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534325 Los(e)/Seite
Los 120
One bottle 1991 Te Mata Estate Coleraine, Hawkes Bay Cabernet-Merlot (level bottom neck), one bottle 1998 Corbans "Cottage Block" Hawkes Bay Cabernet Sauvignon-Merlot (level low neck), one bottle 1991 Corbans "Private Bin" Merlot (level top shoulder), two bottles 1991 Corban "Private Bin" Cabernet Sauvignon-Merlot (level top shoulder), one bottle 1991 Corbans "Stoneleigh Vineyeard" Riesling (1cm ullage, bright, light sediment) (6) (Est. plus 18% premium inc. VAT)
Los 1385
IMPRESSIVE GILDED BRASS AND CRYSTAL CHANDELIER the central column suspending a broad ring around light sconces, the curved acanthus leaf brackets rising from the ring, supporting further light fitments, with prismatic drops, the main ring 65cm diameterThis lot was originally situated within the Theatre Royal, Glasgow. It was removed during the recent refurbishment and is being sold on behalf of the Theatre.
Los 1386
IMPRESSIVE GILDED BRASS AND CRYSTAL CHANDELIER the central column suspending a broad ring around light sconces, the curved acanthus leaf brackets rising from the ring, supporting further light fitments, with prismatic drops, the main ring 65cm diameter This lot was originally situated within the Theatre Royal, Glasgow. It was removed during the recent refurbishment and is being sold on behalf of the Theatre.
Los 1007
STAMP ALBUM various World stamps including an early stock down album, postal stationery cards used, 2 Boer War Covers, South Africa (various States), Egypt, Nigeria, Argentina, Brazil, Chile etc) plus more recent stamps. Also with an album of Regimental Crests (West Norfolk, Somerset Light Infantry, Sutherland Highlanders etc) etc.
Los 1450
POLICE COLLECTABLES INCLUDING GREAT TRAIN ROBBERY a mixed group including a small Police Pamphlet, Confidential Buckinghamshire Constabulary Train Robbery, For Police use only, with images of the people wanted in connection with the Great Train Robbery. Also with Police truncheons, badges, whistle, light etc.
Los 579
The Dam Busters, No.617 Squadron, Royal Air Force. 45th Anniversary of the Dams raid. Cover design shows a Lancaster departing the breached Mohne Dam. light blue cover. Dam Busters Reunion postmark, cancelled Keswick, Cumbria, 17 May 1988. Signed by Flt. Lt. Harry Humphries Founder Adjutant, Dams Raid 1943. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95
Los 580
The Dam Busters, No.617 Squadron, Royal Air Force. 45th Anniversary of the Dams raid. Cover design shows a Lancaster departing the breached Mohne Dam. light blue cover. Dam Busters Reunion postmark, cancelled Keswick, Cumbria, 17 May 1988. Signed by Dave Rodger DFC Gunner, McCarthys crew, Dams Raid 1943. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95
Los 581
The Dam Busters, No.617 Squadron, Royal Air Force. 45th Anniversary of the Dams raid. Cover design shows a Lancaster departing the breached Mohne Dam. light blue cover. Dam Busters Reunion postmark, cancelled Keswick, Cumbria, 17 May 1988. Signed by F Off. L. H. Les Burrows Gunner, Gavins crew, Tirpitz Raid, 12 Nov. 1944. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95
Los 582
The Dam Busters, No.617 Squadron, Royal Air Force. 45th Anniversary of the Dams raid. Cover design shows a Lancaster on take-off from RAF Scampton, 16 May 1943. light blue yellow cover. Dam Busters Reunion postmark, cancelled Keswick, Cumbria, 17 May 1988. Signed by Steve Oancia DFC Ken Browns crew, Dams Raid, May 1943 X2. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95
Los 583
The Dam Busters, No.617 Squadron, Royal Air Force. 45th Anniversary of the Dams raid. Cover design shows a Lancaster on take-off from RAF Scampton, 16 May 1943. light blue yellow cover. Dam Busters Reunion postmark, cancelled Keswick, Cumbria, 17 May 1988. Signed by J. H. Jim Clay DFC Bomb Aimer, Munros crew, Dams Raid, May 1943 X2. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95
Los 639
Nine WW2 Bomber ace autographs. Signatures and details of RAF Bomber Command No. 2 Group Officers Association lunch held at the RAF Club Saturday 5th May 1990. JOHN TURNER & ROY GILLMAN were Beaufighter Ship Busters based in Malta and attacking axis shipping taking supplies to North Africa for Rommels campaign. FLIGHT LIEUTENANT MIKE HENRY was a tail gunner in Blenheims and author of Tail Gunner. TONY VAUGHAN, RAY FEARNLEY DFC, J.P. QUIRES, J.A. WEBSTER & FRANK ORAM. AIR MARSHAL SIR IVOR BROOM KCB CBE DSO DFC AFC Learned to fly in 1940 and as a Sergeant Pilot was posted to 114 Sqn in 1941. The squadron were flying Bristol Blenheim light bombers in low-level daylight operations against Channel and North Sea shipping as well as targets along the French, Dutch and German coasts. In late 1941, still a sergeant, Detailed to lead a flight of six Blenheims to reinforce Singapore, en route the bombers landed on Malta under siege by the Axis Germans and Italians. Broom and his crew were commandeered by Air Vice Marshal Hugh Pugh Lloyd to replace the islands losses, the other five Blenheims flying on to Singapore. Broom joined No. 107 Squadron whose Blenheims were incurring heavy losses while attacking Axis shipping between Italy and North Africa as well as land targets in Italy and North Africa. When No. 107 Squadron lost all its officers, Lloyd told Broom Move into the officers mess. We will sort the paperwork out later. Broom was promoted to Pilot Officer. On 17 November 1941 he bombed and set on fire a 4000 ton ship in the Gulf of Sirte. After flying 43 sorties he was awarded the DFC and returned to Britain in January 1942. In May 1944, Broom joined No. 571 Sqn flying the Mosquitos as part of the Light Night Striking Force where he teamed up with his navigator Flt Lt Tommy Broom no relation. They were known as The Flying Brooms and had a pair of crossed broomsticks painted on the nose of their aircraft. The Mosquito was modified to carry a 4, 000lb bomb known as cookies and carried no defensive armament. They made numerous raids over Berlin and ended the war both highly decorated. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95
Los 41
A collection of vintage 20th century cycling & motor relating items to include; Brass Lucas Bicycle Bell, Connie Car Badge, Schrader Balloon Tyre Gauge, small Powell & Hanmer red rear light, Carborundum Grease Mixed Valve Grinding Compound, Tarfroid For Roads roll-able slip, G&B Petroleum Pump & pin badges.
Los 1
Edwardian Inlaid Mahogany Vitrine in the Adam Taste, early 20th c., molded cornice, paneled foliate inlaid frieze, glazed doors, shelf interior, table base with light wood banding, frieze drawers and square tapered cuffed legs, h. 55 in., w. 34 in., d. 19 in. Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL
Los 188
French Gilt Bronze and Bleu Celeste Porcelain Three-Piece Clock Garniture, c. 1890, striking bell movement marked "Japy Freres", case surmounted by urn, porcelain dial over plaque with courting couple, on carved wood base, with conforming four-light candelabra, clock h. 15 1/4 in., w. 10 1/2 in., d. 5 1/2 in
Los 343
William Henry Buck (Norwegian/Louisiana, 1840-1888), "Louisiana Pastoral with Wooden Bridge", 1883, oil on canvas, signed and dated lower left, 18 in. x 30 in., period frame. Provenance: Acquired from the artist by Mr. and Mrs. Aristide Hopkins, New Orleans and Biloxi; thence by descent in the family. Note: Aristide Hopkins (1839-1925) and his wife, Mary McNeil Hopkins (1847-1908), were avid collectors and patrons of the arts. As close friends of William Aiken Walker, the couple was introduced to a variety of portrait, landscape, and genre scene painters, and their house on Esplanade Avenue (now the Fisk-Hopkins-Schwartz Home at 730 Esplanade) was filled with works by Louisiana artists such as William Henry Buck, Richard Clague, George Louis Viavant, and Achille Perelli. Aristide Hopkins worked at Merchants’ Mutual Insurance Company on Canal Street; he was an agent for Baroness Pontalba and managed properties within the city. During the Civil War, Hopkins served as a Lieutenant in the Louisiana Cavalry (New Orleans Light Horse) and after the war, he and Mrs. Hopkins maintained homes in both New Orleans and Biloxi. Collected by the Hopkins' amongst other important landscapes and nature mortes, the lovely scene in the current lot displays Buck’s characteristic skill with Louisiana flora and fauna, including majestic oak, pine, and cypress trees laden with Spanish moss. A student of Clague, Buck developed his skills on plein air sketching excursions with his mentor and artists such as Andres Molinary and Marshall Joseph Smith, Jr. These trips, many along the shores of Lake Pontchartrain, were undoubtedly influential on the development of Buck's use of lighting effects and evocative atmosphere. The arrangement of the landscape offered here, on the edge of a lake with a curving wooden bridge, is a rare example of an asymmetrical configuration that beautifully guides the viewer's eye around the canvas. The composition, with the inclusion of a picket fence on the left, a farmer and his dog crossing the bridge, and cattle grazing in the background, suggests a farm just beyond the trees and hints at a bucolic narrative. The reflective surface of the water adds an additional element of light and highlights the natural bend in the geography. The painting also includes hints of the Barbizon tradition in the luminous sky, and the loose brushwork that forms the reeds and bushes in the foreground, combining overall into a classic naturalistic view of the Louisiana landscape dating from the height of Buck’s career. Ref.: Trovaioli, August P. and Roulhac B. Toledano. William Aiken Walker: Southern Genre Painter. Baton Rouge: Louisiana State University Press, 1972.
Los 591
Helen Maria Turner (American/New Orleans, 1858-1958), "Coquette", oil on canvas, signed lower left, handwritten inscription with artist, title and remnant of exhibition label en verso, "E.C. Slater" embossed en verso of frame, 22 in. x 18 in., period frame. Note: In the 1880s, the art world opened significantly for women in America, and Helen Maria Turner benefited greatly from the art clubs and associations in both New Orleans and New York, where she studied under artists such as Andres Molinary, Bror Anders Wikstrom, William Merritt Chase, and Joseph De Camp. Maia Jalenak writes, “In this regard, Turner was among a generation of women breaking new ground. Her combination of talent and determination enabled her to move to professional status, support herself, and achieve a distinguished reputation.” Although many artists of this time period were interested in studying painting abroad, exposing themselves to the French Impressionist paintings, Turner preferred to work with American painters. William Merritt Chase was particularly influential on her style, and her sensitive depictions of her models directly reflect her training with him. By 1900, Turner was teaching both privately and at institutions, as her work became more popular and she gained national acclaim. In "Coquette," Turner's studies with Chase are apparent in the light, airy palette using mostly pastel colors, as well as the loose brushstrokes that form the hair, dress, and fan that the model holds. Turner often used the same models for multiple canvases; the girl in this portrait is most likely Julia Polk Hunsicker, who also posed for the seminal "Lilies, Lanterns, and Sunshine" in the collection of the Chrysler Museum of Art. By 1914, the Corcoran Gallery had exhibited and purchased one of her paintings, Girl with Lantern, and The Flower Girl of 1920 won the Second Altman Prize; Turner was the first woman to receive any of the Altman prizes. This award led to her being elected to the National Academy of Design in 1921. In 1917, Turner’s works were included in the exhibition Six American Women, which was comprised of works by the most prestigious female painters in America, including Mary Cassatt and Alice Schille. While women who painted in the late nineteenth and early twentieth centuries had many more opportunities than their predecessors, there still existed a pervasive notion that women were less qualified to become artists and created “weaker” works. This idea that a woman artist has an inherently female quality that is translated to her work was a popular theory in the early 20th century known as “essentialism.” Because of this concept, art critics would sometimes refer to Turner’s work – with a negative connotation – as having a “feminine quality” to it. Time has been on Turner’s side as the idea of “essentialism” in her work has been rejected over the years as the strength of her painting technique and talent has been increasingly acknowledged and celebrated. Turner’s presence on a national level speaks to the fact that her works have a universal appeal, and her success then helped to set the stage for future female artists from the region. Not only did she defy the odds by supporting herself as a working artist, but her accomplishments are inspiring. Her solo exhibition at the age of 90 at the New Orleans Museum of Art (then the Delgado Museum of Art) in 1949 likely inspired the next generations of artists such as Ida Kohlmeyer to reach similar heights in their own careers. Ref.: Bonner, Judith. “Women Artists in Louisiana, 1825-1965: A Place of Their Own.” Arts Quarterly. Volume XXXI, Issue 2. New Orleans, New Orleans Museum of Art, 2009; Faquin, Jane Ward. Helen M. Turner: The Woman’s Point of View. Memphis: Dixon Gallery and Gardens, 2010. Jalenak, Maia. Helen M. Turner: American Impressionist. Louisiana State University Master of Arts Thesis, 2003.
Los 595
John McCrady (American/New Orleans, 1911-1968), "Private Property - Keep Out", carbon acrylic on board, signed lower right, titled lower left, artist label with title en verso, 16 in. x 22 in., artist embellished frame. Note: After decades of applying a multi-stage process of layering oil or acrylic paint over tempera, McCrady began to experiment in 1963 with a new form of painting. Over the next five years until his death, McCrady created many carbon acrylic paintings where he first sketched in carbon and then applied layers of acrylic in an effort to manipulate light and produce a more luminous effect. The effects of this technique can be observed in the white of the clouds and the lustrous grass in “Private Property – Keep Out” offered here. A work quite similar in feeling to “The Divining Rod” of 1968, where McCrady painted his wife searching for underground water, the current lot displays McCrady’s love of the Mississippi landscape surrounding Oxford. The rolling hills and wide-open skies create a calm, peaceful feeling – quite opposite the ominous warning of the keep out sign and padlocked fence. Ref.: Marshall, Keith. John McCrady: 1911-1968. New Orleans: New Orleans Museum of Art, 1975.
Los 975
Henry Botkin (American/Charleston, 1896-1983), "End of Day", oil on canvas, signed lower left, "The Charleston Renaissance Gallery" label with artist and title en verso, 15 in. x 21 3/4 in., framed. Note: In 1934, Boston native Henry Botkin accompanied his cousin George Gershwin to Charleston, South Carolina. While Gershwin was writing “Porgy and Bess,” Botkin would go to nearby Folly Island for daily painting excursions. He painted many canvases such as the work offered here, nuanced compositions depicting African-American life in the Lowcountry. A critic of the time spoke of the resulting show in New York in these terms, “brilliant in colorful harmonic dissonances, there is the same bright gaiety and tempered pathos of the blues, the same light designs, and one might say modernity which pervades a piece by Gershwin.” Ref.: Severens, Martha R. The Charleston Renaissance. Spartanburg: Saraland Press, 1998, pp. 111-112.
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534325 Los(e)/Seite