2 kleine französische Porzellankopfpuppen. 1x Société Francaise de Fabrication de Bébés et Jouets. Kopfmarken: 1x SFBJ, Paris, 1x Dep. Biskuitporzellan, Holz, Masse. SFBJ-Mädchen mit Strohhut: Kurbelkopf, feste braune Augen, blonde Mohairperücke, einfacher Stehpuppenkörper aus Masse mit langen Beinen. Hellblaues Seidenkleid. Kopf nicht durchleuchtet: keine Defekte sichtbar. L 33 cm. / Mädchen mit Zöpfen: Kurbelkopf, blaue Schlafaugen, Wimpern, Ohrringe, blonde Echthaarperücke, 11-teiliger Gliederkörper, weiße Unterwäsche mit Mieder. Kopf durchleuchtet: ohne Defekte, lediglich 1 kleiner Chip am Ohrloch. L 32 cm. Beide alt bekleidet. Körper jeweils mit Farbdefekten. Aufrufzeit 26. | Okt 2023 | voraussichtlich 10:03 Uhr (CET)2 small French porcelain head dolls. 1x Société Francaise de Fabrication de Bébés et Jouets. Head marks: 1x SFBJ, Paris, 1x Dep. Biscuit porcelain, wood, mass. SFBJ girl with straw hat: crank head, fixed brown eyes, blond mohair wig, simple standing doll body of mass with long legs. Light blue silk dress. Head not x-rayed: no defects visible. L 33 cm. / Girl with braids: crank head, blue sleeping eyes, eyelashes, earrings, blond human hair wig, 11-piece jointed body, white underwear with bodice. Head x-rayed: without defects, only 1 small chip at ear hole. L 32 cm. Both old dressed. body each with color defects. Call time 26th | Oct 2023 | probably 10:03 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
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Porzellankopfmädchen. J.D. Kestner. Kopfmarke: G made in Germany 11. Biskuitporzellan, Masse. L 48 cm. Kurbelkopf, braune Schlafaugen, braune Mohairperücke. 13-teiliger Gliederkörper. Smaragdgrünes Kleid mit schwarzem Besatz, 2 lange Ketten, helle Wachstuchschuhe, grünes Blumenkörbchen. Fest vergipster Kopfdeckel: keine Defekte sichtbar. Körper übermalt. Aufrufzeit 26. | Okt 2023 | voraussichtlich 10:12 Uhr (CET)Porcelain Head Girl. J.D. Kestner. Head mark: G made in Germany 11. Biscuit porcelain, mass. L 48 cm. Crank head, brown sleeping eyes, brown mohair wig. 13-piece jointed body. Emerald green dress with black trim, 2 long chains, light oilcloth shoes, green flower basket. Firmly plastered head cover: no defects visible. Body painted over. Call time 26 | Oct 2023 | expected 10:12 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Kleiner Charakterjunge "Paulchen". Kämmer & Reinhardt. Kopfmarke: II K & R Simon & Halbig 115/A 34. Ab 1911. Biskuitporzellan, Masse. L 34 cm. Kurbelkopf, blaue Schlafaugen, Wimpern, geschlossener Mund, dunkelblonde Mohairperücke. 17-teiliger Toddlerkörper. Schwarzer Samtanzug, passende Kappe, hellbraune Lederschuhe. Dazu Blech-Kreisel. Kopf durchleuchtet: ohne Defekte. Finger etwas berieben. Aufrufzeit 26. | Okt 2023 | voraussichtlich 10:13 Uhr (CET)Little character boy "Paulchen". Kämmer & Reinhardt. Head mark: II K & R Simon & Halbig 115/A 34. from 1911. Biscuit porcelain, mass. L 34 cm. Crank head, blue sleeping eyes, eyelashes, closed mouth, dark blond mohair wig. 17-piece toddler body. Black velvet suit, matching cap, light brown leather shoes. In addition, tin spinning top. Head x-rayed: without defects. Fingers a little rubbed. Call time 26th | Oct 2023 | expected 10:13 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Porzellankopfmädchen. J.D. Kestner. Kopfmarke: C made in Germany 2 164, Körper rot gestempelt: Germany. Ab 1898. Biskuitporzellan, Masse. L 48 cm. Kurbelkopf, blaue Schlafaugen, modellierte Augenbrauen, braune Echthaarperücke mit Haarverlust. 15-teiliger Gliederkörper. Hellgrünes Kleid, passender Stoffhut, blaue Schuhe. Kopf fachgerecht restauriert, Wange berieben. Aufrufzeit 26. | Okt 2023 | voraussichtlich 10:13 Uhr (CET)Porcelain Head Girl. J.D. Kestner. Head mark: C made in Germany 2 164, body stamped in red: Germany. From 1898. Biscuit porcelain, Mass. L 48 cm. Crank head, blue sleeping eyes, modeled eyebrows, brown human hair wig with hair loss. 15-piece articulated body. Light green dress, matching cloth hat, blue shoes. Head professionally restored, cheek rubbed. Call time 26 | Oct 2023 | expected 10:13 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Porzellankopfmädchen "Mein kleiner Liebling - Luise". Kämmer & Reinhardt. Kopfmarke: K & R Simon & Halbig 121 50. Kurbelkopf, blaue Schlafaugen, hellbraune Echthaarperücke mit geflochtenen Zöpfen. 17-teiliger Toddlerkörper. Rotes Kleid mit weißem Schürzenkleid, Blütenkranz im Haar, weiße Wachstuchschuhe. Haarriss am Hinterkopf. Körper partiell übermalt. Aufrufzeit 26. | Okt 2023 | voraussichtlich 10:15 Uhr (CET)Porcelain head girl "My little darling - Luise". Kämmer & Reinhardt. Head mark: K & R Simon & Halbig 121 50. Crank head, blue sleep eyes, light brown human hair wig with braided pigtails. 17-piece toddler body. Red dress with white apron dress, flower wreath in the hair, white oilcloth shoes. Hair tear at the back of the head. Body partially painted over. Call time 26th | Oct 2023 | expected 10:15 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Blondes Puppenmädchen. Kopfmarke: made in Germany 152. J.D. Kestner. Biskuitporzellan, Masse. L 45 cm. Kurbelkopf, braune Schlafaugen, blonde Mohairperücke, fester Korkdeckel. 15-teiliger Gliederkörper. Weißes Kleid mit hellblauer Schleife, Strohhut, braune Lederschuhe. Kopf nicht durchleuchtet: keine Defekte sichtbar. Körper nachgestrichen. Aufrufzeit 26. | Okt 2023 | voraussichtlich 10:26 Uhr (CET)Blonde doll girl. Head mark: made in Germany 152. J.D. Kestner. Biscuit porcelain, mass. L 45 cm. Crank head, brown sleeping eyes, blond mohair wig, solid cork lid. 15-piece articulated body. White dress with light blue bow, straw hat, brown leather shoes. Head not x-rayed: no defects visible. Body repainted. Call time 26th | Oct 2023 | expected 10:26 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Käthe-Kruse-Mädchenpuppe. Typ VIII "Deutsches Kind". Unter dem linken Fuß gestempelt. Wohl 1930er/40er Jahre. Stoff. L 52 cm. Kurbelkopf aus Stoff, gemalte braune Augen, braune Echthaarperücke. Schlanker Körper mit Schlenkerarmen, Beine mit Scheibengelenken. Beigefarbene Hose, rote Strickjacke, helle Wachstuchschuhe. Kopf mit Krakelee und Farbdefekten, Beine leicht verschmutzt. Aufrufzeit 26. | Okt 2023 | voraussichtlich 10:28 Uhr (CET)Käthe Kruse girl doll. Type VIII "German child". Stamped under the left foot. Probably 1930s/40s. Fabric. L 52 cm. Crank head made of fabric, painted brown eyes, brown human hair wig. Slender body with flapping arms, legs with disc joints. Beige pants, red cardigan, light oilcloth shoes. Head with craquelure and color defects, legs slightly dirty. Call time 26th | Oct 2023 | expected 10:28 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
3 Porzellankopfpuppen. Alle gemarkt. Um 1900-20. Biskuitporzellan, Masse, Leder, Celluloid. Großes Brustkopfmädchen (Simon & Halbig, S & C 1180) mit blauen Augen, blonder Kunsthaarperücke, Lederkörper, Celluloid-Armen und hellgrünem Strickkleid (L 66 cm). / Kleine Puppe (Heinrich Handwerck, Simon & Halbig) mit Kurbelkopf, braunen Schlafaugen, Kunsthaarperücke, 15-teiligem Gliederkörper, rosa Kleid und Strohhut (L 43 cm). / Charakterbaby (Porzellanfabrik Mengersgereuth, PM 914) mit Kurbelkopf, braunen Schlafaugen, defekter Echthaarperücke, 5-teiligem Sitzbabykörper, weißem Kleid und Haube (L 37 cm). Köpfe durchleuchtet: ohne Defekte. Körper mit kleinen Defekten und Übermalungen. Aufrufzeit 26. | Okt 2023 | voraussichtlich 10:33 Uhr (CET)3 porcelain head dolls. All marked. Circa 1900-20. Biscuit porcelain, mass, leather, celluloid. Large breasthead girl (Simon & Halbig, S & C 1180) with blue eyes, blond synthetic hair wig, leather body, celluloid arms and light green knitted dress (L 66 cm). / Small doll (Heinrich Handwerck, Simon & Halbig) with crank head, brown sleeping eyes, artificial hair wig, 15-piece jointed body, pink dress and straw hat (l 43 cm). / Character baby (Porzellanfabrik Mengersgereuth, PM 914) with crank head, brown sleeping eyes, defective real hair wig, 5-piece sitting baby body, white dress and hood (L 37 cm). Heads x-rayed: without defects. Body with small defects and overpaintings. Call time 26 | Oct 2023 | expected 10:33 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Kleines Porzellankopfpüppchen mit geschlossenem Mund. Undeutliche Kopfmarke: 191?, wohl K &R. Biskuitporzellan, Masse. L 17 cm. Kurbelkopf, braune Schlafaugen, blonde Mohairperücke. 5-teiliger Stehpuppenkörper mit langen schmalen Beinen. Hellbraun gestreiftes Kleid, weiße Schuhe und weiße Mütze. Linker Daumen fehlt. Aufrufzeit 26. | Okt 2023 | voraussichtlich 10:41 Uhr (CET)Small porcelain head doll with closed mouth. Inconclusive head mark: 191?, probably K &R. Biscuit porcelain, mass. L 17 cm. Crank head, brown sleeping eyes, blond mohair wig. 5-piece standing doll body with long narrow legs. Light brown striped dress, white shoes and white cap. Left thumb missing. Call time 26 | Oct 2023 | expected 10:41 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Große Puppenküche. Um 1920. Holz, cremeweiß und hellgrün gefasst, Fußboden mit rotem Fliesenmuster. 50 x 87 x 42 cm. 1-Raum-Gehäuse mit 2 schmalen, verglasten Fenstern. Eingerichtet als Küche mit altem Blechherd, weißem Regal und weißem Tischchen. Ausgestattet mit diversen Küchenutensilien und Gefäßen aus Kupfer, Messing und Blech. Dazu kleine Cellba-Puppe als Köchin (L 22 cm). Bespielt, Altersspuren. Aufrufzeit 26. | Okt 2023 | voraussichtlich 10:48 Uhr (CET)Large doll kitchen. Around 1920. Wood, painted creamy white and light green, floor with red tile pattern. 50 x 87 x 42 cm. 1-room case with 2 narrow glazed windows. Furnished as a kitchen with old tin stove, white shelf and white table. Equipped with various kitchen utensils and vessels made of copper, brass and tin. In addition, small Cellba doll as a cook (L 22 cm). Played, traces of age. Call time 26 | Oct 2023 | expected 10:48 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Sehr seltene Spiritus-Dampflok. Nürnberger Hersteller. Ungemarkt. Um 1890. Blech, hellgrün lackiert. L 27,5 cm. Frühe Dampflok mit abnehmbarem Spiritusbrenner. Mit passendem 1-achsigen Kohlentender. Spur 3 (Spurweite ca. 75 mm). Für das Alter guter Erhaltungszustand, mit Altersspuren und Lötstellen, Druckregler fehlt. Aufrufzeit 26. | Okt 2023 | voraussichtlich 10:56 Uhr (CET)Very rare spirit steam locomotive. Nuremberg manufacturer. Unmarket. Circa 1890. Sheet metal, painted light green. L 27.5 cm. Early steam locomotive with removable spirit burner. With matching 1-axle coal tender. Track 3 (gauge approx. 75 mm). For the age good state of preservation, with age traces and solder joints, pressure regulator missing. Call time 26th | Oct 2023 | expected 10:56 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
2 Dampfmaschinen. 1x gemarkt. 1930er Jahre. Metall, lackiert. Große stationäre Lokomobile von Doll mit liegendem Kessel. Partiell nachlackiert. 40 x 33,5 x 18,5 cm./ Kleine Dampfmaschine mit stehendem Kessel (wohl Bing). 29,5 x 9 x 9,5 cm. Dazu etwas Zubehör (kleiner Schaumotor auf Pappkästchen, 2 Trichter, Docht in Blechkästchen) und alte Bedienungsanleitung der Firma Bing. Leichte Altersspuren, Funktion nicht geprüft. Doll: Kondensat-Ableiter des Kolbens lose anbei (muss gelötet werden). Aufrufzeit 26. | Okt 2023 | voraussichtlich 10:58 Uhr (CET)2 steam engines. 1x marked. 1930s. Metal, painted. Large stationary locomobile by Doll with horizontal boiler. Partially repainted. 40 x 33,5 x 18,5 cm./ Small steam engine with standing boiler (probably Bing). 29,5 x 9 x 9,5 cm. In addition, some accessories (small foam engine on cardboard box, 2 funnels, wick in tin box) and old manual of the company Bing. Light traces of age, function not tested. Doll: Condensate trap of the piston loose attached (must be soldered). Call time 26th | Oct 2023 | expected 10:58 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Leuchterengel mit Brotteigarmen. Erzgebirge. Ungemarkt (wohl Fa. Timmel, Kühnhaide). Um 1930. Holz, Masse. H 41,5 cm. Auf dem Kopf 5-flammiger Bogen "Ehre sei Gott in der Höhe" und in den Händen 2 Kerzentüllen haltend. Kleine Defekte, Armansätze alt repariert. Aufrufzeit 26. | Okt 2023 | voraussichtlich 11:03 Uhr (CET)Light angel with bread cigars. Erzgebirge. Ungemarkt (probably Fa. Timmel, Kühnhaide). Around 1930. Wood, Mass. H 41.5 cm. On the head 5-flame bow "Glory to God in the highest" and holding in his hands 2 candle sleeves. Small defects, arm bases old repaired. Call time 26th | Oct 2023 | expected 11:03 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Originalbekleidete Wachspuppe. Ungemarkt. L 40 cm. Eventuell Krippenfigur: Brustkopf mit eingelegten blauen Glasaugen, blonde Flachshaare, strohgestopfter Stoffkörper mit Wachsgliedern, helle Kleidung mit geprägtem Golddekor aus Pappe. Aufrufzeit 26. | Okt 2023 | voraussichtlich 11:13 Uhr (CET)Original dressed wax doll. Unmarket. L 40 cm. Possible Nativity figurine: chest head with inlaid blue glass eyes, blond flaxen hair, straw stuffed cloth body with wax links, light-colored clothing with embossed gold decoration of cardboard. Call time 26 | Oct 2023 | expected 11:13 am (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
† GEORGES HANNA SABBAGH (EGYPTIAN 1887-1951) SAILING BOATSsigned in English G.H.SABBAGH. lower rightoil on canvas26 x 45cm; 10 1/4 x 17 3/4in46.5 x 65.5cm; 18 1/4 x 25 3/4in (framed)ProvenanceCollection of Dr Mohammed Said FarsiThence by descentBorn in Alexandria, Sabbagh grew up in a wealthy Coptic family of Lebanese origin. Part of the local elite, he received a quality French education at the Ecole des Jésuites. He then traveled to France, where he started studying law in Paris in 1905. However, Sabbagh preferred to frequent the intellectual, and artistic circles and eventually abandoned his law studies. He attended courses at the atelier of French artist Lucien Lévy-Dhurmer, before completing his training at the Académie Ranson in 1910. Sabbagh participated in several major art events such as the annual Salon d’Automne, the Salon des Indépendants, and the Salon des Tuileries.After the outbreak of the First World War, Sabbagh traveled to England, where he was employed at the factory of Rolls Royce in the city of Derby, from 1914 to 1917. He returned to Egypt in 1920 following the death of his mother travelling extensively around the country, rediscovering the landscapes of his childhood with a particular fascination for the Nile.In 1934, after divorcing his wife, he left France to relocate in Cairo. There, he established himself in the district of Zamalek and actively contributed to the Egyptian artistic scene. In 1939, he started giving painting courses at the École des Beaux-Arts in Cairo. After the Second World War, he moved back to France, and remained in Paris until his death. In France, Georges Sabbagh was considered to be “one of the heirs of the Nabis”, and like the Nabis, Sabbagh built a particular connection with Brittany, finding spirituality in the landscapes.Regardless of his strict French education and time spent in France, having grown up in the cosmopolitan society of Alexandria, where Muslims, Christians, Europeans, Arabs, and locals coexisted, the painter stayed true to his Egyptian roots and values throughout his life.Sabbagh said of himself: 'I am neither of Brittany, Paris, Nabi, nor cubist. I am a painter of the Orient and the West; a man from Africa, the Levant and Europe, a Mediterranean in love with light and life'. It seems that he refused any categorisations, or strict cultural attachments. This hybrid personality led him to create with profound freedom, a painting, which combines tradition and modernity through a sensitive artistic approach.
† YOUSSEF KAMEL (EGYPTIAN 1890-1971) A SHEPHERD (PORTRAIT OF A MAN SITTING UNDER A TREE)oil on panel121 x 97cm; 47 1/2 x 38in134 x110cm; 52 3/4 x 43 1/4in (framed)ProvenanceCollection of Dr Mohammed Said FarsiThence by descentLiteratureDr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 62 and 67, illustratedAmong the first students to join Cairo's School of Fine Arts in 1908, Youssef Kamel was part of a generation of modernist artists in Egypt often referred to as the Al-Ruwwad Group (The Pioneers Group). He studied under the Italian painter Paolo Forcella and worked alongside influential Egyptian artists such as Ragheb Ayad (see lots 16-19) and Mahmoud Mokhtar. In 1925, Kamel received a scholarship to attend Rome’s Royal Academy of Fine Arts. He studied under Umberto Coromaldi who, like Forcella, followed the Italian 19th century Macchiaioli movement, which focused on oil painting techniques that emphasise patches of light in nature. Kamel loved the landscape of the Egyptian countryside, and through his use of soft brush strokes and touches of colour, he added a tender poeticism to scenes of everyday life. He returned to Cairo in 1929 to work as a professor of painting at the School of Fine Arts, later serving as its director from 1950 to 1953. Kamel also worked as a curator and director of the Museum of Egyptian Modern Art from 1948 to 1949.Throughout his life he produced over two thousand works, making him one of Egypt's most prolific artists. His paintings can be found in private collections in Egypt including the Cairo Museum of Modern Egyptian Art, the Agricultural Museum in Dokki, the Alexandria Museum of Fine Arts, and abroad in the Museum of Modern Art in Rome and the Barjeel Foundation, Sharjah UAE.
RANA BEGUM, NO. 1307 spray paint on card album cover, signed31cm x 31cm The work of London-based artist Rana Begum distils spatial and visual experience into ordered form. Through her refined language of Minimalist abstraction, Begum blurs the boundaries between sculpture, painting and architecture. Her visual language draws from the urban landscape as well as geometric patterns from traditional Islamic art and architecture. Light is fundamental to her process. Begum’s works absorb and reflect varied densities of light to produce an experience for the viewer that is both temporal and sensorial. Born in Bangladesh in 1977, Rana Begum lives and works in London. In 1999, Begum graduated with a BA in Fine Art from Chelsea College of Art and Design and, in 2002, gained an MFA in Painting from Slade School of Fine Art. Instagram: ranabegumstudio
LUKE ADAM HAWKER, FILLED WITH LIGHT pen, ink, etching ink and oil paint on card album cover, signedNote: this lot includes a signed copy of Luke's best-selling book 'The Last Tree'31cm x 31cmLondon based artist Luke Adam Hawker specialises in drawing on location, working in Pen & Ink, his observations over hours and sometimes days enable the collective layers of the drawing to capture a sense of motion and dynamism, where the frenetic energy of the living breathes life into the surrounding architecture. Through combining his architectural training and draftsmanship with a curious, spontaneous line, Luke creates emotive imagery, truly capturing a sense of place and our position within it. After Graduating from University Luke begun his design career in London, the transition from designer to full time artist was gradual but inevitable. Over recent years Luke has grown a loyal audience across social media, now with over 200,000 followers. Instagram: lukeadamhawker
SKUBALISTO, MADE IN THE LIGHT mixed media on paper, signed and datedimage size 35cm x 50.5cm Skumbuzo Vabaza professionally known as Skubalisto was born in Harare, Zimbabwe (1987) where his parents spent their twenties in political exile. He is a respected Cape Town-based, South African artist. The painter, muralist and portraitist is active and engaged in social and cultural awareness raising in his country and community. His work addresses pertinent issues around social justice, identity and belonging. He is particularly passionate and vocal about young people on the African continent and their futures. Having completed his studies in visual and fine art he has over the last ten years built an acumen and practice that is distinctive and exciting. The artist’s preferred mediums for creating his work range from spray paint, acrylic, oil pastel, charcoal to ink. Instagram: skubalisto
INKTERAKTIV, LINES CHAOTIC paper on card album cover, signed31cm x 31cmINKTERAKTIV, aka Caro Clarke is a London based Urban Paper Artist. She works mostly with fluorescent paper strips using paper quilling techniques, and playing with paper and light. Born in Paris, France in 1976, she has spent most of her life travelling, finally settling in London in 2006. Following a degree in Art History & Fine Art with an emphasis on paper, bookbinding and packaging, Caro went on to receive a BFA in Graphic Design & Photography from SCAD (Savannah College of Art & Design) in 1998. Caro's work emphasises the delicacy of paper versus its architectural structure within a minimalist setting. She draws inspiration for her pieces from the urban landscape and her own travels as well as her love for neon lighting, typography, architecture and geometrical patterns. Instagram: inkteraktiv
STEPHEN ANTHONY DAVIDS, SHINE A LIGHT crayon on envelope, signed31cm x 31cmStephen Anthony Davids is a fine artist, known primarily for making portraits using paint or ink on rare types of paper and found objects.His work provides observations of social history – rooted in present day London and paralleled with other cultures and eras – addressing questions about inclusion and equality, in relation to race, gender and socio-economic status. Solitary figures are Davids’ primary subject, and his focus is on the face, especially the eyes as a vehicle for communication and expression. His portraits are immediate, personal expressions, the result of a compulsion to make work in the moment. Stephen Anthony Davids aims for a fairer society and looks for ways to use his art to develop a conversation around inclusivity, belonging and identity. Many of the questions and observations found in his art, also arise in the work he undertakes with young people suffering from psychological and behavioural problems. He tackles this issues both in the subject matter of his artworks, as well as initiatives that provide more young people with a fairer range of options in the arts. Instagram: stephenanthonydavids
λ ALPHONSE QUIZET (FRENCH 1885-1955) PRINTEMPS Oil on board Signed (lower right) 73 x 100cm (28½ x 39¼ in.)Painted circa 1910-1920. Provenance: The Redfern Gallery, London Private Collection, Hardie Amies Esq (acquired from the above on 26 March 1953)Exhibited: London, The Redfern Gallery, no. 27 Condition Report: Light surface dirt throughout. The board is bowing, visible to the upper edge. Light rubbing to the extreme edges. Possible discolouration throughout caused by yellowing varnish. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
λ ERTÉ (FRENCH 1892-1990) HOME JOURNAL - COAT Ink Signed (lower right); stamped with studio stamp (verso) 28.5 x 21cm (11 x 8¼ in.) UnframedProvenance: Acquired directly from the artist and by descentExhibited: New York, Sonnabend GalleryThe proceeds from this collection of works by Erte will be donated to:Southbank Sinfonia, Grange Park Opera and Little Angel Theatre, Islington. Please visit our website for more information on these charities. Erté, a name synonymous with beauty, elegance, and innovation, stands as an icon in the world of 20th Century design, theatre, and fashion. Born Romain de Tirtoff in 1892 in St Petersburg, Russia, he moved to Paris in 1910 to pursue his dream of becoming an artist. His father, an Admiral in the Imperial fleet had wanted his only son to follow the family's naval tradition. In order to avoid the perceived shame to the family name he became known by his nickname, Erté, which was derived from the French pronunciation of his initials.Once in Paris he quickly found employment with the highly respected Parisian Couturier Paul Poiret and in 1915 Erté started supplying the fashion magazine Harper's Bazaar with illustrations and designs. This relationship would continue for the next twenty years and included an incredible 240 illustrated covers.His work for Harper's Bazaar brought him international acclaim and in 1925 he started working with many Hollywood producers, designing the sets and costumes. He is however most revered for his work with Parisian theatres, including the FoliesBergère, Bal Tabarin and Le Lido. Through his iconic fashion designs, illustrations, and theatrical costumes, Erté's legacy continues to inspire and captivate a century on, bringing timeless glamour and elegance to the present day. Condition Report: Unframed. Stuck down at left and right edge. Light fading to sheet throughout. Two black dots/marks to lower right corner possibly at point of conception. Also blue crayon to upper right corner. Please note there is collage where artist has removed a shape from the upper layer of the sheet and stuck this down below sitter's hand. Light surface dirt throughout. Condition Report Disclaimer
λ JOHN ARMSTRONG (BRITISH 1893-1973) BROKEN WALL OF A FORTRESS Tempera on panel Signed with initials and dated 39 (lower right) 20 x 16cm (7¾ x 6¼ in.)Provenance: Sale, Christie's, London, 22 February 1980, lot 164 Michael Parkin Fine Art, London Acquired from the above by the present ownerWe are grateful to Jonathan Gibbs for his kind assistance in cataloguing this lot. Condition Report: Some scuffing and minor wear to extreme edges of the panel. There is no evidence of retouching visible under ultraviolet light. In overall good original condition. Framed under glass and unexamined out of frame.Condition Report Disclaimer
SIR WILLIAM ORPEN (IRISH 1878-1951) PORTRAIT OF IDA NETTLESHIP Red chalk Signed and dated 1898 (lower left) 29 x 20.5cm (11¼ x 8 in.)Provenance: J.L.W. Bird, LondonExhibited: London, J.L.W. Bird, Spring Exhibition, March-April 1981The present drawing was most likely executed in the studio at 76 Charlotte Street which Orpen shared with Augustus John and Ambrose McEvoy, whilst students at the Slade.Ida Nettleship was born in Hampstead in 1877. Nettleship went on to study at the Slade School of Art under the tutelage of Henry Tonks and Philip Wilson Steer. Mixing within the artistic circles of north London Nettleship became close friends with Gwen John and Edna Waugh. In 1901 Nettleship married Augustus John and they went on to have five sons together. Their relationship was complicated and she sadly died shortly after the birth of her fifth son in 1907. Condition Report: Unexamined out of glazed frame. Some evidence of thunder bugs trapped between glass and mount, these have not affected the image but would recommend seeking advice. Very light fading to the sheet throughout. Some very small black marks scattered across the sheet but hardly noticeable. Condition Report Disclaimer
λ PATRICIA O'BRIEN (IRISH B. 1927) THE LESSON Oil on canvas Signed and dated '90 (lower right); further signed and titled to frame (verso) 81 x 100cm (31¾ x 39¼ in.)Exhibited: London, Stephen Bartley Gallery, 1990 Patricia O'Brien's artistic journey took off in 1977 when she first exhibited her work at the Upper Street Gallery in London. This initial exhibition marked the beginning of a flourishing career that would see her gain representation by Stephen Bartley and participate in numerous international exhibitions. From 1981, O'Brien's talent and unique artistic vision caught the attention of the Royal Academy. She participated in the prestigious Royal Academy Summer Exhibition, a renowned annual event that showcases the best of contemporary art. John Russell Taylor, an esteemed critic, hailed O'Brien as an "out-and-out discovery" in his review of the 1989 Royal Academy Summer Show. In a remarkable testament to the impact of her work, O'Brien's painting titled "The Fruit Eaters" became the main promotional press image for the Royal Academy Summer Show in 1990. Throughout Patricia O'Brien's body of work, the female figure takes centre stage, becoming a focal point of her compositions. O'Brien delves into the complexities of human relationships, exploring their dynamics, inviting viewers to interpret and question the narratives presented. O'Brien repeatedly portrays three figures, possibly a connotation to her own complicated relationships. Her works exude an intense visual poetry, compelling viewers to unravel the stories behind each character and scene portrayed on the canvas. O'Brien creates a sense of stillness in her work, capturing a fleeting moment suspended in time whether that be taking a lesson (Lot 96), eating fruit (Lot 98) or purchasing flowers at the market (Lot 100). There is a mystical and disquieting quality to her pieces, evoking a sense of melancholy that adds depth and complexity to the overall atmosphere. The deliberate absence of traditional perspective in O'Brien's work contributes to her distinctive style, along with a subdued colour palette and meticulous composition of objects and figures within the surrealist landscapes. These elements make O'Brien's art instantly recognisable and draw the viewer into a world of carefully constructed beauty.In 1972, Patricia O'Brien made the decision to settle down in the perfume capital of France, Grasse. Drawn to the allure of its mountainous landscapes and expansive vistas, these majestic surroundings served as a prominent influence in her work, providing the backdrop against which her pensive figures would come to life as can be seen in lot 98 and 99. It was during her time in France that she forged a close friendship with Frederick Gore, a fellow artist.Patricia O'Brien's artwork is a captivating blend of surrealist iconography and Renaissance influences, creating a unique and distinctive style. O'Brien was especially drawn to fifteenth century Italian artists such as Sandro Botticelli and Piero della Francesca whose focus on exquisite attention to detail, with a particular emphasis on depicting the human form with individuality, empathy, and sensitivity, inspired her. Humanism permeates O'Brien's work, as she delves deep into the layers of emotions experienced by her figures and situates them within the natural world, infusing her paintings with spiritual meaning. One striking aspect of O'Brien's paintings is the luminous complexion and porcelain skin of her figures particularly apparent in Lot 99 which shows three female nudes attending to flowers beneath the mountainous landscape beyond. Condition Report: Very light surface dirt throughout. There is a small cluster of minute losses to the edge of the woman's pink dress. In overall good original condition. Condition Report Disclaimer
λ LEON MORROCCO (SCOTTISH B. 1942) SEA STILL LIFE WITH ISLANDS Oil on canvas Signed and dated '20 (upper right) 76 x 81cm (29¾ x 31¾ in.)Provenance: John Martin Gallery, London Condition Report: Very light surface dirt throughout some scattered areas of fluff stuck to the surface. Otherwise no obvious condition issues. Condition Report Disclaimer
λ DAVID BOMBERG (BRITISH 1890-1957) HEAD STUDY Oil on canvas Inscribed and dated Sept 5th 1939 (verso) 51 x 40.5cm (20 x 15¾ in.) Condition Report: Not relined. Craquelure scattered across the surface, with horizontal cracks running along the upper and lower stretcher marks and the upper left stretcher mark. Rubbing to the canvas edges with associated loss. Light surface dirt throughout. Inspection under UV reveals a thick green varnish but no obvious evidence of restoration or repair. Otherwise the work appears to be in good original condition. Condition Report Disclaimer
λ BETH CARTER (BRITISH B. 1968) MINOTAUR READING Bronze Signed with initials and inscribed A/C Height: 42cm (16½ in.)Provenance: The Quenington Sculpture Trust, Cirencester Acquired from the above by the present owners in 2003 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 - a symbol of power and masculinity is often shown slumped and defeated, robbed of his aggression - a portrayal not just of a fictional beast, but a reflection of our modern world. Condition Report: Light surface dirt throughout. A few small patches of oxidisation scattered across the surface, most notable to the back of the minotaur's left calf. In otherwise good original condition. Condition Report Disclaimer
λ MAURICE COCKRILL (BRITISH 1936-2013) ON A COLD SHORE (SUNRISE) Oil on canvas Signed, titled and dated 1989 (verso) 121.5 x 152.5cm (47¾ x 60 in.)Provenance: Bernard Jacobson Gallery, London Katharine House Gallery, Marlborough Acquired from the above by the present owner Condition Report: Very lights surface dirt. Very light rubbing to the corners. A protrusion with associated loss to the lower right corner. Otherwise in overall good original condition. Condition Report Disclaimer
λ AUGUSTUS JOHN (BRITISH 1878-1961) PORTRAIT HEAD OF A YOUNG WOMAN Pencil 35 x 29cm (13¾ x 11¼ in.)Provenance: Sale, Sotheby's, London, 20 June 1962, lot [?] Robert & Jonquil Solt, Private Collection (acquired from the above sale) We are grateful to Rebecca John for her kind assistance in cataloguing this lot. Condition Report: Unexamined out of glazed frame. Foxing throughout and light fading to the sheet throughout. Would benefit from a light clean. Condition Report Disclaimer
λ BERNARD BUFFET (FRENCH 1928-1999) NATURE MORTE AU VIOLON Oil on canvas Signed and dated 56 (upper right) 100 x 81cm (39¼ x 31¾ in.) Provenance: Sale, Aguttes, Lyon, 21 February 2013, lot 84 Acquired from the above sale by the present ownerThis work is recorded in the Bernard Buffet Archives at the Galerie Maurice Garnier.The present lot evokes a sense of stillness and isolation. The violin rests precariously on the edge of the chair, leaning over the open crimson red case. The chair itself appears unsteady, tilting towards the left and set slightly off centre, a compositional approach that Buffet often employed to create a sense of unease in his works.Bernard Buffet's deliberate and oversized signature is a prominent feature that fills the canvas, serving as his mark and stamp of approval incorporated directly into the painting rather than an afterthought. Unlike some artists who place their signatures neatly in the corner, Buffet's signature becomes an integral element of the composition. In an archival video of Buffet working in his studio, he can be seen reaching for a handful of brushes with his left hand. With a single long thin brush, he applies jet black paint to the canvas, pulling quickly downwards to create the first line of his initial 'B'. Suddenly, he switches to the other side of the canvas, still using the same brush, and adds erratic short sharp brushstrokes to an already heavily painted area. He then puts the brush down and uses his finger and a palette knife to merge and smooth a section of impasto. His shirt splattered in paint, Buffet eventually returns to complete the signature. Bernard Buffet was born in Paris in 1928. He enrolled at the Ecole des Beaux Arts in 1943 and quickly gained recognition, showcasing his first solo exhibition in 1947. He received substantial support from art critic Pierre Descargues, which propelled his career. By the early 1950s, Buffet's distinctive style was not only recognized in Paris but also on the international art scene. In 1971, he was awarded the Légion d'honneur and was elected as a member of the Académie des Beaux-Arts in 1974. Buffet's works are exhibited in national collections worldwide, including the Tate in London, the Museum of Modern Art in New York, and a dedicated museum in Japan that holds over 2,000 of his works. Condition Report: The canvas is not relined. There is no evidence of retouching visible under ultraviolet light. In good original condition.Condition Report Disclaimer
λ DIRK SMORENBERG (DUTCH 1883-1960) WATERLILIES Oil on canvas Signed (lower right) 50.5 x 60.5cm (19¾ x 23¾ in.) Condition Report: Not relined. Some very light surface dirt, most notable along the extreme upper edge. Some possible light discolouration caused by yellowing varnish. Inspection under UV reveals no obvious evidence of restoration or repair. Overall appears to be in good original condition. Condition Report Disclaimer
λ JOHN PIPER (BRITISH 1903-1992) URBAN READING Watercolour, ink and gouache Signed (lower centre) 63 x 56cm (24¾ x 22 in.)Provenance: Private Collection, William Henry Tee, Chief Executive, Reading Borough Council 1967-1988 (acquired directly from the artist)The present work, along with lot the previous lot, is the original design for one of two tapestries commissioned by Reading Borough Council in 1974 for their new civic offices. The tapestries, entitled Urban Reading and Rural Reading aimed to celebrate the town's contrasting urban and natural landscape. Piper knew Reading well. He and his family had lived at Fawley Bottom in the nearby Chilton hills since the 1930s and he was a freeman of the Borough. In 1949, he had been commissioned by Jock Murray, alongside his friend, John Betjeman, to produce a series of architectural guides as a successor to the pair's pre-war Shell Guides. In the Berkshire edition, they state that post-war Reading was perceived as a modern place, concluding that 'No town in the south of England hides its attractions more successfully from the visitor'. They championed Reading's history encouraging the visitor to explore further in order to reveal the town's fascinating heritage.In the present work, Piper presents his vision of Urban Reading, with its mix of red brick Victorian architecture and earlier Bath stone archway. The chimneys in the distance represent the iconic Huntley and Palmer's biscuit factory which, until production ceased in 1976, was a significant part of Reading's economic life. By contrast, the landscape creeping in at the left hand side hints at the town's rural connection and wider situation in the Berkshire landscape. The tapestries for which these works were designed, were produced in France by the illustrious Pinton weavers and are now housed at Reading Museum. Condition Report: Executed on white wove paper, with two strips of additional paper joined with tape at the top and bottom of the sheet as per the original condition. The sheet is later taped to the overmount along each edge and there are remnants of old hinging tape at points along each edge. The sheet has discoloured slightly verso. There are multiple artist's pinholes to each corner, the one at the lower right corner has become enlarged over time. There is a short 1.5cm tear to the sheet running off the edge, three quarters of the way down the left hand side. There is some light undulation to the sheet. Otherwise, in good original condition. Framed under glass. Condition Report Disclaimer
PHILIP ALEXIUS DE LÁSZLÓ (HUNGARIAN 1869-1937) PORTRAIT OF MADAME HENRI LETELLIER, NÉE MARTHE FOURTON Oil on canvas Signed and dated Paris May 1912 (lower left) 93 x 65.5cm (36½ x 25¾ in.)Provenance: Helen Gleason, New York Sale, Sotheby's, New York, 24 May 1988, lot 216 (titled 'The White Rose') Private Collection, Staffordshire Thence by descent to the present ownerExhibited: Paris, Galerie Georges Petit, International Society of Painting and Sculpture, 1912, no. 72 London, Thomas Agnew & Sons Ltd., Portraits by Philip A. de László, M.V.O., June-July 1913, no. 1Literature: Otto von Schleinitz, Künstler Monographien, vol. 106., ' Ph A. von László', Bielefeld & Leipzig, 1913, between pp. 36 and 37, (illustrated in colour p. 130) "Paintings and Blank Canvases of Noted Artists Aid Red Cross; Two Sisters Rank as Beauties of Italy and France," The Washington Post, Monday, 17 May 1915 Duff Hart-Davis, in collaboration with Caroline Corbeau-Parsons, De László: His Life and Art, Yale University Press, 2010, pp. 134, 180 Katherine Field (ed.), Transcribed by Susan de Laszlo, The Diaries of Lucy de László Volume I: (1890-1913), de Laszlo Archive Trust, 2019, p. 223 DLA 1913 bundle, Velhagen und Klasing Monatshefte, 1913 (illustrated)This portrait is included in the Philip de László Catalogue Raisonné [no. 110646], currently presented in progress online: www.delaszlocatalogueraisonne.comMadame Letellier and her sister Comtesse di San Martino [see catalogue number 110567] were considered two of the most beautiful and fashionable women of the period before the First World War. Their clothing choices and attendance at society events were regularly reported in the European and American press. The American Register described Madame Letellier's visit to the Riviera as "much appreciated and almost necessary for a successful season." De László painted the sitter again in 1915 [6040] in aid of the British Red Cross who auctioned the portrait to raise funds for the war effort. Marthe 'Suzanne' Louise Fourton was born on 22 August 1878 in Paris, daughter of Charles Emile Fourton and his wife Mathilde Amalia In de Betou of Sweden. Her mother held musical salons and was painted by Benjamin Constant, one of de László's teachers when studying at the Académie Julian in Paris in 1892. On 14 August 1902, at St Augustin in Paris, she married Henri Letellier (1868-1960), proprietor of the leading Paris newspaper Le Journal and one of the wealthiest men in France." She was a favourite model of Paul-César Helleu (1859-1927) who made several portraits of her. She was also painted or drawn by John Singer Sargent, François Flameng, Antonio de La Gandara in 1903 and Giovanni Boldini, who painted her twice in 1907. The sitter and her husband separated in 1907 and divorced in 1917. Helleu's daughter, Paulette Howard-Johnston, nicknamed the sitter la cruche cassée ('the broken jug'), after Jean-Baptiste Greuze's famous painting. This was a rather cruel play on 'cruche' ('twit' in French) as she was not known for her intelligence. The French art critic Louis Vauxcelles said of her that, "Among the most popular ladies of the high society we can name Madame Henri Letellier, whose powerful beauty is enhanced by an impeccable dress sense and natural style which allows her to set new trends which will last forever." The sitter died in 1949. We are grateful to Katherine Field for her kind assistance in preparing this catalogue note. Condition Report: The canvas is not relined. Some very tiny specks of paint loss to the tips of the impasto to the right of the signature along the lower edge. There are faint horizontal stretcher marks running through the centre of the work and at the lower edge, only visible clearly in a raking light. Ultraviolet light reveals evidence of scattered retouching and infilling throughout but most notably to the background. In overall good clean condition.Condition Report Disclaimer
λ HELEN BRADLEY (BRITISH 1900-1979) WAITING FOR THE TIDE, ARNSIDE Oil on board Signed with fly motif (lower left), signed and titled (to artist's label verso) 13 x 17cm (5 x 6½ in.)Provenance: Acquired directly from the artist by the family of the present owner Thence by descent Condition Report: There is some minor surface dirt and the paint is thin in places, notably along the right hand edge. There is no evidence of retouching visible under ultraviolet light. In overall good original condition.Condition Report Disclaimer
λ PATRICIA O'BRIEN (IRISH B. 1927) THE YELLOW HAT Oil on canvas Signed and dated '96 (upper right); titled to frame (verso) 102 x 61cm (40 x 24 in.)Patricia O'Brien's artistic journey took off in 1977 when she first exhibited her work at the Upper Street Gallery in London. This initial exhibition marked the beginning of a flourishing career that would see her gain representation by Stephen Bartley and participate in numerous international exhibitions. From 1981, O'Brien's talent and unique artistic vision caught the attention of the Royal Academy. She participated in the prestigious Royal Academy Summer Exhibition, a renowned annual event that showcases the best of contemporary art. John Russell Taylor, an esteemed critic, hailed O'Brien as an "out-and-out discovery" in his review of the 1989 Royal Academy Summer Show. In a remarkable testament to the impact of her work, O'Brien's painting titled "The Fruit Eaters" became the main promotional press image for the Royal Academy Summer Show in 1990. Throughout Patricia O'Brien's body of work, the female figure takes centre stage, becoming a focal point of her compositions. O'Brien delves into the complexities of human relationships, exploring their dynamics, inviting viewers to interpret and question the narratives presented. O'Brien repeatedly portrays three figures, possibly a connotation to her own complicated relationships. Her works exude an intense visual poetry, compelling viewers to unravel the stories behind each character and scene portrayed on the canvas. O'Brien creates a sense of stillness in her work, capturing a fleeting moment suspended in time whether that be taking a lesson (Lot 96), eating fruit (Lot 98) or purchasing flowers at the market (Lot 100). There is a mystical and disquieting quality to her pieces, evoking a sense of melancholy that adds depth and complexity to the overall atmosphere. The deliberate absence of traditional perspective in O'Brien's work contributes to her distinctive style, along with a subdued colour palette and meticulous composition of objects and figures within the surrealist landscapes. These elements make O'Brien's art instantly recognisable and draw the viewer into a world of carefully constructed beauty.In 1972, Patricia O'Brien made the decision to settle down in the perfume capital of France, Grasse. Drawn to the allure of its mountainous landscapes and expansive vistas, these majestic surroundings served as a prominent influence in her work, providing the backdrop against which her pensive figures would come to life as can be seen in lot 98 and 99. It was during her time in France that she forged a close friendship with Frederick Gore, a fellow artist.Patricia O'Brien's artwork is a captivating blend of surrealist iconography and Renaissance influences, creating a unique and distinctive style. O'Brien was especially drawn to fifteenth century Italian artists such as Sandro Botticelli and Piero della Francesca whose focus on exquisite attention to detail, with a particular emphasis on depicting the human form with individuality, empathy, and sensitivity, inspired her. Humanism permeates O'Brien's work, as she delves deep into the layers of emotions experienced by her figures and situates them within the natural world, infusing her paintings with spiritual meaning. One striking aspect of O'Brien's paintings is the luminous complexion and porcelain skin of her figures particularly apparent in Lot 99 which shows three female nudes attending to flowers beneath the mountainous landscape beyond. Condition Report: Very light surface dirt. Some minute pooling of varnish scattered across the surface. Overall in good original condition. Condition Report Disclaimer
λ PAUL FEILER (BRITISH 1918-2013) SEKOS LV Oil on canvas on wood Signed, titled and dated 1995 (verso) 91 x 91.5cm (35¾ x 36 in.)Provenance: Redfern Gallery, London Acquired from above by the present owner in 1996Exhibited: St. Ives, Tate Gallery, Paul Feiler - Form to Essence - Theme to Development, November 1995 - April 1996 (illustrated in the exhibition catalogue, p. 159) (loaned by the artist) Condition Report: Some light dirt marks to the extreme edges. Otherwise appears to be in good original condition. Condition Report Disclaimer
λ JOHN PIPER (BRITISH 1903-1992) RURAL READING Watercolour, ink and gouache Signed (lower left) 66.5 x 56cm (26 x 22 in.)Provenance: Private Collection, William Henry Tee, Chief Executive, Reading Borough Council 1967-1988 (acquired directly from the artist)The present work, along with the next lot, is the original design for one of two tapestries commissioned by Reading Borough Council in 1974 for their new civic offices. The tapestries, entitled Urban Reading and Rural Reading aimed to celebrate the town's contrasting urban and natural landscape. Piper knew Reading well. He and his family had lived at Fawley Bottom in the nearby Chilton hills since the 1930s and he was a freeman of the Borough. In 1949, he had been commissioned by Jock Murray, alongside his friend, John Betjeman, to produce a series of architectural guides as a successor to the pair's pre-war Shell Guides. In the Berkshire edition, they state that post-war Reading was perceived as a modern place, concluding that 'No town in the south of England hides its attractions more successfully from the visitor'. They championed Reading's history encouraging the visitor to explore further in order to reveal the town's fascinating heritage.In the present work, Piper presents his vision of Rural Reading. The blue running through the centre of the composition represents the importance of the Kennet and Thames rivers on which the town is situated. The foreground is adorned with bulrushes and snake's head fritillaries, both of which are common along the river banks.The tapestries for which these works were designed, were produced in France by the illustrious Pinton weavers and are now housed at Reading Museum. Condition Report: Executed on white wove paper with two additional strips of paper added at the top and bottom and taped verso as per original condition. The sheet has then been later taped to the overmount along each edge verso. Remnants of further old tape also visible verso. There are two artist's pinholes to the upper corners and one to the centre of the lower edge. A few faint horizontal creases running across the work, visible mostly in a raking light and a couple of very small flecks of paint loss to one of the creases just below the centre of the upper edge. Otherwise, in good original condition, the colours very vibrant. Framed under glass. Condition Report Disclaimer
λ JOSEF HERMAN (BRITISH 1911-2000) PEASANT CARRYING A SACK Oil on card laid down to board 18 x 23cm (7 x 9 in.)Provenance: Roland, Browse & Delbanco, London Basil Jacobs Fine Art, London Victor Waddington, LondonWe are grateful to Roger Thornton for his assistance in cataloguing the present lot. Please Note: This work is oil on card laid down to board. Condition Report: Oil on card laid to board. The board is visible to the very extreme upper and lower edges. A couple of pin holes to each of the corners. A very light surface scratch to the right of the figure. Light surface dirt throughout. In overall good original condition. Condition Report Disclaimer
HEDVA SER (ISRAELI B. 1948) ARABESQUE Bronze Signed, numbered 1/8 and stamped with foundry mark (to base) Inc. bronze base 80 x 118 x 90cm (31¼ x 46¼ x 35¼ in.) Condition Report: Surface dirt throughout. Light white paint splashes in patches across the surface, hardly noticeable. Condition Report Disclaimer
λ AUSTIN OSMAN SPARE (BRITISH 1888-1956) WRESTLERS IN A LANDSCAPE Ink, watercolour and gouache Signed with initials (lower left) 38.5 x 28cm (15 x 11 in.)Provenance: Sale, Christie's, South Kensington, 14 December 1995, lot 52 Private Collection, Seymour Stein, New York Sale, Capsule Gallery, New York, Property from the Collection of Seymour Stein, 27 January 2022, lot 31 Please note: the medium of this work is Ink, watercolour and gouache and additional provenance has been added to the listing. Condition Report: Unexamined out of glazed frame. Some light discolouration and scattered dirt marks to the sky. Otherwise appears to be in good original condition. Condition Report Disclaimer
λ GWYNETH JOHNSTONE (BRITISH 1915-2010) VILLAGE NOCTURNE Oil on board Signed (lower left) 80 x 60cm (31¼ x 23½ in.) Condition Report: An area of flaking and loss to the right of the upper edge and a large area of flaking some associated loss running down the upper section of the right edge. Light surface dirt throughout. Inspection under UV reveals one small spot of retouching to the lower left corner, potentially some retouching masked by varnish. Condition Report Disclaimer
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915) NUDE WITH HANDS BEHIND HEAD Ink 38 x 24cm (14¾ x 9¼ in.)Drawn in 1913. Provenance: Mercury Gallery, London Private Collection, Mr & Mrs Chandler (acquired from the above on 24 October 1991)Exhibited: London, Mercury Gallery, Centenary Exhibition, October 1991 Condition Report: Unexamined out of glazed frame. There are two lines of creasing running horizontally through the sheet approximately at 4cm and 6cm down from the top. It appears that the sheet may have been accidently folded at some point causing these creases. The upper and right edge are rough as if torn from a sketchbook. Handling creases throughout. A very light stain circa. 0.5cm to the lower right quadrant. A small ink stain mark to the centre of the left edge but most likely caused at point of conception. Light staining to the upper extreme edge causing some discolouration. Condition Report Disclaimer
λ JEAN JULES LOUIS CAVAILLES (FRENCH 1901-1977) CONCH SHELL, MAGAZINE AND VASE OF FLOWERS Oil on paper laid to canvas Signed (lower right) 61 x 46cm (24 x 18 in.)Please Note: this work is oil on paper laid to canvas. Condition Report: Oil on canvas laid to canvas. The canvas is slightly loose. The extreme right edge of the sheet of paper is uneven and visible. There is a vertical crease running along the right edge. A repair to the lower right corner, retouching visible under UV light. Light discolouration running along the upper section of the right edge. Condition Report Disclaimer
λ FRANK ARCHER (BRITISH 1912-1995) UNTITLED Oil on canvas Indistinctly signed and dated 44(?) (lower left) 61 x 51cm (24 x 20 in.)With a still life painting of yellow flowers in a vase, verso.Born in 1912 in Walthamstow, Archer showed artistic talent from a young age. He attended Eastbourne School of Art before a free studentship allowed him to to the Royal College of Art in 1934 where, in 1938, he won the prestigious Prix de Rome. The outbreak of World War II forced Archer to return to the UK just a year later, but his time in Italy had a lasting impact on the artist. His work from this period is stark and angular with a subdued palette and subject matter which reflected the turmoil beginning to unfold around him. His drawings and paintings comprised elements of both scenes that he had witnessed combined with imaginary elements inspired by his knowledge of what was happening across Europe. The date on this painting is indistinct, but appears to be (19)44. By 1940, Archer had been called up and enlisted in the Pioneer Corps. Wartime paintings by Archer appear to be very rare and, although the English text would seem to place this work in England, it is possible, perhaps even likely, that it is an imaginary scene rather than strictly representative. Condition Report: Not relined. Light rubbing to the left edge. Small loss to the upper left edge circa. 1cm and another, similar in size, to the centre of the left edge. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
JOSEPH EDWARD SOUTHALL (BRITISH 1861-1944) FIRST SKETCH FOR PORTRAIT OF GERALDINE CADBURY Pencil Signed with monogram and dated 1 IX 1920 (lower left), titled (lower centre) 44 x 30cm (17¼ x 11¾ in.)Provenance: Sale, Christie's, London, 24 January 2007, lot 205 Condition Report: Executed on buff coloured paper, hinged to the mount at two points along the upper edge. There is some discolouration throughout and some light spots of scattered foxing. There is also some surface dirt and scuffing to the paper surface, notably to the upper corners and along the lower edge. The sheet may benefit from treatment by a professional paper restorer. Framed under glass.Condition Report Disclaimer
ERIC GILL (BRITISH 1882-1940) DESIGN FOR BENTALLS DEPARTMENT STORE Pencil Inscribed Bentalls (upper left) and further inscribed (to the margins) 14 x 29cm (5½ x 11¼ in.)Drawn circa 1934, the present drawing is a design for the carved stone reliefs that frame the windows of Bentalls department store in Kingston upon Thames. Provenance: James 'O Connor, London Acquired from the above by the present owner in the mid-1980s Condition Report: Unexamined out of glazed frame. Light handling creases throughout. Some heavier creases to the lower edge and lower right corner. The sheet appears to have been folded in two places, there are two faded vertical lines running down the sheet at 1/3 and 2/3 across the sheet. Overall discolouration to the sheet with a dirt mark or finger mark to centre of lower edge and a splatter of ink marks to lower left corner. Condition Report Disclaimer
λ WALTER STEGGLES (BRITISH 1908-1997) SCENE NEAR BLAKENEY Oil on canvas-board 16.5 x 20.5cm (6¼ x 8 in.)Painted in 1979. Condition Report: A tiny spot of paint loss to the clouds upper left. Otherwise, in good original condition. No evidence of retouching visible under ultraviolet light. Framed size: 29.5 x 33.5cmCondition Report Disclaimer
Scottish Highland Light Infantry Silver Trinket / Cigarette Box. This box is decorated to the lid with an Officer's Victorian shoulder belt plate (fittings removed). This has been mounted into a Birmingham 1934 Hallmark silver frame, with maker's details SML LTD (S.M.Levi Ltd) . GC. Size 4 1/2 x 3 1/2 x 1 1/2 inches.
German Third Reich WW2 cased War Order of the German Cross in gold by C.F. Zimmermann, Pforzheim. A fine and scarce eight pointed silver star with slightly smaller dark overlay. Mounted on the star, set on a red enamel ground, a gilt laurel wreath with 1941 at the base. Within the wreath, a silvered edged black enamel swastika set on a matt silver ground. The front secured with four open rivets, complete with hinged vertical tapered flat pin, the underside of which is stamped 20, and securing hook. Minor service wear and light scuff marks to enamel otherwise VGC. Housed in original back leatherette case, the fitted interior with simulated black velvet and cream silk, the sided of the lid with gilt line. GC Instituted by Adolf Hitler for the Wehrmacht on 29th September 1941 and designed by Professor Klien of Munich.Provenance. Found in the effects of 1805815 AC2 George Henri Wood who served from 6.5.1942 in the RAF then transferred to the Royal Signals in May 945 until demobbed in September 1947.
Royal Marine Light Infantry Other Ranks Full Dress Scarlet Tunic. A good example of the regulation pattern, scarlet cloth with dark blue facings to the collar and slash cuffs. The shoulder straps with embroidered globe and laurel device and complete with Corps brass buttons. The interior with white blanket lining and ink stamps indicating inspected 13th August 1914 and issued to Henry Rawson. Scarlet remains bright and fresh small amount of storage wear. Possibly worn by PLY/16432 who saw action in 1914 at Antwerp and was awarded the 1914 Star.
ZAR Johannesburg Vrijwilliger Corps Slouch Hat A very rare example of the pattern of felt slouch hat worn in South Africa during the late 19th century. The light brown felt hat retains the original silk edging pagri band and bow, this now fragile. to the left brim turn up the white metal badge with pin fitting of the ZAR Johannesburg Vrijwilliger Corps. The hat now with some age wear, sweatband absent and some moth damage. The ZAR Johannesburg Vrijwilliger Corps was raised in 1894, it took part in two significant actions The first was at Doornkop from 29 December 1895 to 2 January 1896, to suppress the planned Johannesburg Uitlander Revolution and against the Jameson Raid, an unsuccessful British-backed attempt to overthrow the Zuid Afrikaansche Republiek government. The unit was disbanded January 1899.
Austrian Officer's tunic, possibly Jaeger Regiment A good scarce light blue example with dark green collar, cuffs and piping. Tailored with white metal buttons bearing numeral 1. Green silk lining (somewhat defective), no shoulder-loop, one collar-star missing. Overall GC some service and age wear.
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