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Lot 213
A quantity of Second World War British army personal and other kit etc including anti-gas ointment and eyeshields, water purification and anti-dimming outfits, a 1939 hair brush and RAF 1940 personal kit roll, a shell dressing, Royal Artillery embroidered handkerchief and an enamelled mug, (latter not marked)
Lot 168
Großbritannien - - Stray Scraps & Scribblings illustrated by Steel Pens and Scissors aided by An Old Brush. Scrapbook mit zahlr. mont. OPhotographien (Vintages, Albuminabzüge), Gedichtabschriften, gest. Ansichten, tls. kolorierten Zeichnungen u. einigen orig. Autographen. Birmingham u.a, um 1860. 174 hs. pag. S. (ohne S. 44-53, 128/29, 136-138, 142-147), 2 S. Inhaltsverz. Gr.-8°. HLdr. d. Zt. mit Goldfileten (beschabt, bestoßen, Rücken u. Bezug mit Fehlstellen, Rücken vom Block gelöst). Enthält u.a.: Zwei eh. 1792 dat. Signaturen von Joseph Priestley (1733-1804, Theologe, Philosoph, Chemiker und Physiker, der 1774 erstmals die Darstellung und Wirkung des von ihm entdeckten Sauerstoffs und 1772 des von ihm entdeckten Lachgases beschrieb), Autograph u. 2 Visitenkarten von Samuel Tertius Galton (1783-1844, Geschäftsmann), eine mont. Zeichnung von Gregory Watt (1777-1804, Sohn von James Watt). - Die Photos zeigen u.a.: Shakespeares Haus, Familienportraits, Ansichten von Brighton, Ripon, Westminster, Staple Inn, Tintern Abbey, Guild Chapel, Warwick u.a., die Zeichnungen mit Ansichten von Aston Church bei Birmingham, Shakespeares Haus u. Wappen, Perry Barr, Halesowen Abbey, Wappen von Walter Arden of Parkhall, Dudley Castle, Portrait von William Hutton etc., Gedichte mit Abschriften von Henry Kirke White, Shakespeare, E.A. Poe, Barnebe Barnes u.a. - Mit gest. Wappen-Exlibris "Thos. Hill of Court of Hill" u. Visitenkarte von Joseph Hill. - Einige Lagen u. Blätter gelockert bzw. lose, vereinzelt mit geringen Randläsuren, tls. etw. angeschmutzt u. fleckig. Great Britain - Scrapbook with numerous mounted orig. photographs (vintages, albumen prints), poem transcriptions, engraved views, partly coloured drawings and some original autographs. Contemp. half leather with gilt fillets (chafed, bumped, spine and coating with defects, spine detached from block). - Contains a.o.: Two signatures dat. 1792 of Joseph Priestley (1733-1804, theologian, philosopher, chemist and physicist, who in 1774 described for the first time the presentation and effect of oxygen, and in 1772 of nitrous oxide, which he discovered), autograph and 2 visiting cards of Samuel Tertius Galton (1783-1844, businessman), a mounted drawing by Gregory Watt (1777-1804, son of James Watt). - The photographs show, among others: Shakespeare's house, family portraits, views of Brighton, Ripon, Westminster, Staple Inn, Tintern Abbey, Guild Chapel, Warwick a.o., the drawings with views of Aston Church near Birmingham, Shakespeare's house and coat of arms, Perry Barr, Halesowen Abbey, coat of arms of Walter Arden of Parkhall, Dudley Castle, portrait of William Hutton etc., poems with copies of Henry Kirke White, Shakespeare, E.A. Poe, Barnebe Barnes a.o. - With engr. armorial bookplate "Thos. Hill of Court of Hill" and visiting card of Joseph Hill. - Some layers and leaves loosened or loose, occ. with minor marginal tears, partly somewhat soiled and stained.
Lot 167
Title: Marigolds. Impressionist style painting on canvas featuring a red vase filled with marigolds over a blue background. Marigolds are reflected hauntingly in the dark window, imparting a lonely late night atmosphere. Impasto brush work adds texture and depth to the piece. Signed by artist on lower left corner; title of piece written on back. Charles Vavrina was a modern impressionist painter who graduated from the Academy of Fine Arts in Hong Kong in 1989. He was a recipient of the Leonardo da Vinci award in 1991 and the Cite de Roma Award in 1994. White wood frame with gloss finish. Sight size: 15.5"H x 11.5"W; frame: 17"H x 13"W x 1"D. Artist: Charles VavrinaCountry of Origin: United StatesCondition: Age related wear.
Lot 2612
Group of silver mounted items, to include hand mirror and hair brush, each with vertical bands of engine turned decoration, together with two glass scent bottles with silver collars, silver handled bread fork, etc, all hallmarked Condition Report:General wear commensurate with age and use in the form of surface scratches, nicks and small knocks. Some broken items including filled dwarf candlestick, one glass scent bottle. Some items with larger knocks. Hallmarks with varying degrees of wear, some elements indistinct.
Lot 2588
1940s silver mounted seven-piece vanity set, comprising hair brush, hand mirror, comb, pair of glass jars, scent bottle and clothes brush, each with engine turned decoration and engraved central cartouche, hallmarked Mappin & Webb Ltd, London 1940-1942, together with nail scissors, cuticle pusher and trinket box, all contained within navy blue travelling case and canvas bagCondition Report:General wear commensurate with age and use, in the form of surface scratches, nicks and small knocks. Hallmarks with wear but generally legible.
Lot 2586
1920s Britannia silver mounted three piece dressing table set, comprising hair brush, hand mirror and clothes brush, each with vertical engine turned decoration, the brushes engraved with moon phases to top edge, hallmarked British Metallising Co Ltd, London 1928Condition Report:General wear commensurate with age and use, in the form of surface scratches, nicks and small knocks. Hallmarks with some wear but generally legible.
Lot 370
Burroughs (Edgar Rice).- Goss (Geoffrey Walter) Original dust-jacket upper panel and spine artwork for 'Tarzan at the Earth's Core', watercolour and bodycolour, brush and ink over pencil, heightened with white, 405 x 350 mm (15 7/8 x 13 3/4 in), under glass, minor surface dirt, framed, [circa 1938].⁂ Goss' artwork for the first English edition, the first title for which he designed the dust-jacket of the first edition rather than the reissue.
Lot 219
* PIP MCGARRY (BRITISH b. 1955), ELEPHANTS oil on canvas, signed and dated 2000framedimage size 24cm x 105cm, overall size 37cm x 118cm Note: Widely recognised as one of the world’s leading artists in his field, Pip McGarry has achieved an international reputation over 30 successful and highly eventful years. Sourcing imagery for his extraordinary animal portraits on location he transports us effortlessly to the plains, savannas and wilderness of Africa and brings us face to face with a host of majestic subjects. Pip has become a world renowned broadcaster, campaigner and educator, and has been a judge for the BBC ‘Wildlife Artist of the Year’ four times, with the prize for the winning artists being a safari guided by Pip himself; he has led over 30 expeditions to southern and eastern Africa for wildlife artist and photographers. Pip devised a Meridian TV series, ‘A Brush with the Wild’, teaching celebrities to paint wildlife; he co-hosted the series with Anneka Rice, filming on location in Kenya and at Marwell Zoological Park. Pip was the founder and Chairman of the Marwell International Wildlife Art Society, the largest of its kind in Europe, and he has been the Artist in Residence at Marwell Zoological Park in Hampshire since January 1999. Over one hundred of Pip’s paintings have been successfully auctioned by major national and international auction houses such as Christies and Sothebys, both in the UK and overseas. In May 2008, his painting ‘Flight Of The Zebras’ sold for a record £29,300 (currently approximately $37,000) at Christie's of London. Several of Pip’s paintings have been presented to His Royal Highness the Sultan of Oman and now hang in his private collection. Pip McGarry has raised hundreds of thousands of pounds for various wildlife causes, including his own conservation charity, ‘WildSave’. In The Scottish Contemporary Art Auction of 25th May 2023, "Leopard" by Pip McGarry, a 46 x 92cm oil, lot 238, sold for £1800 (hammer).Condition is good overall, with no visble or known issues.
Lot 227
* ERNI UPTON FRSA (SCOTTISH b. 1936), CRYSTAL CLEAR MORNING, ANNRAIDH, IONA oil on canvas, signed, titled and dated 2008 versoframed image size 61cm x 92cm, overall size 80cm x 110cm Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer). Another painting by Erni Upton "TRAIGH NA CRICHE" was sold in our March 2023 auction (lot 119) for £2400 (hammer).
Lot 8422
Hornby O Gauge E3/6 4-4-2 Loco and Tender NORD brown No.31801, 3-rail 6 volt electric. Loco version with fixed head lamps with 6 volt side brush motor and brass pick-ups. Good to Good Plus, tender sides and back have been expertly repainted and transferred. All contained in an English No.2 special tender box.
Lot 1524
Corgi Original Ominbus Vehicles Interest. Good Collection of Corgi Transport Vehicles, All Look to Be In Unused Condition, Boxes are In Worn Condition. Includes Feltham Tram London Transport, Blackpool Brush Railcoach Metro Coastlines, Blackpool Balloon Tram, Morris J Van, Bristol Tower Wagon, Free City Centre Bus, AEC Breakdown Lorry, London Pride Bus etc. Mostly Limited Editions. ( 20 ) In Total. Low Estimate.
Lot 369
Karl Schmidt-Rottluff, 1884 Rottluff/ Chemnitz – 1976 BerlinMYSTERIÖSE BLÜTE, 1968Aquarell, Tusche, Tinte und Buntstifte auf Aquarellkarton.49,5 x 69,5 cm.Rechts unten signiert „SRottluff”, verso Nachlassstempel.In Passepartout, hinter Glas gerahmt.Der Maler zählt zu den bedeutendsten Klassikern der Moderne und den wichtigsten Vertretern des Expressionismus. Als Sohn eines Mühlenbesitzers entschied er sich zum Studium der Architektur und Kunst und schloss sich der Künstlergruppe „Brücke“ an, die 1905 in Dresden gegründet wurde, zu der auch Erich Heckel, Max Pechstein und Ernst Ludwig Kirchner zählten. 1910 Beteiligung an Ausstellungen der Neuen Secession in Berlin, 1912 der des Blauen Reiters in München. Er verband fortan den Namen seines Geburtsorts mit seinem Familiennamen. Letztmals vor seinem Arbeitsverbot durch das NS-Regime stellte er 1936 im Hamburger Kunstverein aus. Seine Werke wurden als „Entartete Kunst“ beschlagnahmt. Im Anwesen von James Graf von Moltke (1907-1945) auf Schloss Kreisau arbeitete er dennoch weiter. Von 1932 bis 1972 hielt er sich jährlich in seinem Arbeitsdomizil im „Blauen Haus“ in Hofheim am Taunus auf, wo möglicherweise auch das vorliegende Werk entstand. In dieser späteren Zeit wandelte sich sein Stil von einem strengen Expressionismus zu einer eher abstrahierenden Bildauffassung, was auch dieses Aquarell belegt. A.R.Provenienz: Nachlass des Künstlers.Schmidt-Rottluffstiftung Berlin.Galerie am Brucher-Kotten, Haan.Privatsammlung, Deutschland (1988 in obiger Galerie erworben).Privatsammlung.Anmerkung:Das vorliegende Gemälde ist im Archiv der Karl und Emy Schmidt-Rottluff Stiftung registriert. (1371072) (11)Karl Schmidt-Rottluff, 1884 Rottluff/ Chemnitz – 1976 BerlinMYSTERIOUS BLOSSOM, 1968Watercolour, brush and ink and crayon on paper. 49.5 x 69.5 cm.Signed “SRottluff” lower right. Estate stamp on the back. Framed freely with mount under glass. Provenance: Artist’s estate.Schmidt-Rottluff Foundation, Berlin.Galerie am Brucher-Kotten, Haan.Private collection, Germany (1988 acquired in above mentioned gallery) Private collection.Notes:The painting on offer for sale in this lot is registered in the archive of the Karl and Emy Schmidt-Rottluff Foundation.
Lot 7
Basil Blackshaw RUA HRHA (1932-2016) Seated Figure Oil on canvas, 183 x 122cm (72 x 48") Signed and inscribed verso Provenance: From the Artist's EstateTo some extent it’s true to say that, periodically throughout his life, Basil Blackshaw tended towards dramatically spare simplicity and understatement in his work. But then, first glances can be deceptive, and apparent understatement in his case was in fact a sure sense of not over-elaborating. Like Velasquez, he never used one brush-stroke too many. Once the picture was there, he stopped, something that takes great discipline when the temptation might be to show off in a more obvious way. His habitual model was Jude Stephens, and this elegant painting is in keeping with his later, radiantly lit compositions, often focused on windows or walls and nothing else, sometimes with words, or the evidence of words, inscribed on the surface. Here, the biscuity flesh tones float against an amorphous, cloudy space and it is as if the warmth of the figure radiates into that space.Born in Co Antrim, the son of a horse trainer, Blackshaw was thoroughly at home in a rural world of horses, dogs and farmyards. Feted as a young prodigy, he backed away from a conventional trajectory in his artistic career, quietly quitting a teaching job for example (he never returned after a cold snap temporarily closed the school) and moving from the city back to the country. His core subject matter included animals, the human figure, landscape and portrait subjects. He excelled in all these areas and built a wide, faithful following, as well as being greatly esteemed by his peers.Aidan Dunne, 2023
Lot 332
Künstlerteller, Keramik, farbig bemalt, partiell glasiert, im Spiegel abstrakte Szene, reliefierte Kehle, orangerote Fahne, Ø 33,5 cm, signiert, 75 datiert Nach Beginn eines Architekturstudiums in Paris wandte sich Portanier als Autodidakt schnell der Malerei und Zeichenkunst zu. Nach seiner Rückkehr an die Côte d'Azur hatte er eine Begegnung mit Picasso und begann daraufhin seine Karriere als Keramikkünstler.Im Sommer des Jahres 1948, im südfranzösischen Keramik-Zentrum Vallauris, entdeckte der Maler Gilbert Portanier seine Leidenschaft für Ton und entwickelte hierbei einen vollkommen eigenständigen Stil. Besonders auffällig in seinen frühen Werken ist die meisterhafte Beherrschung der Zeichnung auf Keramik. In den Anfangsjahren nutzte Gilbert Portanier hauptsächlich den Pinsel, um antike, arkadische Genreszenen auf seine Keramikstücke zu zaubern, die von der Antike inspiriert waren. Während er nach neuen Farbnuancen, Farbstrukturen und Farbkombinationen suchte, begann Portanier jedoch langsam, sich von der reinen Zeichnung zu lösen und widmete sich stattdessen der freien Malerei auf Keramik. Jedes Stück von ihm gehört in ein Museum, so urteilte einst Picasso über Portaniers malerische Keramik.Gilbert Portanier (1926 Cannes)Artist's plate, ceramic, colour painted, partially glazed, abstract scene in the mirror, throat in relief, orange-red flag, Ø 33,5 cm, signed, dated 75. After beginning to study architecture in Paris, Portanier quickly turned to painting and drawing as a self-taught artist. Returning to the Côte d'Azur, he had an encounter with Picasso and then began his career as a ceramic artist. In the summer of 1948, at the Vallauris ceramics center in the south of France, the painter Gilbert Portanier discovered his passion for clay and developed a completely original style. Particularly striking in his early works is his mastery of drawing on ceramics. In the early years, Gilbert Portanier mainly used the brush to conjure up ancient Arcadian genre scenes on his ceramic pieces, which were inspired by antiquity. However, while searching for new shades, color textures, and color combinations, Portanier slowly began to move away from pure drawing and instead devoted himself to free painting on ceramics. Every piece of his belongs in a museum, was once Picasso's verdict on Portanier's painterly ceramics.
Lot 333
Großer Künstlerteller, Keramik, farbig bemalt, partiell glasiert, im Spiegel abstrakte Szene, reliefierte Kehle, karminrote Fahne, Ø 41,5 cm, signiert, 81 datiert, verso ebenfalls signiert Nach Beginn eines Architekturstudiums in Paris wandte sich Portanier als Autodidakt schnell der Malerei und Zeichenkunst zu. Nach seiner Rückkehr an die Côte d'Azur hatte er eine Begegnung mit Picasso und begann daraufhin seine Karriere als Keramikkünstler. Im Sommer des Jahres 1948, im südfranzösischen Keramik-Zentrum Vallauris, entdeckte der Maler Gilbert Portanier seine Leidenschaft für Ton und entwickelte hierbei einen vollkommen eigenständigen Stil. Besonders auffällig in seinen frühen Werken ist die meisterhafte Beherrschung der Zeichnung auf Keramik. In den Anfangsjahren nutzte Gilbert Portanier hauptsächlich den Pinsel, um antike, arkadische Genreszenen auf seine Keramikstücke zu zaubern, die von der Antike inspiriert waren. Während er nach neuen Farbnuancen, Farbstrukturen und Farbkombinationen suchte, begann Portanier jedoch langsam, sich von der reinen Zeichnung zu lösen und widmete sich stattdessen der freien Malerei auf Keramik. Jedes Stück von ihm gehört in ein Museum, so urteilte einst Picasso über Portaniers malerische Keramik.Gilbert Portanier (1926 Cannes)Large artist's plate, ceramic, color painted, partially glazed, in the mirror abstract scene, relief throat, crimson flag, Ø 41,5 cm, signed, dated 81, verso also signed. After beginning to study architecture in Paris, Portanier quickly turned to painting and drawing as a self-taught artist. Returning to the Côte d'Azur, he had an encounter with Picasso and then began his career as a ceramic artist. In the summer of 1948, at the Vallauris ceramics center in the south of France, the painter Gilbert Portanier discovered his passion for clay and developed a completely original style. Particularly striking in his early works is his mastery of drawing on ceramics. In the early years, Gilbert Portanier mainly used the brush to conjure up ancient Arcadian genre scenes on his ceramic pieces, which were inspired by antiquity. However, while searching for new shades, color textures, and color combinations, Portanier slowly began to move away from pure drawing and instead devoted himself to free painting on ceramics. Every piece of his belongs in a museum, was once Picasso's verdict on Portanier's painterly ceramics.
Lot 336
Künstlervase, Keramik, farbig bemalt, partiell glasiert, schlanke, konische Form mit abgesetztem Enghals, Höhe 41,5, Ø 10,4 cm, signiert Nach Beginn eines Architekturstudiums in Paris wandte sich Portanier als Autodidakt schnell der Malerei und Zeichenkunst zu. Nach seiner Rückkehr an die Côte d'Azur hatte er eine Begegnung mit Picasso und begann daraufhin seine Karriere als Keramikkünstler.Im Sommer des Jahres 1948, im südfranzösischen Keramik-Zentrum Vallauris, entdeckte der Maler Gilbert Portanier seine Leidenschaft für Ton und entwickelte hierbei einen vollkommen eigenständigen Stil. Besonders auffällig in seinen frühen Werken ist die meisterhafte Beherrschung der Zeichnung auf Keramik. In den Anfangsjahren nutzte Gilbert Portanier hauptsächlich den Pinsel, um antike, arkadische Genreszenen auf seine Keramikstücke zu zaubern, die von der Antike inspiriert waren. Während er nach neuen Farbnuancen, Farbstrukturen und Farbkombinationen suchte, begann Portanier jedoch langsam, sich von der reinen Zeichnung zu lösen und widmete sich stattdessen der freien Malerei auf Keramik. Jedes Stück von ihm gehört in ein Museum, so urteilte einst Picasso über Portaniers malerische Keramik.Gilbert Portanier (1926 Cannes)Artist's vase, ceramic, colour painted, partially glazed, slender, conical form with stepped narrow neck, height 41,5 cm, Ø 10,4 cm, signed. After beginning to study architecture in Paris, Portanier quickly turned to painting and drawing as a self-taught artist. Returning to the Côte d'Azur, he had an encounter with Picasso and then began his career as a ceramic artist. In the summer of 1948, at the Vallauris ceramics center in the south of France, the painter Gilbert Portanier discovered his passion for clay and developed a completely original style. Particularly striking in his early works is his mastery of drawing on ceramics. In the early years, Gilbert Portanier mainly used the brush to conjure up ancient Arcadian genre scenes on his ceramic pieces, which were inspired by antiquity. However, while searching for new shades, color textures, and color combinations, Portanier slowly began to move away from pure drawing and instead devoted himself to free painting on ceramics. Every piece of his belongs in a museum, was once Picasso's verdict on Portanier's painterly ceramics.
Lot 337
Künstlervase, Keramik, farbig bemalt, schlanke, konische Form mit Enghals, Höhe 47 cm, Ø 12 cm, zweifach signiert, 81 datiert und schwerleserlich nummeriert/datiert Nach Beginn eines Architekturstudiums in Paris wandte sich Portanier als Autodidakt schnell der Malerei und Zeichenkunst zu. Nach seiner Rückkehr an die Côte d'Azur hatte er eine Begegnung mit Picasso und begann daraufhin seine Karriere als Keramikkünstler.Im Sommer des Jahres 1948, im südfranzösischen Keramik-Zentrum Vallauris, entdeckte der Maler Gilbert Portanier seine Leidenschaft für Ton und entwickelte hierbei einen vollkommen eigenständigen Stil. Besonders auffällig in seinen frühen Werken ist die meisterhafte Beherrschung der Zeichnung auf Keramik. In den Anfangsjahren nutzte Gilbert Portanier hauptsächlich den Pinsel, um antike, arkadische Genreszenen auf seine Keramikstücke zu zaubern, die von der Antike inspiriert waren. Während er nach neuen Farbnuancen, Farbstrukturen und Farbkombinationen suchte, begann Portanier jedoch langsam, sich von der reinen Zeichnung zu lösen und widmete sich stattdessen der freien Malerei auf Keramik. Jedes Stück von ihm gehört in ein Museum, so urteilte einst Picasso über Portaniers malerische Keramik.Gilbert Portanier (1926 Cannes)Artist's vase, ceramic, painted in color, slender, conical form with narrow neck, height 47 cm, Ø 12 cm, signed twice, dated 81 and numbered/dated with difficulty to read. After beginning to study architecture in Paris, Portanier quickly turned to painting and drawing as a self-taught artist. Returning to the Côte d'Azur, he had an encounter with Picasso and then began his career as a ceramic artist. In the summer of 1948, at the Vallauris ceramics center in the south of France, the painter Gilbert Portanier discovered his passion for clay and developed a completely original style. Particularly striking in his early works is his mastery of drawing on ceramics. In the early years, Gilbert Portanier mainly used the brush to conjure up ancient Arcadian genre scenes on his ceramic pieces, which were inspired by antiquity. However, while searching for new shades, color textures, and color combinations, Portanier slowly began to move away from pure drawing and instead devoted himself to free painting on ceramics. Every piece of his belongs in a museum, was once Picasso's verdict on Portanier's painterly ceramics.
Lot 340
Künstlervase, Keramik, farbig bemalt, partiell glasiert, schlanke, konische Form mit abgesetztem Enghals, Höhe 39,5 cm, Ø 12 cm, unterseitig signiert, 29 10 86 datiert und Bochum ortsbezeichnet Nach Beginn eines Architekturstudiums in Paris wandte sich Portanier als Autodidakt schnell der Malerei und Zeichenkunst zu. Nach seiner Rückkehr an die Côte d'Azur hatte er eine Begegnung mit Picasso und begann daraufhin seine Karriere als Keramikkünstler.Im Sommer des Jahres 1948, im südfranzösischen Keramik-Zentrum Vallauris, entdeckte der Maler Gilbert Portanier seine Leidenschaft für Ton und entwickelte hierbei einen vollkommen eigenständigen Stil. Besonders auffällig in seinen frühen Werken ist die meisterhafte Beherrschung der Zeichnung auf Keramik. In den Anfangsjahren nutzte Gilbert Portanier hauptsächlich den Pinsel, um antike, arkadische Genreszenen auf seine Keramikstücke zu zaubern, die von der Antike inspiriert waren. Während er nach neuen Farbnuancen, Farbstrukturen und Farbkombinationen suchte, begann Portanier jedoch langsam, sich von der reinen Zeichnung zu lösen und widmete sich stattdessen der freien Malerei auf Keramik. Jedes Stück von ihm gehört in ein Museum, so urteilte einst Picasso über Portaniers malerische Keramik.Gilbert Portanier (1926 Cannes)Artist's vase, ceramic, painted, partially glazed, slender, conical form with stepped narrow neck, height 39.5 cm, Ø 12 cm, signed on the underside, dated 29 10 86 and with the place-name Bochum. After beginning to study architecture in Paris, Portanier quickly turned to painting and drawing as a self-taught artist. Returning to the Côte d'Azur, he had an encounter with Picasso and then began his career as a ceramic artist. In the summer of 1948, at the Vallauris ceramics center in the south of France, the painter Gilbert Portanier discovered his passion for clay and developed a completely original style. Particularly striking in his early works is his mastery of drawing on ceramics. In the early years, Gilbert Portanier mainly used the brush to conjure up ancient Arcadian genre scenes on his ceramic pieces, which were inspired by antiquity. However, while searching for new shades, color textures, and color combinations, Portanier slowly began to move away from pure drawing and instead devoted himself to free painting on ceramics. Every piece of his belongs in a museum, was once Picasso's verdict on Portanier's painterly ceramics.
Lot 120
A collection of hallmarked silver and white metal items. To include a white metal filigree tussie mussie posey holder. The holder having a carved mother of pearl handle and filigree stem set with flat cut garnets. Unmarked, surface tests indicate silver. A pair of Victorian hallmarked silver fiddle spoons. The spoons being hallmarked for London, date letter k for 1845. Makers mark GA for George Aldwinckle. A pair of hallmarked silver salt spoons. Hallmarked for London, date letter k for 1845. Makers mark attributed to Charles Lias.A George III spoon, date letter F for 1801. A silver topped clothes brush. Hallmarked for Birmingham, date letter C for 1927. Makers mark WN Ltd for William Neale. A continental rat tail spoon with moulded figures to the handle and terminal. Marks rubbed. Surface tests indicate silver. Combined weight approx 320g. Measures approx 18cm x 4.5cm / 8cm x 1.5cm.
Lot 137
A 20th century, white metal covered Anglo colonial vanity dressing set. The vanity set comprising of eight pieces to include a handled brush and mirror, shoe horn, button hook, trinket box, clothes brushes and comb. The set having a an Anglo colonial floral paisley type pattern with the mirror and box having central blank cartouche. No marks, tests indicate silver. Combined weight approx 1432g. Measures approx; mirror 28cm x 10.5cm. Shoe horn 11.5cm x 3.3cm.
Lot 23
An early 19th century hallmarked silver mounted hairbrush and tray. The George V brush being silver mounted with scrolled repoussé design and central vacant cartouche. Hallmarked for Birmingham, date letter M for 1911. Makers mark J&C for Jones & Crompton. The Edwardian tray having a foliate and grape repoussé design with central vacant cartouche. Hallmarked for Chester, date letter E for 1905. Makers mark C.C for Colen Hewer Cheshire. Combined weight approx 492g. Measures approx 27cm x 19cm (tray) / 25cm x 9.5cm (brush).
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51252 item(s)/page