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Click here to subscribeA pair of hardwood figural architectural fragments,early 20th century, Indian, each in the form of a man holding a spear,42cm wide24cm deep137cm high (2)Dry surface and weathered. Patch repairs. Splits, knocks, cracks and nailed repairs to spears. One spear wrapped in tape. Traces of red paint. Losses and chips. Both stand freely.
(Africa, Malawi), a collection of 13 photograph albums circa 1920s from the estate of Sir Charles Calvert Bowring (1872-1945), British colonial administrator, mainly in Kenya, later Governor and Commander in Chief of the Nyasaland Protectorate from 1923 to 1929, seven of the photograph albums each with numerous black & white photos of Nyasaland (present day Malawi), including two albums of 96 photos together, individually numbered to mount, with corresponding contemporary manuscript numbered list of images contained therein, and a contemporary typed copy loosely inserted, images include floods on the Lower Shire River; A Stern-wheeler; Port Herald; Chiromo; Zoa Falls, Ruo River, in dry season and during rains (2); various images Mlanje incl. picking tea; Meuri Lyons' tea factory; cricket ground; Cholo incl. Mount Mlanje from Cholo; temporary bridge, Nswadze River; Blantyre incl. Church of Scotland manse and church; Sisal factory; Cotton field, Mwanza; Blantyre-Salisbury Road, Mwanza; Chikwawa incl. Shire highlands from Mitali; numerous Zomba, incl. Tennis courts, Government House; Sir Alan Cobham flying over Zomba; the Lion Rock; Zomba mountain road; views from Zomba mountain; numerous others Zomba, Upper Shire, South Nyasa, Kota Kota, Neheu, Dedza, Lilongwe, Dowa, Fort Manning, Mzimba, etc etc; plus five other albums each with approx 40/50 photos each of similar scenes in Nyasaland, images include topographical and architectural scenes, formal events and parades, cricket, horse riding, African soldiers, farming, priests, Governor's house, motorcars on roads, touring/pic-nics, river crossings, mountain scenes, native tribes, groups of children, cattle, etc, Sir Charles Bowring appears to be in some images; the six other albums appear to depict Bowring and wider family travelling continentally by ship, various places, and in UK and Europe, seaside family photos, wedding photos etc, each with approx 40 photos per album, the albums all contemporary green cloth, mainly with small Army & Navy Photographic Dept. Westminster tickets to rear pastedowns. Provenance: from the estate of Sir Charles Calvert Bowring, and by descent (13)
(Mesopotamia, RAF Iraq Command), A photograph album c.1920-1930s containing over 200 photos in total, of which over 100 photos of Mesopotamia (modern Iraq), 1920-1923, images include RAF HQ from Maude Bridge, Baghdad; on the Tigris; various street and architectural scenes of Baghdad, including New Street, River Street, Turkish Cavalry Barracks; Mosque and the shrine of Sheikh Omar Suhrawardi; King Faisal Palace courtyard and view from roof; "Khan Nuctar. Scene of murder of Col. Leachman"; Al-Khadimaya mosque (6); four images Iraq police at Ramadi HQ; various images Ramadi including bazaar, ferry over Euphrates, unloading corn, remains of grave, Ramadi from aerodrome; Tigris in flood from Kotah bridge; street in Fallujah; pontoon bridge over Euphrates at Fallajuh; HMV Zobaida at Karradah; "Home of Bedouin robbers between Fallujah and Ramadi"; "Tramway Baghdad to Khadimain"; "Baghdad's Oldest Mosque"; "Iron Bridge Baghdad West. Built Pre-War for Baghdad-Berlin Railway"; boys of Ramadi village; typical Bedouin Arabs; "Razuki and his sister"; harvesting, Ramadi (2); "A Gower Khan. Ramadi"; Baqubah, incl. irrigation canal, architectural scene from canal, burnt out lorry; various images Rolls armoured cars, ration lorry, burnt out Ford, Baghdad-Basra oil burning engine etc; various images aircraft including Vickers Vernon, Vickers Vimy, Avro, "Crash of DH10 F/LT Tempest (killed) F/O Darcy Greig (burns), Sopwith Snipe, Bristol Fighter, Major Blake's de Havilland DH9 attempted world flight 1922, lands at Ramadi after 4 days in desert, Handley Page bomber etc; various images RAF sports Baghdad 1921 incl. football, obstacle race etc; ruins of Babylon, Lion of Babylon; aircraft W/T station Baghdad (9) etc; plus over 50 photographs Cairo & Egypt circa 1931 including several of Graf Zeppelin flying over Cairo etc; approx 25 photographs Pompeii, Gibraltar, Marseille; plus over 50 photographs Netherlands, Germany, Poland and then Kaunas, Lithuania (majority of 50 photos here). Majority of images in album approx 8 x 11cm, all images loosely corner mounted and captioned to the card leaves of the album, contemporary worn oblong album (30 x 40cm)
A Victorian photograph album containing approximately 130 albumen print and other mounted photographs circa 1881, topgraphical and architectural views of Richmond, Surrey; Lincoln; Isle of Wight; South & North Wales; Devon; Bournemouth etc, all photos with neat contemporary pen & ink captions and headings to card leaves, neat and elaborate pen & ink ownership name "Marian M Clarke. 1881" to first card leaf, folio, contemporary gilt ruled black morocco (slightly scuffed/worn), all edges gilt
(East Anglia), 'The Fen and Marshland Churches; a series of photographs, with short historical and architectural descriptive notes, the photographic illustrations by Edward Johnson', 1st-3rd series (complete), Wisbech & London, Leach & Son, [1868-69], forty-six mounted albumen print photographic plates, correct as listed, plus 9 ground plan full page illustrations as called for, 4to, uniform original cream bevelled edge cloth gilt (worn, vols 1 & 2 rebacked retaining original cloth. Images include Wisbech, Terrington, Walsoken, Ely, King's Lynn, Boston, Spalding, sutton, Holbeach etc etc, a scarce set containing very early photographs of Norfolk & fens churches (3)
An ebonised and walnut Vienna wall clock, late 19th c, architectural pediment with spire finials, the white enamel dial with Roman numerals and subsidiary seconds dial, twin brass cased weights and brass pendulum, the glazed door flanked by split pillars, 138cm h General wear, some old restorations, brass sleeved weights dented, internal beading detached, other faults
A walnut and ebonised Vienna wall clock, late 19th c, the architectural pediment with eagle finial above mask rosettes, balustrade and spire finials, the arch glazed trunk door flanked by ebonised walnut split pillars enclosing cream enamel dial with Roman numerals and subsidiary seconds dial, brass sleeved weights and cased pendulum, the eight day movement by Schesien Freiburg, No 205318, 128cm h overall Pediment and decorations possibly of later date, losses, abrasions and wear
FRAMED DECORATIVE PRINTS ETC, to include Frederick Morgan 'His first tooth', Thomas Lawrence 'Miss Peel', Gabriella Benevolenza 'Sweet Harmony', Charles Rennie Mackintosh prints of architectural drawings for the Tea rooms, architectural print of the Golden Gate Bridge, three Lisa Bengtsson dog prints etc together with two unframed Boris O'Klein prints signed in pencil
ARTIST: J Craig Thorpe (Washington, born 1948)NAME: Train - Washington LocomotiveYEAR: 1994MEDIUM: oil on heavy paperCONDITION: Very good. Damage to lower edge of paper (painting by intself is not damaged). No visible inpaint under UV light.SIGHT SIZE: 14 x 12 inches / 35 x 30 cmPAPER SIZE: 18 x 15 inches / 45 x 38 cmSIGNATURE: lower leftNOTE: This painting originally appeared on the Fleetwood Legendary Locomotives of the 50 States Washington Commemorative Cover postmarked December 20, 1994. When confronted with a mountain range, the visionaries who built America's railroads had three choices: go around it, over it or through it. Those were the options available to John F. Stevens, engineer for the Great Northern Railway, when he found the Cascade Range between him and his proposed route to Puget Sound. Stevens had already brought the Great Northern through the Rocky Mountains. That experience helped him recognize the virtues of the pass that would eventually bear his name. Stevens Pass was ideal in that it allowed for several different routes. In fact, over the years, the Great Northern has had three routes at the Pass, one over it and two through it. The first ran across the summit on a series of eight arduous and time-consuming switchbacks. Not long after the switchback line was completed, work began on the original Cascade Tunnel. Nine years later, on December 20, 1900, the tunnel was opened and the switchbacks were closed. Although the new route was a vast improvement, it was still beset with severe curves, miles of snow sheds and four-percent grades. So in 1925, the Great Northern began construction on another tunnel at a more favorable site. Opened on January 29, 1929, the second Cascade Tunnel runs 7.8 miles, making it the longest railroad tunnel in the United States. Great Northern's 2-8-0 freight engine No. 1106, featured on this artwork, was built in 1901 by the Rogers Locomotive Works. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.CATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120064US Shipping $49 + insurance.BIOGRAPHY:J. Craig Thorpe is a nationally recognized artist specializing in conceptual renderings and landscape paintings. Says Robert Eaton, Mayor of Leavenworth, WA, “Craig understands the history, needs, and mission of our community. Our investment in his talents has more than paid for itself. Craig's interest in art dates from his formative years in Pittsburgh, PA. The landscapes of the area, with its undulating topography, rivers, industrial plants and railroads captured his imagination. The imagery of those experiences shaped the foundation of a career.Thorpe studied at the Art Institute of Pittsburgh, and graduated from Carnegie-Mellon University with a BFA in Industrial Design. Following a short stint in the US Army Transportation Corps, he worked for architects in Virginia. After graduate school in New England, where he earned a Master of Divinity from Gordon-Conwell Theological Seminary, Thorpe moved to Seattle, WA and served as a Presbyterian pastor.In 1985 he chose to leave parish work to begin free-lance architectural and transportation illustration. When Amtrak featured his painting of the new Olympia, WA station on its 1993 corporate calendar, Thorpe's rail art began to be recognized nationally. He continues to produce commissioned works for Amtrak including the commemorative centennial paintings of Washington D.C. Union Station (2008) and Glacier National Park (2010). His most recent work is a collection of vignettes celebrating Amtrak's 40th anniversary in 2011.Craig is widely known for these and commissions by other rail clients such as the White Pass & Yukon Route in Alaska. Says Michael Brandt, the railway's Vice President, Craig has embraced the WP&YR brand and created iconic legacy artworks for us. They reflect his relationship with the company, its people, history and future. Other noted Alaskan clients include Holland America Line and Alaska Marine Lines. The grandeur and scale of Alaska and indeed all the west itself have expanded his literal and figurative horizons. A new series of smaller Northwest landscapes is growing in popularity.Thorpe is foremost a landscape painter and even his industrial commissions set the subjects in their unique settings. Says the artist, "The haste, cynicism and expediency of our age has blurred an ability to see beauty. These paintings help people refocus." He combines a technical accuracy with a painterly style evoking an emotional response from the viewer: "That painting makes me want to be right there!" He partners with clients to create art which honors tradition, celebrates the present and creates a legacy. While working in a variety of media, most of Thorpe's published works are oil-on-canvas.His paintings have appeared on calendars, posters, cards, menus, timetables and a host of other items.J. Craig Thorpe's work has been published in various papers and journals such as the Arizona Republic, Denver Post, and USA Today, National Parks Magazine, Audubon and books such as Alfred Runte's Allies of the Earth: Railroads and the Soul of Preservation and Trains of Discovery: Railroads and the Legacy of Our National Parks. Thorpe and his wife Cathy, a counselor in private practice, live in Bellevue, Washington and have three grown children, each an artist in his own way.
ARTIST: J Craig Thorpe (Washington, born 1948)NAME: Train - Kansas LocomotiveYEAR: 1995MEDIUM: gouache on heavy paperCONDITION: Excellent.SIGHT SIZE: 14 x 12 inches / 35 x 30 cmPAPER SIZE: 18 x 15 inches / 45 x 38 cmSIGNATURE: lower rightNOTE: This painting is the original which appeared on the Fleetwood Legendary Locomotives of the 50 States Kansas Commemorative Cover postmarked April 1, 1995. Shortly after the turn of the century, railroad promoter Arthur Stilwell began building the Kansas City, Mexico & Orient Railroad (KCM&O). Claiming that he had "designed a railroad 1,600 miles long which will bring the Pacific Ocean 400 miles nearer to Kansas City than any other present route," Stilwell set out to construct a rail system that would link the Midwest to the port city of Topolobampo, Mexico, which was intended as an entrepot for shipping American goods to the Orient. The line was built in five disconnected sections throughout the United States and Mexico. On April 1, 1903, 74 miles of track -- linking Milton, Kansas, to Carmen, Oklahoma -- became the first completed American segment of the line. Although construction of the KCM&O was fairly rapid at first, in 1910 the Mexican Revolution halted operations on the southern leg of the route. In fact, Francisco "Pancho" Villa -- one of the principal leaders of the revolution -- was one of Stilwell's contractors. By spring of 1912, the troubled KCM&O entered receivership and Stilwell's dream went unfulfilled. In 1928, the Santa Fe Railway acquired the American portion of the KCM&O, and the Mexican segment eventually came under government control. The line wasn't finally completed until 1961. Pictured here is the No. 208 -- one of 15 engines built by the Pittsburgh Locomotive works for the KCM&O between 1909 and 1911. This 2-8-0 engine became Santa Fe's No. 2542, and today is on display in Arkansas City, Kansas.PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.CATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120444US Shipping $49 + insurance.BIOGRAPHY:J. Craig Thorpe is a nationally recognized artist specializing in conceptual renderings and landscape paintings. Says Robert Eaton, Mayor of Leavenworth, WA, “Craig understands the history, needs, and mission of our community. Our investment in his talents has more than paid for itself. Craig's interest in art dates from his formative years in Pittsburgh, PA. The landscapes of the area, with its undulating topography, rivers, industrial plants and railroads captured his imagination. The imagery of those experiences shaped the foundation of a career.Thorpe studied at the Art Institute of Pittsburgh, and graduated from Carnegie-Mellon University with a BFA in Industrial Design. Following a short stint in the US Army Transportation Corps, he worked for architects in Virginia. After graduate school in New England, where he earned a Master of Divinity from Gordon-Conwell Theological Seminary, Thorpe moved to Seattle, WA and served as a Presbyterian pastor.In 1985 he chose to leave parish work to begin free-lance architectural and transportation illustration. When Amtrak featured his painting of the new Olympia, WA station on its 1993 corporate calendar, Thorpe's rail art began to be recognized nationally. He continues to produce commissioned works for Amtrak including the commemorative centennial paintings of Washington D.C. Union Station (2008) and Glacier National Park (2010). His most recent work is a collection of vignettes celebrating Amtrak's 40th anniversary in 2011.Craig is widely known for these and commissions by other rail clients such as the White Pass & Yukon Route in Alaska. Says Michael Brandt, the railway's Vice President, Craig has embraced the WP&YR brand and created iconic legacy artworks for us. They reflect his relationship with the company, its people, history and future. Other noted Alaskan clients include Holland America Line and Alaska Marine Lines. The grandeur and scale of Alaska and indeed all the west itself have expanded his literal and figurative horizons. A new series of smaller Northwest landscapes is growing in popularity.Thorpe is foremost a landscape painter and even his industrial commissions set the subjects in their unique settings. Says the artist, "The haste, cynicism and expediency of our age has blurred an ability to see beauty. These paintings help people refocus." He combines a technical accuracy with a painterly style evoking an emotional response from the viewer: "That painting makes me want to be right there!" He partners with clients to create art which honors tradition, celebrates the present and creates a legacy. While working in a variety of media, most of Thorpe's published works are oil-on-canvas.His paintings have appeared on calendars, posters, cards, menus, timetables and a host of other items.J. Craig Thorpe's work has been published in various papers and journals such as the Arizona Republic, Denver Post, and USA Today, National Parks Magazine, Audubon and books such as Alfred Runte's Allies of the Earth: Railroads and the Soul of Preservation and Trains of Discovery: Railroads and the Legacy of Our National Parks. Thorpe and his wife Cathy, a counselor in private practice, live in Bellevue, Washington and have three grown children, each an artist in his own way.
AN OAK CASED BAROMETER AND THERMOMETER, by Negretti and Zambra, London, 27911, the circular aneroid barometer and mercurial thermometer housed within an ornately carved architectural case. Approx. 72.5cm long, 18.5cm wideCONDITION REPORTLight surface wear to case, light tarnish and some discolouration to dial.
Friedrich Mauthe, Schwenningen, Germany, a late 19th century Vienna style walnut wall clock, brass dial, ivorine chapter ring, the signed movement numbered 22203 and 34/16, striking on a gong, architectural case, pendulum, key, 79cm.Friedrich Mauthe (1822-1884). Started out as a supplier for watchmakers' tools. In 1860 he founded his own company, in 1876 his sons Christiaan and Jacob joined the company. Established in 1886 a factory for clock springs, and in 1899 founded the factory for clock cases. By 1900 there were 1000 workers.
dating: first quarter of the 19th Century provenance: France, Straight, tipped, single-and short-false-edged blade, with fuller on half of its length. With small gilt engravings featuring remains of XXX in the background. Brass mounts. Beautiful shell-guard with relieved decoration of griffins holding a mask. Guard (slightly wobbly) and pommel decorated with architectural motifs. The pommel depicting a feminine face wearing a Corinthian helmet (Athena?). Remains of gilding (mercury?). Grooved mother-of-pearl grips. Remains of leather scabbard with brass cap. length 92 cm.
dating: 18th Century provenance: Europe, Octagonal and round, 15 mm cal barrel made of iron and covered with brass, engraved with floral and architectural motifs at the base. The tang with remains of engravings. Lock with brass plate marked 'V.F.P.' with iron hammer, batterie and spring. Working mechanism. Wooden full stock (restorations next to the butt-plate and the back of the lock) with floral carving at the back. Brass mounts with small engravings and outlines. Brass-tipped, iron ramrod (later?). length 35,5 cm.
Mathias Goeritz (Danzig, now Gdansk, 1915 – Mexico City, 1990) Gouache and ink on paper. Signed with initials and dedicated "À mon ami Jean Mallon, Mathias G" on 31-12-1948. Mallon was a renowned French historian and a specialist in Latin paleography. Painter, sculptor and poet. Goeritz gained a PhD in History of Art in Berlin and spent part of the Second World War living in Morocco and Spain. When the war was over, he settled in Madrid, and in 1948, the year in which this piece is dated, he founded the School of Altamira in Santillana del Mar, influenced by the School of Paris, Bauhaus, Paul Klee and Joan Miró. As we can read in the Archivo Lafuente website: "this was a cultural event which took place in Santillana del Mar, in which two theoretical and artistic meetings took place over a week in the autumns of the years 1949 and 1950, under the generic title "Art week in Santillana del Mar". The idea appeared while the German artist Mathias Goeritz was visiting the Caves of Altamira in the summer of 1948, after which he imagined the possibility of creating a “pictorial school” and a free and experimental artistic workshop.” This idea was seconded by Ángel Ferrant, Ricardo Gullón and Beltrán de Heredia. Surrealists such as components of the Dau al Set group from Barcelona and Eduardo Westerdahl from Tenerife converged in those work weeks on "new art" alongside artists with abstract tendencies, such as those who formed the Zaragoza Grupo Pórtico, unclassifiable artists such as Pancho Cossío or others who were clearly eclectic such as Ángel Ferrant, who shared interests with the young poets of the Proel, group, who were also joined by foreign artists such as the Italian-Swiss architect Alberto Sartoris and his wife, the abstract painter Carla Prina, the English painter Anthony Stubbing, the Swedish sculptor Ted Dyrssen, the Hungarian photographer Nicolás Muller, the Brazilian painter Cícero Dias and the German informalist Willi Baumeister." In 1949 he emigrated to Mexico to work as a teacher at the Guadalajara School of Architecture, where he collaborated with the architects Luis Barragán and Mario Pani. Henry Moore and Rufino Tamayo collaborated with Goeritz in 1952-1953 on his most personal architectural creation, the Museo Experimental El Eco.
Spanish school of the mid-20th century, following Italian models of the 18th century."Architectural Caprices".Pair of oils on canvas.Missing in a frame.Measurements: 55 x 46 cm. c.u.; 63,5 x 54,5 cm (frames).In this pair of "caprices", this landscape genre with Greco-Roman ruins is taken up again, a theme that reached its peak during Romanticism. In 18th-century Italian painting it developed in its own right, thanks to the large number of architectural remains preserved in the country. In these two canvases, following Italian models, imposing arcades or Greek stoas supported by slender fluted columns are covered with moss and blades of grass that tinge these remains with melancholy beauty. Captured under twilight that accentuates their lyricism, the figures of peasants wandering around the site are minimised against the sublimity of the landscape.The taste for the artistic remains of the past, the widespread travel by writers and artists in search of monuments and works of art that would serve as a source of inspiration, and the discovery of important ancient remains such as those of the cities of Pompeii and Herculaneum undoubtedly contributed to the success of the genre. It is a pictorial genre, moreover, that has its roots in the 17th century, in the veduta, not always topographical but sometimes extremely imaginative, of artists such as Canaletto and others.
RAOUL DUFY (Le Havre, 1877 - near Forcalquier, 1953)."Landscape of Sicily", 1922.Watercolour and gouache on paper.Work reproduced in the Catalogue raisonné of the artist Aquarelles et gouaches-Supplémet, No. As-0402.Work exhibited at the Galerie Yhoshii (Paris).Signed in pencil in the lower right corner.Measurements: 50.5 x 64.5 cm; 83.5 x 99 cm (frame).The consequences of the First World War and the subsequent interwar period meant a halt in the development of the avant-garde and a return to classicism. In Dufy's case, his unmistakable fluid and colourful aesthetic remained his personal hallmark. However, he undertook a trip to Italy, where he found inspiration in the Mediterranean landscape and the remains of ancient civilisations. The present work belongs to the aforementioned period and depicts a view of Sicily conceived in great depth, which the artist achieves by delimiting the sides through a reduced chromatic tone, while in the central area he deploys a whole play of intense, brilliant colours that make up the landscape. This type of composition was common during his trip to Italy and can be seen in other works by the artist such as "View of the Theatre at Taormina" and in the painting in the MoMA's collection, a watercolour dated the same year as the present work, which shows a view of Taormina, also on the island of Sicily.Raoul Dufy was a Fauvist and Cubist painter, graphic artist and textile designer known for his highly colourful decorative style, which was much appreciated for ceramics, textiles and architectural decorations. In 1895 he began attending art classes at the Ecole des Beaux-Arts in Le Havre, studying the work of Eugène Boudin at the city's museum. In 1900 a scholarship allowed him a short training at the École des Beaux-Arts in Paris, where he met Georges Braque, and, two years later, he began to exhibit (Berthe Weill Gallery in Paris). He began his career with a style influenced by the Impressionist landscape painters (especially Monet and Pissarro). In 1905, on seeing Henri Matisse's "Luxe, Calme et Volupté" at the Salon des Indépendants that year, he turned his work towards Fauvism, adding a vigorous stroke. Towards 1909, contact with Paul Cézanne led him to a more subtle technique. In 1920, after having already experimented with Cubism, he developed his personal approach to this trend, with skeletal structures in a particular perspective, using baths of colour with brushstrokes (in a manner he called "tachygraphic"). Thematically, his predilection for sailing boats, festivals, musical events, horse racing, outdoor activities, flowers, musical instruments and nudes is clear. His work is preserved in important private collections and museums such as the Musée d'Art Moderne de la Ville de Paris, the Van Abbemuseum, the McNay Art Museum, the Art Gallery of Ontario, etc.
Victorian ebonised triple fusee table clock, anonymous, circa 1880-90, the silvered chapter ring with Roman hours and Arabic minutes plus half hour divisions framing a matted centre within cast spandrels, beneath silvered subsidiary Chime / Silent and Westminster Chimes / Chime on Eight Bells rings, the chain fusee movement with finely-engraved backplate, pendulum bob, brackets and other fittings, chiming on a carillion of eight bells and striking on a coiled posted gong, the architectural case with hinged basket top cast with female terms and scrollwork within pine cone finials, 65.5cm high (handle up), with crank winderDial - good, clean, unrestored condition.Movement - of high quality, apparently unsigned. Not known if complete as not removed from case. Not tested extensively for accuracy or guaranteed as working, sold as an antique second hand item we'd advise servicing. Case - The hinged basket top has discolouration and minor deterioration to silk lining. External discolouration to metal of same, would benefit from regilding. There is an age-related crack to one back corner of roof. The ebonising is slightly uneven - faded in places, worn along a few sharp edges of moulding, so would benefit from a light restoration. The rear door grille is buckled and loose to one corner as per images.Sold with engraved pendulum, crank winder, and key.
South German marquetry cabinet on stand, of 'Nonsuch' type, first half 18th Century, probably Augsburg, fitted with two cupboards and fourteen drawers arranged to resemble sixteen (lowest two being double-fronted long drawers), the fronts of each inlaid with architectural capriccios and knob handles within stringing, on later ebonised stand with barley twist stretchered supports, 93cm x 41cm x 128cm high
Gilt reliquary of monstrance or ostensorium, of architectural form with crocketed trefoil-pierced pediment, over glazed quatrefoil reliquary window enclosing five glazed star-inset roundels labelled 'S. Dimphna V. M.', 'S. Adriani M.', 'S. Pancratii M.', 'S. Bernardi Ab.' and 'S. Rochi Conf.', on putto mask support and four-paw base, 51.5cm high, and two further small reliquaries, (3)
JAUME PLENSA (Barcelona, 1955)."Li", 1988.Book-sculpture.Handmade paper and copper covers.Book with 12 etchings, edition of 35 copies, plus 5 P.A. plus 5 H.C., of which this is the 32/35. of which this is the 32/35th.Publisher: Tristan Barbará. Workshop: Baleta-Vibes, Barcelona 1988.Signed and justified by hand. As well as engravings numbers III and VII.Measurements: 59,5 x 52 x 3 cm .Book-sculpture with 12 etchings by Jaume Plensa and an unpublished poem by Jesús Ferrero. It contains twenty-eight loose sheets, kept in a rigid unvarnished copper box, based on an original design by Jaume Plensa, on handmade paper. Edition of 35 copies, plus 5 P.A., plus 5 H.C., of which this is the 32nd. of which this is the 32/35th.Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in terms of both material and form, and began to use different materials such as metal waste, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.
China/Ernst Boerschmann -- Photographer: Ernst Boerschmann (1873-1949), E. Herold and unknown. Architectural photographic views and drawings/studies of China. 1910-1940. Circa 330 gelatin silver, collodion paper prints and halftone prints as well as various drawings, sketches and postcards. Various sizes between circa 5,5 x 9 cm, 17 x 13 cm (most) and 32 x 24 cm. Most annotated by Boerschmann in pencil/ ink on the verso.German architect, photographer and sinologist Ernst Boerschmann was known for his research and photographs of historical Chinese architecture. He was the first foreigner to systematically document China's ancient cultural buildings, making thousands of photographs, sketches, and architectural surveys during several trips to China in the first half of the twentieth century.In 1906, Boerschmann launched his first expedition with financial support from the German Empire. He traveled to China as a scientific advisor to the German Foreign Office, which supported his studies until the outbreak of World War I in 1914. On this trip, he documented many pagodas and temples with cameras and drawings that formed the material for his later publications. In June 1912, the first major exhibition of Boerschmann's photographic work was held at the Museum of Decorative Arts in Berlin. After World War I, he lectured on Chinese architecture in Königsberg and other German cities. From 1921 he worked in Berlin as a lecturer at the Technical University of Berlin, where he was appointed professor in 1927. The publication of three books in the 1920s, Baukunst und Landschaft, Picturesque China, and Chinesische Architektur, promoted Boerschmann's China photography, and he became known internationally as a photographer rather than a researcher. Picturesque China (1923), published in English, was to become his most successful book. In 1931, Chinese architectural expert Zhu Qiqian invited Boerschmann to join his newly formed Society for the Study of Chinese Architecture in Beijing as a corresponding member. In 1943, during World War II, his apartment was bombed and destroyed. In 1945, Boerschmann was appointed professor of sinology at Humboldt University in Berlin and later held the same position at the University of Hamburg. He died on April 30, 1949, in Bad Pyrmont, Lower Saxony.This diverse collection includes photographs, most by Boerschmann, his sketches and notes on Chinese architecture, and some personal documents, including his 1948 day calendar and a studio portrait of Boerschmann by Bann's Studio, Shanghai from 1934. The collection comes directly from the estate of Ernst Boerschmann. The only other known major group of Boerschmann's work is in the Stephan Loewentheil Collection. – Some with traces of use, most with curled edges, otherwise many in good to very good condition.Provenance: Ernst Boerschmann estate
FINE EWE TEXTILE EASTERN GHANA OR TOGO, EARLY 20TH CENTURY strip woven cloth, a graphic composition, formed of twenty strips with weft woven blocks of yellow, maroon and orange on a blue ground(190 x 127cm)Provenance: The Keir McGuinness Collection of African Textiles Note: It has long been noted that Western modernism was heavily influenced by African artistic traditions. Comparisons have often focused on Cubism’s links with African sculptural and architectural aesthetics. The wide-ranging traditions of African textiles and their influence on Western Modernism are less well known, yet no less significant. Ewe kente cloth offers complex patterns with colour and form expertly balanced to create enveloping compositions. The visual language feels familiar and can begin to recall the vivid abstract geometries of Western artists Paul Klee and Hans Hofmann. Both Klee and Hofmann were influenced by Cubism and the colour palettes of artists like Robert Delaunay and Matisse. In making these links to Western modernism the artists were in turn heavily indebted to the visual languages of African art and textiles, given that they had informed these avant-garde European movements so strongly. The varied aesthetics of African textiles continue to influence contemporary art globally. African American artist, Kehinde Wiley, draws on West African textile design in the patterned backdrops that encroach on his portraits of black sitters in an aristocratic style recalling Old Master paintings. British-Nigerian artist, Yinka Shonibare, uses the colonial legacy of Ankara fabric in his work to subvert Western art traditions and comment on globalisation and the construction of culture. Ghanaian sculptor El Anatsui creates intricate cloth-like sculptures using thousands of shards of recycled aluminium bottle caps, which give the effect of shimmering patterned textiles whilst simultaneously embodying Western commercial influence in Africa. The appeal of African textiles for contemporary artists seems to be linked to their cyclical role in global commercial trade, which can serve to reflect experiences of diaspora communities and disrupt the linear history of Western modernism.
Betty Adams (21st School). Four various watercolours, comprising architectural buildings, signed and dated 07, 27cm x 40cm, Lady shopping for hats, watercolour, 35cm x 26cm, a farming scene with sheep dog and sheep, 16cm x 32cm, and Laundry Day, oil painting, 36cm x 45cm, framed and glazed. (4)
A large and impressive painting in six sections depicting an extensive royal procession with the Sawai Maharaja Jai Singh Prabhakar, Maharajah of Alwar (reg. 1892-1937), signed by R. Sahai, the Alwar State Painter Alwar, Rajasthan, circa 1903-1909gouache and bodycolour with gold on heavy paper, signed R. SAHAI STATE PAINTER ALWAR RAJPUTANA, six separate panels forming one painting 815 x 67.3 cm.; 26 feet 8½ in. by 26½ in.(6)Footnotes:ProvenanceFormerly the Estate of George McFadden, New York, 1980s.Following in the Mughal tradition of grand royal processions this 8-meter-long panorama depicts the full complement of participants and royal carriages associated with the traditional durbar of the Maharajas of Alwar.Maharaja Jai Singh is depicted in full regalia including his trademark prominent pearl collar and triple strand pearl and emerald necklace with a large diamond pendant. The absence of the Star of India would indicate that the scene is painted after his installation at the gaddi in 1903 at the age of 21 by Lord Curzon, but before his investiture as Knight Commander of the Most Exalted Order of the Star of India in 1909. This is confirmed by the photograph captured by Bourne and Shepherd at the Coronation in Delhi in 1903 (fig. 1) showing Maharaja Jai Singh and Colonel Christopher Fagan (Assistant Political Agent and Consul to Alwar in 1901) together with four ministers from the Alwar court. The photograph reveals a remarkable likeness to the key figures of the procession. The faces of the Maharajah and the minister on the right in the photo matches the likeness of the two figures in the royal howdah. In adddition the three other ministers, with their distinctive faces and turbans can be seen on horseback following the Maharajah in the first and second row. The scale of the panorama and treatment of the prominent figures, horses, elephants, and carriages are rendered in fine detail that is clearly inspired by the celebrated artist Ghulam Ali Khan, who worked at the Alwar court for twelve years between 1840 and 1852 and completed a number of important illustrated manuscripts. A large cache of over 30 unrecorded paintings of his work are preserved in the Alwar State Museum and it is most likely that the 'state artists, R. Sahai' drew upon them for inspiration. This is particularly evident in the finer details of the principal figures, the interior of the Rath carriage, and the lanterns attached to the tusks of the Maharajah's elephant. Comparison can be made with a superb large scale architectural study of the white marble and red sandstone cenotaph of Raja Bakhtawar Singh at Alwar (see William Dalrymple and Yuthika Sharma, Princes and Painters in Mughal Delhi, 1707-1857, New York 2012, p. 48, fig. 11.) Other than the present lot there seems to be scant representation of Maharajah Jai Singh in painting. Even the artist, R. Sahai, has almost no other recorded works published or referenced. However, he, like many artists in the employ of Maharajahs in the early 20th century was quick to embrace the new medium of photography and create a hybrid style that allowed for a combination of fine detail on a scale that had been previously reserved for wall murals.The procession travels from the Maharajah's residence of Moti Doongri, shown in the second panel high on the hills as a white colonnaded edifice, and finishes at the city palace in the centre of town barely visible behind the grove of trees in the fourth panel. The artist has chosen to show the troops heading in the opposite direction to present the full extent of the procession, as well as highlighting the multiple buildings in the azure hills and verdant plains of Alwar. Barely discernible in the second panel from the left is a simple miniaturized procession in the foreground, which may have been added to illustrate the traditional route.The procession is led by the standard bearers mounted on three elephants holding the coat of arms and Alwar state flags. Then follows mounted infantry on camels and horses with cannons; three lines of four elephants led by musicians, ordinary mahouts and the small royal howdah; unmounted favoured horses of the court; horse-drawn royal howdahs; two royal sedans; regular infantry in blue and red coats; infantry bands; lancers; court attendants in purple tunics; Maharajah Jai Singh and his entourage; mounted dignitaries and ministers; royal elephant carriage (rath) and the horse-drawn Lanchester carriage with attendants; mounted lancers and rearguard with the state flag.A photograph recording a visit to Alwar in 1897 by Lord Elgin, the Viceroy, (fig. 2), shows the same celebrated rath double-decker state elephant carriage transporting a large group of Europeans with Jai Singh's father, Maharaja Mangal Singh Prabhakar. It is shown in the procession decorated in the same manner with skirting around the wheels and long embroidered cloths over the elephants with identical patterns. An album of photographs from December 1919 by Vernon & Co captured the wedding of Maharaja Jai Singh with many prominent dignitaries from other states in attendance. One image in particular shows him being transported in the same elaborate gold-plated repousse palanquin with rampant lions at the sides and the state coat of arms on the front panel (see Bonhams, 9th April 2008, lot 162).Additionally, recently restored film footage from 1938 entitled 'Indian Darbar' the procession by Jai Singh's successor, Maharaja Tej Singh, captured the scene in colour and shows the full troop in identical garb and the elephants with the same textiles. The narrator suggests that the procession to the Durbar occurred three times a year.The imposing hills in the background shows the various royal palaces, forts and hunting lodges, and the city of Alwar nestled behind the trees. R. Sahai incorporated the key architectural features of the region including the Bala Qila, the ancient fort set along a steep cliff and the Purjan Vihar, the densely walled garden before the city. The Moti Doongri or Lansdowne Palace, reputedly inspired by Scottish castles, which remains intact in this processional scene, was later demolished by Jai Singhe in favour of a even grander palace which in fact failed to materialize.Despite being highly regarded for his scholarship and a superb orator, salacious stories abound regarding Maharaja Jai Singh's decedent lifestyle and his love for motorcars. The infamous story of him using a fleet of six Rolls Royces for garbage collection around the city of Alwar after being insulted by the staff of the car marker's London showroom, seem to fit his flair for the outrageous. His love for hunting also involved motor cars, and he had a dozen long-wheelbase Hispano-Suizas modified with spotlights and revolving shooting chairs. Sadly, his pursuits of his person interests did not match his stewardship of state affairs. He emptied the state coffers on shikars (hunting expeditions) and on palaces, many of which he never occupied or even visited. As a result, he had to impose heavy taxes on his people to repay the loans that led to multiple agrarian uprisings and dented his popularity. Since he was unable to pay his taxes, the British Political Department installed F. V. Wylie as Prime Minister, removing Jai Singh's control of the treasury, that eventually lead to the Maharajah being forced into exile in 1933. He died in Paris in 1937 and his body was returned to Alwar for a subdued state funeral.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
Charles R. Gerrard ARA (British, b. 1892) The Delhi Gate, Delhioil on board, signed C. Gerrard lower right 51 x 61 cm.Footnotes:The Delhi Gate depicted by Gerrard in this painting was built in the 17th Century, comprising one of fourteen such gates built by Shah Jahan within his city walls, having moved his capital from Agra (the city's original name was Shahjahanabad, after its founder). The Delhi Gate stands at the entrance of Daryagani, linking New Delhi city with the old walled city.C. R. Gerrard was Principal of the Sir J. J. School of Art in Bombay from 1936 to 1946, introducing a keen personal observation of 1930s modernist developments in British and European painting, sculpture, graphic design and architecture. He was assisted in this by exiles from the Nazi regime such as Walter Langhammer and Rudi van Leyden, who with Gerrard directed at the School, invigorated the Bombay Art Society and encouraged modernist and art deco European design amongst local architectural practices and in commercial printing. Despite the pupils' necessarily local origins and inability to travel during the war, Gerrard encouraged groupings of pupils to adopt this eye on Western developments.In 1941 a group referred to as the 'Young Turks' held a show featuring the work of P. T. Reddy, M. Y. Kulkarni, A. A. Majeed, C. Baptista and M. Bhople, artists who regarded themselves as being in modernist opposition to the more Victorian and Edwardian style of Dhurandhar, Haldankar, and Trindade. But more notably in the history of modern Indian art the less tentative group known as the Bombay Progressives emerged. This consisted of Francis Newton Souza (whom, however, Gerrard was forced to expel from the School for his connections with the pro-independence movement), H. A. Gade, S. H. Raza, S. K. Bakre, K. H. Ara and M. F. Husain. Some of Gerrard's pupils retained close ties with Bombay (e.g. K. K. Hebbar and Tyeb Mehta) while others, like Souza and Raza, under his influence embarked for Britain and Europe after the war.Gerrard brought the J. J. to maturity: under enlightened predecessors such as Lockwood Kipling, Solomon Gladstone, Cecil Burns and M. V. Dhurandhar a beaux-arts and arts and crafts traditionality had understandably persisted, but with Gerrard the J. J. became modernist.For discussion of Gerrard and his work, his influence on Bakre and others, and the Bombay art scene at this time, see Y. Dalmia, The Making of Modern Indian Art: the Progressives, New Delhi 2001, pp. 27-28, 189, 240-241; and N. Tuli, The Flamed Mosaic: Indian Contemporary Painting, 1997, pp. 196, 200.For further information on this lot please visit Bonhams.com
Architectural HistoryRichardson & Eberlein"The Smaller English House of the Later Renaissance 1660-1830"MacCurdy, Edward (ed)"The Notebooks of Leonardo Da Vinci", 2 vols, djsJones, Barbara"Follies and Grottos", Constable, djEnglish Insigns, The City of Cambridge parts 1 & 2, Her Majesty's Stationery Office 1959, djsLawrence, Dull"The Greek Islands"LTC Rolt"Horseless Carriage"Anthony Trollope "Hunting Sketches", illustrated by Lionel Edwards and assorted related volumes (2 boxes)
Piper, John "Buildings and Prospects", The Architectural Press 1948, numerous photographic and other illustrations throughout, illustrated tps, fawn-coloured cloth with red titles, dj not price clipped, slight loss to the top of the backstrip and a letter signed John Betjeman to Mr Evans dated 11th October 1949 discussing 'The Mercury' and Alan Thomas' review ... of John Piper's Buildings and Prospects "I am sending Mercury onto him - he will I know be as delighted as I am with such encouraging appreciation ..."
Triggs, H Inigo and Tanner, Henry"Some Architectural Works of Inigo Jones ...", published by Batsford 1901, numerous plates, photographic illustrations, drawings, frontis with tissue guard, light inscription in pencil dated 1903 on half-title, elephant folio with black cloth, gilt titles and decorations, all a bit bumped and rubbed but text and plates clean, possibly rebacked Stratton, Arthur"The Engish Interior, a Review of the Decoration of English Homes and Tudor Times to the 19th Century", Batsford (1920), numerous photographic plates, illustrations throughout the text, blue cloth with a buckram backstrip, gilt titles, backstrip chipped and splitting at the top"The Smaller House ... being selected examples of the latest practise in modern English domestic architecture", The Architectural Press 1924, architectural business stamp on tp, numerous photographic illustrations, diagrams, plans, etc, brown cloth all rather bumped and worn"Sir Christopher Wren, Bicentenary Memorial Volume published under the auspices of the Royal Institute of British Architects", Hodder & Stoughton 1923, colour frontis with tissue guard, numerous plates with architectural drawings, plans, etc, pictorial ep showing a letter from Sir Christopher Wren, blue cloth, gilt armorial crest to front board and gilt titles"Sir Christopher Wren 1632-1723" with contributions by Paul Waterhouse, Reginald Blomfield, etc, The Architectural Press 1923, photographic illustrations, small folio, gilt titles to front boardHarris, Eileen "The Genius of Robert Adam, his Interiors", published for The Paul Mellon Centre for Studies in British Art by The Yale University Press 2001, numerous colour and other illustrations throughtout the text, pictural ep, tan coloured cloth, djClifford Smith, H "Buckingham Palace ...", Country Life Limited 1931, photographic illustrations and others throughout text, blue cloth, gilt titles, dj, bookshop label stuck on ffep not price clippedWatkin, David"Sir John Soane ...", Cambridge University Press 1996, black cloth, gilt title on pastedown to backstrip, dj Harris, John and Snodin, Michael (ed)"Sir William Chambers Architect George III", Yale University Press in association with a Courthold Institute of Art 1996, illustrated throughout, pictorial ep, dark green cloth and dj, in slip caseColvin, Howard"A Biographical Dictionary of British Architects 1600-1840", 3rd edition, Yale University Press 1995, maroon cloth, dj (10)
Eustace, Rev John Chetwode "A Classical Tour Through Italy AD MDCCC II", in 4 vols, Leghorn, printed and sold by Glaucus Masi 1818, 3 folding plates to include Pompeii, architectural plans of churches, a library plate inside front board of each vol, Coll. Sti. Stanislai Beaumont, marbled ep, contemporary full-leather, all rather damaged and with damp, gilt decorations, all edges marble (4)
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