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Preisdatenbank abonnieren3223 Hornby-Dublo 3-rail Co-Bo D5713 diesel electric loco. Non-strengthened battery boxes. Light corrosion on pick-up spoons, otherwise (E). No paperwork. There is a numerical label – 13374 – on the inside of one battery box suggesting that the loco had been returned to Liverpool for repair. (BP) lid paper badly torn
A pair of Edward VII silver three-light Candelabra, each having square section semi-fluted central column, rectangular base with gadroon and anthemion border and engraved crest of rampant lion with wheel (bases filled), London 1901, Horace Woodward & Co Ltd. , Approx. 57cm high, 40cmOriginally wired for electricity, each with three faux candles having ‘nibs’ and plug in bulbs (only one bulb remaining) fitted with terminals to base, together with a green felt ‘Cooper’s Electrical Illuminating Cloth’ in two parts, Patent 2284, dated 1902, the electrical ‘cord’ and ‘plunger ’ fittings now missing. Condition: Electrical fittings and bulbs missing (as above). Silver generally in good condition OBJECT LOCATION: DINING ROOM
A 19th century rococo revival gilt brass six branch/24 light chandelier, each main branch with two outer small branches surmounted by six further up-scrolling branches, the foliate boss on slim fluted stem, basal foliate cup, 113cm high, 97cm diameter, some parts loose, requiring restoration Nb not all parts guaranteed to exist…..sold as seen OBJECT LOCATION: OUTBUILDING
Hardy, Thomas. Jude the Obscure, first edition, London: Osgood, McIlvaine & Co., 1896. Octavo, publisher’s cloth lettered in gilt, top edge gilt, remainder un-trimmed, Vol. VIII of the Wessex Novels series, etched frontispiece by H. Macbeth-Raeburn, map of Wessex at rear, 516pp. Contents good, clean, bright, a few folded corners/creases in places, cloth with some light scuffs & marks but otherwise well-preservedLocation: The Television Room
§ After HENRI MATISSE (FRENCH 1869-1954) Nice lithographic poster, 1947, condition A; not backedDimensions:39 x 25 in. (99 x 64 cm.)Note: Note: In the 1960’s, President Charles de Gaulle, in the act of promoting France and French culture, appointed Andre Malraux as the Minister of Cultural Affairs. Malraux, who was a novelist and an art historian as well as a fervent supporter of de Gaulle, commissioned a series of lithographic posters by well known artists to promote French culture around the world.Many of the artists, if not French themselves, were active in France. Most of the artists (or the artist’s estates) agreed to have the best lithographers (mostly Charles Sorlier and Henri Deschamps) make faithful lithographic copies of their paintings.These lithographic posters were produced by the world-renowned lithographic printers – Mourlot of Paris.The current owner's father collected them at the time of the printing and has kept them flat and away from the light for 60 years.
§ MARC CHAGALL (RUSSIAN/FRENCH 1887-1985) Nice Soleil Fleurs lithographic poster, 1947, condition A; not backedDimensions:39. 5 x 24.5 in. (100 x 62 cm.)Note: Note: In the 1960’s, President Charles de Gaulle, in the act of promoting France and French culture, appointed Andre Malraux as the Minister of Cultural Affairs. Malraux, who was a novelist and an art historian as well as a fervent supporter of de Gaulle, commissioned a series of lithographic posters by well known artists to promote French culture around the world.Many of the artists, if not French themselves, were active in France. Most of the artists (or the artist’s estates) agreed to have the best lithographers (mostly Charles Sorlier and Henri Deschamps) make faithful lithographic copies of their paintings.These lithographic posters were produced by the world-renowned lithographic printers – Mourlot of Paris.The current owner's father collected them at the time of the printing and has kept them flat and away from the light for 60 years.
§ After PABLO PICASSO (SPANISH 1881-1973) Cote d'Azur lithographic poster, 1957, condition A; not backedDimensions:39 x 26 in. (99 x 65 cm.)Note: Note: In the 1960’s, President Charles de Gaulle, in the act of promoting France and French culture, appointed Andre Malraux as the Minister of Cultural Affairs. Malraux, who was a novelist and an art historian as well as a fervent supporter of de Gaulle, commissioned a series of lithographic posters by well known artists to promote French culture around the world.Many of the artists, if not French themselves, were active in France. Most of the artists (or the artist’s estates) agreed to have the best lithographers (mostly Charles Sorlier and Henri Deschamps) make faithful lithographic copies of their paintings.These lithographic posters were produced by the world-renowned lithographic printers – Mourlot of Paris.The current owner's father collected them at the time of the printing and has kept them flat and away from the light for 60 years.
After Raoul Dufy (French 1877-1953) Paris lithographic poster, 1957, condition A; not backedDimensions:24.5 x 39in. (62 x 100 cm.)Note: Note: In the 1960’s, President Charles de Gaulle, in the act of promoting France and French culture, appointed Andre Malraux as the Minister of Cultural Affairs. Malraux, who was a novelist and an art historian as well as a fervent supporter of de Gaulle, commissioned a series of lithographic posters by well known artists to promote French culture around the world.Many of the artists, if not French themselves, were active in France. Most of the artists (or the artist’s estates) agreed to have the best lithographers (mostly Charles Sorlier and Henri Deschamps) make faithful lithographic copies of their paintings.These lithographic posters were produced by the world-renowned lithographic printers – Mourlot of Paris.The current owner's father collected them at the time of the printing and has kept them flat and away from the light for 60 years.
After Graham Sutherland (1903 - 1980) Menton lithographic poster, 1964, condition A; not backedDimensions:31.5 x 23 in. (80 x 58 cm.)Note: Note: In the 1960’s, President Charles de Gaulle, in the act of promoting France and French culture, appointed Andre Malraux as the Minister of Cultural Affairs. Malraux, who was a novelist and an art historian as well as a fervent supporter of de Gaulle, commissioned a series of lithographic posters by well known artists to promote French culture around the world.Many of the artists, if not French themselves, were active in France. Most of the artists (or the artist’s estates) agreed to have the best lithographers (mostly Charles Sorlier and Henri Deschamps) make faithful lithographic copies of their paintings.These lithographic posters were produced by the world-renowned lithographic printers – Mourlot of Paris.The current owner's father collected them at the time of the printing and has kept them flat and away from the light for 60 years.
§ After HENRI MATISSE (FRENCH 1869-1954) Nice Cote d'Azur lithographic poster, 1957, condition A; not backedDimensions:39 x 24.5 in. (99 x 63cm.)Note: Note: In the 1960’s, President Charles de Gaulle, in the act of promoting France and French culture, appointed Andre Malraux as the Minister of Cultural Affairs. Malraux, who was a novelist and an art historian as well as a fervent supporter of de Gaulle, commissioned a series of lithographic posters by well known artists to promote French culture around the world.Many of the artists, if not French themselves, were active in France. Most of the artists (or the artist’s estates) agreed to have the best lithographers (mostly Charles Sorlier and Henri Deschamps) make faithful lithographic copies of their paintings.These lithographic posters were produced by the world-renowned lithographic printers – Mourlot of Paris.The current owner's father collected them at the time of the printing and has kept them flat and away from the light for 60 years.
Marcel Gromaire (1892-1971) Paris lithographic poster ,1956, condition A; not backed, together with La Lorraine/ Metz: Vitraux de la Cathedrale by Jacques Villon (1875 – 1963)Dimensions:each approx. 39 x 25 in. (99 x 64 cm.)Note: Note: In the 1960’s, President Charles de Gaulle, in the act of promoting France and French culture, appointed Andre Malraux as the Minister of Cultural Affairs. Malraux, who was a novelist and an art historian as well as a fervent supporter of de Gaulle, commissioned a series of lithographic posters by well known artists to promote French culture around the world.Many of the artists, if not French themselves, were active in France. Most of the artists (or the artist’s estates) agreed to have the best lithographers (mostly Charles Sorlier and Henri Deschamps) make faithful lithographic copies of their paintings.These lithographic posters were produced by the world-renowned lithographic printers – Mourlot of Paris.The current owner's father collected them at the time of the printing and has kept them flat and away from the light for 60 years.
Colonial School. Peru. Circa 1800."Portrait of Lieutenant colonel Manuel Ramires, Comandant-General of the province of Cuzco"Oil on canvas. 100 x 70 cm.In the lower cartouche the subject is described in a handwritten text which states: "Ret.to del Teniente Coronel Com.te de la Coluna de cazadores D. Manuel Ramires, el que despues de haber concluido la campaña en España conta el Ymperio Franses Pidió a S.M.Sor. Dn. Fernando VII pasar á los paises de America a sosegar estosde la Ynsurrecsionabiendola efectuado en el Exto. Del Teniente General Dn. Pabo Morillo donde despues de la toma de.. .. Margarita ocupada por los ynsurgentes en la costa firme, bino con su Regimiento de cazadores de Estremadura que fue destinado á la ciudad de Lima asiendo su ruta por Panamá y haviendo llegado a su destino fue nombrado su Coronel de Comandante Genral de la probincia del Cuzco y marchó en su Compaña mandando la 6ª compania de su Rto. Y desde su llegada á la ciudad de Cuzco se ejersito en formar una coluna de cazadores de seiscientos hombres por orden de dho. Sr. Ricafort Com.te General la que despues de formada en el mes de Junio de este año le confirió el Exco. Sr. Virrey del Peru Dn. Ernando de Abascal el marcho de esta coluna la que halla a sus pies ydentica en un todo y cuantos progresos haga se le debe á dho. Sr. Ricafort pr. Su selo y arbitrios tomados para su formacion. Se retrató a la edad de 22 años"(Portrait of Lieutenant Colonel Commander of the Column of Light Infantry Manuel Ramires, who after having concluded the campaign in Spain against the French Empire was asked by H.M. Ferdinand VII to go to the countries of America to calm them of the Insurrection, which he did in the Army of Lieutenant General Pablo Morillo where after the capture of… Margarita, occupied by the insurgents on the mainland, he joined his Light Infantry Regiment from Extremadura, which was assigned to the city of Lima, and took his route through Panama. Having reached his destination, he was named Colonel Commander General of the province of Cuzco and marched in their Company, commanding the 6th company of his regiment. And from his arrival in the city of Cuzco he dedicated himself to forming a column of Light Infantry of six hundred men by order of Mr. Ricafort Comandant General, which after being formed in the month of June of this year, the Viceroy of Peru Ernando de Abascal conferred this column to him, the one he found at his feet and wholly identical. Whatever progress made is due to Mr. Ricafort’s zeal and judgement in his training. His portrait was taken at the age of 22).
Exceptional piece finely carved in Ivory for the Portuguese market by Chinese artisans in the Portuguese colonies of Macao at the end of the 17th century, where we observe the Mother of God, Crowned, with hands in prayer position, at her feet, two Guardian Angels they hold a floral offering that supports the Virgin under a crescent. Meanwhile, in the upper right corner we see Christ in Blessing Position with the Cross and the Eternal Father on the upper left side. Crowning the composition, the Holy Spirit together with the Sun and the Moon, in reference to the passage from Genesis 1:14-19 of Day Four of Creation; in which God said: “Let lights appear in the sky to separate the day from the night; Let them be signs to mark the seasons, the days and the years. Let those lights in the sky shine on the earth”; And that's what happened. God made two great lights: the larger one to rule the day, and the smaller one to rule the night. He also made the stars. God put those lights in the sky to illuminate the earth, to rule the day and the night, and to separate light from darkness. And God saw that this was good. And the evening passed and the morning came, thus the fourth day was fulfilled. Reference literature: Gavin Bailey, Jean Michel Massing and Nuno Vassalo e Silva, "Marfins no Império Português", p. 277. Measurements: 16 x 8.5 cm. Certificate of antiquity of the ivory is attached. to rule the day and the night, and to separate the light from the darkness. And God saw that this was good. And the evening passed and the morning came, thus the fourth day was fulfilled. Reference literature: Gavin Bailey, Jean Michel Massing and Nuno Vassalo e Silva, "Marfins no Império Português", p. 277. Measurements: 16 x 8.5 cm. Certificate of antiquity of the ivory is attached. to rule the day and the night, and to separate the light from the darkness. And God saw that this was good. And the evening passed and the morning came, thus the fourth day was fulfilled. Reference literature: Gavin Bailey, Jean Michel Massing and Nuno Vassalo e Silva, "Marfins no Império Português", p. 277. Measurements: 16 x 8.5 cm. Certificate of antiquity of the ivory is attached.
Oil on canvas glued to board. Measurements: 23 x 28.5 cm, framed measurements: 38.5 x 44 cm. Signed and dated 1909 in the lower left corner. Provenance: private collection of Don Jorge Mañach, Cuba, before 1950, private Spanish collection, a photograph from the time of the Cuban intellectual is provided along with the painting we present. Albert Marquet (March 27, 1875 – June 14, 1947) was a French painter associated with Fauvism. After a difficult childhood, 6 his studies at various Parisian art schools brought him closer to the post-impressionist effervescence and to those who would be his closest friends. Life was not easy for a young artist without resources. With a temperament more secret than solitary, Marquet as a child seems to have found in drawing a way out of "his intimate suffering of him" of him. At the end of 1907 he remained in Paris and devoted himself, together with Henri Matisse, to a series of urban views. The fundamental difference between the two is that while Matisse used strong colors, Marquet preferred dull yellows, muted violets, or blues. Black is normally used as a violent contrast to light colors for forms such as bare tree trunks or calligraphically drawn people in contrast to often very light yellow or orange streets and sidewalks. Another difference is that Marquet used a traditional perspective approach, although his colors and compositions constantly referred to the rectangle and intersected its plane with his calligraphy. In Moreau's studio, he and Matisse bonded with Henri Manguin and especially Charles Camoin with whom they would remain united until the end of their lives. 5 Less will the camaraderie with others last (Jules Flandrin, Louis Valtat, Henri Evenepoel, Simon Bussy or Georges Rouault), even if they have spent their afternoons fixing the world at the Café Procope. After a brief passage through the course of Fernand Cormon and then the celebrated Académie Julian, Marquet and Matisse attended the Camillo private academy, rue de Rennes, where they received advice from Eugène Carrière, one of the thinkers of social art, who sought to popularize art education; there they meet André Derain, Pierre Laprade, Jean Puy and Maurice de Vlaminck. From then on, Marquet never stopped touring the city drawing and painting in small format views of the Seine, the quays, the bridges6. He begins to take revenge on life,
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