. 1980s 'These works stand out for their vivid, saturated colors, distinctive formal characteristics, and pulsating energy.' Michael Rosenfeld Gallery, New York, Alfonso Ossorio Retrospective. Alfonso Ossorio was at the centre of the Abstract Expressionist and Art Brut movements which flourished during the 1950s. This passion for the arts and exploration of abstraction, alongside his close friends Jackson Pollock and Jean Dubuffet, was reflected in not only his own practice but also his collecting habits. Financially supported by his family, Ossorio established one of the earliest collections of Art Brut and Abstract Expressionism, helping to consolidate and promote the movements in America. Ossorio's family made their wealth through the sugar-refining industries in Negros Occidental in the Philippines. Ossorio was educated in England before relocating to Rhode Island at the age of 14. Ossorio studied Fine Art at Harvard University and held his first solo exhibition in New York with Betty Parsons in 1941. Ossorio's interest in art reached further than just practice, he was a keen collector and whilst studying at Harvard the Fogg Museum exhibited his early collection of works including pieces by Eric Gill and David Jones. Whilst exhibiting with Betty Parsons throughout the 40s, Ossorio became aware of Jackson Pollock's work, another artist Parsons was supporting and he was immediately drawn to his unique talent. Ossorio purchased his first Pollock 'drip' painting in 1949 titled Number 5, 1948. From this moment forward a strong friendship ensued between Ossorio and Pollock, both as artists but also as patron and artist. 'Europe no longer had anything to offer but a mixture of memories.' Harold Rosenberg, The De-Definition of Art (New York: Collier, 1972). P. 194 In November 1949, Pollock encouraged Ossorio to travel to Paris to meet with his friend Jean Dubuffet. At the time Dubuffet had experienced a great deal of criticism in Europe for his highly textured Art Brut works but his reputation was growing across the pond. Ossorio returned to New York with three new purchases Robinson, Figure au site Champetre and La dame au pompom and most importantly a new friendship which would continue in perpetuity. By 1951 Dubuffet was arguably the most famous French artist in America, possibly with the help of Ossorio. Together with Ossorio's lifelong partner, Ted Dragon, he purchased an estate on Long Island called The Creeks. The estate became synonymous with lavish parties attended by some of the most important artists of the 20th century Mark Rothko, Willem de Kooning and Lee Krasner. The Creeks, arguably helped to develop the strength of abstract expressionism in America. In 1952, Dubuffet's The Art Brut Collection which included 1200 works by approximately 100 artists was installed at Ossorio's estate. The collection hung on the upper floors of The Creeks alongside Ossorio's personal collection of works by Jackson Pollock, Clyfford Still, Lee Krasner and Willem de Kooning. In 1962 the collection returned to Paris to a purpose made space organised by Dubuffet and from 1976 the collection was moved to Lausanne in Switzerland in the Collection de l'Art Brut, where it remains today. Lot 161 represents Alfonso Ossorio's exploration of surrealism, characterised as "metaphysical fantasies," featured emotionally charged expressionistic brushstrokes. Influenced by his return to the Philippines in 1949, to carry out a mural commission for the chapel of St. Joseph the Worker in his hometown Victorias, he introduced the 'wax-resist' technique, inspired by Victor Brauner, giving rise to the Victorias Paintings series. This collection delved into the complexities of Catholicism, homosexuality, and racism. His early pieces depicted the emotional turmoil of a young homosexual male with a deeply rooted Catholic upbringing, set against the backdrop of World War II. These emotions were vividly portrayed through highly detailed surrealist designs. Additionally, Ossorio's art drew inspiration from psychoanalyst Nandor Fodor's writings on sexuality, birth, and motherhood. The present lot reflects the work of Jackson Pollock, most notably a piece titled Pattern c. 1945 held in the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.'These works stand out for their vivid, saturated colors, distinctive formal characteristics, and pulsating energy.' Michael Rosenfeld Gallery, New York, Alfonso Ossorio Retrospective. Arguably, Ossorio's collecting habits and socialite lifestyle have overshadowed his artistic capabilities. A turning point came in 2013 with the exhibition Angels,Demons and Savages: Pollock, Ossorio, Dubuffet curated by Dorothy Konsinski and Klauss Ottman at the Phillips Collection in Washington D.C. before travelling to New York. This exhibition placed Ossorio in the centre of Pollock and Dubuffet shining a light on the importance of his career as both an artist and collector. Condition Report: Executed on artist's board. Some very minor damage to the extreme tips of the lower corners, not visible when framed. Otherwise in very good original condition. Framed under glass. Condition Report Disclaimer
534310 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534310 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
534310 Los(e)/Seite
λ EDWARD SEAGO (BRITISH 1910-1974) THE MEADOW POND - NORFOLK Oil on board Signed (lower right) titled (verso) 51.5 x 76cm (20¼ x 29¾ in.)Provenance: Galerie George, London Condition Report: In overall good original condition. Possible light discolouration caused by yellowing varnish. Inspection under UV reveals a thick varnish and no evidence of restoration or repair. Condition Report Disclaimer
JOSIF MEEROVICH OSTROVSKY (UKRANIAN 1935-1993) WALK Oil on canvas Signed and dated 1982 (lower right); further signed and inscribed in Cyrillic to canvas and stretcher (verso) 70 x 70cm (27½ x 27½ in.)Provenance: The Catto Gallery, London Condition Report: Not relined. Canvas is slack. Light surface dirt throughout. 2 small losses to the lower left quadrant together with a small area of rubbing. Uneven varnish across the surface with some evidence of pooling varnish. Condition Report Disclaimer
λ ERTÉ (FRENCH 1892-1990) LACE: PRÄ’SENTATION DE LA ROBE DE DENTELLE ROSE; UNE FLEUR DE LA DENTELLE NOIS, QUI ADEVIENT AGRANDIE Gouache Both signed (lower right); stamped with studio stamp, titled and dated 1937 (verso) Each 27 x 37cm (10½ x 14½ in.) (2) UnframedProvenance: Acquired directly from the artist and by descent Condition Report: Flower - Light staining to the extreme edges. Pin holes to the corners with some creasing. Figure (pink and blue) - Light staining to the extreme edges. Pin holes to the corners with some creasing. Condition Report Disclaimer
λ JOHN MILLER (BRITISH 1931-2002) ANEMONES II Oil on canvas Signed and titled (verso) 51 x 46cm (20 x 18 in.)Provenance: New Craftsman Gallery, St. Ives, Cornwall Portland Gallery, London John Miller's artistic vision has become one of the most widely recognised of the twentieth century. Working from his Cornish studio with its magnificent views across the Hayle estuary to Godrevy Lighthouse, John painted his distinctive images of glowing beaches and deep blue skies, which are so widely recognised as to have become synonymous with the county of Cornwall itself. Miller's art occupies the space between figuration and abstraction. He described painting as "an exterior response to an interior vision", yet that reponse was usually rooted in the world around him. His paintings were usually concerned with specific sites and the emotions they generated held in tension with an inward contemplation informed by his religious convictions. In the 1970s and 1980s Miller travelled a great deal around the Mediterranean. There he became fascinated by the strong sunlight that renders shadows as intensely dark as the light is bright. These experiences loosened his brushwork and brought a new intensity of colour to his paintings of Cornwall. In 1995 he moved from Sancreed to Lelant and he is perhaps best known for his paintings inspired by early morning walks along the beach at Port Kidney. He developed a personal symbolism during the period, in which the sun became a symbol for the renewal of life, and the moonrise associated with the death of his mother. During this period his paintings were perhaps at their most inward looking and visionary. Condition Report: Appears to be in good original condition. No obvious evidence of restoration or repair. Condition Report Disclaimer
RICHARD HAYLEY-LEVER (AMERICAN 1876-1958) ST. IVES HARBOUR Oil on canvas-board Signed and inscribed St. Ives (lower left) 29.5 x 38cm (11½ x 14¾ in.)Provenance: Messum's, London & MarlowExhibited: Marlow, Messum's, British Impressions, 2012, no. 22 Condition Report: The board is very slightly bowing, hardly noticeable. Light surface dirt throughout and possibly some discolouration caused by yellowing varnish. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
λ BERNARD FLEETWOOD WALKER (BRITISH 1892/93-1965) MOLLIE AND STELLA Oil on canvas Signed (lower right) 127 x 101.5cm (50 x 39¾ in.)Painted in 1938.Exhibited: London, Royal Academy, Summer Exhibition, 1938, no. 733 St. Ives, St. Ives Society of Artists, Summer Exhibition 1939 (where, according to the St Ives Times of 21st July 1939, it took centre stage and was praised for its masterly composition and drawing and for being beautifully painted in 'soft restrained greens and rose'.) John Lindsay Fine Art, Knowle & Belgrave Gallery London, Bernard Fleetwood-Walker, 1981, no 33 (illustrated in the exhibition catalogue, p.9) Penlee House Gallery & Museum Touring Exhibition: Penzance, Lincoln, Doncaster, Hereford, Sunderland & Newport, Creating a Splash: The First 25 Years of the St. Ives Society of Artists 1927-1952), 2003-2004, no. 18 (illustrated in the exhibition catalogue, plate 12) Condition Report: Relined. Light surface dirt throughout with some evidence of light splashes of paint and pools of varnish in a couple of areas. A light scuff to the lower edge below the kneeling figure's knee. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
λ BETH CARTER (BRITISH B. 1968) KNEELING MINOTAUR Bronze Signed with initials and numbered 3/15 34.5 x 34.5cm (13½ x 13½ in.)Provenance: Acquired directly from the artist by the present owner The minotaur is one of Carter's favourite motifs and the subject of a great many of her drawings and sculptures. Her practice of morphing human and animal figures combined with an interest in classical mythology makes the minotaur a fitting subject. Both the present works, Minotaur Kneeling and Minotaur Reading, present the unexpected juxtaposition of the accepted stereotype of the minotaur as fearsome beast contrasted with Carter's quietly reflective, even vulnerable portrayal. Lot 182 is the first Minotaur Reading series produced by the artist and paved the way for many further such depictions.Carter's minotaurs speak of the human condition - frequently portrayed as a symbol of power and masculinity is here shown slumped and defeated, robbed of his aggression. He is a portrayal not just of a fictional beast, but a reflection of our modern world. Condition Report: Some light surface dirt to the crevasses. Otherwise appears to be in good original condition. Condition Report Disclaimer
ALBERT RUTHERSTON (BRITISH 1881-1953) WOMEN ON THE SEA-SHORE Watercolour on silk Signed and dated 1921 (lower centre) 53 x 29.5cm (20¾ x 11½ in.)Provenance: Michael Hewitt Salaman, who was under the artist's tutelage at the Ruskin School of Art, Oxford (1930-31) Private collection, UKExhibited: London, Spring Gardens Gallery, New English Art Club Retrospective Exhibition, December 1924, no. 2 Glasgow, Empire Exhibition, Fine Arts Section, May-December 1938Literature: Ernest Benn, Contemporary British Artists: Albert Rutherston, London, plate 21In 1898, at just sixteen years old, Rutherston moved to London to study at the Slade School of Fine Art. Here he studied alongside leading artists from this period, such as Ambrose McEvoy, Spencer Gore, Harold Gilman and Wyndham Lewis. Though slightly older, he struck up close friendships with Augustus John and William Orpen, and the trio became known as the 'Three Musketeers' and worked, socialised and holidayed together. Condition Report: Unexamined out of glazed frame. Undulation to the silk. Some light brown staining to the right figure's robe, foot and the left figure's arm. There is also some staining to the rock in the lower left corner. Otherwise appears to be in good original condition. Condition Report Disclaimer
λ JOHN BRATBY (BRITISH 1928-1992) SIR FRANK ROBERTS Oil on canvas Signed (upper right) 40.5 x 35.5cm (15¾ x 13¾ in.)Please Note: This work is signed upper right. Condition Report: Unexamined out of glazed frame. Some very fine craquelure to the corners and along the extreme edges. Some light surface dirt visible to the bare canvas along the extreme edges. Otherwise appears to be in good original condition. Condition Report Disclaimer
LUCIEN PISSARRO (FRENCH 1863-1944) GIBBET HILL, BROUGH Oil on canvas-board Signed with monogram and dated 1932 (lower right) 33.5 x 41cm (13 x 16 in.)Painted in 1932 from a drawing executed in 1914.Provenance: Anthony d'Offay, London Private Collection, Alan Tapper (acquired from the above in 1977)Exhibited: London, Anthony d'Offay, Lucien Pissarro, 1977, no. 42London, Belgrave Gallery, Masters of Modern British Painting, 1978, no. 13Bradford, Cartwright Hall Art Gallery & London, Belgrave Gallery, Jewish Artists of Great Britain 1845-1945, 1978, no. 15 Literature: Anne Thorold, Catalogue of Oil Paintings of Lucien Pissarro, 1983, no. 490 (illustrated p. 21) Lucien was the eldest son of French Impressionist painter, Camille Pissarro. He benefitted not only from the tutelage of his father but growing up in a milieu surrounded by some of the greatest artists of that period including Claude Monet, Paul Signac and Pierre-Auguste Renoir. Although French by birth, from a young age, Pissarro was drawn to English shores, visiting first as a child in 1870-71 and settling permanently in 1890. He became a British citizen in 1916 and was an integral part of the English art scene of the first half of the twentieth century. His influence is notable in the work of Walter Sickert, Harold Gilman and Spencer Gore. Pissarro is primarily known as a landscape painter and the present oil is a typical example of his work. Between 1913 and 1919, he travelled extensively producing views of Dorset, Westmorland, Surrey, Sussex, Essex and Devon. The present work, although painted some decades later, is based on a drawing from that period. It forms part of a group of works from 1914 depicting the village and landscape around Brough in Westmorland, now Cumbria, of which Wild Boar Fell, Brough is held by Manchester Art Gallery. Condition Report: Light surface dirt throughout. Inspection under UV reveals no obvious evidence of restoration or repair. Overall appears to be in good original condition. Condition Report Disclaimer
FRANK GASCOIGNE HEATH (BRITISH 1873-1936) THERE IS MUSIC IN THE NIGHT Oil on canvas Signed (lower left) 128 x 153cm (50¼ x 60 in.)Provenance: Purchased directly from the artist's family by the present owner Exhibited: London, Royal Academy of Arts, 1922, no. 178 Condition Report: The canvas has been relined with the reline visible along the upper framed edge and some associated rubbing along the lower edge and corners. The canvas is slightly slack and undulating in the frame. Ultraviolet light reveals scattered retouching, predominately along the edges and particularly to the centre of the lower edge. In otherwise good condition.Condition Report Disclaimer
SURREALIST SCHOOL (20TH CENTURY) LOCK DISPLAY CABINET Wood model in glazed wooden cabinet Inscribed to label 'Made entirely of wood/No metal or any/Kind being used !' 40.5 x 35.5 x 11cm (15¾ x 13¾ x 4 1/8in.)Provenance: Private Collection, George Melly (1926-2007), jazz & blues singer, writer and critic Private Collection, UK'The marvellous is always beautiful; anything marvellous is beautiful; in fact only the marvellous is beautiful.' André Breton, Manifesto of Surrealism, 1924George Melly was first immersed in surrealist ideas by the Belgian poet, artist and writer Édouard Léon Théodore Mesens (1903-1971). Melly worked for Mesems at the London Gallery. Later Melly moved into Jazz music working with Mick Mulligan's Magnolia Jazz Band. His interest in the surrealist movement continued throughout his lifetime, even appearing on a documentary in 1978 which recorded his journey from North London to the Hayward Gallery to view the Great Exhibition of Dada & Surrealist Art. Barry Flanagan and Maggi Hambling painted his portrait and works by Magritte adorned the walls of his private collection.'Any picture which for me is worthwhile is in a way an exteriorisation of what's inside the person.' George Melly, 1982 Condition Report: The box has a crack in the wood to the upper left corner. A number of scratches to the lower edge. Some light scratches to the perspex glaze. The black felt is dusty most notable at the corners. The installation itself made from wood has no obvious significant damage. Condition Report Disclaimer
λ EUAN UGLOW (BRITISH 1932- 2000) STANDING NUDE Pencil 43 x 33cm (16¾ x 12 in.)Provenance: The Estate of the Artist Marlborough Fine Art Ltd., London Acquired from the above by the present owner Exhibited: London, Marlborough Fine Art, Euan Uglow Drawings, January-February 2014, no. 37 Condition Report: Unexamined out of glazed frame. Some very light handling creases throughout, hardly noticeable. Otherwise appears to be in good original condition. Condition Report Disclaimer
λ GLADYS BAKER (BRITISH 1889-1974/75) THE JAPANESE ROOM Oil on canvas-board Signed and inscribed G M Baker/for/Landseer (verso) 29.5 x 40cm (11½ x 15½ in.)It is most likely that the present lot was painted whilst the artist was at the Royal Academy Schools and possibly entered for the Landseer prize. Condition Report: Light surface dirt throughout. Possible discolouration caused by an old yellowing varnish. A small pin hole to the lower irght corner. A very small scratch (circa. 1cm) to the upper left corner, probably caused by frame. Otherwise appears to be in good original condition. Framed dimensions: 39.5 x 49.5cmCondition Report Disclaimer
ROGER FRY (BRITISH 1866-1934) STILL LIFE OF A JAR, APPLES AND A CANDLESTICK HOLDER Oil on board Signed (lower right) 32.5 x 40.5cm (12¾ x 15¾ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: The paint surface is dirty and would benefit from a clean. There is some damage and associated paint loss to the edges and corners of the board. There is a surface scratch (approx 1.5cm long) to the lower left quadrant and some other further light surface scratches. There is no evidence of retouching visible under ultraviolet light. Condition Report Disclaimer
λ DAME LAURA KNIGHT (BRITISH 1877-1970) ROLLING HILLS Watercolour and charcoal Signed (lower left) 38 x 55.5cm (14¾ x 21¾ in.) Condition Report: Unexamined out of glazed frame. Very slight undulation to the sheet. A small vertical crease circa. 2cm to the right side of the lower edge. 4 pinholes visible to the upper right corner. Light surface dirt throughout. Very fine scattered foxing to the upper left quadrant. Overall colours are strong. Please note that there is some scratching out to the sheet which was artist intent. Condition Report Disclaimer
λ STELLA STEYN (IRISH 1907-1987) THREE TIGHTROPE PERFORMERS Oil on card Signed (lower right) 34 x 23.5cm (13¼ x 9¼ in.)Provenance: The Estate of the Artist Condition Report: Three very small patches of surface skinning to the light pigment in the ceiling with some associated craquelure. A small mark of surface skinning to the left of the right hand figures' thigh. Craquelure to the white pigment of the female figures' neck, and to the bowler hat performer's top and stool. There is also visible craquelure to the red pigment of the right hand performer's top. Condition Report Disclaimer
λ KEITH VAUGHAN (BRITISH 1912-1977) BLUE LANDSCAPE WITH FIGURE Oil on board 25 x 38cm (9¾ x 14¾ in.)Provenance: Crane Kalman Gallery, LondonPrivate Collection, Mr and Mrs F. Overton (acquired from the above in 1968)Redfern Gallery, LondonWenlock Fine Art, Much Wenlock Literature: Hepworth and Massey, Keith Vaughan - The Mature Oils 1946-1977, 2012, p. 103, No AH240 Condition Report: Light surface dirt throughout. Some rubbing to the extreme framing edges. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
λ DORA GORDINE (ESTONIAN 1895-1991) STANDING FEMALE DANCER Bronze with green patina Signed and numbered 2/6 to the base Height 65cm (25½ in.) 'If people really want to know me, let them look at my sculpture, because words are not my medium at all. It is sculpture that is my medium.' Dora GordineDora Gordine's Standing Dancer captures the movement and elegance of the female form. Gordine explored themes of motherhood and womanhood through her bold, strong and yet feminine sculptures, usually cast in bronze. Gordine was initially influenced by a group of artists in her homeland Estonia coined 'Noor Eesti' who followed the concepts and ideals of the Art Nouveau movement. In 1924, Gordine relocated to Paris and was immediately encapsulated by the rich French culture frequently visiting the multitude of galleries, operas and museums.In 1925, Gordine worked for the British Pavilion at the International Exhibition of Modern Decorative and Industrial Arts in Paris, as a mural painter. This opportunity provided her with the means to start producing bronze sculptures again and Gordine went on to exhibit her works at the Beaux Arts Society and the Salon Des Tuileries in 1926 where she presented a head and torso sculpture of a Chinese philosopher which was met with great acclaim. Back in London in 1928, the Leicester Galleries held Gordine's first solo show, which proved to be a great success; all of the pieces selling including one to Samuel Courtauld. In 1936, Dora married the Hon. Richard Gilbert Hare and together they built Dorich House in Kingston Vale which doubled up as their home to showcase their personal collection of Russian Art and furniture but also her studio to create and display her sculptures. Through her husband's connections Gordine became immersed within London's fashionable elite. Figures such as Sir Kenneth Clark, Dame Beryl Grey and Professor Frederick Brown, head of the Slade School of Art all jumped at the opportunity to sit for Gordine. The present lot signifies Gordine's approach to sculpture, she felt sculpture was a tool to depict not only identifiable features but capture the vision of a sitter. The figure stands poised, caught in a moment of movement oblivious to the onlooker. 'You have to imagine what they are like inside and bring out their inner feeling and then put it in a form.' Dora Gordine, BBC Interview, 1972 Condition Report: Light surface dirt throughout otherwise appears to be in good original condition. No obvious evidence of restoration or repair. Condition Report Disclaimer
λ EDWARD SEAGO (BRITISH 1910-1974) THE CORNFIELD Oil on board Signed (lower left) 45 x 60cm (17½ x 23½ in.)Provenance: P. & D. Colnaghi & Co. Ltd., London Island Fine Arts, Isle of Wight Condition Report: Light surface dirt throughout. Some very minor paint loss to the extreme tip of the lower right corner. Inspection under UV reveals no obvious evidence of restoration or repair. May benefit from a light clean. Overall in good original condition. Condition Report Disclaimer
STANHOPE A. FORBES (BRITISH 1857-1947) THE GREEN SETTLE Oil on canvas Signed and dated 1911 (lower right) 65 x 54.5cm (25½ x 21¼ in.)Exhibited: London, Royal Academy, 1911, no.559Literature: Royal Academy Illustrated, 1911, p.93 Condition Report: Canvas has been relined, visible to the left edge. Rubbing and associated rubbing and losses to the edges, most notable to the lower edge. There is a very small loss 2mm to the upper right edge. The canvas is very slightly undulating along the lower edge, most notable in the corners where it appears to slightly pucker. Hardly noticeable. Inspection under UV reveals light scattered retouching and a thick green varnish. Condition Report Disclaimer
λ JACOB KRAMER (BRITISH/RUSSIAN 1892-1962) STUDY FOR 'THE JEW' Ink and wash Signed (upper left) 47 x 37cm (18½ x 14½ in.)Provenance: The artist's family Belgrave Gallery, London Exhibited: London, Ben Uri Gallery, Jacob Kramer Reassessed, 1984, no. 16, on tour to Leeds, Leeds City Art Gallery; Bournemouth, Russell Coates Art Gallery; Hull, Ferens Art Gallery (illustrated in the exhibition catalogue p. 25) London, The Sternberg Centre, Pictures of Jewish Interest from Private Collections, 1986, no. 32 (illustrated on the front of exhibition catalogue) Brighton, Brighton Polytechnic Gallery, Jewish Artists in an English Context, 1900-1920, 1986, no. 7 London, Belgrave Gallery, Jacob Kramer Exhibition, 1990, no. 7 Leeds, University Gallery Leeds, Jacob Kramer Centenary Exhibition, 1992, no. 52 London, Boundary Gallery, Jacob Kramer, 2006 (on loan from a private collection)Literature: Agi Katz, Jewish Chronicle, Jacob Kramer, 25 May 1984 (illustrated p. 20) Condition Report: Unexamined out of glazed frame. Some light creasing to the sheet throughout with light surface dirt visible, most notable to the creases. There is an area of surface skinning to the upper left edge approx. 5cm where it appears a sticker or label has been accidentally applied and then removed. There are a number of creases running through the seated figure with some associated loss and a small white dot to the sitter's wrist which appears to be a small mark of mould. The colours are strong and vibrant. Condition Report Disclaimer
Maurice Hope signed limited edition print with signing photo Maurice Hope was one of Britain's finest World Champions. This superb print shows Maurice after retaining his World Light-Middleweight title at Wembley, London in July 1980, against Rocky Mattioli.Maurice has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image and the edition number may vary. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
The Midland Pullman poster 1961 121cm x 125cmEdges need restoration. There are four brown stains above the wording ‘London St Pancras dep’. Two pieces of old cellophane have caused staining/ discolouration to the top to bottom edge of the left hand side. Light creasing and top corners have been lost. Also a 27cm tear below the train buffers.
Tank Corps WW1 Attributed Uniform & Cap. A very rare original example worn by Lieutenant Frederick Albert Roebuck of the 19th Bn Tank Corps. Comprising: Officer's service dress cap. Complete with Tank Corps cap badge leather chinstrap and leather sweatband to the interior. One button detached, blades of the badge with thick verdigris indicating this badge always been worn. Cuff Rank service dress tunic. This example was tailored by John Barker of London. Retaining original insignia of 19th Bn Tank Corps ribbons to the shoulder straps T.C. OSD collar badges. T.C. bullion sleeve badge. King's Shropshire Light Infantry buttons, Wound Badge and three blue overseas chevrons. The interior with tailor's label and ink name "F.A. ROEBUCK 16/8/18" Clean condition but now with scattered moth holes. Overalls with matching tailor's label and ink details. Sam Browne belt with brace strap dated 1917. Service dress unit 1917 pattern, fitted with leather buttons, medal ribbons. Evidence of collar badges, wound stripe and overseas chevrons removed. Indicating post WW1 worn. Three original photographs showing Lt Roebuck wearing both uniforms. Original 20th August 1918 Commission. Overall Clean condition with some moth. (9 items) Lieutenant Frederick Albert Roebuck originally served in the Ranks of the Army Service Corps landing in France on the 28th February 1915. He was later commissioned into the KSLI (30th September 1918) and then is confirmed as transferring to the Tank Corps. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Badge. 13th (1st Somersetshire) (Prince Albert's Regiment of Light Infantry) Victorian shako plate circa 1869-78. Good scarce die-stamped brass crowned laurel sprays enclosing the Garter, the seeded centre pierced with stencilled numerals 13. Loops. GC INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Badge. Irish. Fermanagh Light Infantry Militia Victorian Officer's helmet plate circa 1878-81. Fine rare variant silvered crowned star mounted with laurel sprays and pierced gilt FERMANAGH UT PROAVI circlet; the black velvet centre bearing gilt Enniskilling Castle with a bugle in the foreground. Three loops. Toned otherwise VGC Raised at Enniskillen in 1793 as Fermanagh Militia, redesigned Light Infantry in 1855, became 3rd Bn. Royal Inniskilling Fusiliers on 1st July 1881. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Boer War Imperial Light Horse Trooper 1903 Silver Statue by Elkington & Co. This fine quality hallmarked silver figure depicts a mounted Trooper on horseback looking into the distance, rifle at the ready. He wears bandolier and the slouch hat, with "ILH" worn on the turn up. His horse with various items of equipment. Mounted onto an ebonized plinth. The front right horse's hoof bearing Birmingham silver hallmarks for 1903 and the makers stamp of "E & Co. Ltd" (Elkington & Co. Ltd). Height 12 inches. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Scottish Regiments 6 x Hollow Silver Regimental Sweetheart Brooches. Comprising: Seaforth Highlanders with Birmingham 1897 hallmark ... Royal Scots with Birmingham 1901 hallmark (Repair to hook & Pin). ... Argyl & Sutherland Highlanders with Birmingham 1905 hallmark.... Cameron Highlanders 79th Regiment with Birmingham 1901 hallmark. ... Highland Light Infantry. with Birmingham 1897 hallmark. ... Highland Light Infantry with Birmingham 1914 hallmark. All complete with pin and hook fitting. (6 items) INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Imperial Light Horse Drum Major's Sash. A rare and decorative George VI example. Green cloth ground, embroidered with a GVIR Crowned cypher. Below this the Regimental title and crossed Imperial and Union Flags. The sash is edged with gold lace with scarlet silk line and edged with gold twist tassels. Complete with miniature drum sticks. Bullion remains bright, little age wear GC INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
12th Canadian Railway Troops WW1 CEF cap badge. Good scarce die-stamped light bronze crowned title strap bearing maple leaf bearing 12, theodolites and beaver with central red cloth central square. J.R. Gaunt, London tablet to reverse. Loops. VGC INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Badge. 85th Foot (King's Light Infantry) Victorian Officer's shako plate circa 1855-61. Fine scarce die-stamped gilt crowned star mounted with Garter; strung bugle, with 85 lodged between the cords, to voided centre. Loops. VGC Became 2nd Battalion KSLI on Friday 1st July 1881 INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Badge. British Indian. 105th (Madras Light Infantry) Victorian Officer's shako plate circa 1869-78. Very fine die-stamped rich gilt crowned laurel sprays surrounding a curled bugle horn inscribed MADRAS LIGHT INFTY resting in laurel and palm sprays; floreated 105 to voided centre; CEDE NULLIS applied scroll below. Loops. VGC Became 2nd Bn. King’s Own Light Infantry (South Yorkshire Regt) on 1st July 1881. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
King's Shropshire Light Infantry Officer's forage cap badge circa 1881-1902. Fine die-stamped facetted silvered star mounted with gilt circlet SHROPSHIRE; green cloth centre bearing silver strung bugle with KLI between the cords. Loops GC INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Durham Light Infantry Victorian Officer's 1889 HM silver DLI pagri badge. Fine Birmingham hallmarked die-stamped bugle ornamented with laurel strung from an Imperial crown, floreated lined DLI between the cords H & S (Hobson & Sons) Hinge & hook present, pin absent VGC INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Badge. The Duke of Cornwall Light Infantry Officer's helmet plate circa 1901-14. Splendid gilt crowned star mounted with Garter and laurel sprays with silver scroll THE DUKE OF CORNWALL LT. INFY; green velvet centre bearing gilt strung bugle, crossed feathers with red inlays and silver turreted archway. Three loops. VGC INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Badge. 53rd (Shropshire) Regiment of Foot Victorian shako plate circa 1869-78. Good scarce die-stamped brass crowned laurel sprays enclosing the Garter, the seeded centre pierced with stencilled numerals 53. Loops. VGC Following Cardwell's reforms of the Army, 53rd became 1st Bn King's Light Infantry on 1st July 1881, later KSLI. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Welsh Glamorgan Light Cavalry Volunteers Victorian Mounted Officer's Bridle Horse Bit. A rare mid 19th Century example of a steel bit retaining both white metal regimental bit bosses. Some age wear. GC. The Glamorgan Light Cavalry Volunteers was disbanded in 1866. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Badge. King's Own (Yorkshire Light Infantry) Victorian Officer's helmet plate circa 1891-1901. Fine scarce rich gilt crowned star mounted with Garter and laurel sprays bearing silver scroll THE KING'S OWN YORKSHIRE LIGHT INFANTRY, black enamel centre with silver French Horn and central Rose. Three loops VGC INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Badge. 77th (East Middlesex) Regiment of Foot Victorian Officer's shoulder belt plate circa 1830-55. Good scarce gilt rectangular plate mounted with silver Prince of Wales's plumes, coronet and motto over floreated 77 set within laurel sprays bearing a scroll inscribed PENINSULA. Two hooks and two studs. VGC 77th Foot (East Middlesex) sent East in 1854. Served with Light Division in Bulgaria and the Crimea. Fought at Alma, Inkerman and throughout the siege of Sevastopol taking part in both assaults on the Redan. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Badge. 68th (Durham Light Infantry) Regiment Victorian pre 1855 Officer's shoulder belt plate. Good scarce copper gilt rectangular plate mounted with silver tri-part honour scrolls to top and bottom; between, a crown over laurel and palm sprays with central strung bugle, 68 between the cords. Two hooks and two studs. VGC INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Ceylon Light Infantry display side drum. A good post war rope tensioned brass example. The dark blue body bearing title scroll over golden bugle strung from Prince of Wales's feathers with CLI cypher between the cords. Complete with rims and skins. The instrument's accuracy is neither warranted or implied. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
17th Light Dragoons plate warmer circa 1823-33. A really splendid and extremely scarce New Stone example by Spode. The border and centre richly ornamented with floral patterns. At the head of the border, set on crossed lances, a skull with crossed bones above, surmounted by XVII; a scroll across the lower part of the lances “or gloryâ€. Ornate handles with gilt decoration. No maker's stamp or pattern number. (diameter approx 9 1/2 inches) 17th Light Dragoons returned to England in 1823 after a long period of active service and were constituted as a corps of Lancers. It would seem lightly that the regiment took this opportunity to order this service from Spode to replace breakages overseas and to display their new Lancer status. The regiment served throughout the Crimea and on 25th October 1854 took part in the famous “Charge of the light Brigade†led by Captain William Morris; redesignated 17th Regiment of Lancers on 17th August 1861 and 17th (Duke of Cambridge’s Own) Lancers on 19th June 1876. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
English County Regiments 8 x Hollow Silver Regimental Sweetheart Brooches. Comprising: North Staffordshire with Birmingham 1898 hallmark ... Oxfordshire Light Infantry unmarked silver (repair to hook). ... Royal Berkshire with unmarked silver (possibly converted from a hat pin).... Royal Berkshire 2nd Battalion with Birmingham 1892 hallmark (hookr eplaced) ... Worcestershire. with London 1904 hallmark (polished). ... Worcestershire with Birmingham 1911 hallmark (repaired) .... accompanied by similar Army Service Corps with Birmingham 1897 hallmark 1914... Royal Artillery with London 1903 hallmark (damaged A/F). All complete with pin and hook fitting. (8 items) INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Loading...-
534310 Los(e)/Seite