Barcelona is a vibrant and culturally rich city located in northeastern Spain, on the Mediterranean coast. It is the capital of the Catalonia region and is known for its unique blend of history, art, architecture, cuisine, and lively street life. Here are some key points about Barcelona:1. **Gaudi's Architectural Masterpieces**: Barcelona is renowned for its architectural treasures designed by the famous Catalan architect Antoni Gaudí. Some of his most iconic works include the Sagrada Família (an unfinished basilica), Park Güell (a colorful park with whimsical sculptures), and Casa Batlló (a modernist residential building).2. **La Rambla**: This bustling pedestrian street in the heart of the city is known for its lively atmosphere, street performers, shops, restaurants, and the famous La Boqueria market.3. **Gothic Quarter**: Barcelona's historic Gothic Quarter is a maze of narrow streets, squares, and medieval buildings. It houses the Barcelona Cathedral, the Picasso Museum, and the Plaça Reial, among other attractions.4. **Catalan Cuisine**: Barcelona is a food lover's paradise, offering a wide range of Catalan dishes and seafood specialties. Be sure to try paella, tapas, and crema catalana (a dessert similar to crème brûlée).5. **Art and Museums**: The city is home to several world-class museums, including the Picasso Museum, the Joan Miró Foundation, and the National Art Museum of Catalonia (MNAC).6. **Beaches**: Barcelona has several beautiful urban beaches along its coastline, including Barceloneta Beach and Bogatell Beach, where you can relax and swim.7. **Montjuïc**: This hill overlooking the city is home to attractions like Montjuïc Castle, the Magic Fountain, and the Montjuïc Olympic Stadium, which was used during the 1992 Summer Olympics.8. **Music and Nightlife**: Barcelona has a vibrant nightlife scene with numerous bars, clubs, and music venues. The Razzmatazz nightclub is especially popular.9. **Cultural Festivals**: The city hosts a variety of festivals and cultural events throughout the year, including the La Mercè festival and the Sant Jordi festival.10. **Modernisme**: Aside from Gaudí's work, Barcelona is known for its modernist architecture, with buildings like the Casa Amatller and the Casa Lleó Morera contributing to the city's unique architectural character.11. **Public Transportation**: Barcelona has an efficient public transportation system, including buses, trams, and the Barcelona Metro, making it easy to explore the city.12. **Football**: FC Barcelona, one of the world's most famous football (soccer) clubs, plays its home games at Camp Nou. Attending a match is a thrilling experience for sports enthusiasts.13. **Shopping**: The city offers a range of shopping experiences, from high-end boutiques along Passeig de Gràcia to traditional markets like Mercat de Sant Josep de la Boqueria.14. **Language**: While Spanish is the official language, Catalan is also widely spoken in Barcelona. Many residents are bilingual in both languages.15. **Safety**: Barcelona is considered a safe city for tourists, but like any major urban area, it's advisable to take standard precautions against pickpocketing and petty theft.Barcelona's combination of historic charm, architectural wonders, lively street culture, and beautiful beaches makes it a captivating destination for travelers. Whether you're exploring its historic neighborhoods, savoring its cuisine, or admiring its art and architecture, Barcelona offers a rich and diverse experience.Mounted to linen.Measures 33 x 24.
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Ellsworth Kelly (1923-2015) was an American painter, sculptor, and printmaker. He was known for his minimalist and abstract art, often characterized by bold shapes, vibrant colors, and precise geometric forms. Kelly was born on May 31, 1923, in Newburgh, New York. He served in the U.S. Army during World War II and afterward studied art in Boston and Paris. During his time in France, he was exposed to European modernism, which greatly influenced his artistic style. In the 1950s, Kelly emerged as a prominent figure in the art world, associated with the abstract expressionist and minimalist movements. He developed a distinctive style that emphasized the pure form, color, and space. Kelly's work often featured simple shapes like squares, rectangles, circles, and curves, arranged in a way that explored the interplay between positive and negative space. Throughout his career, Kelly created various series of works, including paintings, sculptures, drawings, and prints. He produced large-scale installations as well, often integrated with architectural spaces. Some of his most famous works include "Colors for a Large Wall" (1951), "Spectrum I" (1953), and "Austin" (1985-1998), a monumental building featuring colored glass windows and stone panels. Ellsworth Kelly's art has been exhibited extensively in major museums and galleries around the world. His contributions to abstract art and minimalism have had a significant impact on the development of contemporary art. His work is celebrated for its simplicity, precision, and vibrant use of color. Kelly passed away on December 27, 2015, in Spencertown, New York, leaving behind a remarkable artistic legacy. Measures 6.01 x 9 Verso is blank.Mounted to archival quality paper.
Ellsworth Kelly (1923-2015) was an American painter, sculptor, and printmaker. He was known for his minimalist and abstract art, often characterized by bold shapes, vibrant colors, and precise geometric forms. Kelly was born on May 31, 1923, in Newburgh, New York. He served in the U.S. Army during World War II and afterward studied art in Boston and Paris. During his time in France, he was exposed to European modernism, which greatly influenced his artistic style. In the 1950s, Kelly emerged as a prominent figure in the art world, associated with the abstract expressionist and minimalist movements. He developed a distinctive style that emphasized the pure form, color, and space. Kelly's work often featured simple shapes like squares, rectangles, circles, and curves, arranged in a way that explored the interplay between positive and negative space. Throughout his career, Kelly created various series of works, including paintings, sculptures, drawings, and prints. He produced large-scale installations as well, often integrated with architectural spaces. Some of his most famous works include "Colors for a Large Wall" (1951), "Spectrum I" (1953), and "Austin" (1985-1998), a monumental building featuring colored glass windows and stone panels. Ellsworth Kelly's art has been exhibited extensively in major museums and galleries around the world. His contributions to abstract art and minimalism have had a significant impact on the development of contemporary art. His work is celebrated for its simplicity, precision, and vibrant use of color. Kelly passed away on December 27, 2015, in Spencertown, New York, leaving behind a remarkable artistic legacy. Measures 5.76 x 8.98 Verso is blank.Mounted to archival quality paper.
Frank Lloyd Wright (June 8, 1867 – April 9, 1959) was one of the most influential American architects of the 20th century and a key figure in the development of modern architecture. Here are some key points about Frank Lloyd Wright and his architectural contributions:1. **Early Life and Education**: Frank Lloyd Wright was born in Richland Center, Wisconsin, and grew up in a family of Welsh and English descent. He showed an early interest in architecture and eventually studied civil engineering at the University of Wisconsin-Madison.2. **Apprenticeship with Louis Sullivan**: Wright's career in architecture began with an apprenticeship under the renowned architect Louis Sullivan in Chicago. Sullivan's design principles, particularly the idea that "form follows function," had a lasting influence on Wright's work.3. **Prairie School**: Wright is closely associated with the Prairie School, a regional architectural movement that emphasized horizontal lines, flat or hipped roofs with overhanging eaves, and integration with the natural environment. His Prairie-style houses, including the Robie House in Chicago, are iconic examples of this architectural style.4. **Organic Architecture**: Wright is known for his concept of "organic architecture," which aimed to harmonize human habitation with the natural world. He believed that buildings should be designed to work in harmony with their surroundings, reflecting the principles of nature.5. **Fallingwater**: One of Wright's most famous and iconic designs is Fallingwater (also known as the Kaufmann Residence), a house built over a waterfall in rural Pennsylvania. It is considered a masterpiece of 20th-century architecture and a prime example of Wright's organic design philosophy.6. **Taliesin**: Wright designed and built his home, studio, and school called Taliesin in Spring Green, Wisconsin. It became a hub for his architectural work and experimentation and continues to serve as the Frank Lloyd Wright School of Architecture.7. **Usonian Houses**: Wright developed the concept of Usonian houses, which were designed to be affordable, efficient, and easily adaptable to various family sizes and needs. These houses often featured open floor plans, flat roofs, and innovative building techniques.8. **Guggenheim Museum**: Wright's design for the Solomon R. Guggenheim Museum in New York City is one of his most famous works. The building's spiral design was groundbreaking and continues to be celebrated for its unique approach to museum architecture.9. **Legacy**: Frank Lloyd Wright's influence on architecture and design is immeasurable. His innovative ideas, use of new materials and technologies, and commitment to blending architecture with the natural environment have left a profound impact on the field.10. **Personal Life**: Wright's personal life was marked by controversies, including tumultuous relationships and financial challenges. However, his architectural genius and contributions to the field have endured.Frank Lloyd Wright's architectural vision and commitment to pushing the boundaries of design have made him a lasting and influential figure in the world of architecture. His work continues to inspire architects and designers, and his legacy remains a vital part of American architectural history.Measures 12 x 12.
Bauhaus refers to a renowned art school that operated in Germany between 1919 and 1933. It was founded by architect Walter Gropius in Weimar and later moved to Dessau and Berlin. The school's name, Bauhaus, translates to "building house" in English, reflecting its focus on the integration of art, craftsmanship, and technology in architectural and industrial design.The Bauhaus had a profound impact on modern art, design, and architecture. Its approach emphasized functionalism, simplicity, and the idea of merging art with everyday life. The school sought to break down the barriers between different artistic disciplines, combining fine arts, crafts, and technology.The curriculum at the Bauhaus was comprehensive and included courses in areas such as painting, sculpture, architecture, typography, graphic design, industrial design, and theater. Prominent artists and designers, including Wassily Kandinsky, Paul Klee, László Moholy-Nagy, and Marcel Breuer, taught at the school.The Bauhaus also had a significant influence on architectural design, promoting principles such as the use of clean lines, open floor plans, and the integration of technology and industrial materials. Many iconic pieces of furniture and household objects associated with the modernist movement were designed at the Bauhaus.Despite its relatively short existence, the Bauhaus had a lasting impact on design and aesthetics. Its ideas and principles spread internationally, influencing subsequent generations of artists, architects, and designers. The legacy of the Bauhaus can still be seen in contemporary design, particularly in the areas of modernist architecture and functionalist industrial design.Measures 23.6 x 31.4.
Ellsworth Kelly (1923-2015) was an American painter, sculptor, and printmaker. He was known for his minimalist and abstract art, often characterized by bold shapes, vibrant colors, and precise geometric forms. Kelly was born on May 31, 1923, in Newburgh, New York. He served in the U.S. Army during World War II and afterward studied art in Boston and Paris. During his time in France, he was exposed to European modernism, which greatly influenced his artistic style. In the 1950s, Kelly emerged as a prominent figure in the art world, associated with the abstract expressionist and minimalist movements. He developed a distinctive style that emphasized the pure form, color, and space. Kelly's work often featured simple shapes like squares, rectangles, circles, and curves, arranged in a way that explored the interplay between positive and negative space. Throughout his career, Kelly created various series of works, including paintings, sculptures, drawings, and prints. He produced large-scale installations as well, often integrated with architectural spaces. Some of his most famous works include "Colors for a Large Wall" (1951), "Spectrum I" (1953), and "Austin" (1985-1998), a monumental building featuring colored glass windows and stone panels. Ellsworth Kelly's art has been exhibited extensively in major museums and galleries around the world. His contributions to abstract art and minimalism have had a significant impact on the development of contemporary art. His work is celebrated for its simplicity, precision, and vibrant use of color. Kelly passed away on December 27, 2015, in Spencertown, New York, leaving behind a remarkable artistic legacy. Measures 6 x 9 Verso is blank.Mounted to archival quality paper.
Frank Lloyd Wright (June 8, 1867 – April 9, 1959) was one of the most influential American architects of the 20th century and a key figure in the development of modern architecture. Here are some key points about Frank Lloyd Wright and his architectural contributions:1. **Early Life and Education**: Frank Lloyd Wright was born in Richland Center, Wisconsin, and grew up in a family of Welsh and English descent. He showed an early interest in architecture and eventually studied civil engineering at the University of Wisconsin-Madison.2. **Apprenticeship with Louis Sullivan**: Wright's career in architecture began with an apprenticeship under the renowned architect Louis Sullivan in Chicago. Sullivan's design principles, particularly the idea that "form follows function," had a lasting influence on Wright's work.3. **Prairie School**: Wright is closely associated with the Prairie School, a regional architectural movement that emphasized horizontal lines, flat or hipped roofs with overhanging eaves, and integration with the natural environment. His Prairie-style houses, including the Robie House in Chicago, are iconic examples of this architectural style.4. **Organic Architecture**: Wright is known for his concept of "organic architecture," which aimed to harmonize human habitation with the natural world. He believed that buildings should be designed to work in harmony with their surroundings, reflecting the principles of nature.5. **Fallingwater**: One of Wright's most famous and iconic designs is Fallingwater (also known as the Kaufmann Residence), a house built over a waterfall in rural Pennsylvania. It is considered a masterpiece of 20th-century architecture and a prime example of Wright's organic design philosophy.6. **Taliesin**: Wright designed and built his home, studio, and school called Taliesin in Spring Green, Wisconsin. It became a hub for his architectural work and experimentation and continues to serve as the Frank Lloyd Wright School of Architecture.7. **Usonian Houses**: Wright developed the concept of Usonian houses, which were designed to be affordable, efficient, and easily adaptable to various family sizes and needs. These houses often featured open floor plans, flat roofs, and innovative building techniques.8. **Guggenheim Museum**: Wright's design for the Solomon R. Guggenheim Museum in New York City is one of his most famous works. The building's spiral design was groundbreaking and continues to be celebrated for its unique approach to museum architecture.9. **Legacy**: Frank Lloyd Wright's influence on architecture and design is immeasurable. His innovative ideas, use of new materials and technologies, and commitment to blending architecture with the natural environment have left a profound impact on the field.10. **Personal Life**: Wright's personal life was marked by controversies, including tumultuous relationships and financial challenges. However, his architectural genius and contributions to the field have endured.Frank Lloyd Wright's architectural vision and commitment to pushing the boundaries of design have made him a lasting and influential figure in the world of architecture. His work continues to inspire architects and designers, and his legacy remains a vital part of American architectural history.Measures 3.5 x 7.5 x 0.5.
Ellsworth Kelly (1923-2015) was an American painter, sculptor, and printmaker. He was known for his minimalist and abstract art, often characterized by bold shapes, vibrant colors, and precise geometric forms. Kelly was born on May 31, 1923, in Newburgh, New York. He served in the U.S. Army during World War II and afterward studied art in Boston and Paris. During his time in France, he was exposed to European modernism, which greatly influenced his artistic style. In the 1950s, Kelly emerged as a prominent figure in the art world, associated with the abstract expressionist and minimalist movements. He developed a distinctive style that emphasized the pure form, color, and space. Kelly's work often featured simple shapes like squares, rectangles, circles, and curves, arranged in a way that explored the interplay between positive and negative space. Throughout his career, Kelly created various series of works, including paintings, sculptures, drawings, and prints. He produced large-scale installations as well, often integrated with architectural spaces. Some of his most famous works include "Colors for a Large Wall" (1951), "Spectrum I" (1953), and "Austin" (1985-1998), a monumental building featuring colored glass windows and stone panels. Ellsworth Kelly's art has been exhibited extensively in major museums and galleries around the world. His contributions to abstract art and minimalism have had a significant impact on the development of contemporary art. His work is celebrated for its simplicity, precision, and vibrant use of color. Kelly passed away on December 27, 2015, in Spencertown, New York, leaving behind a remarkable artistic legacy. Measures 6.01 x 9 Verso is blank.Mounted to archival quality paper.
Berenice Abbott (1898-1991) was an American photographer known for her significant contributions to 20th-century photography. She played a pivotal role in documenting urban life and architecture, particularly in New York City, and her work has had a lasting impact on the fields of documentary and architectural photography.Here are some key points about Berenice Abbott and her photography:1. **Early Life and Education**: Berenice Abbott was born in Springfield, Ohio, and showed an early interest in the arts. She initially pursued a degree in journalism at Ohio State University but later moved to New York City to study sculpture and drawing.2. **Man Ray's Studio**: In the 1920s, Abbott worked as an assistant to the renowned photographer Man Ray in Paris. This experience exposed her to the world of photography and its creative possibilities.3. **Changing New York**: Abbott's most famous project is "Changing New York," a series of photographs she began in the late 1920s and continued into the 1930s. This extensive documentation of New York City's architecture and urban life captured the city's transformation during a period of rapid growth and modernization.4. **Architectural Photography**: Abbott's architectural photographs are noted for their precision and clarity. She used large-format cameras and careful composition to convey the character and structure of buildings. Her work often emphasized the interplay of light and shadow in urban environments.5. **Science Photography**: Abbott also had an interest in scientific photography. She worked with scientists such as physicist Harold Edgerton and captured striking images of scientific experiments and phenomena.6. **Exhibitions and Publications**: Abbott's photographs have been exhibited in museums and galleries around the world. She published several books, including "Changing New York" and "Berenice Abbott: Photographs," which showcased her work.7. **Legacy**: Berenice Abbott's contribution to the documentation of urban life and architecture remains highly regarded. Her photographs of New York City are considered iconic and invaluable records of the city's history and transformation.8. **Later Life**: Abbott continued to work in photography and teach throughout her life. In her later years, she focused on scientific and educational projects, including her "Illustrated Guide to Biological Anthropology" (1971).Berenice Abbott's work is celebrated for its technical excellence, artistic vision, and its role in preserving the visual history of New York City during a period of immense change. Her photographs continue to be studied, exhibited, and appreciated for their enduring significance in the world of photography and urban history.Measures 22 x 28.
A Pair of Gilt Metal Five-Light Candelabra, in Louis XIV style, with leaf sheathed scroll branches and urn shaped sockets, on a twin-handled vase stem and architectural base cast with scrolls and shellwork 63cm highThis lot has been imported from outside the United Kingdom under the Temporary Admission scheme. VAT will be charged at 5% on the hammer price and 20% on the buyer's premium.
ASSORTED MIRRORS, including white painted architectural mirror, 138h x 105cms w, gilt triple-plate over-mantel mirror, 78h x 128cms w, Art Deco style arched mirror, 90h x 53cms w, and small japaned circular mirror, 25cms (4)Provenance: collection of the Late Dai Evans, former Director of Picton Castle and former curator of Petworth House
British Car Factories from 1896, by Paul Collins & Michael Stratton. A 1st ed hardback (11" x 8") in dust jacket of this Complete Historical, Geographical, Architectural & Technological Survey, researched within the Ironbridge Institute, published by Veloce, 1993. The book catalogues 240 factories which produced 220 makes of car in 44 different British counties, towns and cities. 269 very well illustrated pages.
Victorian Gothic Double Fusee Bracket Clock by Wilson & Fairbank, Bradford Victorian Gothic oak bracket clock by Wilson & Fairbank, Bradford, double fusee 8-day movement striking on a single bell with repeater, shaped white painted metal dial with Roman numerals, the case of architectural form with a carved pediment flanked by spires, lion mask ring handles to each side, plinth base raised on bun feet25cm wide, 16cm deep, 45cm high
Attributed to George Housman THOMAS (1824-1868) The 1863 wedding dress worn by Princess Alexandra, Princess of Wales, watercolour sketch, to verso a letter from the Lord Chamberlain's Office to Derek Sherborn (architectural conservationist) dated 1975 from Sir Oliver Millar 1972–1988 34.5x48cm
Architecture and design SMIRKE (Sydney) Illustrations of the Architectural Ornaments and Embellishments and Painted Glass of the Temple Church, London. John Weale 1845, 4to, coloured frontis and plates, age toning, half morocco, edges rubbed; WHITE (John) Rural Architecture: A Series of Designs for Ornamental Cottages and Villas. Glasgow: Blackie & Son 1856, folio, 84 plates, contents uniformly toned, repaired half green morocco; BIRCH (J) Examples of Labourers' Cottages, 1871, 8vo, lacks first free end paper, light foxing, cloth (3)
County and church history, architecture etc. HILL (John Harwood) The History of Market Harborough, 1875, folio, added title, plates, modern quarter morocco; Architectural Notices on the Churches of the Archdeaconary of Northampton, 1849, 8vo, plates, bookplate of John Murray, morocco gilt; MARKHAM (C A) The Church Plate of the County of Northampton, 57/200 small paper copies, modern quarter morocco; REYNOLDS (H E) Wells Cathedral; its Foundation, Constitutional History and Statutes. Leeds, circa 1890, folio, plates, half morocco, spine gilt; PAUL (R W) Incised and Sepulchral Slabs of North-West Somersetshire, 1882, folio, plates, publisher's cloth; 6 others (11)
CHARLES GIFFORD DYER (AMERICAN 1845 - 1911), VENICE 1867 oil on board, signed, titled and datedframed image size 17cm x 31cm, overall size 35cm x 49cm Note: Charles Gifford Dyer was an American painter, known mostly for his architectural scenes of Venice and Greece. He and his wife, Mary Anthony Dyer, were part of an expatriate community of American artists which included their friend, John Singer Sargent who painted a portrait of her during one of their visits to Venice; now in the collection of the Art Institure of Chicago. Their daughter, Stella, was a piano prodigy but at the age of seven she moved to the violin and performed throughout Europe as a young woman. He was an art professor in Munich at the time of his death. His cremated remains were returned to America and interred in the Dyer family plot at the Oakwood cemetry in Chicago, Illinois. A series of thirty paintings of the ruins of Greece, commissioned by J. Pierpoint Morgan were left uncompleted.
ALEXANDER NASMYTH (SCOTTISH 1758 - 1840), ITALIAN LANDSCAPE AT DUSK oil on canvas, signedframedimage size 68cm x 96cm, overall size 92cm x 119cm Provenance: Private German Country House Collection. Christies, Glasgow stencil mark and label verso.Note: By the 1800s Alexander Nasmyth's skill as a landscape painter was such that he was confident working on an ambitious scale, yet due to the numerous demands on his time relatively few pictures survive from this period. Between 1790 and 1810 he was remarkably industrious: in addition to supporting his large young family, he was setting up an art school where he taught classes and was also working on an ever-expanding portfolio of theatrical, engineering and landscape design projects. Nasmyth came from a line of architect-builders, and as a youth had been trained to take over the family business by his father but opted to pursue painting instead. It was not until later in life that he began to take on architectural and landscape-design commissions, embodying the Italian ideal of the architetto-pittore. James Nasmyth wrote: ‘My father was much employed in assisting the noblemen and landed gentry in improving the landscape appearance of their estates, especially when seen from their mansion windows. His fine taste, and his love of natural scenery gave him great advantages in this respect… he designed alterations of the old buildings so as to preserve their romantic features, and at the same time to fit them for all the requirements of modern domestic life.’ (ed. S. Smiles James Nasmyth, Engineer: An Autobiography,London, 1883, pp.36-37)
BERNARD MYERS (BRITISH 1925-2007) Bernard Myers (Lots 98-123) IntroductionTrained as a gunner in the RAF during the Second World War, Bernard Myers studied at St Martin’s School of Art (1947-49) and Camberwell (1949-51) before studying painting at the Royal College of Art in 1951. Fellow students included John Bratby and Jack Smith, Frank Auerbach and Leon Kossoff. After graduating ARCA in 1954, Myers taught, variously at Camberwell, Hammersmith and Ealing art schools, and was senior lecturer in drawing at the Architectural Association School. At the AAS he was talent-spotted to return to the RCA, where he spent the following two decades, punctuated in 1968 and 1971 by stints as Visiting Professor at the Indian Institute of technology, New Delhi. His final teaching post was as Chair of Design Technology at Brunel University (1979-85). At the RCA students such as James Dyson treasured Myers’ good advice, remembering him as ‘cheerful, irrepressible [and] rather dapper… with a tweed suit and bowtie…’ But as well as being upbeat Myers was also appreciated for his considerable range of mind and intellect. On being made a fellow of the RCA, in his welcome speech the Dean noted that Myers ‘…must without doubt be the most versatile graduate ever to emerge from the Painting School. Since joining the College in 1961 he has been, by virtue of an encyclopaedic knowledge which comfortably bestrides the boundaries between the humane and the technological, and of his superlative gifts as a teacher, in demand by virtually every School and Department within the College…’ The plus side for Myers was that teaching left him free to practise his own art exactly as he wished. As he noted: ‘Some artists find that teaching interferes with their work. I find it clarifies my work.’ Indeed, he had an unstoppable compulsion to paint, incessantly exploring a wide range of subject matter, in particular the landscapes he encountered on his varied travels, the still-lifes he returned to again and again in his studio, the nudes he painted in weekly life-classes, and his not infrequent forays into abstraction, precipitated in part by his fascination with space. He married Pamela Fildes, granddaughter of the painter Sir Luke Fildes in the early 1950s (lot 98); they lived first in Windsor and then in Kensington before moving in 1974 into one of the studios overlooking the Thames at St Peter’s Wharf, purpose built by Julian Trevelyan, next to Hammersmith Terrace (lots 121-123). He had several one-man shows in the West End, the first at the New Art Centre in 1969; his last with Austin Desmond Fine Art in 1991. He wrote two books on Goya, others on the history of sculpture and How to Look at Art, and co-edited The Macmillan Encyclopedia of Art’ (1979). He also penned articles for the magazines in The Artist (May 1988) on his highly original approach to pastel (lots 110, 111, 113-117), and in Artists and Illustrators (1995) on his Venice views (lots 118 & 119).BERNARD MYERS (BRITISH 1925-2007)MISS PAMELA FILDESsigned, titled and dated on reverse Bernard Myers / Miss Pamela Fildes / 1955-6oil on canvas122 x 91.5cm; 48 x 36in(unframed)Pamela Fildes was the granddaughter of the painter Sir Luke Fildes RA (1843-1927). She married Bernard Myers shortly after she sat for the present painting. With the studio inventory number 0244 on the reverseARR may apply
LESLIE MARR (BRITISH 1922-2021) Leslie Marr (lots 66-75) Introduction Leslie Marr, born in Durham into a family of engineers and shipbuilders, studied Engineering at Cambridge. But while serving with the RAF in the Middle East during the Second World War discovered a burning inclination to paint. Short on supplies he procured some brushes and paint and purportedly used his kit bag as canvas to depict the landscape around him. On his return to London he enrolled in art school in Pimlico. Uninspired by the conventional approach the school offered, however, a chance encounter with David Bomberg’s stepdaughter, Dinora Mendelsohn, led Marr to seek the more vivacious and anything but ‘run-of-the-mill’ teaching style that Bomberg espoused at Borough Polytechnic in South London. Bomberg’s innovative non-academic approach to painting centred around discovering what he called ‘the spirit of the mass’. It was a method that had been fuelled by his pre-War painting expeditions to far flung and isolated destinations: the rugged landscapes of Palestine, the volcanic gorges of Ronda in Spain, and the mountains of Cyprus. And his ideas had a profound influence on a number of his students, Leon Kossoff (1926-2019) and Frank Auerbach (b.1931) amongst them, as well as Marr himself. Bomberg’s non-conventional style spawned The Borough Group, founded in 1946 by Cliff Holden (1926 -2020). Among its members were Bomberg himself, his wife Lillian Holt (1898-1983), Dinora Mendelson (1924-2010), Dorothy Mead (1928-1975), Edna Mann (1926-1985), Miles Peter Richmond (1922-2008), Dennis Creffield (1931-2018) and Marr. After marrying in 1946, Marr and Dinora travelled to Cyprus with Bomberg. Painting there together Marr’s work flourished, and he would later describe his time in Greece as the point at which he achieved the ‘enlightened’ state. But with the break-up of the Group in 1950 Marr turned to other interests, including as a photographer, film maker and Formula 1 driver before returning to painting after Bomberg’s death in 1957. Re-connecting with Bomberg’s original approach, Marr travelled far and wide to seek out wild and isolated landscapes – as far afield as New Zealand - and used extreme contrasts and thrusting diagonals to depict untamed Nature. In the present sale these landscapes include Stiper Stones, Shropshire (lot 67); Scotland (lots 73 & 74) and Exmoor, Devon (lots 68 & 70) where he lived for a number of years. But Bomberg’s nervous energy can equally be seen in Marr’s charcoal of Venice (lot 69), which combines a massing of architectural elements with an unnerving air of instability. A later influence in Marr’s work was Chaim Soutine, as evident in the two still-lifes in the sale (lots 72 & 75).LESLIE MARR (BRITISH 1922-2021)RECLINING NUDEsigned Marr lower left; dated 19 Nov.'71 lower rightwatercolour55 x 75cm; 21 1/2 x 29 1/2 in77.5 x 98cm; 30 1/2 x 38 1/2in (framed)ARR may apply
A GRAY SCHIST FRIEZE DEPICTING BUDDHA'S FIRST SERMON AND DEATH (PARINIRVANA), ANCIENT REGION OF GANDHARA, KUSHAN PERIOD2nd-4th century. Finely carved, the lower register depicts two scenes from the Buddha's life separated by tall framed pillars. On the right, Buddha is depicted giving his first sermon beneath a canopy, seated in dhyanasana on a pedestal engraved with the dharmachakra, surrounded by disciples. The second frame on the left depicts the death of Buddha, who lies on a raised bed, surrounded by mourners, with the lone figure of Subhadra sitting on the floor in front of the bed with his back turned to the viewer.Provenance: From a French private collection. Condition: Very good condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, chips, scratches, encrustations. The frieze is pierced with two holes for mounting.Weight: 11.2 kg (incl. stand) Dimensions: Width 39.7 cm Mounted on a metal stand. (2)The upper register depicts Buddha seated in dhyanasana with his hands lowered in dhyana mudra, within an arched niche flanked by two kneeling disciples within similar niches, a pillar between each figure.Narrative panels were often affixed to the drums of large and small stupas and could thus be read like a storyboard sequentially in the ritual process of circumambulation. Reliefs were also placed in false gables on the front and the mid-section of a stupa. For a structural illustration, see Behrendt, The Art of Gandhara in the Metropolitan Museum of Art, New York, 2007, fig. 15, page 33.According to the Buddhist chronicles, when Buddha died near the city of Kushinagara, in northern India, he broke free from the cycle of rebirths and attained nirvana, absolute release from karmic rebirth. This panel shows the Buddha surrounded by lay and monastic mourners expressing their grief. These reactions are contrasted with the calm of the monk Subhadra, seated facing Buddha's corpse, who alone comprehends the true meaning of the Buddha's death. Images of Buddha's parinirvana based on this Gandharan prototype became important icons for veneration across the Buddhist world in the following centuries.Literature comparison:Compare a related schist frieze depicting the death of the Buddha, 41.1 cm wide, dated ca. 3rd century, in the Metropolitan Museum of Art, accession number 2015.500.4.1. Compare a related frieze of the Buddha giving his first sermon with a similarly styled dharma wheel, 31.1 cm wide, dated ca. 2nd century, in the Metropolitan Museum of Art, accession number 1980.527.4.Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2008, lot 533 Price: USD 46,600 or approx. EUR 60,500 converted and adjusted for inflation at the time of writing Description: A large gray schist relief of the Renunciation, Gandhara, 2nd/3rd century Expert remark: Compare the related manner of carving with similar pillars and archways. Note the size (46.3 cm).Auction result comparison: Type: Related Auction: Bonhams San Francisco, 15 December 2009, lot 8073 Price: USD 19,520 or approx. EUR 25,500 converted and adjusted for inflation at the time of writing Description: A gray schist architectural frieze, Gandhara, 2nd/3rd century Expert remark: Compare the related manner of carving with similar pose and robes of the Buddha. Note the size (47.2 cm). 貴霜帝國健陀羅灰色片岩佛陀説法及涅槃二至四世紀。雕刻精美，描繪了佛陀一生的兩個場景，由高大的框架柱子隔開。右側描繪的是佛陀在菩提樹下首次說法，他結跏趺坐，周圍弟子環繞。左邊的第二幅畫面描繪了佛陀涅槃的情景。佛陀躺在一張高高的床上，周圍都是哀悼者，而蘇跋陀羅孤獨的身影坐在床前的地板上，背對著觀眾。 來源：法國私人收藏。 品相：狀況極好，大面積磨損、缺損、風化和侵蝕跡象、缺口、劃痕、結殼。有兩個用於安裝的孔。 重量：總11.2 公斤 尺寸：寬39.7 厘米 金屬支架 (2) 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A PAIR OF MONUMENTAL GILT AND RED LACQUERED WOOD FIGURES OF BUDDHIST LIONS, LATE QING DYNASTYChina, 19th century. Both modeled standing in mirror image, the female with a pup clambering at her feet and the male with a pierced brocade ball, and each with a ball in their mouths. The fierce lions with deeply incised curly manes, mouths agape revealing sharp teeth, and a collar around the neck suspending bells. The rectangular stepped base carved with openworked dragons and petal lappets. (2)Provenance: From the private collection of Lu Xiaguang, and thence by descent. Lu Xiaguang (1906-1994) was a Chinese painter who became a protege of Xu Beihong in 1929 and learned oil painting in the Western style. On Xu's advice, he studied painting at the Ecole des Beaux-Arts in Paris and the Royal Academy of Belgium, after which he returned to Paris. He copied famous paintings from various schools in the Louvre, studied with great concentration, and collected paintings, art objects, and antiques. In 1984, he established the Lu Xiaguang Studio in Paris, which contributed to the cultural exchange between China and France. In 1993, Lu Xiaguang donated his life's work and his art collection of cultural relics, calligraphy, and painting to the People's Republic of China. His works and collection are permanently displayed in the Zhejiang Provincial Museum in Hangzhou. Condition: Good condition with old wear, expected age cracks, flaking and abrasions to lacquer, nicks, scratches, chips and losses. Minor old repairs. Fine, naturally grown patina overall - displaying exceptionally well.Dimensions: Height 145 cm and 148.5 cm Buddhist lion statues are an architectural decoration in front of an entrance to a temple, palace, business, tombs, and home. They are always found as a pair; one male with a ball under his right paw and one female with a cub under her left paw. These guardian lions are thought to protect the building from harmful spiritual influences and harmful people that might be a threat. The male lion guards the exterior of the building, while the female is in charge of the building's interior. The cub represents the continuity of protection.Lions are not native to China, and although live animals were brought to the Chinese court by foreign embassies since at least the Han dynasty (206 BC - AD 220), they were always exotic rarities. In India, the lion is intimately associated with Buddhism, considered a symbol of strength and protector of the Dharma, the Buddhist law, and with the growing popularity of the Buddhist religion during the Tang dynasty (618-907), pairs of lion figures were increasingly placed in front of Buddhist temple gates as guardian animals.The Yongle Emperor's international diplomacy efforts brought China once more in direct contact with foreign lands, their animals, plants and other exotica in the early Ming dynasty. The court welcomed foreign embassies and the Muslim seafarer and diplomat, Court Eunuch Zheng He (c. 1371-1435), embarked on seven extensive maritime expeditions to ports throughout Asia and as far as Africa, which continued into the Xuande reign. At this time, lions were apparently so little known in China that Ma Huan (c. 1380-1460), Zheng He's Muslim interpreter who accompanied him on three voyages, left us a contemporary account describing them in detail: “The lion has a body which resembles a tiger's in shape; it is a dark-yellow color, without stripes; it has a large head and a broad mouth; the tail tapers to a point, which has a lot of hair, black and long, like a tassel; the noise of its roar is like thunder. All the beasts, when they see it, fall down and dare not rise; it is indeed the king among the beasts" (J.V.G. Mills, ed., Ma Huan, Ying-yai Sheng-lan. The Overall Survey of the Ocean's Shores [1433], Hakluyt Society, London, 1970, reprint Bangkok 1997, p. 158-159).Although lions were among the exotic animals that had been brought to China already by some Timurid embassies, and on occasion were received as tribute by Zheng He's delegation, they were rare and desirable enough to be specially purchased on these voyages and be brought back to the court: during the sixth expedition in the Yongle reign, for example, when in 1421 the ships stopped in Aden (ibid., p. 50 and 159), and during the seventh voyage in the Xuande reign, when in 1431 a division of the fleet went to Mecca, where it had, among other things, brought porcelain items as gifts (ibid., p. 51 and 178). 清末一對紅漆描金太獅中國，十九世紀。母獅左前爪抬高摟著著一隻小幼崽，雄性右脚罩著一個花球。獅子火焰狀捲毛，嘴裏還叼著一個小球，雕刻手法細緻，神態生動可愛。(2) 來源：呂霞光私人收藏，傳承至今。呂霞光（1906-1994），中國畫家，1929年師從徐悲鴻，學習西洋油畫。在徐的建議下，他先後在巴黎美術學院和比利時皇家學院學習繪畫，之後返回巴黎。他在盧浮宮臨摹各流派的名畫，潛心研究，收藏繪畫、藝術品、古董。1984年在巴黎成立呂霞光工作室，為中法文化交流做出了貢獻。1993年，呂霞光將其畢生心血收藏的文物、字畫捐贈給中國。他的作品和收藏陳列於杭州浙江省博物館。 品相：狀況良好，有磨損、老化裂紋、剝落和漆面磨損、刻痕、劃痕和缺口，有小修。整體包漿細膩。 尺寸：分別高145 厘米與148.5厘米
A BRONZE DEATH MASK, GOA MADE, EAST JAVA, INDONESIA, 1ST MILLENNIUM BC - 1ST MILLENNIUM ADPublished: Claudio Giardino, Massimo Vidale, and Gian Luca Bonora (editors), Goa Made - An Archeological Discovery, Rome, 2012, page 220, no. 112.Indonesia. Finely cast from thin bronze, the mask is realistically styled with thin arched brows above heavy-lidded pierced eyes, a broad nose, and full butterfly lips curling into a calm smile. The face has finely aged, covered overall in a solid layer of malachite green encrustation.Provenance: A private collector in London, United Kingdom, and thence by descent to his daughter Amanda Torri. Alex Torri, Bologna, Italy, inherited from the above. Paolo Bertuzzi, acquired from the above in 2002. A copy of the original invoice from Alex Torri, dated 7 October 2002, showing an image of the present lot, and stating a purchase price of ITL 8,000,000 or approx. EUR 6,300 (converted and adjusted for inflation at the time of writing), accompanies this lot. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy, and the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Excellent condition commensurate with age. The shape has remained in its original form. As expected, the bronze has corroded overall and there are a soil encrustations. Minor losses and old wear.Weight: 191.1 g Dimensions: Height 18.5 cm Goa (or Gua) Made (Made Cave) is a site north of the Brantas River in East Java. Its importance was first discovered by Anacleto Spazzapan, an Italian archeologist, designer, and collector of ethnographic and folk art who frequently traveled to Indonesia. He was first introduced to the site in 1999. He brought back several sample fragments of fired clay, which he sent to Arcadia labs in Milan for thermoluminescence testing. The first official excavations were subsequently conducted in an underground temple by the Bureau for the Archaeological Conservation of East Java (BACEJ) in 2001 and 2006, the latter funded by Paolo Bertuzzi (the last owner of the present lot), who had developed a profound interest in the site. Finds included imported glazed pottery, Chinese copper or bronze coins, and highly distinct bronze heads such as the present lot. Thermoluminescence analysis of terracotta bricks found in the excavations indicated a date in the early 1st millennium BC. This would not only suggest the discovery of a lost civilization but also challenge widely held notions of Southeast Asian history. The earliest uncontested architectural remains in East Java are two temples dating from the 8th - 9th century AD.In 2007, larger-scale excavations were carried out by a team of Italian and Indonesian archeologists, which revealed a previously overlooked shaft, a complex subterranean structure displaying a sophisticated integrated design that would have required mass community involvement in both its construction and usage. In the following years, disagreements between archeologists involved in the Goa Made project began to emerge. A 2010 article by Andreas M. Steiner and Massimo Vidale in the renowned Italian magazine Archeo supported the dating of to the early 1st millennium BC. In the same year, however, Fiorella Rispoli wrote an article for World Archeology Magazine wherein she questions the accuracy of the thermoluminescence analysis and instead proposed a post-10th century AD dating for the bronze heads. Rispoli suggested that the underground temple was most likely a water control system but offers no explanation as to why or how the heads, a clear part of East Java religious practices, came to be placed there. Most scholars disagree with Rispoli's arguments, especially given that it is primarily based off a single faulty thermoluminescence test she discovered.Cultural acculturation, the mixture of elements from various cultures over various ages implemented in religious contexts is a well-known practice in Indonesia. Settlers of the Indonesian archipelago had consistent contact with Indian traders which led to the adoption of many foreign religious practices. Unsurprisingly, this had a direct effect on the cultural material of Indonesia. Dong Son, the earliest bronze culture in Southeast Asia, was likely introduced to Indonesia by traders during the 1st millennium BC. More than 100 objects from Goa Made are bronze objects, and the majority of these are bronze masks. Many of the masks have characteristics elements which reflect the style of face common to the Majapahit period (13th-16th century). However, the masks which do not illustrate Indonesian facial styles, like the Malayan-Mongoloid face of this lot, are similar to nekara bronzes. This suggests a far earlier dating for these masks. Given the origin of bronze working in Indonesia came from the Don Son culture, these masks can be dated as far back as 2000 BC. However, archeologists are still not unified on this dating. In his 2016 book Hitawasana, Studies on Indonesian Archeology (where the present lot is illustrated, page 55), Prof. Dr. Agus Aris Munandar from the University of Indonesia wrote that further scientific studies remain necessary, and that additional research is expected to step-by-step resolve the questions regarding this important archeological site.
A Great War ‘Western Front’ D.S.O. group of five awarded to Major W. O. Wright, Royal Lancaster Regiment Distinguished Service Order, G.V.R., silver-gilt and enamel, with integral top riband bar; British War and Victory Medals, with M.I.D. oak leaves (Major W. O. Wright.); Territorial Force War Medal 1914-19 (Capt. W. O. Wright. R. Lanc. R.); France, Third Republic, Croix de Guerre, bronze, the reverse dated 1914-1918, with bronze star on riband, mounted as worn, very minor enamel damage to D.S.O., otherwise good very fine (5) £1,400-£1,800 --- D.S.O. London Gazette 1 January 1918. M.I.D. London Gazette 18 December 1917. French Croix de Guerre London Gazette 7 October 1919. William Oswald Wright, the only son of Mr. Samuel Wright, J.P., sometime Mayor of Morecambe, was commissioned Second Lieutenant in the 5th Territorial Battalion, King’s Own Royal Lancaster Regiment, and was promoted Captain in September 1910. ‘Shortly after his mobilisation in 1914 he was attached to the Duke of Wellington’s West Riding Regiment, and subsequently served as staff captain afterwards, Brigade Major of the 186th Infantry Brigade, 82nd West Riding Division in France, Belgium and Germany, until he was demobilised In 1919. Major Wright was thrice [sic - only once] Mentioned in Despatches, was awarded the Distinguished Service Order, and also the Croix de Guerre with bronze star. After the war Major Wright served on the architectural staff of the London County Council until his retirement 1943 on account of ill-health’ (the recipient’s obituary in the Lancaster Guardian, 3 August 1951 refers).
TIMOTHY RICHARDS: A PAIR OF PLASTER ARCHITECTURAL MODELS OF QUEEN ANNE HOUSE, BATH (2)Modern Each model symmetrical in form, depicting the Neo-Classical façade of the 18th Century Grade II listed Queen Anne House in central Bath, 10.5cm wide; 17cm highProvenance: The selected contents of Conderton Manor, near Tewkesbury.
HALSEY RICARDO (1854-1928) (DESIGNER) THE BIRMINGHAM GUILD OF HANDICRAFT LTD (MAKER) PAIR OF DOUBLE WALL LIGHTS, CIRCA 1906-1907 24-carat gold-plated brass, gold foil enamel and original opalescent glass shades Dimensions:35.5cm wide, 30.5cm high, 19cm deep Provenance:Provenance: Supplied to Sir Ernest Debenham for Debenham House, 8 Addison Road, London, removed circa 1960 Phillips Auctioneers lots 148, 149, 150, 30th March 1993 Haslam & Whiteway, London one pair British Art Market 2014 Paul Shutler Note: Literature: The Architectural Review, An Essay in Colour Architecture, March 1907 Country Life, Madge Garland, 8 Addison Road, Kensington - The Town Houses of Halsey Ricardo - II, 20th November 1975Note: Sir Ernest Debenham (1865-1952) of the Debenham department store family, commissioned the architect and designer Halsey Ricardo to build him a house at 8 Addison Road in 1906. This house came to be known as Debenham House or, on occasion, The Peacock House. Halsey Ralph Ricardo established his architectural practice in 1878 but also worked in partnership with William De Morgan (1839-1917) designing ceramics. He advocated the use of architectural glazed tiles to resist the pollution of 19th century London. Debenham House is a striking example of this practice. Ricardo clad the external walls with glazed Burmantofts tiles in bands of peacock greens and blues. He fitted the four reception rooms, seventeen bedrooms and six bathrooms, all with De Morgan tiled fire surrounds (with no two alike) and with De Morgan pictorial panels throughout the building. In addition to this, he used various marbles and architectural elements clad with Doulton 'Carrara ware' tiles. Described as the last flourish of the Arts & Crafts movement, the house features plaster friezes by Ernest Gimson (1864-1919), stained glass by Edward Prior (1852-1932) and a mosaic designed by George Jack (1855-1931). Along with the exterior gates and railings, the interior door furniture, including the handles, finger plates, bell-pushes and light fittings were all designed and made under the supervision of Ricardo by the Birmingham Guild of Handicraft. It would have been inappropriate for Ricardo to use any other firm for this commission as Debenham's father-in-law was Birmingham MP William Kenrick (1831-1919), chief shareholder and director of the Birmingham Guild of Handicraft, and his brother-in-law was the Guild's managing director, Claude Napier-Clavering (1869-1938). These lights are one of the original three pairs designed specifically for the main hall, they feature butterflies circling a single rose before ivy leaves, a theme repeated throughout the building.
J.H. CHAMBERLAIN (1831-1883) GOTHIC REVIVAL LONGCASE CLOCK, CIRCA 1878 carved oak and walnut, inset with marquetry panels, and carved to the roundel with initials TR, the 14" silvered brass dial inscribed HURT & SON, BIRMINGHAM, with seconds dial and strike silent facility, the three-train movement with dead-beat escapement, quarter-chiming on a nest of eight bells and striking the hour on a subsidiary bellDimensions:61cm wide, 248.5cm high, 30cm deepNote: Note: This magnificent clock was designed by the architect, John Henry Chamberlain, and the case was probably made in the workshop of Samuel Barfield, a skilled woodcarver who frequently worked for Chamberlain. A related set of wall shelves and an entire room by Chamberlain, currently on display in the British Galleries at the Victoria and Albert Museum, were removed from The Grove, Harborne. The Grove, demolished in 1963, was one of a wide range of projects designed by Chamberlain and his partner William Martin (1828-1900) in and around Birmingham. Frequently designed in the Ruskinian Gothic style they pumping stations, libraries, schools, shops, churches and chapels as well as a number of private houses. His ideals chimed perfectly with Birmingham's ruling liberals at the time, who sought to transform industrial Birmingham into a cultural centre to rival the great European capitals. One of his finest achievements, the Municipal School of Art of 1885, still stands today in Margaret Street. Chamberlain was one of the earliest practical exponents of the ideas of architectural theorist, John Ruskin and was increasingly influenced by the early Arts and Crafts movement in his later works. His belief in the value of individual craftsmanship and patterns inspired by nature are evident in the profusely carved and inlaid case of the current lot.
CHARLES RENNIE MACKINTOSH (1868-1928) 'LAVANDER, WALBERSWICK', 1915 pencil and watercolour, inscribed, dated and signed with initials LAVANDER/ WALBERSWICK/ 1915/ CRM/ MMM, later framed Dimensions:sheet size 28.8cm x 22.5cm (frame 46.3cm x 38.7cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Note: During a ten-month period in 1914-1915, Charles Rennie Mackintosh created his celebrated series of botanical watercolour studies at Walberswick on the Suffolk coast. Believed to number around 30-40 in total, these works are loved for their meditative, skilful delicacy, and the way they encapsulate the extraordinary marriage of technical and creative vision that Mackintosh possessed. Few beyond Mackintosh are capable of perceiving, much less conveying, both the random beauty and extraordinary symmetry and inherent structural design of the natural world. By 1915 he had married Margaret Mackintosh, and her initials ’MMM’ begin to appear on his drawings, denoting, like a diary entry, that she was present with him when these sketches were created. ‘Lavander, Walberswick’, the most detailed of the sketches offered here for sale, beautifully illustrates his technical prowess and ever-elegant hand. Creating a sense of texture by highlighting just a few upper leaves with the most delicate of washes, our eye then focuses on the accomplished pencil mark tangle of unfurling leaves towards the base of the stem. One contemporary source, an article by author Desmond Chapman-Huston, suggests that Mackintosh produced this proliferation of flower studies for a book commissioned by a German publisher, the outbreak of war preventing its publication. It could also have been a deliberate move towards more commercial subject matter as Mackintosh had just quit his architectural practice in Glasgow. He left the recession-bound city under a cloud; his reputation tarnished by rumours of alcoholism. From what we can infer from this beautiful series of drawings, the tranquillity of the coastal village provided him with an opportunity to re-sharpen the clarity of his artistic vision, with many followers holding the Walberswick sketches among his finest work.This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
CHARLES SPOONER (1862-1938) FOUR ARCHITECTURAL DESIGNS, HERTFORDSHIRE, 1900-1911 pen and ink, watercolour and graphite, inscribed, to include TWO DESIGNS 'FOR SOME ALTERATIONS AND ADDITIONS TO THE WHITE HOUSE AT WESTMILL HERTFORDSHIRE FOR T.T. GREG ESQ', Nos. 1&2, each further inscribed CHARLES SPOONER ARCHITECT/ EYOT COTTAGE/ CHISWICK MALL/ APRIL 1900; also a DESIGN FOR THREE COTTAGES AT WEST MILL HERTS, dated 1911; and DESIGN FOR THE PRESBYTERY AT LETCHWORTH, HERTS (Presbytery of St Hugh of Lincoln, Letchworth Garden City), No. 3, undatedDimensions:each approx. 34.5cm x 54cm (frame 50.3cm x 53.5cm)Note: Note: Spooner was responsible for many buildings in the village of Westmill, returning to work on cottages, houses and the church over a period of 40 years. He was a close friend of C.F.A. Voysey, and was considered by C.R. Ashbee to be one of the four great names of the Arts & Crafts Movement, the other three being W.R. Lethaby, Sidney Barnsley and Ernest Gimson.
GLASGOW AND CHARLES RENNIE MACKINTOSH COLLECTION OF TEXT BOOKS, PAMPHLETS AND CATALOGUES (Pamela Robertson ed.), The Chronycle, The letters of Charles Rennie Mackintosh to Margaret Macdonald Mackintosh, Hunterian Art Gallery 2001Raymond O’Donnell, James Salmon, Rutland Press 2003Patrick Nuttgens, Mackintosh and his Contemporaries, John Murray 1988(Pamela Robertson ed.), Doves and Dreams, Lund Humphries 2006Pamela Roberton and Philip Long, Charles Rennie Mackintosh in France, NGS 2005Perilla Kinchin, Miss Cranston, NMS 199Perilla Kinchin, Taking Tea with Mackintosh, Pomegranate 1998Elaine Grogan, Beginnings: Charles Rennie Mackintosh’s Early Sketches, National Library of Ireland 2002(Pamela Robertson ed.), Charles Rennie Mackintosh: Architectural Sketches, Hunterian Art Gallery 1999George Rawson, Fra H. Newberry, Foulis Press 1996(Pamela Robertson ed.), Charles Rennie Mackintosh: The Architectural Papers, Cockade 1990Pamela Robertson, Charles Rennie Mackintosh: Art is the Flower, Pavilion 1995David Stark, Charles Rennie Mackintosh & Co., Stenlake 2004Richard Scott, The Walberswick Enigma, Ipswich Borough Council 1994Roger Billcliffe, Visiting Charles Rennie Mackintosh, Frances Lincoln 2012Charles Rennie Mackintosh Scotland Street School, Glasgow Print Studio 1980Charles Rennie Mackintosh Furniture, Glasgow School of Art 1968Charles Rennie Mackintosh Ironwork and Metalwork, Glasgow School of Art 1968Charles Rennie Mackintosh and the Glasgow School of Art, Glasgow School of Art 1961 R. Mackintosh: The Chelsea Years, (Exhibition catalogue, Hunterian Art Gallery, 1994)David Brett, R. Mackintosh: The Poetics of Workmanship, Reaktion 1992Charles Rennie Mackintosh 1868-1928, (Exhibition Catalogue, Scottish Arts Council, 1968)Gerald and Celia Larner, The Glasgow Style, Astragal Books 1980Ray McKenzie, Sculpture in Glasgow, Foulis Archive Press 1999Perilla and Juliet Kinchin, Glasgow’s Great Exhibitions, White CockadeCharles Rennie Mackintosh, (Exhibition catalogue, Hida Takayama Museum of Art, 1998)(William Buchanan ed.), Mackintosh’s Masterwork: The Glasgow School of Art, Chambers 1998Roger Billcliffe, Charles Rennie Mackintosh: The Complete Furniture Drawings Etc., Lutterworth Press 1980Alan Crawford, Charles Rennie Mackintosh, Thames & Hudson 1995William Buchanan, The Art of the Photographer, J. Craig Annan, NGS 1992(William Buchanan ed.), Mackintosh’s Masterwork: The Glasgow School of Art, A & C Black 2004(Jude Burkhauser ed.), Glasgow Girls, Canongate 1990Harry Taggin et al, Glasgow Revealed, Heritage Books 1998Andor Gomme & David Walker, Architecture of Glasgow, Lund Humphries 1987Janice Helland, The Studios of Frances and Margaret Macdonald, Manchester University Press 1996Robert Macleod, Charles Rennie Mackintosh, Country Life Books 1968Timothy Neat, Part Seen, Part Imagined, Canongate 1994Alistair Moffat, Remembering Charles Rennie Mackintosh, Colin Baxter 1989A. Oakley, The Second City, Blackie & Sons 1967Wendy Kaplan, Charles Rennie Mackintosh, Glasgow Museums 1996The Doctor Thomas Howarth Collection, Christie’s catalogue, 1994Timothy Neat & Gillian McDermott, Closing the Circle, Iynx Publishing 2002Roger Billcliffe, Mackintosh Furniture, Lutterworth Press 1984Thomas Howarth, Charles Rennie Mackintosh and the Modern Movement, Routledge & Keegan Hall Ltd. 1952Charles Rennie Mackintosh Making the Glasgow Style, Glasgow Museums catalogue 2018William Eadie, Movements of Modernity, Routledge 1990Robin Crichton, Monsieur Mackintosh, Luath Press 2006John Nisbet, A Sketch Book, Adam & Charles Black 1913Irene Maver, Glasgow, Edinburgh University Press 2000Roger Billcliffe, Mackintosh Watercolours, Carter Nash Cameron 1978Roger Billcliffe, Charles Rennie Mackintosh Textile Designs, Pomegranate 1993Roger Billcliffe, Architectural Sketches and Flower Drawings by Charles Rennie Mackintosh, Academy Editions 1977(Jackie Cooper ed.), Mackintosh Architecture, Academy Editions 1984Pamela Robertson, The Mackintosh House, Hunterian Art GalleryTalwin Morris designer The Book of the Home, 6 Volumes, Gresham Publishing Co. 1900 and a quantity of pamphlets to include:Mackintosh Watercolours RSA exhibition catalogue 1986; The Private Library: Talwin Morris, Blackie and the Glasgow Style; 78 Derngate Guide Book; C.R. Mackintosh Architectural Drawings, Hunterian exhibition catalogue, 1990; Architectural Jottings, edited by Andrew Young; Charles Rennie Mackintosh Scottish Art Review 1968; The Glasgow Style Glasgow Museums exhibition catalogue 1984; The 1933 memorial Exhibition: A reconstruction, The Fine Art Society catalogue 1983; Charles Rennie Mackintosh at the Hunterian Art Gallery 1991; Glasgow Society of Lady Artists in 1882, exhibition catalogue 1982; Helensburgh and the Glasgow School, exhibition catalogue 1972; Mackintosh Flower Drawings, Hunterian Gallery exhibition catalogue 1993; The Hill HouseSold as seen, not subject to return Provenance:Provenance: The Estate of the late Dr James Macaulay
Alberti (Leon Battista). The Architecture of Leon Battista Alberti in Ten Books. Of Painting in three books and Of Statuary in one book. Translated into Italian by Cosimo Bartoli. And now first into English, and divided into three volumes by James Leoni, Venetian, Architect; to which are added several designs of his own, for buildings both public and private, 3 volumes, 1st English edition, London: Printed by Thomas Edlin, 1726, engraved frontispiece to first volume by Bernard Picart, two title pages to each volume in Italian and English, double-column parallel text in Italian and English, 4-page list of subscribers to first volume, printed approbation leaf bound before the separate title to the third volume for Leoni's Some Designs for Buildings both Publick and Private, 101 engraved plates (complete), including 24 folding or double-page, woodcut vignettes to title-pages, woodcut initials, head- and tail-pieces, occasional (mostly minor) marginal spotting or soiling (contents generally in clean condition), 18th century engraved bookplate of Sir William Abdy, Bart., Chobham Place to front pastedown of first volume, contemporary mottled full calf, joints cracked and some wear to edges, outer corners showing, folio (45.5 x 29 cm)QTY: (1)NOTE:Provenance: Sir William Abdy (1732-1803), 6th Baronet, of Chobham Place, Chobham, near Woking, Surrey. Captain in the Royal Navy, and Deputy Lieutenant for the county of Surrey. Abdy entered the service of the East India Company as a midshipman in the True Briton on her voyage of 1750-1752. He transferred to the Royal Navy and in 1761 took command of HMS Beaver, a 14-gun sloop which had been built that same year, both in home waters and in the West Indies, between 1761 and 1766. In 1775, he succeeded his brother to the family baronetcy.Fowler 11; Harris 12; Berlin Kat. 2554; Millard II, 4; Berlin 2267; Cicognara 378; RIBA, 48.First edition in English of Alberti's architectural treatise De Re Aedificatoria along with his shorter treatises on painting and statuary, to which Leoni adds a supplement containing his own neo-palladian designs.Subscribers to the edition included a large number of masons, plasterers, builders and carpenters as well as Nicholas Hawksmoor, Sir John Vanbrugh, Sir Christopher Wren (although he died before the work was finally issued), Leoni's patron Thomas Scawen and Lord Burlington who both ordered two copies including one, each, on large paper.
* Du Maurier (George, 1834-1896). Happy Thoughts (What Shall we do with our Boys), Oct 1886, brown ink, depicting three well dressed gentlemen standing together, one holding a newspaper, text underneath, signed and dated 'Oct 86' to lower right, mount aperture 21.5 x 13 cm, framed and glazed (39 x 26.4 cm), together withBrowne (Hablot K., 'Phiz', 1815-82). Raising a Glass, pencil and watercolour, an original illustration depicting a large man sitting in a kitchen raising a glass with one arm, a younger man sitting to his right and a lady standing near a doorway, sheet size 10.5 x 9.5 cm, gilt plaque with 'Phiz 1830' to frame, framed and glazed (21.5 x 18.5 cm), plus 6 other prints, oil and watercolour, subjects comprising: abstract, topographical, architectural and portrait, all framed and glazed, various sizesQTY: (8)
Watercolours, etchings, further prints and ephemera including Islamic or similar architectural studies, John Bowles Ruben, Oliver Cromwell, Albrecht Durer, Parish of St. Mary Guildford relief of the poor posters dated 1853 and 1857, Christie Manson & Woods auction catalogue for the works of William Derby dated 1862, Birmingham Theatre Grand Dress Ball 1823 ticket or similar and T Ley Fethybridge pen and ink
SHEVCHUK, MYKOLA (Ukrainian, b. 1965), "poppies" a scene of wild poppies, some in flower and others in bud, signed lower right, 80 x 60 cms, acrylic on canvas.Further information:Mykola Shevchuk, is a Ukrainian artist. sculptor member of the National Union of Artists of Ukraine (1997 ) was born on October 30, 1965, in the village of Smiga, Dubensky district, Rivne region, Ukraine)., Honored Artist of Ukraine (2015), teacher, volunteer, head of the district organization of the Vasyl Stus "Memorial" soclety, "Person of the Year of Ternopil Oblast - 2015" in 1980-1984 he studied at the Kremenets Pedadodical School. After araduation. he worked as a teacher of labor and drawing at an eight-year school in the village of VovchkivtsI, Zboriv district, Ternopil region In 1992, he graduated from the Faculty of Architecture of the Lviv Polytechnic Institute (now Lviv Polytechnic National University). In 1993-199. he worked in the Tereboviva Cit Councias an endineer-architect. Since 1995, he has been a teacher at the Terebovlya Higher School of Culture (TVUK), [now the Terebovlva Vocationa Collece of Culture and Arts) one of the founders of the Department of Decorative and Applied Arts of this institution. Creative activity covers the fields of graphics, monumental, easel and decorative painting, iconography and sculbture. He is a participant in regional, regional, All-Ukrainian and international exhibitions of painting, graphics and sculpture. In 1997 he was the author of the idea and the artist of the mosaic bane "Terebov-900" (34 square meters, enamel), which was created for the 900th anniversary of the city of Terebovli, Ternopil region together with Dmytro Shainoga, Honored Artist of Ukraine, and Bohdan Tkachyk, People's Artist of Ukraine. Personal exhibitions; Organized the first personal exhibition at the Ternopil Regional Art Museum (1995), Terebovlyan Museum of Local Lore (2005), Exhibition of icon painting in the Ternopil "Art Gallery" (2010), A series of personal exhibitions from the 200th anniversary of Taras Shevchenko's birthday, "In our paradise on earth", which highlight the history of Ukraine from ancient times to the present: National University "Ostroh Academy" (2014), Rivne, art gallery of the National Union of Artists of Ukraine [2014), Ternopil, art gallery of the National Union of Artists of Ukraine (2015), Terebovlia. central district library for adults (2015), Kyiv, municipal gallery in Troeshchyna (2018), Zbarazh. National Reserve "Castles of Ternopil" (2019), Berezhany, Bohdan Lepky Museum (2019), Smiga of the Duben District, Center for Culture and Leisure (2019), Historical and Architectural Reserve "Duben Castle" (2019). The author and performer of the first three-dimensional monument of the Heavenly Hundred in Ukraine in 2014 in the city of Terebovli (sandstone 4 m./0.80 m./0.70 m) Author and executor of the monument to the Fighters for the Freedom of Ukraine (Terebovlia) Organizer and leader of a number of art symposia and plein airs:International pictorial plein air "StareNove city. Terebovlya-2012,International pictorial plein air "Stare Nove city. Terebovlya-2013",All-Ukrainian stone symposium "Water from under the stone. Terebovlia 2013".All-Ukrainian charitable plein-air exhibition in support of defenders of Ukraine "To vou. Mother of God.Zarvanvtsia-2015"5. All -Ukrainian charitable plein-air exhibition in support of the defenders of Ukraine "Bayda-SICH. Vyshnivets-2015",b. All-Ukrainian charitable Icon-painting and painting plein air in support ot defenders ot UKraine"WINDOW IN THE SKY. Zarvanytsia-2016",-2017,-2018,Initiator and organizer of the First All-Ukrainian Sculpture Symposium "THE AGE OF GOD. Zarvanvtsia - 2017".Participant in the charity painting of the first military chapel in Ukraine on Mount Lvson to commemorate the 100th anniversary of the battle of the Sich riflemen with the Russian invadersReceived man state awards Mykola Shevchuk's paintings are in private collections in Ukraine, the USA, England, and Europe.
KOLISNYK, IHOR (Ukrainian, b.1956), Potocki Palace (lviv)-2 architectural monumentin Lviv, ХІХ century, Oil on Cardboard, 70 x 50 cms Further information: Igor Kolisnyk, Born April 19th, 1956. Graduated I. Trush Lviv State College of Applied and Decorative Art in 1977, Art Decoration Department.1988 to present - Chief Artist in Private Joint Stock Company "Gal-Expo". During this time Igor Kolisnyk supervised more than 600 international exhibits and presentations. 2000 to present - Member of National Union of Ukrainian Artists and Chief of Lviv region of NUUA. Igor is specialising in design, painting and graphics. His art was presented in more than 30 personal exhibitions. Experimenting in different fields of painting, graphic, drawing and design. Images are representing symbolism, allegory and romantic expressionism. CONDITION: Igor KolisnykBorn April 19th, 1956.Graduated I. Trush Lviv State College of Applied and Decorative Art in 1977, Art Decoration Department.1988 to present - Chief Artist in Private Joint Stock Company "Gal-Expo".During this time Igor Kolisnyk supervised more than 600 international exhibits and presentations.2000 to present - Member of National Union of Ukrainian Artists and Chief of Lviv region of NUUA.Igor is specialising in design, painting and graphics.His art was presented in more than 30 personal exhibitions.Experimenting in different fields of painting, graphic, drawing and design.Images are representing symbolism, allegory and romantic expressionism.
KOLISNYK, IHOR (Ukrainian, b.1956), "Potocki Palace" (lviv), architectural monumentin Lviv, ХІХ century, Oil on canvas, 80 x 60 cms (1) Further information: Igor Kolisnyk, Born April 19th, 1956. Graduated I. Trush Lviv State College of Applied and Decorative Art in 1977, Art Decoration Department.1988 to present - Chief Artist in Private Joint Stock Company "Gal-Expo". During this time Igor Kolisnyk supervised more than 600 international exhibits and presentations. 2000 to present - Member of National Union of Ukrainian Artists and Chief of Lviv region of NUUA. Igor is specialising in design, painting and graphics. His art was presented in more than 30 personal exhibitions. Experimenting in different fields of painting, graphic, drawing and design. Images are representing symbolism, allegory and romantic expressionism. CONDITION: Igor KolisnykBorn April 19th, 1956.Graduated I. Trush Lviv State College of Applied and Decorative Art in 1977, Art Decoration Department.1988 to present - Chief Artist in Private Joint Stock Company "Gal-Expo".During this time Igor Kolisnyk supervised more than 600 international exhibits and presentations.2000 to present - Member of National Union of Ukrainian Artists and Chief of Lviv region of NUUA.Igor is specialising in design, painting and graphics.His art was presented in more than 30 personal exhibitions.Experimenting in different fields of painting, graphic, drawing and design.Images are representing symbolism, allegory and romantic expressionism.
ATTRIBUTED TO JOHN VANDERBANK (1694-1739) Full Length Portrait of Frances Neale, Seated on an Architectural Terrace, wearing a red dress and lace bonnet, her right arm stroking a pet dog Oil on canvas, 125 x 100cm In a 18th century carved giltwood frame With an old label verso, inscribed in ink: Frances Neale third youngest daughter and co-heiress of John Neale of Allesley County Warwick MP for Coventry 1722 to 1741. She was born at Allesley in 1723 and was married on the 20th October 1742, to Sir John Turner of Washam Norfolk 3rd and last Baronet. She died 7th March and was buried at Washam. She was the mother of Robert Huley and Lady Folkes. This portrait is by Vanderbank.
AN IMPORTANT IRISH CARVED ROCOCO GILTWOOD MIRROR IN THE CHINOISERIE TASTE, C.1760 the rectangular plate within an architectural surround headed by obelisks to either side, the tall open scrolled cresting surmounted by a pagoda with central urn of flowers, the open scroll and floral pendant sides capped by seated squirrels eating nuts, and supported on scrolling stylised dolphins, the rockwork apron centred by a group of lambs. 177cm high x 103cm wide Literature: See Glin & Peill, Irish Furniture, Yale 2007 catalogue number 238 showing the Clanwilliam House mirror of the 1760s with a similar pair of squirrels perched in the upper corners
AN IRISH INLAID MAHOGANY CASED LONGCASE CLOCK BY EDWARD TOWNLEY, DUNDALK, C.1790, the architectural hood with broken swan pediment and centred with an eagle perched on a brass finial, over an arched glazed panel door enclosing a brass dial with subsidiary second and date dials the chapter ring with Roman numerals and inscribed 'Edward Townley, Dundalk', the dial surmounted with painted moon phase, rotating to painted scene of a three mast ship at sea, above waisted case fitted with panelled door inlaid with conch shell paterae, on platform base with bracket feet. 244cm high, 53cm wide, 26cm deep
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