ERIC HARALD MACBETH ROBERTSON (SCOTTISH 1887-1941) ANNE FINLAY Signed and inscribed, pencilDimensions:47cm x 36cm (18.5in x 14.25in)Provenance:Provenance: Kemplay & Robertson, Edinburgh (AK 1135)Note: Note: Anne Finlay (1898-1963) trained at Edinburgh College of Art where she became friends with her teacher Dorothy Johnstone and thus Johnstone’s fellow members of the Edinburgh Group exhibiting society, including Eric Robertson and his wife Cecile Walton.1920 was a key year for the artists, with the Group’s second post-war exhibition in the New Gallery, Shandwick Place and Robertson’s solo exhibition at The Petit Salon on South Castle Street. Of the former, the critic Frederic Quinton exclaimed:Usually people look to the Edinburgh Group, as we know them, for something unique rather than universal: for something of pagan brazenness rather than parlour propriety. Half of Edinburgh goes to Shandwick Place secretly desiring to be righteously shocked and the other half goes feeling deliciously uncertain it may be disappointed by not finding anything sufficiently shocking. And so these young and talented artists are primarily expected to provide entertainment rather than enlightenment. Hence so much splendid achievement goes unnoticed. (Frederic Quinton, The National Outlook, November 1920, pp.102-103)In his turn, the critic of The Scots Pictorial declared of Robertson:[He did]…much to lend spice and variety to the show. He is nothing if not alive! Vitality is the very essence of his art. Mr Robertson ranks as the vital unit of the group. In landscape he deals with the eternal aspect of mountains…and in quite another mood paints portraits and figure subjects of rare imaginative quality. (As quoted in John Kemplay, The Two Companions: The Story of Two Scottish Artists – Eric Robertson and Cecile Walton, Ronald Crowhurst & Co., Edinburgh, 1991, p.88)Furthermore, 1920 was a significant year for the group’s friendships, as John Kemplay has recounted:[Cecile]…had made a new friend in Anne Finlay, a very attractive and vivacious student…Eric used her more and more to model for him and when he and Cecile rented a house at Crianlarich in Perthshire for May and June of 1920, Anne Finlay was invited to join them for part of the time. Behind the house, there was a waterfall leading to a pool where Eric, Cecile, Anne Finlay and others would bath in the nude together; and it was this setting which figured in a number of paintings and drawings he completed during the two months they spent there. (John Kemplay, op.cit., pp.89-90)By the Rock Pool (Lot 128) and Anne Finlay (Lot 130) were both made during this happy, carefree and somewhat daring holiday and reveal the sitter’s plentiful attractions. She moved to London in 1922, where she held various teaching posts before becoming Registrar of the City & Guilds of London Art School. Throughout, she maintained her own practice, exhibiting regularly at the Royal Academy of Arts, with the Society of Women Artists and the Royal Scottish Academy; she was elected a member of the New English Art Club in 1953.We are grateful to John Kemplay for his help in researching these works.
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§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) GINGER With the Artist's Estate Inventory Number EE30 verso, oil on boardDimensions:43cm x 37cm (17in x 14.5in)Provenance:Provenance: Roland, Browse and Delbanco, LondonNote: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) TWO CHILDREN Pastel on brown paperDimensions:25.5cm x 20cm (10in x 8in)Provenance:Provenance: Acquired from the Artist’s Estate by the father of the present owner.Exhibited: Royal Scottish Academy, Edinburgh, Joan Eardley, 6 November 2007-13 January 2008Note: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
JOHN DUNCAN R.S.A, R.S.W. (SCOTTISH 1866-1945) CATHEDRAL ROCK, NORTH END, IONA Signed, oil on boardDimensions:38cm x 46cm (15in x 18in)Note: Note: Whilst serving in World War One, Cadell wrote to his fellow Scottish Colourist S. J. Peploe:When the War is over I shall go to the Hebrides, recover some virtues I have lost. There is something marvellous about those western seas. Oh, Iona. We must all go together. (quoted in Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.24)True to his word, Cadell introduced Peploe to the Hebridean island, off Scotland’s west coast, in 1920 and they returned there most summers for the rest of their lives. Cadell first visited Iona in 1912, possibly because it was owned by his friend Ivar Campbell’s uncle, the 9th Duke of Argyll. He may also have been encouraged to do so by the fact that his friend John Duncan began painting there in 1903, followed by James Paterson and William Caldwell Crawford.As Alice Strang has explained:Iona has many attractions for the artist…It is low-lying, so the light reflected from the surrounding sea intensifies the colours of the white sand beaches and the green of its pastures. The light shining through the shallow waters at the edge of the shore creates brilliant colours of emerald green, blue and violet. In addition, the light and weather change frequently, as the prevailing winds cause a quick succession of cloudy then clear intervals. Iona is known for its geological diversity and there is a wide variation of colours in its rock formations; the red granite of the Ross of Mull is easily visible across the Sound on the east coast, as is the mountain of Ben More. There are also numerous views beyond Iona, particularly from the north end towards Staffa and the Treshnish Islands. On the island itself the main architectural features are the Abbey, the Nunnery and related buildings, the village and scattered crofts. (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.77)In 1903 Duncan moved to Edinburgh from America, where he had been teaching art at the Chicago Institute. A visit to Iona helped him to plan for the future and ‘he started by making a vow to devote his time to the realisation of spiritual art and to gather the crops of his imagination rather than let them rot in untended fields.’ (John Kemplay, The Paintings of John Duncan A Scottish Symbolist, Rohnert Park, 1994, p.43). Duncan played a key role in the Celtic Revival which blossomed in the 1890s and Iona provided the setting for some of his most important Symbolist works, which celebrated Celtic mythology; it was also where he is reported to have encountered Gaelic fairy-folk for the first time. Such was the inspiration that the island afforded Duncan, that he was to work there, on and off for forty years, often at the same time as Cadell and Peploe.Duncan’s Cathedral Rock from the North End of Iona shows a view made famous by the more well-known images of the scene by his Scottish Colourist friends. Cathedral Rock is part of the headland at the extreme north-east corner of the island and is the location of some of its most dramatic geology. The view shown is out to Eilean Annraidh, Staffa and Mull.Auchabhaich Croft first appears in Cadell’s Register of Pictures (Private Collection on long-loan to the National Galleries of Scotland) in 1914 (work no.30), presumably painted during his trip to the island the preceding year. It is one of the crofts situated north of the village and Cadell was to paint it on many occasions, not least as it was not far from Cnoc cùil Phàil, the croft on which he most frequently stayed after the War. The buildings depicted nestled within Auchabhaich Croft, Iona still exist, albeit extended in various directions. A T. & R. Annan & Sons Ltd label on the painting’s reverse gives it the title ‘Nightfall Iona’ and the image appears to capture the gentle light of the gloaming, as evening falls over the peaceful scene, with its reach to the Paps of Jura in the distance.Mull from Iona leads the eye from a patchwork quilt of fields across the Sound to the neighbouring island, with particular attention paid to the tumult of weather conditions played out across the sky. This painting formerly belonged to Cadell’s great patron, the shipowner George W. Service, who holidayed on Iona. He reportedly donned a tartan dress jacket for the night of his annual purchase of work by Cadell and appears regularly in the artist’s Register of Pictures from 1913 until 1927.Service would often make multiple acquisitions at a time, usually but not exclusively images of Iona, commissioned portraits of some of his children and supported the artist’s sales in exhibitions such as those mounted by the Society of Eight in Edinburgh. His support sometimes formed the backbone of Cadell’s income, for example when he purchased fourteen works in 1921 for a total of £725, which was 40% of Cadell’s recorded total sales of £1,786 for the year. Two years after Cadell’s death, Mull from Iona was one of three works lent by Service to the landmark Exhibition of Scottish Art mounted at the Royal Academy of Arts in London.Peploe was nearly fifty years old when he first painted on Iona. He was thus able to approach its visual possibilities with the experience of a mature artist and was particularly drawn to the natural beauty of the north end and the views from it. Treshnish Point from Cows Rock was painted in this area; its dramatic composition sees the beach and protruding rocks occupy all but the upper fifth of the image. Peploe’s technique uses the materiality of oil paint to convey a sense of the texture of sand and weathered rocks, around which inviting paths meander. Between the alluring blue of the sea and the active sky can be glimpsed the west end of Eilean Annraidh in the middle distance and Treshnish Point on the horizon. A closely related painting by Peploe, Iona, Grey Day, is in the collection of Aberdeen Art Gallery and Museums.
WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) IDLE MOMENTS Signed and dated 1904, oil on canvasDimensions:34cm x 47cm (13.5in x 18.5in)Provenance:Exhibited: Pretoria Art Museum, Pretoria Note: Note: A painting of this title, size and date is listed in J. L. Caw, William McTaggart RSA: A Biography and an Appreciation, James Maclehose and Sons, Glasgow 1917, p.276.
◆ ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) SWEET VIOLETS Oil on canvasDimensions:68.5cm x 104cm (27in x 41in)Provenance:Provenance: Alexander Ogston, ArdoeAcquired from the above by the sitters's husband and thence by family descentPrivate Collection, Scotland Exhibited: Royal Glasgow Institute, Glasgow, 1897, no.149Aberdeen Artists Society, Aberdeen, 1906, no.488Burlington Fine Arts Club, London, 1907, no.43Royal Scottish Academy, Edinburgh, 1926, no.335Palace of Arts, Empire Exhibition, Bellahouston Park, Glasgow, 3 May-29 October 1938, no. 59.Aberdeen Art Gallery, Aberdeen, Robert Brough ARSA, 18 February-25 March 1995, no.63, pp.50-51 Note: Note: In around 1900 a young Aberdonian artist named Robert Brough arrived in London. A rising star whose recent paintings had prompted a media frenzy, Brough felt compelled to relocate to the English capital to further develop his artistic career. Chelsea was the beating heart of London’s art world; accordingly, Brough took a lease at Rossetti Studios in Flood Street.Despite his youth, Brough already had the experience and credentials to mark him as an artist of consequence. He had trained in Paris at the Académie Julian, where in 1894 he shared lodgings with the Scottish Colourist S. J. Peploe (1871-1935), and following this spent a period working in Brittany, inspired by Paul Gauguin (1848-1903). He was charmed by the traditional way of life of the Breton people, and by the distinctive quality of light and vivid colouring of the landscape.Both Gauguin and Brough assimilated the tenets of the Synthesist movement, a painting style which prioritised the use of flat planes of harmonious colour and of rhythmic, pattern-inflected composition over more naturalistic representation. Brough’s Brittany work firmly acknowledges Syntheticism but is tempered by an observational grounding, owing to his fascination with the Breton peoples’ lives and customs. His paintings from this period constitute a sensitive record of a traditional people, rendered with an innovatively modern, almost post-Impressionist eye.Jennifer Melville observed that ‘In Breton Women Sitting on a Beach Brough sets the silhouettes created by [the] local costumes against a glowing pink sand - coming as close to Gauguin’s flat patterns as in any work’. (Jennifer Melville, Robert Brough, Aberdeen Art Gallery, 1995, p.21)Upon returning to Aberdeen in 1894, Brough began to earn a living as a portrait artist. He soon attracted commissions from notable families in the area, particularly those involved with the arts. His style retained the compositional brilliance of his earlier work, but his technique became increasingly dynamic and ‘sweeping’ owing to his confident application of licks of oil pigment. Sweet Violets dates to 1897, when Brough was establishing himself as an accomplished society portraitist, and is one of the artist’s masterpieces. His characteristically flamboyant brushwork delineates the elegant profile and fashionable attire of his subject, Barbara Staples, whom Brough had secured permission to paint after a meeting in Aberdeen. Affixed under Staples’ spectacular hat is a delicate patterned veil, through which her pink lips and cheeks are visible. She holds aloft a jar of violets, with their purple hues reflected at her throat and cuffs, inviting comparison between the beauty of the sitter and the flowers she holds. Sweet Violets and a companion painting titled Fantaisie en Folie (now in the Tate collection) implement a similar palette and portray their sitter in profile against a plain background, which Thomas Cooper suggests may have been informed by John Singer Sargent’s Madame Gautreau Drinking a Toast (1882-1883). (Thomas Cooper, ‘A Monstrous Imagining of Matter and Spirit: Robert Brough’s Fantaisie en Folie (1897)’, Immediations, Courtauld Institute of Art on-line journal, vol.4, no.3, 2018, accessed 10 May 2023) Brough’s companion portraits were exhibited widely to exceptional acclaim, rendering the young artist something of a critical phenomenon.Sweet Violets was acquired by Alexander Ogsten and hung in his home at Ardoe House, Aberdeen, for many years. So enamoured was Ogsten with the painting that he declined the many offers he received for it - including those made by Barbara Staples’ husband. Eventually the portrait was exhibited in a Munich gallery in 1960, where Staples’ family were able to purchase the picture and return it to the family. They, in turn, refused to accept any offer that was made for it, and for a long time it remained a family treasure. In the 1990s an article appeared in Country Life magazine searching for Brough’s lost masterpiece, and the Staples family responded explaining that the portrait was in their collection, and that the sitter was their grandmother. In 1995 Sweet Violets was included in Aberdeen Art Gallery’s Brough exhibition, after which it was loaned to, and ultimately purchased by, the present vendor.The success of Sweet Violets and Fantaisie en Folie encouraged Robert Brough to move to London. He promptly joined the Chelsea Arts Club, where he met Sargent, one of his artistic heroes. The pair became close friends, developing a mentor-protégé relationship and taking nearby Chelsea studios. Thanks in part to Sargent’s support, Brough’s painting career flourished year upon year. Young, ambitious, and precociously talented, Brough was on an impressive professional trajectory, yet was unable to reach the soaring heights for which he appeared to be destined on account of a tragic accident. On 20th January 1905 Brough was travelling by train from Perth to London when a major crash occurred. He suffered serious burns and died the following day, with his mother and Singer Sargent at his bedside. His life, and extraordinary potential, was thus curtailed. Throughout his life Brough was successful and well-known; his obituary recorded that he combined ‘the dash of Sargent and the beautiful refinement of Velazquez.’ (The artist W. G. Robb quoted in an obituary in a Scottish newspaper, 1905) Despite this, his early death appears initially to have prevented him from being fully admitted to the canon of great painters in the history of Scottish art. This is largely due to the brevity of his career: relatively few artworks survive and he had less time than most to crystallise his artistic legacy. Fortunately, recent reviews of Scottish painting have done much to reinstate Brough’s status as a painter of remarkable quality, who worked at the forefront of innovative artistic movements, both in Britain and in France. Robert Brough’s artworks appear on the market infrequently, and Lyon & Turnbull is therefore particularly delighted to be offering two tour-de-force oils, both of exceptional importance and each dating to key moments in his career.
§ JAMES MCBEY (SCOTTISH 1883-1959) OVATION TO THE MATADOR Signed and numbered XIII in pen to margin, etching from an edition of 30Dimensions:26.5cm x 17cm (10.5in x 6.75in)Note: Note: McBey’s etchings proved incredibly popular with London audiences. His career break came with an exhibition at the Goupil Gallery, where he sold seventy-seven prints, and his most in-demand compositions were those inspired by travels abroad. He had first experienced the benefits of new visual and art-historical stimuli while travelling in the Netherlands in 1910, where he painted, drew, and studied Rembrandt’s etchings in the Rijksmuseum. Visits to Morocco and Spain followed shortly thereafter, and McBey amassed a significant body of work depicting Spanish bull-fighting rings.The thrilling, theatrical atmosphere of the ring is captured in The Ovation to the Matador (c.1911) wherein a bull-fighter in traditional attire presents himself triumphantly. The crowd he faces is unseen, but their jubilant reception is made evident by the matador’s raised arms and delighted expression. McBey adjusted this composition for a dynamic etching of the same title, which evidences his mastery of intaglio to evoke varied qualities of light and shadow.Spain would prove to be a continuing source of inspiration. A Brave Bull, San Sebastian (1932) (Lot 141) post-dates the etching market crash which compelled McBey to predominantly work in watercolour and oil paint.
Victoria, Golden Jubilee, 1887, a bronze medal by L.C. Wyon after Sir J.E. Boehm and Sir F. Leighton, crowned bust left, rev. enthroned figure of Empire surrounded by standing figures representing Science, Letters, Art, etc, Mercury and Time below, 77mm (W & E 2000A.1; BHM 3219; E 1733b). A few minor marks, otherwise extremely fine; in case of issue £200-£260
Anglo-French Friendship, 1830, a copper medal by Gayrard & Caqué, 36mm; William IV, Coronation, 1831, a copper medal by W. Wyon for Rundell Bridge & Co., 68mm (BHM 1476; E 1248); Death of the Duke of Wellington, 1852, a white metal medal by Allen & Moore, 51mm (BHM 2476); Exhibition of Art Treasures, Manchester, 1857, a bronze medal by Pinches, 63mm (BHM 2606) [4]. Varied state £100-£150
Glasgow, School of Art and Haldane Academy, Haldane Trustees Medal, a bronze award by N. Macphail, bare head of James Haldane left, rev. Minerva seated, owl at her feet, edge named (W.S. Kershaw, 15a), 60mm (D & W 230/211). Scratched in reverse field, otherwise extremely fine £80-£100 --- Provenance: N.G. Brodie Collection, DNW Auction 41, 3 June 1999, lot 719; J. Spencer Collection, DNW Auction 66, 6 July 2005, lot 1108 (part)
Francis Chantrey, 1843, a bronze medal by W. Wyon for the Art Union of London, 55mm (BHM 2227); William Hogarth, 1848, a bronze medal by L.C. Wyon for the Art Union of London, 54mm (BHM 2302); Inigo Jones, 1849, a bronze medal by C.F. Carter for the Art Union of London, 54mm (BHM 2348); together with a copper medal of Shakespeare by J.-J. Barre, 41mm [4]. Good very fine or better but first three brightly cleaned £80-£100
USA, 25th Anniversary of the Commercial Credit Company, 1937, a bronze medal by H. Schuler for Medallic Art Co, 76mm; Pittsburgh Bicentennial, 1958, a bronze medal by R.J. Menconi for the Pittsburgh Bicentennial Association, 76mm; Alaska Statehood, 1959, a bronze medal by R.J. Menconi for Medallic Art Co, 64mm (Gould/Bressett 105); The New York World’s Fair, 1964-5, a bronze medal by A. de Francisci for Medallic Art Co, 63mm [4]. First very fine, others extremely fine; last three in card boxes of issue £60-£80
FRANCE, Préparation Militaire, 1911, a bronze medal by P. Grandhomme for the Ministre de la Guerre, 50mm (BDM VII, 389; V & A Exh. Cat. 1998, 1; cf. Noonans 264, 901); Municipalité de Paris, c. 1930, an Art Déco bronze medal by P.-M. Dammann, named (à Charles Lambert, Instituteur, 1934), 50mm (BM Acq. 1978-82, pl.54, 43; cf. DNW M8, 2285); Philatec Paris, 1964, a silver award medal by J.A. Devigne, named (T.-H. Bent), 68mm (cf. DNW 141, 1760); together with clichés (3), by Exbrayat for La Gerbe d’Or, and by H. Dropsy (2), one fashioned as a badge [6]. Third extremely fine and in case of issue, others very fine and better £80-£100
USA, Death of President Warren Harding, 1923, a bronze medal by G.T. Morgan, 76mm (Failor/Hayden 128); Inauguration of President Richard Nixon, 1969, a bronze medal by F. Gasparro, 76mm (FH 138); Second Inauguration of President Richard Nixon and Vice-President Spiro Agnew, 1973, a Proof bronze medal by G. Roberts for the Franklin Mint, 70mm; Second Inauguration of President William Clinton, 1997, a bronze medal by D. Everhart II for Medallic Art Co, 70mm [4]. First about very fine, others extremely fine; all except first boxes of issue £60-£80
δ Blek Le Rat. Getting Through The Walls, first edition, signed presentation inscription from the author "For Sheena, thank you so much for your interest in my art" with an outline drawing of a rat on title, photographic illustrations, original pictorial wrappers, 4to, 2008δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Quinn (John, art collector and Irish-American lawyer, 170-1924) A Collection of Letters between John Quinn and Alphonse Kann, documenting their art collecting activities, including autograph and typed letters, and cheques, folds, some staple stains, v.s., housed in custom-made clamshell box, 1922-24 (c.10 items) ⁂ A notable group of correspondence documenting the collecting activities of John Quinn and Alphonse Kann. Quinn was an important patron of chief figures in Post-impressionism and literary Modernism, a major collector of modern art and original manuscripts, and the first to exhibit these works after winning legal battles against censorship and cultural isolation. In the 1920s he owned the largest single collection of modern European paintings in the world. Alphonse Kann was a friend of Proust and noted collector who sold several works to Quinn. By the 1920's Kann had begun to devote himself to contemporary art, hence, perhaps, his willingness to sell to Quinn. Kann owned Barque L'Homme a la guitare and significant painting by Picasso, Gris, Klee and Ledger. He left for France in 1938 and his collection was subsequently looted by Nazis.
Bailey (David) David Bailey's Box of Pin-Ups, 36 halftone photographic prints, each with biographical notices to verso, loose as issued, lacking 2 original cardboard pieces stamped "Packing pieces to be thrown away" and sheet of brown paper, but with the Gallery Guide to the Barbican Art Gallery's exhibition of Bailey's work entitled "David Bailey - Birth of the Cool", contents bright and fresh, some handling creases or light finger-stains, "Michael Cain" sheet nibbled at corners, in original drop-back box with photographic illustrations to covers (broken along joints, one piece detached but still present, rather worn), together with some contemporary newspaper clippings, 4to, 1965.
NO RESERVE Graves (Robert) Poems 1965-68, first edition, signed presentation inscription from the author to Simon Wilson, sprig of rosemary loosely inserted in small bag and labelled as coming from the bush by Graves' graveside, original cloth, dust-jacket, light toning to spine, else excellent, 8vo, 1968.⁂ Simon Wilson OBE is an art historian and retired Tate curator, author of numerous books on British and modern art.
Herbert Ward (British, 1863-1919)The charm doctor signed 'Herbert Ward' (to base), inscribed with the foundry mark 'ALEXIS PODIER/FONDEUR PARIS' (to base), bears inscription 'TO LAURIE AND MARGARET BENET/SOUVENIR OF A LASTING FRIENDSHIP/FROM/SARITA WARD' (on plaque attached to marble base) and bears inscription 'THE CHARM DOCTOR/CENTRAL AFRICA/SKETCH BY HERBERT WARD' (on plaque attached to marble base).bronze on a green marble base45.4 (17 7/8) highFootnotes:ProvenanceGifted to Laura and Margaret Benét by Sarita Ward, Herbert Ward's wife.Thence by descent.The American biographer Laura Benét was the sister of poets and Pulitzer prize winners, Stephen Vincent Benét and William Rose Benét. Herbert Ward struck up a friendship with William Rose Benét in Paris and the two families became close.A charm doctor was considered in several Congo tribes to be the connecting link between mortals and spirits. Another cast of 'The Charm Doctor' can be found in the collection of the Smithsonian Institute (USNM no. E23732-0), donated into the collection by the artist's wife and where it is noted to have been exhibited at the Salon Société des Artistes Français, Paris in 1902. There is also another cast of the sculpture, titled 'Le Sorcier' exhibited at the Musée d'arts de Nantes.Herbert Ward longed for adventure, and at the age of 15, he left England to satisfy his curiosities, spending his youth travelling extensively. In 1884, Ward set out for the Congo where he worked for various companies managing the transport of goods and supplies both to and from Europe. A year into his time in the Congo, Ward joined Henry Morgan Stanley's expedition travelling on the rivers across the country. Ward's appreciation and fascination for the Congo and it's people encouraged him to learn local languages and customs, allowing him to develop good relationships with various communities.Ward left Africa in 1889 and began a career as a touring writer and lecturer, where he paid a particular focus to his time in the Congo. Four years later he turned his attention to the Arts and began his formal artistic training. This led him to Paris to pursue bronze casting and his travel journals from the Congo became a source of inspiration for his sculptures. During his time in Paris, both the French Academy and the general public enjoyed his Congolese subjects. His style adopted a more natural depiction of the human figure, but Ward emphasised that his sculptures were not presented as scientific illustrations, rather they were art to share 'the spirit of Africa in the broad sense'. Throughout his artistic career, Ward begun to question colonialism, especially in Africa. During the First World War, Ward served as a Lieutenant in No. 3 Convoy of the British Ambulance Committee where he distinguished himself. However, his efforts during the war weakened his health and he died in 1919.Saleroom notices:Please refer to the online cataloguing of this lot for provenance details.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
Joseph Denovan Adam Jnr (British, active 1900-1931)Disembarking mules with the Remount Squadron in Salonika, Greece signed 'Denovan Adam' (lower right)watercolour and pencil35.5 x 55cm (14 x 21 5/8in).Footnotes:There is a label on the reverse of the panel that reads: 'No. 2 Disembarking Mules/Scottish Horse/With the Remount Squadron Salonika./The mules have a curious way of trying to jump over the quay/or jump from the boat down on to the dock.'Joseph Denovan Adam Jnr studied at the Glasgow School of Art from 1897 to 1899. During the First World War he was stationed with British troops in Macedonia. It is believed that this work depicts mules at the port of Salonika (now known as Thessaloniki) coming from Egypt on their way to assist 'The Black Watch' with the Scottish Horse Yeomanry in 1916.For further information on this lot please visit Bonhams.com
John Barr Clarke Hoyte (British, 1835-1913)A sailing boat entering the Sounds, New Zealand signed 'JC Hoyte.' (lower left)watercolour19.4 x 57.1cm (7 5/8 x 22 1/2in).Footnotes:ProvenanceWith the Fine Art Society, Cambridge, New Zealand.Private collection, UK (acquired from the above in June 2008), thence by descent to the current owner.For further information on this lot please visit Bonhams.com
William George Baker (New Zealand, 1864-1929)Milford Sound, New Zealand signed and titled 'MILFORD SOUND/W.G.BAKER' (lower left)oil on canvas86.1 x 132.4cm (33 7/8 x 52 1/8in).Footnotes:ProvenanceAnon. sale, International Art Centre, Auckland, New Zealand, 1 July 2008, lot 66.With Warwick Henderson Galleries, Auckland, New Zealand. Private collection, UK (acquired from the above), thence by descent to the current owner.For further information on this lot please visit Bonhams.com
PONTING (HERBERT GEORGE)'Captain Scott's Last Birthday Dinner, 1911. (Officers' Table.)', toned silver bromide print, on card, captioned in ink on the original Fine Art Society label on verso, contemporary oak frame [FAS 1913, No. 51], 480 x 515mm., [1911, printed 1913]Footnotes:Fine photograph of the Scott and his officers seated for dinner to celebrate his forty-third birthday on 6 June 1911 in Antarctica. 'It shows that they ate very well and that this special occasion they took great care with the presentation of the meal... There is a strong patriotic atmosphere: a Union Jack is laid on the table and behind Scott we see sledge flags belonging to the team' (D. Hempelman-Adams, S. Gordon and E. Stuart, The Heart of the Great Alone. Scott, Shackleton and Antarctic Photography, 2009, p.113).The Fine Art Society mounted the first public exhibition of Ponting's photographs at their gallery in New Bond Street, London on 4 December 1913, displaying 146 images, and generating some 680 orders. They were available in four sizes, the present sample being the third largest exhibition format. Landscapes proved the most popular, with comparatively few portrait ordered (for example just thirteen orders were received for the special set of large photographs of the polar party), with the present image rare and one of the few images Ponting developed as toned silver bromide prints.Provenance: Fine Art Society label (captioned in ink 'Capt. Scotts Birthday Dinner / 1911. / 51' on the reverse), with pencil name 'Jeffreys L.' beneath in pencil. On the backing board of the frame is a trade label of Richard Jeffreys, picture dealer and framer, Liverpool.For further information on this lot please visit Bonhams.com
Herbert Ward (British, 1863-1919)A Congo type signed 'Herbert Ward' (to neck verso) and bears inscription 'A CONGO TYPE/BY/HERBERT WARD/SOUVENIR JANUARY 11 1907' (on plaque attached to marble base).bronze with green marble base27.4 (10 13/16) highFootnotes:ProvenanceGifted to Laura Benét by Sarita Ward, Herbert Ward's wife, 11 January 1907. Thence by descent.The American biographer Laura Benét was the sister of poets and Pulitzer prize winners, Stephen Vincent Benét and William Rose Benét. Herbert Ward struck up a friendship with William Rose Benét in Paris and the two families became close.Herbert Ward longed for adventure, and at the age of 15, he left England to satisfy his curiosities, spending his youth travelling extensively. In 1884, Ward set out for the Congo where he worked for various companies managing the transport of goods and supplies both to and from Europe. A year into his time in the Congo, Ward joined Henry Morgan Stanley's expedition travelling on the rivers across the country. Ward's appreciation and fascination for the Congo and it's people encouraged him to learn local languages and customs, allowing him to develop good relationships with various communities.Ward left Africa in 1889 and began a career as a touring writer and lecturer, where he paid a particular focus to his time in the Congo. Four years later he turned his attention to the Arts and began his formal artistic training. This led him to Paris to pursue bronze casting and his travel journals from the Congo became a source of inspiration for his sculptures. During his time in Paris, both the French Academy and the general public enjoyed his Congolese subjects. His style adopted a more natural depiction of the human figure, but Ward emphasised that his sculptures were not presented as scientific illustrations, rather they were art to share 'the spirit of Africa in the broad sense'. Throughout his artistic career, Ward begun to question colonialism, especially in Africa. During the First World War, Ward served as a Lieutenant in No. 3 Convoy of the British Ambulance Committee where he distinguished himself. However, his efforts during the war weakened his health and he died in 1919.Saleroom notices:Please refer to the online cataloguing of this lot for provenance details.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
THOMSON (JOHN)Group of twenty-three fine views of Hong Kong, gelatin silver prints from original negatives, loose mounted, sheet size 295 x 364, the stereo views 140 x 255mm., [1868-1872, printed 1960s] (23)Footnotes:Images include: two-part panorama looking eastwards towards the harbour from Mr. Jardine's house at East Point; the waterfront; Queens Road with the clock tower; Pedder Street looking towards the Peak; Queens Road with Victoria Exchange; Queens Road East; Queens Road Central, with decorations for the Duke of Edinburgh's visit, 1869; Western district street with puppet show; D'Aguilar Street, looking towards the Peak; Mr. Jardine's house; view of the town towards the waterfront with City Hall under construction; City Hall; harbour, with H.M.S. Galatea on Duke of Edinburgh's arrival; view from near the Botanic Gardens; study of exotic plant; the cemetery at Causeway Bay; [stereo views] Kwai Yin Temple on Hollywood Road; City Hall from the Praya; Queens Road Central; three studies of a local family, on the balcony and at the meal table.Provenance: John Warner, Curator of the Hong Kong Museum of Art from 1962 to 1976, and author of Fragrant Harbour. Early Photographs of Hong Kong (1976). Warner commissioned the prints to be taken from the original negatives held by The Wellcome Institute, in preparation of a proposed exhibition in Hong Kong.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
An Art Deco Sapphire and Diamond Panel Ring, rectangular collet set to the centre with two uniform stones, within shaped frame setting millegrain set with four graduated old cut stones, between plain shoulders, stamped "18ct" (finger size N).Lot 248 - ring weight 2.5grams, 1.6cm x 1.4cm diamond size, we believe the sapphires to be natural (origin unknown), ring shank worn, chips and abrasions to sapphires, slight silver/grey colour against white background, unable to measure diamonds due to setting.
An Art Deco Sapphire and Diamond Cluster Ring, millegrain set to the centre, within border of old and single cut stones, between lain shoulders, stamped "18ct" (finger size O). *Aladdins Cave (Leeds) valuation dated 2012, £1,495.Lot 247 - ring weight 2 grams, 1cm x 1.1cm inclusions visible under 10x loop, good condition
Longines; An Art Deco 'Dunhill' Wristwatch, the signed square dial with subsidiary dial below, within rectangular case, the movement stamped "Longines" and numbered "5304212" "17 Jewels", inside case back stamped "Staybrite" "5304212", on a strap, together with an Alfred Dunhill Ltd London case.Lot 288 - 17 mm case (excl. winder), the watch appears to be fully wound but isn't going.
A collection of twenty-four Japanese works of art auction catalogues, the majority Sotheby's, including 'Kabuki in Japanese Prints from the Collection of the Late Prof. H.R.W. Kühne', London 11th June 1993, and 'Japanese Works of Art... including the George and Verna Lazarnick Collection of Netsuke', London 14th and 15th November 2000, and various other booklets and exhibition catalogues.This lot is subject to a Buyer’s Premium of 24.5% (including VAT @ 0%) of the hammer price. Purchased online via the-saleroom.com, this lot will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
A collection of Chinese and Japanese pottery and works of art, 19th century and later, including a Chinese porcelain figure of an immortal, height 37cm, a Japanese Satsuma milk jug and cover, Meiji period, painted and gilt with figures in landscape, signed, height 10cm, a Canton famille rose cup, height 6.6cm, and a pair of Japanese bronze vases, height 15cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A collection of Japanese art reference books, including 'The Edward Burr van Vleck Collection of Japanese Prints', 1990, with dust jacket, 'Hokusai Paintings Drawings and Woodcuts' by J. Hillier, 1955, 'Le Tokaido de Hiroshige', 2002, and 'The Dawn of the Floating World', Royal Academy of Arts 2001.This lot is subject to a Buyer’s Premium of 24.5% (including VAT @ 0%) of the hammer price. Purchased online via the-saleroom.com, this lot will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
A collection of Japanese art reference books, including the two-volume set 'The Passionate Art of Kitagawa Utamaro' by Shugo Asano and Timothy Clark, 1995, with slip case, 'Japanese Masters of the Colour Print' by J. Hillier, 'Japan A History in Art' by Bradley Smith and 'Japanese Art and Handicraft' by Henri L. Joly and Kumasaku Tomita.This lot is subject to a Buyer’s Premium of 24.5% (including VAT @ 0%) of the hammer price. Purchased online via the-saleroom.com, this lot will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Claeissens, Antoon -- und Pieter Claeissens d. J. (1530/36 - 1623, Brügge). Die Menschheit vor der Sintflut. Öl auf Kupfer. 37,6 x 47,2 cm. Signiert "Pet: Claessins. F. Anto: F:".Bei dem vorliegenden Gemälde handelt es sich um eine Gemeinschaftsarbeit der Brüder Antoon und Pieter Claeissens, die der zweiten Generation einer seit dem 16. Jahrhundert in Brügge tätigen Malerfamilie angehörten. Die Komposition geht auf eine verlorengegangene Zeichnung des Amsterdamer Malers Dirck Barendsz. zurück, die durch einen Kupferstich des Johannes Sadeler I. überliefert ist (Hollstein 264). Das Gemälde besitzt etwa die gleiche Größe des Kupferstiches und gibt diesen im gleichen Sinn und mit geringfügigen Variationen wieder. Dennoch besitzt das Werk durch die kostbare, leuchtende Farbigkeit und die verfeinerte Lasurtechnik den Rang eines selbstständigen Kunstwerkes. Subtil und abwechslungsreich ist das unterschiedliche Inkarnat von Männern und Frauen wiedergegeben, das einen fast samtartigen Charakter besitzt. Die Brüder Antoon und Pieter haben die galante, heitere Bankettszene mit der Präzision von Miniaturmalern behandelt. Im Unterschied zum Kupferstich weisen die Physiognomien von einzelnen Protagonisten fast porträthafte Züge auf. Mit sichtbarer Freude und Stolz über die eigene handwerkliche Meisterschaft sind Details wie das Früchtestillleben links, Musikinstrumente und kostbare Ziergefäße dargestellt. Im kühlen Licht blitzen Gräser, Kräuter und Blätter mit metallischer Schärfe auf. Die Landschaft im Hintergrund erscheint unter einem bedrohlichen Gewitterhimmel in einem gespenstischen Dämmerlicht. Ein Bauer führt unbekümmert seinen von zwei Ochsen gezogenen Pflug, aber andere Personen heben bereits ihre Hände in einer Verzweiflungsgeste zum Himmel oder versuchen sich auf einer Anhöhe vor dem nahenden Unheil zu schützen, das durch die Arche am Horizont symbolisiert wird. Antoon Claeissens wurde 1570 Meister der Brügger Lukasgilde und war bis 1581 als Stadtmaler tätig. Sein Bruder Pieter folgte ihm in jenem Amt nach und behielt dieses bis zum Jahre 1621 inne. Beide Künstler entwarfen Festdekorationen und schufen religiöse und allegorische Kompositionen, von denen einige im Groeninge-Museum in Brügge aufbewahrt werden. Insbesondere Antoon arbeitete in einer betont manieristischen Malweise, die auch auf unserem Bilde zum Tragen kommt. Das kühle, kostbare Kolorit, die verfeinerte Stilsprache und die unterschwellig erotische Komponente der Darstellung sind Stilelemente, die für diese Epoche kennzeichnend sind und auffällige Parallelen zum sogenannten Rudolfinischen Stil aufweisen. Exquisite Kabinettstücke dieser Art dürften sich bei einem erlesenen Kreis von Sammlern und Kennern großer Beliebtheit erfreut haben. Verso zeigt die Kupferplatte eine monochrome Kartusche, die an die Ornamentik des Frans Floris und Hans Vredeman de Vries erinnert. Möglicherweise sollte sie eine nicht realisierte, moralisierende Inschrift umrahmen. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Steffeck, Carl Constantin Heinrich -- Kaiser Wilhelm I. zu Pferd.Öl auf Leinwand, auf Holzplatte aufgezogen. 28,3 x 19,3 cm. Unten rechts signiert "C. Steffeck". Um 1871.Als Sohn eines Porträtmalers kam Carl Steffeck schon in jungen Jahren in Berührung nicht nur mit der Malerei, sondern auch mit Pferden und dem Reitsport. Sein Studium beginnt er 1834 an der Berliner Akademie, wo er schnell zu einem der vielversprechendsten Schüler des Pferdemalers Franz Krügers avanciert aber auch unter Karl Begas studiert und erste Historiengemälde schafft. Zwischen 1839 und 1840 hält er sich für längere Zeit in Paris auf und wird dort Schüler des Historienmalers Paul Delaroche bevor er Frankreich verlässt und sich auf eine Studienreise durch Italien begibt. Ab 1842 etabliert er sich höchst erfolgreich als Historien- und Tiermaler in Berlin und nimmt an zahlreichen Ausstellungen teil. Sein Atelier öffnet er in der Art zeitgenössischer französischer Künstler auch für Schüler, darunter Hans von Marées und Max Liebermann. Nach über 40 Jahren Tätigkeit in Berlin wird er 1880 zum Direktor an der Königsberger Akadamie berufen. Wilhelm I. ließ sich mehrfach von Steffeck darstellen. So zum Beispiel ebenfalls zur Pferde auf dem Schlachtfeld von Sedan 1870 - einem seiner größten militärischen Erfolge. Ein monumentales Reiterbild des Kaisers von Steffecks Hand schmückt lange Zeit auch den Berliner Reichstag. Das vorliegende Gemälde könnte ebenfalls in einem dieser Zusammenhänge entstanden sein, ähnelt es in der Auffassung doch den Sedan-Darstellungen, es stellt den Monarchen allerdings in einem intimeren Format und mit wesentlich stärkerer Konzentration auf malerische Werte und naturgetreue Präzision dar.Provenienz: Auktionshaus Hans Stahl, Hamburg, Auktion am 9. Mai 1981, Los 9644.Privatsammlung Rheinland. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Kyosho, Minichamps, Auto Art, Herpa and similar a boxed group to include Kyosho 03151R Caterham Super Seven (Red), Auto Art 55358 Lotus Europa S (White), Corgi Detail Cars 294 Ferrari F 355 1994 Spyder (Yellow) plus others similar. Conditions generally appear Good Plus to Mint in generally Good to Near Mint boxes. (9)
Art Nouveau Superb Quality Pair of Sterling Silver Openwork Vases - Of Tapered Form Supported On Unusual Splayed Bases. They Come With Silver Lined Which Can Be Removed If So wished. Each Standing 10'' (25 cm) High. Wonderful Condition. Hallmark London 1906. Makers Mark Ackroyd and Manoah Rhodes. Silver Weight 863.6 grams (27.8 ozs)
Art Deco Period 1920's Early Superior Ladies Superb Quality Sterling Silver Starburst Design Lidded Trinket Box. Standing on four ball feet, excellent shape, blue velvet interior. Hallmark Birmingham 1922. Silver weight 194 grams. 5'' - 12.5 cm wide, 3.5'' - 8.75 cm depth, 1.5'' - 3.75 cm height.
Late Art Deco Period Super Quality Sterling Silver Guillloche Enamel Ladies Compact - By Joseph Closter. The Front Cover Depicts A Budgerigar Perched On A Branch With Pink Flowers On White Enamel Ground. Exquisite Detail. Marks are Indistict. Ding To Back Cover. (Engine Turned) Gross Weight 125 grams. Diameter 3.25''.
Laurence Stephen Lowry - British 1887 - 1976 - Titled ' Meeting Point ' 1972, Original Offset Lithograph. In Colours on Wove Paper. Signed L.S. Lowry In Pencil, Lower Right with Fine Art Trade Guild Stamp. A Ltd Number of 600, Mounted and Framed Behind Reflective Glass, Excellent Condition, No Issues, Foxing, Fading etc. Size of Lithograph Only 19.5 x 28 Inches - 48.75 x 70 cms.
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