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534297 Los(e)/Seite
Los 1123
Malcolm Wilson RIBA NAA (contemporary, Cumbria) "Holme Eden #3" and "Holme Eden #4", oil on artists' board, uniformly framed and mounted under glass, 23 cm x 33 cm framed. [Holme Eden Abbey, near Carlisle, built 1833-37. "Malcolm has exhibited work several times at the Royal Academy both as an artist and an architect. The past president Sir Hugh Casson, described his landscapes as being of National Importance. Born in a small mining village, in County Durham, he was encouraged by his art teacher at the age of just 14 to paint and understand the importance of light and its pivotal role in Art History. His work revolves around this traditional English Landscape, its changing weather and a true backbone of Art History in this country. He qualified as a Chartered Architect in 1979 and is the director of a Private Architects Practice in Cumbria having worked most of his professional life in Southern England and London. He now lives closer to the landscape he loves". www.malcolmwilson.com]
Los 1124
Malcolm Wilson RIBA NAA (contemporary, Cumbria) "Denton Holme 16" and "Ullswater No 12", limited edition giclee prints, former signed, in card mounts and brushed metallic frames under glass, 76 cm x 89 cm ["Malcolm has exhibited work several times at the Royal Academy both as an artist and an architect. The past president Sir Hugh Casson, described his landscapes as being of National Importance. Born in a small mining village, in County Durham, he was encouraged by his art teacher at the age of just 14 to paint and understand the importance of light and its pivotal role in Art History. His work revolves around this traditional English Landscape, its changing weather and a true backbone of Art History in this country. He qualified as a Chartered Architect in 1979 and is the director of a Private Architects Practice in Cumbria having worked most of his professional life in Southern England and London. He now lives closer to the landscape he loves". www.malcolmwilson.com]
Los 438
A Capo di Monte figure, of a teacher, 22 cm high, another similar figure, and three other larger figures, mostly with slight and occasional loss (box)Reading man, and the Teacher - no damage found, light wear and dirt only. Man and boy, small losses to flower petals, light wear, requires a good clean. Man and horse, small losses to hair and leaves protruding from basket contents, loss to the end of the branch which grows past the rim of his hat, branch piece retained with signs of old glue/ prior repair. Man akimbo, small losses to his hair and ground foliage, foot detached but present.
Los 1235
An Early 20th Century Carved Mahogany Three Piece Suite, circa 1920/30, recovered in pink and light green floral fabric, comprising a three-seater sofa with moulded carved frame, acanthus hand grips and squab cushions, on scrolled cabriole legs, 210cm by 82cm by 81cm, and a pair of tub-shaped armchairs, 80cm by 82cm by 82cm (3)One tub chair has some movement in frame/joints (only slight). Otherwise framework throughout is sound. Some minor scuffs around the feet consistent with age, mainly around the carved forelegs. Upholstery is good and in clean condition. Seat covers can be removed, the others are fixed.
Los 1353
Lanvin Hiver 2011 Navy Wool Cocoon Coat with pockets, gilt metal detail to the neckline, press stud and zip fasteningProvenance; Property of a LadySome rubbing and wear. Size difficult to gauge due to the cocoon shape, appears to fit 12-14. You can see some light rubbing to the inside and out. No stains or holes, label needs re-stitching.
Los 204
A Collection of Assorted Silver, comprising: a cased set of six silver teaspoons, with pierced terminals; a cased pair of salt-cellars and spoons; cased set of four teaspoons; a pair of Old English pattern sauce-ladles; a christening-mug, a caster; a photograph-frame, two button hooks, shoe horn and glove stretchers and other items (qty)Pierced terminal spoons - good conditionCastor - rim of the cover slightly misshapen, no other issuesWeighted vase - deep dent to the underside of the rimPierced bowl - light wear and scratchesCard suite spoons - terminals slightly twistedPhotograph frame - top left corner badly folded, wear to the backingCigarette case - split and dentedCased salts with spoons - good conditionSmall mug - numerous dents, wear and scratchesPair of sauce ladles - wear and scratchesVesta case - dent to the outer corner of the lid, some play in the hingePowder compact - dent to the undersideGlass jar with porcelain and silver lid - silver badly folded, glass with chipsStamp case - some dentsThimble - goodGlass scent bottle - hinge broken, dents to the silver, glass with minimal chipsCruet set - the bottles associatedSmall chain purse - clasp not tightly fixingSugar tongs - goodSilver handled shoe horn, button hook x 2 and glove stretchers - slight dents and splits to silver
Los 262
An Early Victorian Shilouette Miniature of a Young Girl, in a pencil-drawn interior scene, signed Sam. Merford and in a maple frame, together with a further four 19th century silhouettes and six George Cruikshank prints (one tray)Parcel gilt framed miniature with heavy pitting and discolouration, some losses to the frame.All others in fair condition with expected light fading and discolouration, general frame wear.The Cruikshank prints all stained, foxed and faded.From a private consignor
Los 51
Three Intaglio Rings, finger sizes Q, V and XTwo hallmarked 9 carat gold - 16.8 grams. One stamped '10K' - 6.5 grams.Roman soldier portrait bust - engraved hardstone with some light surface scratches and a small chip to the underside of the bust at the rim, metal with some dents, rubbing and wear.Female portrait bust - engraved hardstone, some very light surface scratches, repair to the shank under the lower edge of the intaglioRoman soldier bust - cast in white metal, general wear.
Los 1103
A 20th Century French Style Two-Drawer Bedside Table, with gilt metal mounts, 55cm by 32cm by 82cm; together with a similar marquetry occasional table, 55cm by 40cm by 69.5cm (a.f) (2)Two drawer table - drawers running freely, mounts intact, light wear and scratchesTable - glass broken, gallery misshapen, mounts intact, overall wear and scratches, the legs more notably scratched
Los 170
LARGE AND IMPRESSIVE DOLL'S HOUSE IN THE MANNER OF CHARLES RENNIE MACKINTOSH,inspired by the designs of Charles Rennie Mackintosh, particularly the Hill House in Helensburgh, this likely assembled from a kit produced by The Doll's House Emporium circa 2000 as a Millennium tribute to the architect, well detailed throughout including light fittings and with a good selection of furniture including the iconic Mackintosh dining table and chairs, bookcases, sideboards and wardrobes as well as housing figures, can be wired for illumination, 80cm high, 112cm wideFootnote: For another example see that held by the V&A accession no. B.12-2001.
Los 34
HERMES SILK SCARF,in the Tigers pattern, designed by Joachim Metz, circa 1979, in Hermes branded boxThe scarf measures 88 x 88cm; there is some light staining to the lower central and lower right areas, some light fraying, further marks and light general wear; box heavily worn, scuffed, creased and stained; this is a genuine original Hermes scarf. Additional images available
Los 2
BALDOMERO GALOFRE JIMÉNEZ (Reus, Tarragona, 1849 - Barcelona, 1902).El cortejo" ("Courtship").Oil on panel.Signed in the lower right corner.Slight faults in the frame.Measurements: 50 x 34 cm; 74 x 55 cm (frame).A horseman has stopped under the balcony of a lady to invite her to go out. She, wrapped in a white silk mantilla, turns her back to us when answering the call. The courting scene is set in a meadow of lush vegetation, which even climbs up the wall of the house, embellishing its façade. In the distance, the white houses of an Andalusian village can be made out. The canvas is painted with lively, precious brushstrokes, capable of bringing out the qualities of each detail and at the same time giving an overall impression: flashes of light, mossy surfaces, satin garments, etc. The succession of shots is magnificent. The succession of planes appears magnificently constructed in depth through a subtle and naturalistic tonal gradation.Baldomero Galofre began his training at the La Lonja School in Barcelona, where he was a pupil of Martí Alsina, and later completed his studies in Madrid. He became known in 1866 at the Fine Arts Exhibition in Barcelona, where he took part again in 1870, and in 1868 he took part in the Aragonese Exhibition in Saragossa with landscapes and studies. In 1874 he obtained a grant to further his studies in Rome, where he lived for ten years. There he attended the Accademia Chigi and the Circulo Internacional de Arte and met Mariano Fortuny in the last months of his life, following the stylistic guidelines of his compatriot. On his return to Barcelona in 1884 he held a personal exhibition which was very well received; Narciso Oller praised his great naturalism and showed him as an example against history painting. Four years later, in a new individual exhibition, this time in Madrid, one of his works was acquired by the Queen Regent. In 1903, in a special room in the Barcelona Museum, Galofre presented an important exhibition of his work. He developed a luminous, detailed style and painted landscapes and popular scenes in the style of Fortuny. He was also an extraordinary draughtsman. He is currently represented in the MACBA and the Museum of Art and History of Reus, among other public and private collections.
Los 4
MANUEL CUSÍ FERRET (Vilanova i La Geltrú, Barcelona, 1857 - Barcelona, 1919)."Dancer in the Dressing Room".Oil on canvas.Signed in the upper left corner.Slight flaws in the frame.Work published in "Manuel Cusí. Devotion to beauty".Measurements: 72 x 52 cm; 118 x 97 cm (frame).A young dancer has just received a bouquet of flowers from an admirer. The painting focuses on the moment when she, amused and visibly flattered, reads the card that accompanies the exuberant bouquet. She is attended to by a servant girl, who remains partially in the semi-darkness. Cusí shows great mastery in the recreation of the veils of the tulle, its transparencies and the fluffy flounce of the skirt. In the satin of the slippers, the satin that envelops the supple torso and the soft flesh tones of the girl, we can recognise Cusí's hand.An outstanding exponent of the Catalan realist school, Cusí was one of the most brilliant chroniclers of everyday life in 19th-century Catalonia. He studied at the Escuela de La Lonja in Barcelona and completed his training in Paris in the late 1970s in the studio of Leon Bonnat. On his return to Spain he devoted himself to painting in different genres, including still life, the figure, portraiture, genre painting and intimate scenes. As an official portraitist he painted Alfonso XIII for the Diputación Provincial de Barcelona. In 1880 he exhibited for the first time at the Sala Parés in Barcelona, together with Santiago Rusiñol and the sculptor Font. From the time of his youth his style stood out for the correctness of his drawing, as well as for his search for chromatic harmony and the capture of light effects. Towards 1881-82 his style began to show a preference for the realism that would mark his most personal work, rejecting all artifice, as a result of the influence of Ramón Martí Alsina. He took part in the main artistic events in Barcelona, such as the exhibitions of the Society of Watercolourists and the first Exhibition of Fine Arts in the city, and showed his work regularly at the Casa Vidal and the Sala Parés. He also presented his works at the National Exhibition of Fine Arts in Madrid, and was awarded the third medal at the Universal Exhibition in Barcelona in 1888. Cusí is represented in the Museu Nacional d'Art de Catalunya, Barcelona City Council, the Museu Víctor Balaguer, the Ateneu and the Circulo del Liceu in Barcelona, as well as in prominent private collections.
Los 70
CARLOS NADAL FARRERAS (Paris, 1917 - Sitges, Barcelona, 1998)."Casino del Prado", ca. 1970.Mixed media and oil on cardboard.Signed in the lower right corner.Enclosed certificate of authenticity issued by the Nadal Committee.Measurements: 49 x 52 cm; 68 x 71 cm (frame).In this work Carles Nadal offers us a view that combines the urban with the natural in perfect dissolution. The painter constructs the scene evoking more than representing, in a composition where the emptiness and the fluid and free stain of colour take on an unusual prominence, filling the space and evoking changes of light and shade, as well as a warm atmosphere.The son of Santiago Nadal, a painter and decorator based in Paris, Carles Nadal has lived in Barcelona since childhood, where the family moved due to his father's illness. At the age of thirteen he began to work as an apprentice in a decorative painting workshop, and in 1936 he received a grant from Barcelona City Council to study at the Sant Jordi School of Fine Arts. At the outbreak of the Civil War he is recruited into the Republican army, with which he fights on the Aragon and Tremp fronts. At the beginning of 1939 he crossed the French border and was interned in the Saint Cyprien refugee camp, where he remained for several months. He managed to escape and cross the border again, but was arrested and imprisoned in Figueras. On parole he returned to Barcelona, where he continued his artistic career, combining his work as a decorator with his studies in Fine Arts. In 1941 he made his debut in a group exhibition at the Dalmau gallery, receiving good reviews. He finished his studies with good marks, obtaining the recognition of teachers and professors, some of whom became friends and collaborators of the young Nadal. In fact, it was one of them, Luis Muntané, who enabled him to hold his first individual exhibition in 1944, at La Pinacoteca in Barcelona. Two years later he moved to Paris, again with a grant from the Barcelona City Council. There he worked and exhibited with the group Présence de l'Homme, as well as taking part in the Salons d'Automne. Later he attended the Paris School of Fine Arts, thanks to a grant from the French State. In 1948 he married Flore Joris and settled in Brussels, where he remained until the mid-1970s. In Belgium he discovered, as he himself repeatedly stated, light and colour. During these years he continued to show his work both in Spain and Belgium and in France, Germany, Holland, Switzerland, the United Kingdom and the United States. Nadal's painting is post-impressionist in character, intensely colourful, and is based on the search for chromatic force as the most direct means of communication. His awards include the Grand Prix de Spa, Belgium, and his appointment as a member of the Royal Academy of London. His works can be found at MACBA, the Spa Museum in Belgium and the Royal Museum in Brussels.
Los 71
MARIANO FORTUNY I MARSAL (Reus, Tarragona, 1838 - Rome, 1874)."Don Quixote".Oil on canvas. Re-drawn.Signed in the lower right corner.Size: 41 x 31 cm; 58 x 49 cm (frame).In an austere interior, the artist places an elderly character contemplating attentively a sword. The self-absorption of the protagonist, together with the light treatment that falls through the window and rests on the metal and part of the man's face, give rise to an intimate and somewhat epic atmosphere. Fortuny seems to capture the moment in which the knight, after having stripped himself of his weapons after the battle, seems to see the damage that the battle has inflicted on his inseparable companion, the sword. The artist opted to create an image that portrays a more intimate Quixote, far removed from the dynamism of his anecdotes, far from Sancho, alone and reflective. The theme was not alien to Fortuny, who had already dealt with it between 1852 and 1856, as can be seen in a work belonging to the collection of the Museo Nacional de Arte de Cataluña.Fortuny began his training at the Municipal School of Art in Reus, and in 1850 he moved to Barcelona with his grandfather. There he continued his studies as a disciple of Domingo Talarn and enrolled at the School of Fine Arts, where his teachers were Pablo Milá, Claudio Lorenzale and Luis Rigalt. At the same time he attended Lorenzale's public school, which determined his inclination towards Romantic painting at this early stage. In 1858 he settled in Rome thanks to a scholarship, and attended the Accademia Chigi. While there, the Diputació de Barcelona invited him to travel to Morocco to paint the warlike encounters that were taking place in the area, which was to be a turning point in his career. The light of Morocco and the exoticism of the place and its people led him to take an interest in aspects totally unknown in his previous production. In 1860 he visited Madrid, where he visited the Prado Museum and became interested in the work of Velázquez and Goya. Shortly afterwards he began a trip around Europe and finally returned to Rome for good. He attended classes at the French Academy of Fine Arts at the Villa Medici, and in 1861 he visited Florence and came into contact with the "macchiaioli". From then on he returned to Morocco and Paris, as well as travelling to Toledo, where he discovered the work of El Greco. In 1867 he exhibited in the studio of Federico de Madrazo, who became his father-in-law that same year. The following year he returned to Rome, and in 1870 his international fame was consolidated thanks to his exhibition at the Paris gallery of Goupil. During these years he moved to Granada, to the Fonda de los Siete Suelos in the Alhambra, with the idea of tackling new themes with the greater freedom afforded by commercial and critical success. However, in 1872 he was forced to return to Rome, where he remained until his death. Mariano Fortuny is represented in the Prado Museum, the National Gallery in London, the Hispanic Society Museum in New York, the Palazzo Ruspoli in Rome, the Fine Arts Museums of Bilbao, San Francisco, Cincinnati and Boston and the National Art Museum of Catalonia, among many others.
Los 85
FRANCISCO LOZANO SANCHÍS, (Antella, Valencia, 1912 - Valencia, 2000)."Old Mediterranean poppies", 1997.Oil on canvas.Signed in the lower left corner. Signed, dated, dedicated and titled on the back.Size: 23 x 28 cm, 33 x 38 cm (frame).Painter, teacher and member of the Royal Academies of Fine Arts of San Fernando and San Carlos, Francisco Lozano was interested in painting from his youth, and at the age of sixteen he began his training at the Academy of San Carlos in Valencia. He later continued his studies at the Residencia de Pintores de La Alhambra, and after the Civil War he began to make a name for himself. His career would take off in the 1940s, when he began to exhibit regularly in Madrid and other cities. In the capital he was welcomed by Eugenio d'Ors, whose hand in hand he exhibited at the Estilo gallery, and who put him in contact with the artistic and intellectual circles of Madrid at the time. A primarily Mediterranean painter, his work focused from the outset on landscape, although he evolved from the initial influence of Sorolla towards a more personal language, although equally sensitive to light and colour. His is a synthetic, ordered and austere landscape, completely modern. Between 1951 and 1952 he travelled to Paris on a grant from the French government, and on his return his recognition was completed with the first prize at the National Exhibition of Fine Arts. That same year he was also a great success at the Venice Biennale. From then on he combined his artistic practice with teaching at the San Carlos Academy, where he held a teaching post from 1955 to 1977. At the same time, he held important exhibitions in Spain, South America, the United States, Germany and the United Kingdom, among other countries, mainly in Mediterranean Europe. Lozano was an honorary member of the Círculo de Bellas Artes (1952), a member of the Valencian Council of Culture (1986) and doctor honoris causa of the Polytechnic University of Valencia (1994), and in 1993 a major retrospective exhibition was devoted to him at the IVAM. His work is currently held in museums such as the Reina Sofía in Madrid, the Fundación Mendoza in Caracas, the Camón Aznar in Zaragoza, the IVAM in Valencia and the Fine Arts Museum in Montevideo, among others.
Los 1014
James Bond You Only Live Twice - Ian Fleming First Edition, first impression Hardback book. Published by Jonathan Cape with dust jacket in 1964. Condition Report: light marks to cloth, gilt lettering bright to upper board and spine, light marks to endpapers, dust-jacket priced 16s., clean edge tears to lower spine, top of spine chipped (with slight loss) light foxing and staining to inner jacket. further within clear protective jacket.
Los 1021
James Bond - Sideshow Collectibles - 1/4 Scale Premium format figure of Sean Connery, limited edition 1503/2000, boxed, 21 inches high. Condition Report: overall clean condition, some light marks to stand, all contained within original polystyrene packaging, original inner box and outer illustrated sleeve with some wear to corners.
Los 1045
James Bond The Man With The Golden Gun - Factory Entertainment Dual signed Limited Edition Replica Golden Gun from 2010, officially licensed by Danjaq LLC and EON and plated in 18 carat gold, signed by both Sir Roger Moore (James Bond) and Sir Christopher Lee (Scaramanga), is a limited edition of only 400 that were made (this being number 115). It comes with the 007 engraved bullet and a bonus set of 5 extra golden bullets, that were only awarded to pre-order customers. Comes complete with display case and original boxes, and accompanying leaflet. Also included are two replica rings in case of the Scaramanga characters signet rings. Condition Report: In excellent condition. Some light handling to packaging.
Los 1147
James Bond The Man With The Golden Gun - A replica golden gun, 24 karat gold-plated replica manufactured by S.D. Studios Ltd., 1994, number 393, the gun assembled from a dummy Colibri lighter, a dummy pen for the barrel, a dummy cigarette case for the handle, a dummy cufflink trigger, with replica bullet engraved 007, in presentation case with combination lock and descriptive plaque, gun length 9.5 inches, box dimensions 12.5 x 8.5 inches. Condition Report: Very good condition, some light scratches and handling marks, only visible on close inspection.
Los 100
Bible, Polyglot.- Biblia sacra polyglotta complectentia textus originales, Vol.3 only (of 6), general half-title, lacking second P2&3 (duplicates of Pp2&3 erroneously bound in), the odd small hole in text, a few short tears within text (without loss), occasional spotting or light staining, lightly browned, contemporary calf, rebacked, corners worn, rubbed and little scuffed, [Wing B2797a], folio, [Thomas Roycroft], [1656]. sold not subject to return.
Los 104
Heylyn (Peter) Cosmographie, fifth edition, additional engraved title frayed and detached, printed title in red and black with upper corner torn away with loss to two final letters of 'Cosmographie', 4 folding engraved maps by Robert Vaughan, Europe a little soiled, America with tear at fold, last leaf of text torn and frayed, marginal tears to pp.263-268, some worming to inner margin, occasionally just touching text block, some light foxing and browning, contemporary calf, worn, lacking upper cover, [Wing H1695], folio, Printed for Anne Seile, 1677.
Los 106
Bridoul (Toussain) The School of the Eucharist Established upon the Miraculous Respects and Acknowledgments..., first English edition, [translated by William Clagett], with initial imprimatur leaf, later ink ownership inscription of J. D. Derry to front free endpaper, small ink mark to head of title, some light water-staining, later roan with black onlays in a figure-of-eight design, rubbed, spine ends chipped, [Wing B4495], 4to, Printed for Randall Taylor, 1687.
Los 12
Gilchrist (Alexander) Life of William Blake. With Selections from his Poems and other Writings, 2 vol. second edition, portrait frontispieces, plates, light browning to half-titles, foxing to endpapers, original pictorial cloth, gilt, minor bumping to spine ends, slight fraying to corners, a handsome set, uncut, 8vo, 1880.
Los 122
NO RESERVE Banking, Taxation & Tythes.- Pacy (Joseph) The Reminiscences of a Gauger. Imperial Taxation, past and present, presentation copy from the author's wife, advertisements at end, faint finger-soiling to title, ex-lirbary with label, original cloth, gilt, a little rubbed, slight bumping to corners and extremities, Newark, 1873 § Norfolk (William John) The General Principles of Banking, Bills of Exchange, British Funds, and Foreign Exchanges, first edition, ex-library with discreet ink-stamp to title, faint spotting to title, modern morocco-backed boards, light sunning to spine, 1845 § Herbert (Gideon) A Hand-Book of Guide for the use of Creditors, Debtors, Inspectors and Trustees, advertisements at end, original paper wrappers, ex-library with small shelf-mark label to foot, a little rubbed, slight chipping to corners and edges, Nottingham, [c.1869] § Sulley (R.) The Fallacies of the Protective System Exposed, occasional ink markings, ex-library with ink-stamps, modern library cloth, Manchester, 1841; and others similar, 8vo (9).⁂ The first is inscribed, "Presented by her Aunt Pacy Wife of the Author."
![NO RESERVE Milton (John) Paradise Regain'd. A Poem in Four Books, [vol.2 only], bookplate to pastedown, very occasional light](https://cdn.globalauctionplatform.com/08873254-a1c1-4b3e-ade3-af1d00b5a489/54a9936d-37ff-4dd0-b88d-af1d00ba660d/468x382.jpg)
Los 124
NO RESERVE Milton (John) Paradise Regain'd. A Poem in Four Books, [vol.2 only], bookplate to pastedown, very occasional light foxing, modern calf, endpapers renewed, Birmingham, John Baskerville, 1760 § Walton (Izaak) The Lives of Dr. John Donne, Sire Henry Wotton, Mr. Richard Hooker, Mr. George Herbert, and Dr. Robert Sanderson, engraved frontispiece, 10 plates, illustrations, some light foxing to plates and title, bookplate to pastedown, later straight-grain morocco, bordered in gilt, joints and spine ends rubbed, 1825; and 14 others, including an 11 vol. run of Captain Frederick Marryat's Works, 1865-6, 8vo (16)
Los 127
Campbell (Dr. J.) Lives of the British Admirals, 4 vol., engraved frontispieces and folding maps, light offsetting to titles, contemporary mottled calf, spines and extremities lightly rubbed, modern morocco spine labels, joints lightly worn but holding firm, Edinburgh, Alexander Donaldson, 1785 § Roberts (George) The Life, Progresses and Rebellion of James, Duke of Monmouth, &c., 2 vol., first edition, engraved frontispiece, plates and maps, original cloth, some nibbling to extremities, lightly rubbed, 1844; and 2 other library sets, 8vo (10)
Los 14
Tuer (Andrew W.) London Cries with six charming Children, one of 250 signed proof large paper copies, leaves printed recto only, 10 hand-coloured illustrations after Rowlandson, 6 stipple engravings, each in two states, "in the Bartolozzi style" and 27 other illustrations including 3 hand-coloured cuts by Crawhall, occasional light spotting, red crushed half morocco by Zaehnsdorf for Henry Sotheran, very slight fading to spine, 4to, Field and Tuer, Leadenhall Press, [1883].
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534297 Los(e)/Seite