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Preisdatenbank abonnierenA metal thread embroidered calligraphic textile of Kaaba Ottoman empire, dated 1216 (1801 AD). . Cm 240,00 x 73,00. Of rectangular form, red ground and light pink corners, embroidered with metal thread with religious inscriptions within cartouches. Among the inscriptions: the Bismillah and the Shahada.
SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) HALF LENGTH PORTRAIT OF ROBERT CUNNINGHAM GRAHAM OF GARTMORE AND FINLAYSTON Oil on canvas 75cm x 62cm (29.5in x 24.5in) Provenance:By descent in the Cunningham Graham family Exhibited:On extended loan from Lady Patricia Cunningham Graham to Culzean Castle (National Trust for Scotland) 1982-2016 Reference:David Mackie, Raeburn Life and Art (a complete catalogue of the artist's work in 6 volumes) unpublished Ph.d thesis, University of Edinburgh, no. 340B Note: Robert Cunningham Graham o' Gartmore and Finlayston (1735-1797) was the Receiver General for Jamaica and MP for Stirlingshire from 1794-1796 as well as being Rector of Glasgow University from 1785-7 and a noted poet. The sitter was a supporter of the French Revolution and a leading advocate for political reform. There is a primary version, near full-length, in the Scottish National Portrait Gallery. The portrait on offer is a smaller repetition by Raeburn, showing only the central part of the composition. The primary version of the painting was discussed in a letter of 17 November 1794 from Raeburn to the man who commissioned it, Cunningham Graham's friend, Hugh Innes of Balmacara, Ross-shire. The existence of this part-replica speaks for the success of the portrait with the sitter and his friends. Further evidence for this is suggested by the creation of an enamel copy in miniature of the "A" version by Henry Bone in the collection of the Hunterian Museum, Glasgow. The primary version came to light when included in the 1939 Exhibition of Scottish Art at the Royal Academy. The version offered here, became known when it was lent by the sitter's family to the National Trust for Scotland in 1982, to be hung at Culzean Castle. Neither work features in the Raeburn literature before Mackie's complete catalogue. The "A" version of the portrait was requested by Baroness Thatcher from the SNPG for display at 10 Downing Street, where it hung during her time as Prime Minister. The creation of the version offered here may have been occasioned by the sitter's death in 1797. The extensive use of bitumen suggest that it was painted c.1800 when the artist had developed a new and darker style of painting. Raeburn may have used the original version as his model. This version is just over half the size of the primary version and the reduction in scale has caused some essential changes to the composition: the sitter's left arm is lowered out of sight and the book now appears on the table. Studio assistants working for Raeburn at that early date are not known, and although the involvement of assistants in Raeburn's practice is poorly understood, it seems always to have been limited. In the primary version the leading eye of the portrait has a cast and there is also disparity between the two sides of the sitter's face, created by shadow. Many consider Raeburn's portraits of the 1790s to be his finest. They communicate appearance, character, psychological and emotional state, and mental force. Their skilled and inventive use of pose and lighting give an enduring sense of human presence and human uniqueness. The portrait offered here has been examined by Dr David Mackie and will be included in his forthcoming complete catalogue of Raeburn. We would like to acknowledge the assistance of Dr. David Mackie, St Catharine's College, Cambridge in cataloguing this picture.
ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) GATHERING MUSSELS Signed and dated 1919, oil on canvas 61cm x 101.5cm (24in x 40in) Exhibited: The Fine Art Society 1977 Note: Robert McGregor is renowned for his pioneering approach in the genre of work scenes of rural life. The genre acquired a dramatic popularity in France, where it was represented by Gustave Courbet and Jules Bastien-Lepage, however it hadn't reached Britain until the late 1870s. McGregor's simple pastorals are notable for a unique combination of the French influences on the one hand, and the artist's loyalty to the old traditions of the Scottish painting on the other. Among his most prominent works are The Knife-Grinder (1878), now in the McManus Museum, Dundee, and Gathering Stones (1879) in the Glasgow Art Gallery and Museum. McGregor had no formal art training until his relocation to Edinburgh, where he later attended the Royal Scottish Academy, yet he is believed to have received some artistic instruction from a Frenchman while still in Yorkshire. Once at the R.S.A., McGregor made rapid progress, getting elected an associate in 1882. He became a full R.S.A. member seven years later. Although McGregor never worked in a foreign atelier, his style was influenced by continental painters, including Courbet and Millet. Unlike other Scottish painters, the majority of whom remained loyal to a local palette, in his colourist approach McGregor maintained a distinctively French use of the grey scale, with a light effect similar to that seen in black and white photography. Having adopted an artistic approach derived from the works of Courbet, McGregor frequently reduced the foreground of his paintings in order to increase a sense of the bulkiness of the peasants' figures. A brilliant example of such composition is the present canvas depicting a young woman with a basket. The scene drawn from everyday life is executed in a warm palette, where thicker strokes of the pastel-blue sky in the top left corner are balanced with the deep-blue colour of the water and the girl's jacket. McGregor's use of heavier brushwork is softened by the elaborate lacework of the girl's headscarf. Gathering Mussels belongs to the eponymous series of works depicting peasants gathering clams in the setting of a distinctively Scottish coastal landscape. This large-scale work, executed in 1919, demonstrates the artist's use of grey tonality to create the effect of sunless weather and gives the painting a diffused silvery glow. Therefore, this later work represents one of the best examples of the artist's engagement with French painting techniques in the depiction of Scottish countryside settings.
GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) FISHING BOATS LOW TIDE Signed, oil on panel 21cm x 27cm (8.25in x 10.5in) Note: The view seen here is taken from the pier at the fishing village of Lower Largo in the East Neuk of Fife, which was a particularly favourite location for Hunter and he painted the same scene and indeed the same fishing boats, a number of times in the 1920s. Perhaps the best known of these paintings is Summer Day Largo now in Kelvingrove Art Gallery, and a similar work was sold by Lyon & Turnbull in 2016. This painting however features more detail in the boats and a less azure sea, altogether more typical of the region. Hunter first visited the little Fife fishing village of Lower Largo in 1919 and was drawn back there over the years, mainly during the summer months, until 1924, staying both on the coast and further inland at Ceres. While the buildings and marine life of the harbour provided abundant subject matter inspiration, the clear northern light from the sea clearly had a liberating effect upon his palette. We also know that in 1923 Hunter painted a series of pictures and made extensive sketches at Drumeldrie, a small hamlet near Largo, which at that time seemed to fire his imagination with its mixture of architecture and farmland. The painting on offer clearly expresses Hunter's debt to the Post-Impressionists and in particular to Van Gogh, although his awareness of Cezanne's innovative artistic theories is also evident. While his later paintings of Largo depict the sea with flat, near geometric brushtrokes and with an almost Fauvist feel, the earlier ones, such as that offered here, embrace a looser and less stylised form of Post Impressionism.
GEORGE LESLIE HUNTER (SCOTTISH 1879-1931) THE POOL Signed, oil on canvas 63.5cm x 76cm (25in x 30in) Provenance:Alex Reid & Lefevre Ltd, Glasgow T.R.Craig Esq C.B.E. and thence by descent Note: The shores of Loch Lomond became an important destination for George Leslie Hunter from the summer of 1924. At this point he was looking for a subject that would challenge him, and allow for the exploration of new approaches and techniques in his painting, and he decided to try Loch Lomond. This was to be a very successful decision, with the artist finding the challenge he needed in the ever-changing foliage and reflections of the loch-side. His works in this year often feature the houseboats on the loch, which so captivated Hunter, with their bright colours and strong, block-y shapes contrasting with the endless nature around them. It was a watershed moment for the artist. In 1931, Hunter made the decision to return to Loch Lomond, renting a houseboat there for the summer. He was happily in love with the much younger Marnie Scrafton, who was a regular visitor, and from this happy place he was able to produce some wonderfully lush paintings. The Pool presumably dates from this summer, with its striking similarity to the tones and composition of other works known to be created in the same year. Unusually for Hunter, it does not feature any house-boats or boats, instead he chooses to focus on the fresh vitality of the foliage and the dappled light it creates. The stepped perspective draws the viewer deep into the cool shelter of the trees, a quiet glade, away from any holiday hustle-and-bustle taking place at the edge of the loch. A riot of fresh colours, The Pool is a joyful evocation of a Scottish summer day - beautiful, light and fresh.
A hardstone cameo and diamond ring, the elongated octagonal plaque of light orange-brown and white agate carved to depict Terpsichore dancing in scanty and billowing robe, holding aloft a tambour, in a border of old cushion and oval cut diamonds to bifurcated shoulders and plain shank, size N, of yellow precious metal assumed 18ct gold, length of ring head 2.4cm Terpsichore was the Muse of Dance, one of the nine artistic Muses of Greek mythology, and her name combines the words for 'delight' and 'dance'
A fancy coloured diamond single stone and 18ct gold ring, the round brilliant cut light golden brown diamond, estimated weight 0.79cts, estimated clarity VVS, half-collet set with each shoulder channel set with two round brilliant cut white diamonds to a plain band, size O, Sheffield import hallmarks 1989, contemporary presentation case
A light blue sapphire and diamond ring set in 18ct white gold, the cushion cut mid to light blue sapphire four claw set between stepped and graduated baguette cut diamonds to a plain shank, size M½, Birmingham hallmarks; the sapphire, which has not been tested for treatments nor for natural or synthetic origin, measures 6.9 x 6.6mm
An Edwardian aquamarine and seed pearl pendant / brooch on an 18ct gold chain, of light, pierced and scrolling design set with an oval cut aquamarine and graduated seed pearls with a further aquamarine and pearl set leaflet pendant below and pearl bale above, integral brooch pin, yellow precious metal stamped '9ct', length 5.3cm; together with an 18ct gold belcher link chain, London hallmarks 2005, length 42cm, cased
An opal and diamond hinged bangle, the front section set with graduated oval cabochon opals separated by pairs of old round cut diamonds above a beaded gallery, the remainder of the bangle being of oval cross-section, unmarked rose precious metal, integral safety chain, internal width 5.8cm The bangle is in good condition, with light wear appropriate to its age; the hinge and clasp are both in good working order, no dents or damage to the bracelet; the claws are small and some might need re-tipping; the safety chain is later. The opals have good colour, predominantly greens and blues, and plenty of life; the central one has a small eye-visible pit, and one of the side ones an eye-visible internal fracture near its edge, another has a chip on the back but this is not visible from the front with the naked eye, and other scuffs, pits and scratches (so frequently seen in opals) are very minor and only loupe-visible. The diamonds are a good size (total estimated weight approximately 0.80cts) and compliment the opals without detracting from them, distinguishing this bangle from similar examples.
A mid 20th century sapphire bracelet, set with a line of graduated rectangular cushion cut light to mid blue sapphires separated by pairs of round cut white sapphires to a fancy octagonal link back chain of unmarked white precious metal, box clasp with safety catch, length 18.5cm, central sapphire 8.5 x 5.2mm; cased
A diamond and multi-gem set butterfly brooch, the pierced wings and abdomen set with rose cut diamonds, the thorax with a round cut emerald, the eyes with small rubies, the wing tips with light blue sapphires and claret red garnets, the legs textured and proboscis notched; the clasp with safety catch, and brooch fitting and leg section removable; width 4.1cm
§ Sir John Arnesby Brown, RA (British, 1866-1955) An East Anglian Landscape signed lower left with initials "AB" oil on board 20 x 26cm (8 x 10in) Provenance: Private collection, UK. Under glass and condition appears fine. Oil on panel. Paint layers in good condition. Light layer of surface dirt. Glazing dirt. Frame in good condition.
Benjamin Williams Leader, RA (British, 1831-1923) A Highland landscape with a rushing burn signed lower left "B W Leader 1875" oil on canvas board 22 x 29cm (9 x 11in) Condition is fine. Oil on artist's millboard. Painting in good condition. Layer of yellowed varnish which is glossy and even. Light wear to frame, but otherwise in a good condition.
Follower of Jan Brueghel the Younger (Dutch, mid 17th Century) A soldier on horseback greeting travellers in a covered waggon, whilst a woman herds cattle past them oil on canvas 58 x 81cm (23 x 32in) Provenance: From a Cambridgeshire country house. A little mould to the back of the canvas. Craquelure overall. Oil on canvas which has been lined. There is some mould growth on the reverse of the canvas. There is a small hole in the original canvas at the lower left corner which has also torn the lining canvas. Apart from this damage the paint layer is stable. The varnish is degraded, yellow and matte but even. Light layer of surface dirt. The frame has old woodworm damage and small chips and losses to the gilding.
Follower of Giovanni Antonio Canal, called Canaletto (Italian, 1697–1768) A View of the Piazza di San Marco from the Piazzetta with the Campanile on the left and the Palazzo Ducale and St Mark's on the right oil on canvas, in an 18th Century frame 70 x 114cm (27 x 44in) Provenance: Private collection, Cambridgeshire Needs a light clean. An 18th Century painting with an 18th Century frame. Oil on canvas which has been lined. Canvas tension is slightly slack and there is a large dent at the centre of the left side with associated paint loss. Overall the paint layer appears stable. The surface of the painting is matte and the varnish is yellowed. There are opaque scuffs in the varnish visible in the lower half of the painting. Some wear and flaking to the gilding on the frame.
John Frederick Herring, Junior (British, 1820–1907) A Farmyard with a chestnut, a grey, a bay and a foal with geese signed lower right on the wheelbarrow "J F Herring Jun" oil on canvas 59 x 89cm (23 x 35in) Provenance: Private collection, Huntingdon Under glass - ornate gilt frame. Oil on canvas which is unlined. The canvas tension is slack. Paint layer is in a stable condition. Under ultra violet light there are numerous areas which appear to be reworking by the artist rather than retouching, although this is unconfirmed. A few small chips and losses to the frame.
Follower of Sebastien Bourdon (French, 1616-1671) A servant giving his master soup in a Wanli Kraak bowl after the hunt oil on canvas 48 x 60cm (19 x 23in) Provenance: Private collection, London. Lined. Paint layer has areas of uneven craquelure but it is stable overall. There are areas of wear and abrasion where the dark ground layer is showing through. Small areas of retouching are well matched to the original. The varnish is clear and even. There are light scuffs to the varnish at the upper edge. Some chips and scratches to the gilding on the frame. Old gilt frame has been painted. Gilt frame with label 'Ecole Francaise XVIIeScle'.
French Colonies: Lightly duplicated collection in five volumes plus loose on pages, majority of value in T.A.A.F. which appears basically complete from 1955 to 2001 with light duplication, some earlier issues lightly hinged but most u/m, also volume of St Pierre & Miquelon incl 1942 FNFL 10f on 1f25 and 20f on 75c and 1962 Free French 500f, also two volumes of mostly African colonies, condition a little mixed in places (Few Hundred)
1932 (15 Dec) cover to England franked on reverse by 1932 Christmas 3m black/azure (SG A3), tied by fine 'retta' cancel in orange and Alexandria slogan for 16 DEC 32 in black, face bears orange 'crown' EGYPT/POSTAGE PREPAID/12 and ABU SUWER cds for 15 DEC 32, a few light tones on face but scarce and attractive, clear RPS cert (2000)
Indian Post Offices: 1927-28 Three covers addressed to Lt Col F M Bailey, two franked KGV 1a chocolate, either from Gyantse to Gangtok (Sikkim) then readdressed (eventually) to Shillong, the other from Yatung to Gyantse, with "Deb Zimpon" crest on reverse (Deb Zimpon was a high Bhutanese government office), the third cover is an OHMS franked official 1a on 1½a (cancel unclear), to Gangtok, then readdressed to Yatung, some light soiling or other faults
1912 (28 Sep) ½d pale green and 1d scarlet die 1B, watermark simple cypher (upright), booklet panes of 6 of each. perf E (SG 334a, 336a, Spec NB2, NB5), ½d pane upper perfs lightly trimmed, 1d pane straight edge at foot, some light rust marks in selvedge, u/m, RPS certs (2006 and 2005) respectively
Indian Post Offices: 1904 KEVII ½a green, three examples tied to small pieces by 'LAHSSA' cds (type 37) dated 3 AU 04, AU 3 04 (transposed) and 26 AU 04, also 3a brown-orange on similar piece dated SE 22 04 and QV ¼a blue postal stationery card dated 4 SE 04, some light toning and all cancelled to order
Balance of collection of mostly booklet panes in one volume from KEVII to 1951, better items include 1902-10 ½d pane of 5 plus St Andrews cross label (some perf separation and light creasing), 1924-26 block cypher 1½d pane of 4 plus 'Saving is Simple' labels (perf separation) and 'Millennium Oatflakes' (no selvedge), good range of 1936 KEVIII 1½d panes of 4 plus 2 labels (17) incl some with wmk inverted, 1937-47 KGVI 1½d panes of 4 plus 2 labels (5) and some later incl 1951 1d blue pane of 3 plus PPR labels 15mm tall, some other odds (not booklet panes) incl a few officials with a page of Board of Trade perfins, these appear to be mostly forgeries, some items with RPS or BPA certs, condition mixed in places
1933 May 23 first airmail flight cover to Greece franked with KUWAIT overprinted 2a and 2a6d Indian stamps tied by light strike of dispatch cds, large pink Greek official air propaganda label applied upon arrival at Athens over-struck with Athens arrival cds dated 27 May, with aeroplane cachet on reverse alongside another strike of the arrival cds, very scarce
Steamboat Mail: 1860-61 3c red on buff postal stationery envelope (with contents, letter dated January 20, 1861) used to Longwood Plantation, Mississippi, cancelled with clear "STEAMER / GENL QUITMAN." h/s in green, light creasing around edges and backflap torn still neat and attractive. Note: The General Quitman was built at New Albany, Ind for New Orleans ship owner, at the fall of New Orleans she was one of the last ones to escape, sank at New Texas Landing (near Morganza, LA) on October 23, 1868
Large accumulation of St Vincent, St Vincent Grenadines and Montserrat sets, sheetlets and miniature sheets from the late 1980s to late 1990s, all overprinted specimen, light to moderate duplication and all housed in packets, all appear fine u/m, also lightly duplicated range of 1977 Silver Jubilee fdcs from most Commonwealth countries, some mint stamps of same and small but duplicated selection of Guernsey & Jersey 1970s presentation packs, something for the wholesaler! (Few Thousands)
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