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Three Beswick Pottery horses and one similar comprising Mare (Facing Right, Head Down) model number 1812 by Arthur Gredington in brown gloss finish, Foal (Smaller Thoroughbred Type, Facing Left) model number 1816 by Arthur Gredington in brown gloss finish and a Palomino Stallion in gold gloss finish sold together with an amateur ceramic elephant study on marble base, damage to base etc.
A group of five Beswick Pottery animal studies comprising two Wensleydale Sheep model number 4123 by Robert Donaldson in white with black markings gloss, two Black-Face Rams model number 3071 by Mr Chawner in black and white gloss and a Royal Doulton bone china sheepdog in black and white gloss finish.
A Beswick Pottery Hereford Cow CH. 'Champions' model number 1360 by Arthur Gredington in brown and white gloss sold alongside Beswick Pottery Friesan Bull CH. 'Coddington Hilt Bar' model number 1439A by Arthur Gredington in black and white gloss, Friesan Cow CH. 'Claybury Leegwater' model number 1362A by Arthur Gredington in black and white gloss and Friesan Calf model number 1249C by Arthur Gredington in black and white gloss finish.
A group of five Beswick Pottery animal studies comprising King Charles Spaniel 'Blenheim' model number 2107A by Arthur Gredington in white and brown gloss, Cocker Spaniel model number 1754 by Arthur Gredington in liver and white gloss, Black-Faced sheep model number 1765 by Mr Garbet in black and white gloss and two Does large and small model number 999.
A group of five Heredities studies comprising 'Tristan and Isolde' 1676/2000 model number AE005, 'Lady of the Lake' 1138/2000 model number TA001, 'Conception of Arthur' 276/2000 model number AE024, 'The White Dragon' 11249/2000 model number SL002 and 'The Red Dragon' 1230/2000 model number SL001, all complete with boxes and certificates.
*ISABEL LAMBERT RAWSTHORNE (NÉE NICHOLAS) (1912-1992) Double portrait circa 1960s, oil on canvas, 60cm x 50cmProvenance: The picture was inherited by descent from mother to daughter. The mother was friends with both Constant Lambert and Alan Rawsthorne (two of Isabel's husbands), as part of the same music circle. She remained friends with Isabel right up her twilight years when she lived in a cottage in Essex. Indeed the daughter vividly recalls visits, and the kind donation of old canvases to her brother as a young artist.Note: Isabel has been subjected to relative obscurity, probably due to her name changes from three marriages, and from being dismissed by society as merely the striking studio model, lover or muse of artistic icons such as Alberto Giacometti, Pablo Picasso, and Francis Bacon. Despite highly acclaimed exhibitions in the 50s and 60s, she has only recently received serious renewed recognition, which is now gaining pace and several paintings have entered public collections as a result.From a humble background she studied at the Liverpool College of Art, later winning a scholarship to the Royal Academy in London. After working with Jacob Epstein she moved to Paris to study at the Academie de la Grande Chamiere and associated with Giacometti, Tristan Tzara and the Surrealist Circle. Throughout her life she was within leading artistic circles, be they composers, dancers, artists or writers. It is notable that she became a respected scenery and costume designer for ballet and opera productions at the Royal Opera House.From 1949 she and Bacon showcased their figurative brand of modern art at the Hanover Gallery and exhibited in the ICA and British Council. Indeed the critic David Sylvester ranked her alongside Bacon, Lucien Freud, John Craxton and Peter Lanyon.It was during the 1960s and 1970s, with the deaths of Giacometti and her third husband, that the ethereal double portraits emerged and where the distinctive dead and sculpted likenesses evolved. This painting is almost certainly one of a portrait series of her late husband Alan Rawsthorne and his sister Barbara. The spectral faces dissolve into a void-like background, capturing the fragility of the human body. The doubling effect suggests the mirrored ballet studios in which she drew dancers at their craft. The grainy texture, created with sand highlighted with hints of pink, yellow and white, emphasises the shafts of light and the window behind.
A vintage painted wooden model hunting set, the animated figures fixed on a trembling wire above each plinth, with hare, deer, mounted figures etc together with hand made and painted trees on stands (qty)see imagesTo include3 hunters and 3 horses 3 dogs3 does 2 stags2 boar1 fox4 hares30 trees of various design and condition (most bases damaged, some unable to stand)in play worn condition, cracks and flaking to the paint, some losses to ears and eyes, see images
Cygne, a pair of modern Lalique frosted glass paperweight, each modelled in relief as swans and raised on polished glass bases, etched marks to underside, each 6.5cm high; together with Rapace, a modern Lalique frosted glass model of a raptor bird, etched mark to base, 5.5cm high; and frosted and polished glass modern Lalique pin tray in the form of a heart, etched mark to rim, 10cm wide (4)
COLLECTION OF MODEL CARS UT MODELS, 1:18 comprising a Ferrari F550 Maranello, F355 Spider, F355 Berlinetta, Porsche 911 GT1, 911 Turbo & 911 GT2, McLaren F1 GTR Road car 1997, F1 GTR Le Mans Roadcar and a McLaren F1 GTR Gulf 4th Le Mans & F1 GTR Mach One 3rd Le Mans by Paul's Model Art

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628707 Los(e)/Seite