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Preisdatenbank abonnierenJ WILLIAMSON (BRITISH 19TH/20TH CENTURY) IN THE PARK; A QUEUE AT THE BUTCHER'S SHOP Oil on board, signed and dated (19)03 (A Queue At The Butcher's Shop), 22 x 34cm (8 3/4 x 13 1/2") (2) Condition Report: Some light cracking in the pigment evident in a few darker passages and boards slightly bowed, otherwise in reasonable condition.
A BOXED SET OF CUFFLINKS AND SHIRT STUDS WITH FLORAL ENGRAVING combined weight 11.5gms Condition Report: Full Birmingham hallmarks, I have not specified a year date as I cannot make my mind up as the cartouche does not match the cycle of marks, I have no doubt that they are at least 1920's they are not modern the maker Barnet Henry Joseph were active between 1886 - 1922. Light general wear to all.
SCOTTISH SCHOOL (19TH CENTURY) THE LESSON C. 1882 Oil on canvas, 96.5 x 138cm (38 x 54 1/4") Group portrait of the six children of Georgeina and Alexander Peddie-Waddell in the family's Edinburgh townhouse. Only the youngest is listening attentively to her brother who seems to be conducting a lesson. One daughter died as a baby and the only son and heir was George Ralston b.1874, who took his middle name from his maternal grandmother, Elizabeth Gaston Ralston as did two of his sisters. There is great poignancy in this painting because George died at only 27 in the Boer War, commemorated by a clock tower in Slamannan built in his memory. His younger sister, Margaret Coventry Dick Peddie-Waddell, therefore inherited Balquhatstone, the estate going for a second time through the female line. She was born in 1876 and is seen on the left, dressed in blue. Property from a Stirlingshire Country House Condition Report: There is a light to moderate degree of craquelure over the surface of the canvas, being most apparent over the darker middle area of the upper half section with the top right corner, lower left corner and along the lower edge areas being least or not affected. There are two small adjacent vertical lines, approx. 0.5cm in length where slight damage and small amount of paint loss has occurred to the right of the sofa. There are a few very small surface blemishes here and there.
A 9CT GOLD DECORATIVE GATE BRACELET with heart shaped clasp. Length 19cm, weight 24.5gms Condition Report: One of the end links on the bracelet is un attached, doesn't affect the working of the bracelet, light general wear otherwise. The heart clasp one of the ears is bent, but does not affect the working of the clasp.
TOM H SHANKS RSW, RGI, PAI (SCOTTISH 1921-2020) SKY AND HILLS Oil on canvas board, 46 x 61cm (18 x 24") Provenance - The Estate of the late Tom H. Shanks RSW, RGI, PAI Condition Report: A few random dark spots overall and two fairly small and light scratch marks on the surface lower right edge in proximity to the corner area. Board is bowed slightly in a concave manner.
SCOTTISH SCHOOL (19TH CENTURY) BY THE BANKS OF A HIGHLAND LOCH Oil on canvas, 46 x 61cm (18 x 24") (arched) Condition Report: The canvas has a light degree of cracking in the pigment over much of the surface area and the canvas is slightly uneven and loose on the stretcher. There is a small area of restored damage paint loss in proximity to the bottom right corner area and another similar close to the upper left edge with corresponding patch verso and a light diagonal scratch to the surface just below this area.
•FRANK MCFADDEN (SCOTTISH B. 1972) HER LOOK CUT ME THROUGH; TREE OF UNKNOWING Oil pastel, signed and inscribed title (Tree of Unknowing), 63.5 x 43cm (25 x 17"), 28 x 41cm (11 x 16") (2) Condition Report: HER LOOK CUT THROUGH ME:. Light excess traces of surface media. . TREE OF UNKNOWING:. Paper is noticeably uneven, slight handling marks.
A set of three George V graduated silver baskets, Birmingham 1933 by Britton, Gould & Co, of oval form with pierced sides on four paw feet, the largest 21 cm wide, 11 ozt. combined weight.Condition report: In good, clean condition with no apparent damage or repair. Some light surface scratches commensurate with use.
A George V three-piece silver teaset, Sheffield 1924 by James Dixon & Sons, comprising a teapot, twin handled sugar bowl and cream jug in the art deco style, the teapot 13 cm high, 40 ozt. (combined weight).Qty: 3Condition report: Some dents to the teapt and cream jug, light surface scratches throughout.
A Norwegian silver tot, or basket weave design, marked '830, M. Hammer, Bergen', 5.2 cm high, together with two silver decanter labels, a silver cady spoon, a silver magnifying glass and a Victorian double-ended scent bottle with ruby glass and white metal mounts, various dates and makers.Qty: 5Condition report: Overall good condition, with light surface scratches throughout commensurate with use. Lower part of handle of magnifying glass possibly missing (see images)
Two pairs of filled silver candlesticks, the tallest 17.5 cm high, London 1897 by Thomas Bradbury and Sons, the other pair Birmingham 1904 by Henry Matthews (11 cm).Qty: 4Condition report: Dent to the base of one of the smaller sticks, otherwise good, with light surface marks evident on all pieces, commensurate with age and use.
An unusual 19th century vulture mounted momento-mori desk seal, with carnelian intaglio to the base, white and gilt metal, the bird perched on a skull, 4.8 cm high.Condition report: Some scratches to the seal, light surface scratches to the metalware otherwise good, Unmarked white metal, probably silver.
A Victorian miniature repousse silver cased carriage clock, Birmingham 1901, with white enamel dial and black Roman merals, the case with looped handle and supported on bun feet with scrolled and embossed case. 10.5 cm high.Condition report: The case in good overall condition with no apparent damage. Some light surface marks throughout commensurate with age. The movement not in current working order
A Tag Heuer Professional stainless steel wristwatch the silvered dial with luminous baton indices, with date aperture and rotating bezel, on a stainless steel bracelet with deployant clasp. Quartz movement, the case back numbered WK1112-0 TQ4788. 37 mm case.Condition report: Good overall condition, typical light wear and fine marks from usage but no notable damage, slight stretching to the bracelet. Not running at present as it needs a new battery.
A 20th century silver bowl in the Arts & Crafts style, marks rubbed, the border set with agate cabochon stones, hammered finish to the interior, 7.7 cm high x 11 diameter, together with a silver cream jug, Birmingham 1930 by William Suckling Ltd, 7.5 cm high, 8.8 ozt. combined weight.Qty: 2Condition report: Repaired crack to edge of the bowl, otherwise good with signs of light use
Approximately 127 silver fob medallions, predominantly early 20th century, to include awards for football, rugby, cricket, golf, swimming, water polo, chess and Indian clubs, some with gold and enamel fronts, two silver medallions awarded by the Municipal Passenger TransportAssociation (Incorporated) for essay writing 1942 & 1946, a boxing medal titled The Prince of Wales Shield, 1920, Bedford Territorial Boxing Contest 1921 and a further silver boxing medalQty: 129Condition report: Some fobs with small losses to enamels, all with light surface scratches. Gross weight 1713g
A George III silver tea caddy, London 1766 by Edward Aldridge, of typical shouldered form with repoussé foliate decoration, on four feet, 15.5 cm high, 8 ozt.Condition report: Good condition with no apparent damage or repair. Lid fits well. Light surface scratches throughout, but no obvious dents. Hallmarks slightly rubbed.
A fine Victorian silver covered butter dish, London 1854 by Charles Reily & George Storer, the pierced body and cover decorated with scrolls and leaves, cow finial to the cover and purple glass liner to the interior, 12 cm high x 13.5 cm diameter, 11 ozt.Condition report: Some light surface marks, no apparent damage or repair.
A George V silver tankard, London 1925 by Goldsmiths & Silversmiths Company, with scroll handle on a circular foot, 10 cm high, together with assorted other items of silver comprising cruets, an Armada dish, two creamers and a pdestal dish, various dates and makers, 22 ozt. combined weight.Qty: 8Condition report: Soldered repair to the spout of of one of the creamers. All items with light surface scratches and marks commensurate with age and use.
A late Victorian silver hip flask, Sheffield 1894 by James Dixon & Sons, of plain form with hinged cover and presentation engraving, the cup with gilt interior, 15 cm high, 8 ozt.Condition report: Some small dings noticed on close inspection, with light surface marks throughout, otherwise good.
An arts & crafts silver plated spirit kettle on stand, by WAH Benson, with rare three light burner, the kettle base and feet both stamped, 32 cm high. Footnote: See another similar design in the Cooper Hewitt Smithsonian Design Museum, New York.Condition report: In good condition, with no apparent damage or repair. Some light surface scratches throughout, with scorch marks to underside of kettle. Minor plate loss to underside of feet, otherwise good.
A George V silver christening tankard, London 1923 (maker indistinct), of bellied form with scroll handle (8.5 cm), together with a further Victorian silver tankard and a silver bottle coaster, various dates and makers, 9 ozt. combined weight.Qty: 3Condition report: All appear in good order, with no obvious damage or repair. Light surface scratches throughout, with some tarnishing. All sit flush/flat
A Tag Heuer Professional Formula 1 stainless steel wristwatch the black dial with baton hour markers, and date aperture with subsidiary seconds dial, with black rotating bezel, on a stainless steel bracelet. Quartz movement, the case back numbered WAU1110 RAR4374. 42 mm case.Condition report: Generally in good order, no notable damage, light marks and scratches from typical wear. Watch is not running at present, so requires a new battery. Watch sets correctly.
A mixed group of silver and white metal items, to include a William IV silver toddy ladle, coin inset, salad servers, grape scissors, tongs, a meat skewer, propelling toothpick and others, various dates and makers, 11 ozt. of weighable silver.Condition report: Good overall condition with light surface wear to items commensurate with age and use
Laurel and Hardy signed large 12 x 9 1/2 inch sepia vintage photo, some silvering to image and Laurel autograph light, inscribed by him thanks you Wally every good wish Sincerely 25-7-52. Slight creasing and dings to edges. Priced accordingly. Condition 6/10. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
A fine Belle Époque jewelled silver-gilt, platinum and gold mounted nephrite clockFabergé, workmaster Henrik Wigström, St. Petersburg, 1908-1917, with firm's London marks and essay's marks for London, with original scratched inventory number '22457'rectangular upright form; the front of nephrite body set with rose-diamond bezel enclosing circular dial enamelled in opalescent oyster white over circular and sun-burst engraved ground, with black Arabic chapter and pierced gold hands; with three gold-mounted covered key-holes in the reverse, the recessed silver-gilt-mounted base enclosing the key, with key wound lever movement, fully marked, 88 and 72 standards, in a fitted light wood box lined with cream velvet and stamped with insignia of the Hammer Galleries in New York 6.8 x 4.5 x 3.6cm (2 5/8 x 1 3/4 x 1 3/8in).Footnotes:ProvenanceAcquired by a young American collector David D. Daly of St. Paul, Minnesota from the Hammer Galleries, New York, circa 1937-1939. He began collecting Fabergé as a young man, became a personal friend of Viktor Hammer and frequently visited the Hammer Galleries in New York. The present lot is sold with original paperwork from the Hammer Galleries which stated that the present clock is thought to originate from private apartments of the Empress Alexandra Fedorovna at the Alexander Palace at the Tsarskoe SeloThence by descentExhibited New York, 51 East 57th Street, Hammer Galleries, loan exhibition of Peter Carl Fabergé, Imperial Court Jeweler (1846-1920), 28 March - 28 April, extended until 12 May 1951LiteraturePeter Carl Fabergé, Imperial Court Jeweler (1846-1920), 28 March - 28 April 1951, exhibition catalogue, listed on p. 21, no. 138. Family correspondence with Victor J. Hammer confirms that the clock was included in the exhibition above.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A silver-gilt and enamel pictorial casket11th Artel, Moscow, 1908-1917oblong form, on four bracket feet, sides with roundels enclosing stylized flower-heads in varicoloured enamel, foliate scrolls and strapwork; corners with stylized flowers against light blue ground; hinged lid set with matte en plein enamel plaque depicting a troika in a winter landscape within geometric border; underside of the lid enamelled in translucent turquoise over wavy engine-turned ground, 84 standard 5.7 x 15.2 x 9.5cm (2 1/4 x 6 x 3 3/4in).Footnotes:ProvenanceAcquired by the present owner at Sotheby's, New York, 13 June 1990, lot 352LiteratureGerard Hill, G.G. Smorodinova, B.L. Ulianova, Fabergé and the Russian Master Goldsmiths, New York, 1989, pl. 111This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Alexandr Victorovich Moravov (Russian, 1878-1951)'At the watering place' signed in Cyrillic (lower left)oil on canvas97 x 87cm (38 3/16 x 34 1/4in).Footnotes:ProvenanceCollection of Antonin Hrabe, PraguePrivate collection, PragueBonhams, The Russian sale, 8 June 2011, lot 31ExhibitedXXIX Peredvizhnaia vystavka Tovarishchestva peredvizhnykh khudozhestvennykh vystavok, Moscow, St Petersburg, 1910–1911, no. 75Literature:Iskry, the illustrated art and literary weekly supplement to Russkoie Slovo, Moscow, No. 1, 2 January 1911, pp. 4-5, illustratedGrosberg Oskar, 'Die Ausstellung der Wanderer' in St. Petersburger Zeitung, 26 February 1911, no. 57G. Burova, O. Gaponova, V. Rumiantseva, Tovarishchestvo peredvizhnyh hudozhestvennyh vystavok, chast' 2, Obzory vystavok v periodicheskoi pechati, Moscow, Iskusstvo, 1959, pp. 308, 309G. B. Romanov, Tovarishchestvo peredvizhnyh hudozhestvennyh vystavok 1871-1923, St. Petersburg, Encyclopaedia, 2003, p. 367Aleksandr Moravov was a painter of genre scenes and life in the Russian countryside. His favourite subjects were old people and children, and he always depicted the latter as radiating with special warmth and tenderness. In this respect, his works can be compared to the paintings of another famous Russian artist Nikolai Bogdanov-Belsky, a friend and a colleague of Moravov. At the watering place, which can be dated to 1910, belongs to one of the most mature and prolific periods of the artist's career. Influenced by his trip to Europe, the artist was interested in working en plein air, painting figures within a landscape, with air and light. He lived and worked with other artists, graduates of the Moscow School of Fine and Plastic Arts, in an art colony in the Udomelsky district of Tver region. Here the artists spent most of their time painting in the open air and they were very interested in the life of local people. 'Moravov and Bogdanov-Belsky loved to talk to people. Wherever they appeared with their boxes of paints, they were immediately surrounded by people, old and young alike. A heartfelt conversation would start' (from the memoirs of Elena Alekseevna Belianitsky-Birulia).This sincerity and kindness spilled over into Moravov's works. At the watering place was painted with great feeling and mastery and it radiates with serenity and quiet happiness. The focus is on the grandfather and his grandson seated on a horse. Calm confidence and wisdom emanate from the old man who holds his grandson with great care. One can feel the child's joyful curiosity, mixed with a hint of fear from sitting so high upon the horse, maybe even for the first time. The boy is excited but relaxed, feeling safe and supported by the large and strong hands of his grandfather. The same tranquillity is present in the horses, quietly drinking the water. The background of the painting does not detract from the main scene because houses nestle in the upper right corner, brightly lit by the red and golden glow of the last rays of the waning sun.At the watering place was exhibited in 1910-1911 at the annual exhibition of the Peredvizhniki Society and was highly praised by contemporary critics. The work was originally in the collection of Antonin Hrabe, the owner of a framing and gilding business in Moscow at the turn of the XIX century. This collection, assembled during 40 years spent in Moscow, was taken to Prague in 1918.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Mikhail Fedorovich Larionov (Russian/French, 1881-1964)Still life with fish and flowers signed in Latin and dated '1909' (upper left)oil on canvas40 x 55.8cm (15 3/4 x 21 15/16in).Footnotes:ProvenanceSotheby's, London, 20th Century Russian Paintings, Drawings and Watercolours 1900-1930, 12 April 1972, lot 10 Christie's, London, 19th Century Impressionist Paintings, Drawings and Watercolours, property of The late Mrs J.P. Dewhurst and various properties, 7 December 1979, lot 353 Acquired from the above by His Honour Judge Bruce Griffiths, QCThence by descentExhibitedParis, Galerie Granoff, Larionow, no. 344 (according to label on verso of frame)His Honour Judge Bruce Griffiths, QC, (1924-1999) was chairman of the Art Committee of the Welsh Arts Council, the Welsh Portrait Sculpture Trust and the Contemporary Art Society for Wales.Still life with fish and flowers, dated 1909 by the artist, falls into an important transitional period in Mikhail Larionov's oeuvre in which the artist moved away from the influence of the French Impressionists towards the development of a new language known as Russian Neo-Primitivism. This was a time of a great artistic experiment defined by attempts to reconcile the sensitivity to the influences of European modernism with a profound interest in Russian motifs and painterly traditions. Larionov's continued interest in everyday genres and motifs is notable in his entire body of work. The artist repeatedly addressed the same subject in a variety of stylistic and conceptual approaches. As such, the fish motif, presented in Still life with fish and flowers, has a story arc of its own within the course of Larionov's evolution as an artist. For example, Larionov's early Impressionist-inspired dynamic composition and colour scheme in Fish, 1906, (Centre George Pompidou; published in G. Pospelov, E. Ilukhina, Mikhail Larionov, Moscow, 2005, p. 47) by 1908 would be replaced by a significantly more stable structure and solid palette in Flounder, 1907-1909 (Private collection, Moscow; ibid. p. 51). Although preserving a similar circular composition, Larionov now sets the fish among the other ingredients of a simple peasant meal spread on the kitchen table by a window. Larionov's method changes as he shifts from a rhythmic Monet-like brushstroke towards a flatter expressionist application of paint, from a vibrating palette of blues, greys and pinks to subdued blues, browns and greys. As though having lost interest in colour, light and movement in the painting, Larionov begins to focus primarily on form and space to convey a different symbolic meaning for the object. This approach is taken further in the present lot, Still life with fish and flowers. The two fish are now set against a flat non-specific abstract background which is divided into two contrasting panes. The composition is counter-balanced by the roughly outlined flower vases on each side while the white fish at the centre become the main focal point for the viewer. The surface is painted in rough flat brushstrokes which create three colour sections: the table, the background and the fish, which dominate the space with their contrasting palette and primitive form. This simplification of form and expression of colour allude to the tradition of distortion of the figure of the German Expressionist painters in an attempt to convey the inner beauty and spiritual meaning of the object. Hence, in the present lot, the fish - detached from their physical properties or decorative function - become symbolic of both penury and abundance and the transitory nature of both, while the painting brings to mind the biblical trope of two fish divided by Jesus to feed five thousand people. The idea of ephemerality is also brought to the fore in the artist's treatment of the flowers: the roughly outlined branches at first appear brittle only to display barely distinguishable young buds in red and white to convey the notion of birth and the cycle of life. These elements also refer the viewer to the the traditions of Russian Orthodox icon painting, from which Larionov continuously drew inspiration in search of his own concept of the 'spiritual in art' and which he would describe at length later, in the 1920s, in an essay on Russian icons: There are two artistic principles. The first is to render nature on the basis of acquired knowledge and to involve naturalistic forms in a composition using various methods... The second is to study life as it is with no regard to the influence of the external world, and, based on this dynamically changing and moving form, to depict the essence of the object or scene in the most expressive way... Russian icon painters were inspired by the second principle as they, as painters, were boldly led towards an important abstraction. This abstraction manifested itself in the use of schemas and pre-established formulas related to a predetermined style through which they expressed the abstract and mystical sense of life.... It is through the nuances of colour and the finesse of the graphic forms that the religious and mystical state we experience when contemplating icons manifests itself.... The beauty and finesse of the drawing of these stylised forms and the fascinating abstract harmony of their colouration aspire to render the world of the beyond... It is a kind of spiritual realism.... You really believe that they concern another life. (M. Larionov, Les Icônes, c. 1920s, cited in Mikhail Larionov, Une Avant-Garde Explosive, Lausanne, 1978, pp. 132-133).Натюрморт с цветами и рыбой, датированный 1909 годом, был создан в важный для Михаила Ларионова переходный период, во время которого художник отходит от импрессионистического влияния предыдущих лет и встает на путь создания новаторского языка в искусстве, известного как русский неопримитивизм. Это время больших экспериментов в работах мастера, когда тенденции европейского модернизм&... For further information on this lot please visit Bonhams.com
Scarce WW1 Wurttemberg Officers Combat Belt and Buckle, excellent example of the officers pattern belt buckle for the state of Wurttemberg which retains nearly all of the original field grey finish to the obverse and reverse. Buckle is the correct two piece example with crowned monogram to the centre. Mounted onto the original light brown leather officers belt. Some light scuffing to the belt leather but generally still a very good example.
WW1 German Officers M-15 Field Grey Bluse (Tunic), good example of the field grey M-15 pattern bluse with light green collar and concealed button front. Turn back cuffs and lower slash pockets. To the breast is medal ribbon bar for the Iron Cross 2nd class and the Oldenburg War service medal. Officers shoulder boards with black velvet underlay and black and white fleck in the grey tops. Single rank pip to shoulder boards and numerals “2”. Officers lined interior with interior pocket having tailors label with inked details of the original owner and 1916 date. Tunic remains in very good condition showing just very light service wear.
Matched Pair of WW1 German Flieger Abteilung Nr 4 Tunic Shoulder Straps, field grey M-15 pattern straps which have been cut from a tunic. Light blue piping to the edge as worn by the 4th Abteilung. Centre of each board is fine quality embroidered winged propellers. Both boards have been cut short. Ex Michael Baldwin collection.
WW1 German M-1910 Hessen / Bremen Artillery & Technical Troops Officers Peaked Cap, good stiff top officers peaked cap with field grey top, black velvet central band having red piped border and red piping to the crown. Painted officers state cockade and officers pattern Reichs cockade. Interior with light tan leather sweatband and officers artificial silk lining. Some wear and shredding to the lining and scuffs to sweatband. Small areas of moth to the piping but otherwise a good untouched example. The state of Hesse had only two Artillery regiments during WW1, so items of headdress to these units is scarce.
Bavarian Infantry NCO’s Pickelhaube, fine officer quality example with leather body, fine gilt metal officers pattern helmet plate to the centre, other ranks pattern state and reichs cockades with scaled chinstraps. Other ranks pattern brass spike base with domed rivets and other ranks pattern spike. Brass front trim and rear spine. Interior with officers quality thick leather sweatband and artificial silk lining. Some crazing to the shell and light wear to the interior but overall good condition.
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