Lilian Strang Neilson – ‘The Sacred Grove’, 20th century oil on board, signed with monogram recto, titled and signed verso, 59.5cm x 90.5cm, within a silvered frame. Note: Lilian Strang Neilson was a distinguished Scottish artist known for her evocative works capturing the rural and coastal landscapes of her native Scotland. Born in Kirkcaldy in 1938, she went on to study at the Duncan of Jordanstone College of Art from 1956–60 where her tutors included Hugh Crawford and Alberto Morrocco. She attended summer school at Hospitalfield House where she met and became friends with Joan Eardley. After a travelling scholarship to France and Italy, Lilian moved to the Scottish coastal village of Catterline sharing a studio with Joan Eardley and Annette Stephen. The three artists worked closely together, capturing the unique landscape, wild seas and ever changing atmospheric conditions of Catterline. Lilian Strang Neilson died in Aberdeen in 1998, leaving behind an enduring legacy as one of Scotland's most important modern painters. Provenance: gifted by the artist to the Late Mrs Elizabeth Rose Joyce Maude Smith in 1997.
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Lilian Strang Neilson – Interior, Lamp and Book, 20th century oil on board, 34.5cm x 23cm, within a painted wood frame. Note: Lilian Strang Neilson was a distinguished Scottish artist known for her evocative works capturing the rural and coastal landscapes of her native Scotland. Born in Kirkcaldy in 1938, she went on to study at the Duncan of Jordanstone College of Art from 1956–60 where her tutors included Hugh Crawford and Alberto Morrocco. She attended summer school at Hospitalfield House where she met and became friends with Joan Eardley. After a travelling scholarship to France and Italy, Lilian moved to the Scottish coastal village of Catterline sharing a studio with Joan Eardley and Annette Stephen. The three artists worked closely together, capturing the unique landscape, wild seas and ever changing atmospheric conditions of Catterline. Lilian Strang Neilson died in Aberdeen in 1998, leaving behind an enduring legacy as one of Scotland's most important modern painters. Provenance: gifted by the artist to the Late Mrs Elizabeth Rose Joyce Maude Smith in 1997.
Lilian Strang Neilson – Moonlit Landscape, 20th century oil on board, 23cm x 25cm, within a painted wood frame. Note: Lilian Strang Neilson was a distinguished Scottish artist known for her evocative works capturing the rural and coastal landscapes of her native Scotland. Born in Kirkcaldy in 1938, she went on to study at the Duncan of Jordanstone College of Art from 1956–60 where her tutors included Hugh Crawford and Alberto Morrocco. She attended summer school at Hospitalfield House where she met and became friends with Joan Eardley. After a travelling scholarship to France and Italy, Lilian moved to the Scottish coastal village of Catterline sharing a studio with Joan Eardley and Annette Stephen. The three artists worked closely together, capturing the unique landscape, wild seas and ever changing atmospheric conditions of Catterline. Lilian Strang Neilson died in Aberdeen in 1998, leaving behind an enduring legacy as one of Scotland's most important modern painters. Provenance: gifted by the artist to the Late Mrs Elizabeth Rose Joyce Maude Smith in 1997.
Lilian Strang Neilson – ‘Scrap #2’, 20th century oil on board, 13cm x 23.5cm. Note: Lilian Strang Neilson was a distinguished Scottish artist known for her evocative works capturing the rural and coastal landscapes of her native Scotland. Born in Kirkcaldy in 1938, she went on to study at the Duncan of Jordanstone College of Art from 1956–60 where her tutors included Hugh Crawford and Alberto Morrocco. She attended summer school at Hospitalfield House where she met and became friends with Joan Eardley. After a travelling scholarship to France and Italy, Lilian moved to the Scottish coastal village of Catterline sharing a studio with Joan Eardley and Annette Stephen. The three artists worked closely together, capturing the unique landscape, wild seas and ever changing atmospheric conditions of Catterline. Lilian Strang Neilson died in Aberdeen in 1998, leaving behind an enduring legacy as one of Scotland's most important modern painters. Provenance: gifted by the artist to the Late Mrs Elizabeth Rose Joyce Maude Smith in 1997.
Lilian Strang Neilson – Washing, 20th century oil on canvas-board, 24cm x 34.5cm, within a limed wood frame. Note: Lilian Strang Neilson was a distinguished Scottish artist known for her evocative works capturing the rural and coastal landscapes of her native Scotland. Born in Kirkcaldy in 1938, she went on to study at the Duncan of Jordanstone College of Art from 1956–60 where her tutors included Hugh Crawford and Alberto Morrocco. She attended summer school at Hospitalfield House where she met and became friends with Joan Eardley. After a travelling scholarship to France and Italy, Lilian moved to the Scottish coastal village of Catterline sharing a studio with Joan Eardley and Annette Stephen. The three artists worked closely together, capturing the unique landscape, wild seas and ever changing atmospheric conditions of Catterline. Lilian Strang Neilson died in Aberdeen in 1998, leaving behind an enduring legacy as one of Scotland's most important modern painters. Provenance: gifted by the artist to the Late Mrs Elizabeth Rose Joyce Maude Smith in 1997.
COLLECTION OF BLUE THREADED ART GLASS LATE 19TH CENTURY including examples by Hodgetts, Richardson and Pargeter of the Wordsley Flint Glasswork and examples from the Red House Glassworks, Wordsley; comprising vases, jugs and bowls of various forms, two round shallow cups, a basket, and a girandole with mirror plate back, with some engraved examples, including two graduated jugs of tapering form, engraved with flowers, foliage and insects, a carafe with similar decoration, and a decanter and stopper of unusual urn shaped form, raised on a circular foot, engraved with bands of flowers (22) the larger engraved jug 25cm high, the smaller engraved jug 17.8cm high, the carafe 19cm high, decanter and stopper 35cm high Provenance: Select items from the estate of the late Lady PennThis collection of glass was gifted by HRH Princess Margaret to Lady Penn.
MARBLE HEAD OF A LADY, IN THE LATE 15TH CENTURY ITALIAN STYLE ATTRIBUTED TO GIOVANNI BASTIANINI (ITALIAN 1830-1868) modelled in the Mannerist style with downcast almond eyes, high forehead and plaited hair set with ribbons, mounted on a limed oak veneered tapering square plinth, head 18cm high 35cm high overall, 13cm wide, 16cm deep Provenance: Property of a Private Glasgow Estate, reputed to have been purchased in the mid 20th century Note: From the mid-nineteenth century early Renaissance sculpture was in high demand and short supply. The Florentine dealer Giovanni Freppa (1795–1870) found a solution to this problem in the sculptor Giovanni Bastianini (1830-1868). He had began his career as a stonecutter in the quarries at Fiesole, and was sent by Francesco Inghirami to study in Florence, first with Pio Fedi and then with Girolamo Torrini, with whom he collaborated on a statue of Donatello for the portico of the Uffizi. He worked for the dealer from about 1850 to 1867, for whom he produced numerous neo-Renaissance works, most often busts and bas-reliefs in the style of Donatello, Verrocchio, Mino de Fiesole, Desiderio da Settignano, Francesco da Laurana and other Italian masters. Bastianini's works were sold to collectors and such museums as the Victoria & Albert Museum and the Louvre as Renaissance masterpieces. Shortly before his death some of his works were revealed to be forgeries. Scandal ensued, but discussion continues about his intentions and the extent to which his forgery was encouraged by dealers, including Joseph Duveen.For comparable examples see a bust by Bastianini, in the manner of Desiderio da Settignano, circa 1860, V&A;, Accession Number A.9-1916; and also a portrait bust of a lady, attributed to Bastianini, Princeton University Art Museum, Object Number y1969-125.Literature: A. F. Moskowtiz, Forging authenticity: Bastianini and the Neo-Renaissance in nineteenth century Florence, London, Ad Ilissum, 2018
SIR EDWARD COLEY BURNE-JONES A.R.A. (BRITISH 1833-1898) LADY ELIZABETH LEWIS Signed with initials and inscribed and dated with sitter's initials E.B. 1881, pencil 36.25cm x 24.25cm (14.25in x 9.5in) Provenance: Lady Lewis, and thence by descent through the family Exhibited: Burlington Fine Arts Club, London 1896, no.186;Hayward Gallery, London; Southampton Art Gallery; City Museum and Art Gallery, Birmingham, The Paintings, Graphic and Decorative work of Sir Edward Burne-Jones 1833-1898, 1976, cat.no.238Note: Elizabeth (Betty) Eberstadt, daughter of Ferdinand Eberstadt of Mannheim , married George Lewis in 1867. He was one of the most eminent solicitors of the day and was knighted for his services in connection with the Parnell Commission. Burne-Jones relied on him for professional advice, and by the 1880's and 90's had become a close friend of the Lewis family. He corresponded at length with Lady Lewis and the younger of the two daughters, Katie, and both mother and daughter sat to him for portraits or pencil drawings.
VICTORIAN MAHOGANY AND BRASS GIMBAL BAROMETER, BY HILL & PRICE, BRISTOL 19TH CENTURY the lobed top with ivory gauge plates inscribed, ‘HILL & PRICE/ OPTICIANS/ BRISTOL’, above a barley-twist body with brass gimbal mechanism and engraved collar, with a weighted terminus and brass cistern cover 92cm high Provenance: Estate of Prof Francis Wormald (1904-1972), palaeographer and art historian Note: Hill & Price of Bristol are recorded in Banfields' 'Barometer Makers and Retailers' as working from 1870Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference 9H3YGHXQPlease be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
GEORGE PRICE BOYCE R.W.S. (BRITISH 1826-1897) PUY D'AVRAIGNE, AUVERGNE Signed and dated 1882-3, watercolour 32cm x 49cm (12.5in x 19.25in) Provenance: William S. Caine Exhibited: Franco-British Exhibition, London 1908, British Fine Art Section;Royal Commission International Fine-Arts Exhibition, Rome 1911, British Section
Banksy, British b.1974-Di-Faced Tenner (set of 10), 2004;each offset lithograph in colours, each: 15.2 x 14.6 cm, the whole sheet: 44 x 33 cm, (framed) (ARR) Note: the work comes with individual certificates from Delahunty Fine art and with an inscribed Lazarides Gallery business card to the reverse.Provenance: Lazarides Gallery, London | Delahunty Fine art, London | Private collection, London
Bob Dylan, American b.1941-Midnight Caller;giclée print in colours on Hahnemühle 350gsm Museum Etching paper, signed and numbered '267/295' in pencil, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art in association with Black Buffalo Artworks, sheet: 76.2 x 58.5 cm, (framed) Note: together with a certificate of authenticity issued by Washington Green Fine Art.
Sir Grayson Perry CBE RA, British b.1960- Western Art in the Form of a Tea Towel, 2020; screenprint on linen tea towel, with printed artist's monogram, published by the Holburne Museum, produced to accompany the 'Pre-Therapy Years' exhibition at the Holburne Museum, Bath, 2020, sheet: 53 x 72cm, (framed) (ARR)
Bob Dylan, American b.1941-Train Tracks, 2012;giclée on 350gsm Hahnemühle Museum Etching wove, signed and numbered 78/295 in pencil, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art in association with Black Buffalo Artworks, sheet: 91.5 x 71 cm, (framed)Note: this work is accompanied by a Certificate of Authenticity published by Washington Green Fine Art.
Pablo Picasso, Spanish 1881-1973,Raphael and the Fornarina XVII, from Suite 347, 1968;etching on wove, signed in pencil and numbered 39/50, printed by Aldo and Piero Crommelynck, published by Galerie Louise Leiris, Paris, sheet: 28 x 34.7 cm, (framed) (ARR)Note: there is a version of this print in The Metropolitan Museum of Art, New York.
Bob Dylan, American b.1941-The Drawn Blank series, 2008: Amagansett; Woman in Red Lion Pub; Man on a Bridge; Train Tracks; Truck; Still Life with Peaches; each giclée print on Hahnemühle 350gsm Museum Etching wove, each signed and numbered 156/295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art in association with Black Buffalo Artworks, each sheet: 91.5 x 71 cm, contained within the original grey folio, (unframed) (6)Note: each print includes a certificate of authenticity issued Washington Green Fine Art.
Prunella Clough, British 1919-1999, Starlings, from the Birds portfolio, 1993; sugar-lift etching on wove, signed and incribed A/P in pencil, from the edition of 100 and 20 artist's proofs, published by the Byam Shaw School of Art, sheet: 34 x 42cm, (framed) (ARR) Provenance: Lumley Cazalet, London.
Bob Dylan, American b.1941-Endless Highway, 2017; silkscreen print with pigmented and acrylic resin ink on Archival Coventry Rag 320gsm vellum white paper, signed and numbered 134/195 in pencil, printed by Kolibri Art Studio, Inc, published by Washington Green Fine Art in association with Black Buffalo Artworks, sheet: 137.1 x 87.6 cm, (framed) Note: together with a certificate of authenticity issued by Washington Green Fine Art.
Patrick Caulfield CBE RA, British 1936-2005, Pipe in a Bowl, (Cristea 50), 1976;screenprint on wove, signed in pencil and numbered 34/76, printed by Kelpra Studio, published by Leslie Waddington prints, sheet: 58 x 58 cm, (framed) (ARR)Note: There is an example of this print in the Tate CollectionProvenance: Mark Wilson Fine Art, London N1
Bob Dylan, American b.1941- The Retrospectum Collection, 2022; six giclée prints on archival cotton paper in a burgundy fabric folder, comprising Yellow taxi, Industrial train, Sideview mirror, Recording studio, Down on the corner and Cigar store, all editioned 57/295 in pencil and with Dylan's autopen signature, printed by Black Buffalo, USA, published by Washington Green in association with Black Buffalo artworks, each sheet: 58.5 x 76.4 cm, (6) Note: each print comes with its own certificate of authenticity from Washington Green Fine Art.
Victor Pasmore CH CBE, British 1908-1998,Stromboli, 1980;etching and aquatint in colours on Magnani wove, signed in pencil and dated, a print outside the edition, printed by Vigna Antoniniana Stamperia d'arte, Rome, co-published by Marlborough Fine art and 2RC Edizione d'arte, Rome, sheet: 72.5 x 142 cm, (unframed) (ARR)
Idris Khan OBE, British b. 1978- I thought we had more time (Ukraine Fundraiser Print), 2022; collaged archival pigment print on Somerset and Kozo paper, signed in blue crayon, published by Migrate art, sheet: 42.5 x 33.2 cm, (unframed) (ARR) Note: together with various leaflets published by Migrate Art.
Sir Peter Blake CBE RDI RA, British b.1932- Party (Sing Song), 1996; lithograph and screenprint in colours wove, signed and dedicated 'To Tara' in pencil, from The Royal College of Art Centenary Year Portfolio of Prints, published by the Printmaking Course of the Royal College of Art, sheet: 76 x 55 cm, (framed) (ARR)
William Scott CBE RA, British 1913-1989,Composition from 35 artists, 1981;lithograph in colours on Whatman wove, signed and inscribed HC in pencil (an Hors Commerce print outside the edition of 50), published by the Royal College of Art, London, sheet: 50 x 65 cm, (unframed) (ARR)Note: There is a print from this edition in the collection of The V and A, London.
Bob Dylan, American b.1941-The Drawn Blank Series (set of four Cassandra), 2010;each giclée print on Hahnemühle wove, each signed in pencil and numbered 32/295, published by Washington Green Fine Art in association with Black Buffalo Artworks, each sheet: 70 x 56 cm, contained within the original grey folio (unframed) (4) Note: each print comes with its own certificate of authenticity from Washington Green Fine Art.
Bob Dylan, American b. 1941-Horse, 2010;giclée print in colours on 350gsm Hahnemühle Museum Etching wove, signed and numbered 154/295 in pencil, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art in association with Black Buffalo Artworks, sheet: 70 x 56 cm, (framed)Note: together with COA issued by Washington Green Fine Art.
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