A contemporary Egyptian Khayamiya "(And) I Entrust My Affairs to Allah for He is Watchful of (His) Servants", Qur'an 40:44, Khedival Revival design, based on Mamluk Revival piece in the Doris Duke Foundation for Islamic Art, Honolulu, cotton appliqué on linen, with yellow thuluth calligraphy over a green ground, with three panels underneath, produced by Ahmed Naguib, stitch-signed verso, 1.4 x 2.5 m (2013) Khayamiya were originally tent panels, used for grand occasions such as weddings and festivals. Later, from around the late 19th Century, tentmakers also started to do free-standing and smaller pieces for home and other decorations. Following the discovery of Tutankhamun's tomb in 1922, "Tutmania" dominated the West, and works depicting Pharaonic or figural scenes became popular, mainly to be exported for the tourist trade.
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A 19th Century Egyptian Khayamiya, of cotton appliqué, having white calligraphy applied over a red ground, with stylized foliate borders and medallions, in white, cream, blue, and red, 350 x 250cms. Provenance: Purchased from John Taylor, Nϋrnberg, Germany, 14 February 2014.Notes: Khayamiya were originally tent panels, used for grand occasions such as weddings and festivals. Later, from around the late 19th Century, tentmakers also started to do free-standing and smaller pieces for home and other decorations. Following the discovery of Tutankhamun's tomb in 1922, "Tutmania" dominated the West, and works depicting Pharaonic or figural scenes became popular, mainly to be exported for the tourist trade.
A contemporary Egyptian Khayamiya by Ahmed Naguib (Aḥmad Najīb), "The Happy House is the Sweetest Standing", Khedival Revival, cotton appliqué on linen, with white thuluth calligraphy, based on Mamluk Revival piece from the end of 19th Century, stitch-signed verso, 105 x 180cms. (2015)Provenance: Purchased from stitcher, originally for an exhibition at Durham University.Notes: Based on the Khedival ‘Roland Panel’, depicted in Bowker and El Rashidi, ‘Reading Khedival Khayamiya’, p. 358.
Two late 19th Century Egyptian Khayamiya, "Therefore Proclaim the Bounty of Your Lord" (Qur’an 93:11), cotton appliqué, white calligraphy over a red ground, flanked by brown and black lotus blossom, circa 1900, 41 x 121cms, together with "This, by the Grace of My Lord" (Qur’an 27:40), cotton appliqué, white calligraphy over a red ground, flanked by brown and black lotus blossom, circa 1900, 41 x 120cms. (a pair) Provenance: Purchased from Galerie Hafner in Bern Switzerland, from the private collection of a professor of Old Persian in Bern. Notes: Khayamiya were originally tent panels, used for grand occasions such as weddings and festivals. Later, from around the late 19th Century, tentmakers also started to do free-standing and smaller pieces for home and other decorations. Following the discovery of Tutankhamun's tomb in 1922, "Tutmania" dominated the West, and works depicting Pharaonic or figural scenes became popular, mainly to be exported for the tourist trade.
A contemporary Egyptian Khayamiya by Hany Abdelkader, "Noah Chapter" (Qur’an 71), cotton appliqué on linen, having a central medallion with thuluth calligraphy over a tan field inscribed with ‘Allah is the light of the heavens and earth’ (Qur’an, 24:35), with maroon and navy borders, 100 x 100cm (2012). Provenance: Purchased directly from stitcher. Provenance: Purchased at at Durham University exhibition, ‘Stitch Like an Egyptian’, 11-14 November 2011.
A late 19th Century Egyptian Khayamiya "Ensure, o house, that you have attained strength", often followed by: ‘with the advent of good fortune’, cotton appliqué, white calligraphy over a terracotta coloured ground, having five calligraphic panels below the main inscription, likely part of a wedding tent, 274 x 183cms. Provenance: Purchased from Memphis, Tennessee, 22 June 2014.Note: Sam Bowker and Seif El Rashidi translate this epigram as: "Ensure that my house may obtain grandeur": ‘Reading Khedival Khayamiya: Understanding the Epigrams of the Egyptian Tentmakers’, The Journal of the Middle East and Africa, 7, no. 4, p. 357. Khayamiya were originally tent panels, used for grand occasions such as weddings and festivals. Later, from around the late 19th Century, tentmakers also started to do free-standing and smaller pieces for home and other decorations. Following the discovery of Tutankhamun's tomb in 1922, "Tutmania" dominated the West, and works depicting Pharaonic or figural scenes became popular, mainly to be exported for the tourist trade.
A late 19th Century Egyptian Khayamiya "Victory is from God and Success is Near", cotton appliqué, with central six-sided star motif, surrounded by white calligraphy over a black ground, and the colours; red, green, blue and cream used throughout, 126 x 120cms.Provenance:Purchased from Michael Backman Limited, 20 Hanover Street, London.Khayamiya were originally tent panels, used for grand occasions such as weddings and festivals. Later, from around the late 19th Century, tentmakers also started to do free-standing and smaller pieces for home and other decorations. Following the discovery of Tutankhamun's tomb in 1922, "Tutmania" dominated the West, and works depicting Pharaonic or figural scenes became popular, mainly to be exported for the tourist trade.
A mid 20th Century Egyptian Khayamiya, "Noah Chapter" (Qur’an 71), central medallion in white thuluth calligraphy over a black ground inscribed with ‘Allah is the light of the heavens and earth’ (Qur’an, 24:35), 99 x 99cms.Provenance:Alvin Peace Newman Collection. Purchased from Material Culture, 4700 Wissahickon Avenue, Suite 101, Philadelphia, Pennsylvania 19144, 14 March 2014.Note:Khayamiya were originally tent panels, used for grand occasions such as weddings and festivals. Later, from around the late 19th Century, tentmakers also started to do free-standing and smaller pieces for home and other decorations. Following the discovery of Tutankhamun's tomb in 1922, "Tutmania" dominated the West, and works depicting Pharaonic or figural scenes became popular, mainly to be exported for the tourist trade.
![A late 19th Century Egyptian Khayamiya "O House, Do Not Let Sadness Enter You, nor … [Betray Your Friend]", white thuluth cal](https://cdn.globalauctionplatform.com/0c72a797-3950-481c-ba90-b11400d3d292/48901467-7450-4e5f-b3c9-b11c00970f34/468x382.jpg)
A late 19th Century Egyptian Khayamiya "O House, Do Not Let Sadness Enter You, nor … [Betray Your Friend]", white thuluth calligraphy over a blue ground, partial epigram, three tughras, border of blue and white horizontal and yellow vertical lozenges over red, 184 x 43cmsNotes: From verse by Mamluk poet Bahā’ al-Dīn al-Ibshīihī (1388-1446) Khayamiya were originally tent panels, used for grand occasions such as weddings and festivals. Later, from around the late 19th Century, tentmakers also started to do free-standing and smaller pieces for home and other decorations. Following the discovery of Tutankhamun's tomb in 1922, "Tutmania" dominated the West, and works depicting Pharaonic or figural scenes became popular, mainly to be exported for the tourist trade.
Gemischtes Konvolut aus 4 Schriften - Bücherkonvolut mit unterschiedlichen Themen: Herrad von Landsberg - Hortus Deliciarum, die Chronik des Konzils zu Konstanz (1414 - 1418), das Stuttgarter Passionale (1923) und das Kalligraphiebuch der Maria von Burgund (2015). Kommentierte Versionen bekannter Handschriften, mit farbigen und Schwarz-Weiß Abbildungen. Stets mit Alters- und Gebrauchsspuren.| Mixed bundle of 4 writings - book bundle with different topics: Herrad von Landsberg - Hortus Deliciarum, the Chronicle of the Council of Constance (1414 - 1418), the Stuttgart Passionale (1923) and the Calligraphy Book of Mary of Burgundy (2015). Annotated versions of known manuscripts, with color and black and white illustrations. Each with signs of age and usage.
1923 London Underground MAP of the Electric Railways of London "What to see & how to travel". Designed by MacDonald Gill with his distinctive style of calligraphy and map border, this is the issue dated 1/1/23. British Empire Exhibition stations are depicted with red dots. A superb example in excellent, unblemished condition. [1]
Pair of 1928 London Underground POCKET MAPS of the Electric Railways of London "What to see and how to travel". Both are the Summer 1928 edition designed by E G Perman with elaborate calligraphy of station names and border etc. These are lightly-used examples but generally good with small partings at fold-corners, small foxing marks, age-darkening of the cover of the second one. [2]
Calligraphy ink on paperChina , 16th century Dimensions: 205 cm x 55 cm 潮满春江图 Ink on paperJu jie was a famous painter and poet in Ming Dynasty. This "Tidewater Filling the Spring River" is his classic masterpiece. In the top left corner of the painting, he wrote a poem himself潮满春江澹不流，东风扇暖柳初柔。夕阳遥见青山色，吹破浮云落小舟。This painting was painted in February of Xin you（circa 1561）. It depicts a warm day in spring when the river is full of tidewater and the east wind is blowing. The trees on the mountain began to turn green, and the willows by the river began to sprout. The whole picture is quiet and beautiful, and the painting style is elegant and fresh.
ink on paperChina Dimensions: 29 x 21 cm Kang Sheng is known as a politician , but besides his status, Kang Sheng was also a successful artist.His favourite works were calligraphys and paintings. Kang Sheng's calligraphy works are strong , elegant and unrestained.Works of the artist are pretty rare to find. Provenance: Rong Bao Zhai
ongbaozhai, Beijing: SHIZHUZHAI JIANPU, "Ten Bamboo Studio Manual of Painting and Calligraphy" four volumes, R, 1952 sehr gepflegter Zustand 1, vierbändig mit jeweils ca. 44 doppelseitigen farbigen Holzschnitten. Re-Edition des bedeutenden Werkes - teilweise im Reliefdruck verfeinert. Originaleinband - Erschienen 1952. Peking 21,5x31,5cm The "Ten Bamboo Studio Letter Paper" was originally edited by Hu Zhengyan in the Qing dynasty, early 17th century. A later edition was printed in the 1930s by the historian Zheng Zhenduo and the writer Lu Xun. These pages showing designs of sea creatures in fine colour printing are from a recut edition printed by the Rongbao Studio in Beijing in 1952. Like the original, the pages have been further decorated by using an uninked woodblock to press a raised design into the paper, also known as "blind printing". When used as letter paper, the writer inscribes characters over the decoration.
A MIRRORED PAIR OF CHINESE FAMILLE ROSE PORCELAIN VASES, 20TH CENTURY. Of baluster form with gilt handles decorated with ladies at leisure below a finger citron spray with calligraphy. 42cm tall. (2)Both in good overall condition with no signs of damage or repair. Minor rubbing to gilt handles.
A CHINESE PORCELAIN VASE AND JAR WITH AN INDIAN TYPE BRONZE ANIMAL, to include: porcelain vase with printed decoration of figures in the garden, hand coloured in enamel, with four character Kangxi mark underneath, height 26 cm; porcelain jar and cover with painted figure and calligraphy and two printed labels attached, height 22 cm; together with bronze animal figure approx. 22.5 cm wide (3)
A CHINESE WATERCOLOUR IN SCROLL, ATTRIBUTED TO JIANG YIN, 20TH CENTURY. Ink on paper depicting a mountain landscape scene with calligraphy to the top right noting that the artwork is a gift for a 70th birthday, with red seal. Mounted on silk backed scroll with wooden handles. Artwork 66cm x 33cm.Artwork in good overall condition. A 2cm tear to the top section of the scroll above the artwork to note.
Ca. AD 1100-1200.An engraved bronze dish with copper inlay, of shallow form with its walls sloping inwards towards the everted rim. The interior with a central, eight-petaled rosette encircled by decorative bands. Panels of Kufic calligraphy on the rim and the sides. Size: 180mm x 40mm; Weight: 740g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. AD 1100-1200.A bronze oil lamp features a flaring and concave foot, meticulously shaped to provide stability and ensure balance in its overall composition. Its round body, embellished with intricate chiselled patterns, showcases the fine attention to detail lavished upon this piece. The addition of a hinged lid further enhances both its practicality and visual allure. The rear handle of the lamp not only adds an element of elegance but also serves a functional purpose, facilitating effortless transportation of the lamp from one location to another. The arched spout, boasting an heart-shaped nozzle, serves as yet another testament to the exceptional skill and craftsmanship of the lamp's maker, demonstrating their ability to create aesthetically pleasing and technically precise features. Oil lamps, such as this exquisite example, held significant importance in both practical and symbolic realms. Widely used in homes, mosques, and other public spaces, these lamps provided essential illumination, dispelling darkness and creating an inviting ambiance. Beyond their utilitarian function, oil lamps were often elevated to objects of artistic expression, with intricate designs and ornate calligraphy adorning their surfaces. These decorative elements served as visual reminders of the religious and cultural values cherished during the lamp's time of creation, reflecting the rich tapestry of beliefs and traditions held by the communities that utilized them. Size: 195mm x 230mm ; Weight: 700g Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Ca. AD 1100-1200.A bronze dish inlaid with copper, of shallow form with an everted, flat rim embellished with Kufic script panels alternating with small, decorative medallions. The central roundel contains four sphinxes against arabesque background. The slightly sloping walls are also decorated with Kufic calligraphy together with discs of vegetal decoration. Size: 165mm x 35mm; Weight: 535g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. AD 1300-1400.A fritware bowl, resting on a ring foot exhibits a gradual flaring, culminating in a wide opening, which is visually enhanced by the decorative elements adorning its surface. The decoration of this bowl showcases a harmonious interplay of colors against a white background. The combination of blue and yellow hues creates an exquisite contrast, further accentuating the beauty of the piece. At the heart of the design, a central cruciform detail commands attention, with four decorative roundels positioned between each pair of its arms. This arrangement lends a sense of balance and symmetry to the overall composition. Moving towards the rim of the bowl, a decorative register featuring repetitive patterns encircles its circumference. This additional element adds a touch of intricacy and sophistication to the design, captivating the viewer's gaze. Furthermore, along the exterior, a band of calligraphy enhances the visual narrative of the bowl, offering an artistic expression through the skilled craftsmanship of the Nishapur ceramic production. Nishapur, renowned for its ceramic industry, held a significant position in the production and trade of ceramic wares during its heyday. With its strategic location along the Silk Road, the city became a hub for the exchange of ideas, cultures, and artistic influences. Nishapur's ceramic production was characterized by a remarkable level of technical expertise and artistic creativity, exemplified by this fritware bowl. Size: 60mm x 160mm ; Weight: 215g Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Ca. AD 1100-1200.A bronze jug with a cylindrical body, flat shoulder, and tubular neck culminating in an upward-angled spout and ear-shaped handle. The exterior of the item is extensively decorated with intricate incised decoration and calligraphy, as well as repousse decorative motifs on the neck. The Seljuk dynasty was a prominent medieval Muslim dynasty that ruled over various parts of the Islamic world from the 11th to the 14th centuries. During their reign, the Seljuks patronized and developed many arts and crafts, including metalworking. The Seljuk metalworkers were particularly renowned for their production of intricately decorated jugs, which were used for both practical and decorative purposes. Size: 370mm x 180mm ; Weight: 1.46kg Provenance: Acquired from Acquired from M.A ; previously in a collection formed on the UK/International art market before 2000.
Ca. AD 1100-1200.A flat-bottomed bronze dish inlaid with copper, of shallow form with its walls tapering to an everted rim. The exterior walls and the rim are adorned with rectangular-shaped panels of Kufic calligraphy interspersed with roundels containing vegetal motifs. The interior's decor features a depiction of a human figure sitting on the back of a quadruped animal. Size: 170mm x 30mm; Weight: 625g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. AD 1100-1200 .A tray hammered from a thin sheet of bronze into a rectangular shape with a shallow octagonal-shaped basin with broad lateral panels with a pronounced edge. The interior of the basin is adorned with a central decor of hexagonal-shaped panels enclosing six-petalled embossed rosettes. Stylised calligraphy inscriptions run around the circumference. Size: 310mm x 195mm; Weight: 460g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. AD 1100-1200.A pottery jug with a bulbous body conveys a sense of harmony and visual appeal. The low ring foot provides stability and balance to the vessel, ensuring that it rests securely on a flat surface. The broad funnel-shaped neck adds a graceful and distinctive element to the overall composition of the jug. The arched handle, ingeniously designed with thumb support, offers both practical functionality and aesthetic refinement. While the neck remains plain and unadorned, the main body of the jug boasts a densely embellished relief decoration that captures attention and elevates its artistic value. Divided in half by a horizontal groove, the relief decoration is executed with remarkable precision and intricacy. This exquisite embellishment features geometric motifs, floral patterns, and interlacing designs, showcasing the mastery of the Seljuk artisans in creating harmonious compositions on ceramic surfaces. Notably, a decorative band adorned with calligraphy encircles the base of the jug, adding a distinctive touch to its overall design. The calligraphic script, skillfully executed and precisely inscribed, may bear religious verses, blessings, or decorative phrases, reflecting the cultural and religious significance of the Seljuk Empire. Size: 130mm x 120mm ; Weight: 260g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. AD 1100-1200.A circular bronze dish inlaid with copper, with a broad lip and a wide, flat base. The plate is densely covered with Kufic calligraphy and radiating decoration encircling the central roundel. Concentric circles motif to the underside. Size: 185mm x 40mm; Weight: 795g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Havana cigar box of ornamental knife, Park calligraphy set, penknives, tape measure etc This lot is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over. Please note that if you require P&P for this lot, this can only be done using an age verified method.
Cy Twombly (1928–2011) was an American painter, sculptor, and photographer known for his distinctive and expressive style that merged elements of abstraction, graffiti, and calligraphy. Here are key points about Cy Twombly:1. **Early Life:** Edwin Parker "Cy" Twombly Jr. was born on April 25, 1928, in Lexington, Virginia, USA.2. **Art Education:** Twombly studied art at the School of the Museum of Fine Arts, Boston, and later at Black Mountain College in North Carolina. At Black Mountain College, he studied under influential artists such as Robert Motherwell and Franz Kline.3. **Influences:** Twombly's work was influenced by a range of sources, including classical literature, mythology, poetry, and his experiences in Europe. He spent considerable time in Italy, where he drew inspiration from classical antiquity.4. **Graffiti-Like Markings:** Twombly's paintings are often characterized by graffiti-like markings, scribbles, and gestural lines. His approach to mark-making is spontaneous and often resembles handwritten or calligraphic gestures.5. **White Paintings:** In the 1950s, Twombly created a series of "white paintings" that featured white surfaces with subtle pencil lines. These works marked a departure from the bold colors and gestural abstraction of his contemporaries.6. **Blackboard Paintings:** Twombly's "blackboard paintings," created in the late 1960s and early 1970s, featured large-scale canvases covered with gray or black paint, reminiscent of a chalkboard. They often incorporated frenetic, scribbled lines and words.7. **Mythological and Literary Themes:** Throughout his career, Twombly drew inspiration from mythological and literary themes. His works often reference figures from classical mythology, poetry, and historical events.8. **Use of Words and Text:** Twombly frequently incorporated words, phrases, and fragments of text into his paintings. The text elements added a layer of meaning and complexity to his visual compositions.9. **Sculpture and Photography:** In addition to painting, Twombly created sculptures and worked in photography. His sculptural works often featured found objects, and his photographs captured everyday scenes and details.10. **Recognition and Controversy:** Twombly's work garnered both acclaim and controversy. Some critics celebrated his innovative approach to painting, while others were critical of what they saw as a lack of traditional skill.11. **Major Exhibitions:** Twombly's work has been featured in major exhibitions at renowned institutions, including the Museum of Modern Art (MoMA) in New York, the Tate Modern in London, and the Centre Pompidou in Paris.12. **Death:** Cy Twombly passed away on July 5, 2011, in Rome, Italy, at the age of 83.Cy Twombly's contributions to contemporary art are characterized by a unique fusion of classical influences, expressive mark-making, and a deep engagement with literature and mythology. His work continues to be influential and is celebrated for its poetic and evocative qualities.Measures 30 x 22.5.
Cy Twombly (1928–2011) was an American painter, sculptor, and photographer known for his distinctive and expressive style that merged elements of abstraction, graffiti, and calligraphy. Here are key points about Cy Twombly:1. **Early Life:** Edwin Parker "Cy" Twombly Jr. was born on April 25, 1928, in Lexington, Virginia, USA.2. **Art Education:** Twombly studied art at the School of the Museum of Fine Arts, Boston, and later at Black Mountain College in North Carolina. At Black Mountain College, he studied under influential artists such as Robert Motherwell and Franz Kline.3. **Influences:** Twombly's work was influenced by a range of sources, including classical literature, mythology, poetry, and his experiences in Europe. He spent considerable time in Italy, where he drew inspiration from classical antiquity.4. **Graffiti-Like Markings:** Twombly's paintings are often characterized by graffiti-like markings, scribbles, and gestural lines. His approach to mark-making is spontaneous and often resembles handwritten or calligraphic gestures.5. **White Paintings:** In the 1950s, Twombly created a series of "white paintings" that featured white surfaces with subtle pencil lines. These works marked a departure from the bold colors and gestural abstraction of his contemporaries.6. **Blackboard Paintings:** Twombly's "blackboard paintings," created in the late 1960s and early 1970s, featured large-scale canvases covered with gray or black paint, reminiscent of a chalkboard. They often incorporated frenetic, scribbled lines and words.7. **Mythological and Literary Themes:** Throughout his career, Twombly drew inspiration from mythological and literary themes. His works often reference figures from classical mythology, poetry, and historical events.8. **Use of Words and Text:** Twombly frequently incorporated words, phrases, and fragments of text into his paintings. The text elements added a layer of meaning and complexity to his visual compositions.9. **Sculpture and Photography:** In addition to painting, Twombly created sculptures and worked in photography. His sculptural works often featured found objects, and his photographs captured everyday scenes and details.10. **Recognition and Controversy:** Twombly's work garnered both acclaim and controversy. Some critics celebrated his innovative approach to painting, while others were critical of what they saw as a lack of traditional skill.11. **Major Exhibitions:** Twombly's work has been featured in major exhibitions at renowned institutions, including the Museum of Modern Art (MoMA) in New York, the Tate Modern in London, and the Centre Pompidou in Paris.12. **Death:** Cy Twombly passed away on July 5, 2011, in Rome, Italy, at the age of 83.Cy Twombly's contributions to contemporary art are characterized by a unique fusion of classical influences, expressive mark-making, and a deep engagement with literature and mythology. His work continues to be influential and is celebrated for its poetic and evocative qualities.Measures 30 x 24.
Cy Twombly (1928–2011) was an American painter, sculptor, and photographer known for his distinctive and expressive style that merged elements of abstraction, graffiti, and calligraphy. Here are key points about Cy Twombly:1. **Early Life:** Edwin Parker "Cy" Twombly Jr. was born on April 25, 1928, in Lexington, Virginia, USA.2. **Art Education:** Twombly studied art at the School of the Museum of Fine Arts, Boston, and later at Black Mountain College in North Carolina. At Black Mountain College, he studied under influential artists such as Robert Motherwell and Franz Kline.3. **Influences:** Twombly's work was influenced by a range of sources, including classical literature, mythology, poetry, and his experiences in Europe. He spent considerable time in Italy, where he drew inspiration from classical antiquity.4. **Graffiti-Like Markings:** Twombly's paintings are often characterized by graffiti-like markings, scribbles, and gestural lines. His approach to mark-making is spontaneous and often resembles handwritten or calligraphic gestures.5. **White Paintings:** In the 1950s, Twombly created a series of "white paintings" that featured white surfaces with subtle pencil lines. These works marked a departure from the bold colors and gestural abstraction of his contemporaries.6. **Blackboard Paintings:** Twombly's "blackboard paintings," created in the late 1960s and early 1970s, featured large-scale canvases covered with gray or black paint, reminiscent of a chalkboard. They often incorporated frenetic, scribbled lines and words.7. **Mythological and Literary Themes:** Throughout his career, Twombly drew inspiration from mythological and literary themes. His works often reference figures from classical mythology, poetry, and historical events.8. **Use of Words and Text:** Twombly frequently incorporated words, phrases, and fragments of text into his paintings. The text elements added a layer of meaning and complexity to his visual compositions.9. **Sculpture and Photography:** In addition to painting, Twombly created sculptures and worked in photography. His sculptural works often featured found objects, and his photographs captured everyday scenes and details.10. **Recognition and Controversy:** Twombly's work garnered both acclaim and controversy. Some critics celebrated his innovative approach to painting, while others were critical of what they saw as a lack of traditional skill.11. **Major Exhibitions:** Twombly's work has been featured in major exhibitions at renowned institutions, including the Museum of Modern Art (MoMA) in New York, the Tate Modern in London, and the Centre Pompidou in Paris.12. **Death:** Cy Twombly passed away on July 5, 2011, in Rome, Italy, at the age of 83.Cy Twombly's contributions to contemporary art are characterized by a unique fusion of classical influences, expressive mark-making, and a deep engagement with literature and mythology. His work continues to be influential and is celebrated for its poetic and evocative qualities.Measures 40 x 24.75.
Franz Kline (1910–1962) was an American abstract expressionist painter known for his bold and expressive black-and-white paintings. Here are key points about Franz Kline:1. **Early Life:** Franz Kline was born on May 23, 1910, in Wilkes-Barre, Pennsylvania. He grew up in an industrial town, and his surroundings had a significant impact on his later artistic style.2. **Artistic Education:** Kline initially studied art at Boston University but dropped out and later attended the Heatherley School of Fine Art in London. He also studied at the Art Students League of New York.3. **Early Style:** In his early years as an artist, Kline was associated with Social Realism. However, his style evolved towards abstraction, influenced by his exposure to avant-garde art movements and the works of artists like Willem de Kooning.4. **Abstract Expressionism:** Kline became a prominent figure in the Abstract Expressionist movement, which emerged in the post-World War II era. This movement emphasized spontaneous, gestural, and non-representational forms of painting.5. **Black-and-White Paintings:** One of Franz Kline's distinctive contributions to abstract expressionism was his focus on bold, black-and-white paintings. His large-scale works featured dynamic and energetic brushstrokes, often creating a sense of movement and intensity.6. **Action Painting:** Kline's painting technique was associated with "action painting," a term used to describe the physical and gestural approach to creating art. He would use broad strokes and dynamic movements to apply paint to the canvas.7. **Major Works:** Some of Kline's notable paintings include "Chief" (1950), "Mahoning" (1956), and "C & O" (1958). His works are characterized by their powerful and abstract compositions.8. **Influence of Calligraphy:** Kline was influenced by calligraphy, and his paintings often resembled large, abstract brushstrokes. The contrast between black and white, as well as the dynamic compositions, contributed to the impact of his work.9. **Recognition:** Kline gained recognition for his contributions to abstract expressionism, and his work was exhibited in major galleries and museums. He was associated with influential artists like Willem de Kooning and Jackson Pollock.10. **Short Career:** Franz Kline's artistic career was relatively short, as he passed away at the age of 51 in 1962. Despite the brevity of his career, he left a significant impact on the trajectory of abstract expressionism.11. **Legacy:** Franz Kline's black-and-white paintings continue to be celebrated for their boldness and energy. His influence on abstract expressionism and his unique approach to abstraction have left a lasting legacy in the history of American art.Franz Kline's powerful and dynamic paintings have made him a notable figure in the abstract expressionist movement. His distinctive use of black and white, along with his emphasis on gestural brushstrokes, contributed to the evolution of abstract art in the mid-20th century.Measures 40 x 28.25.
A Revolutionary War pay slip signed by Elijah Hubbard (1745-1808), a lawyer and merchant of Middletown and New London, Connecticut. A Patriot of the American Revolution for Connecticut with the rank of commissary of which this document concludes,This ALS document is dated February 23rd, 1781 and is a pay statement for services rendered to the state of Connecticut during the Revolutionary War as a commissary agent. Nicely laid out clear and concise in the manuscript and is in matting ready to frame. Approximate Dimensions:h. 14,75", w, 9.25"Condition:The document has been previously folded to file. There are several small holes in the paper on the right side at the fold intersections. The paper showing some nibbling at the edges and some paper lost on the same from folding. Calligraphy has
An original manuscript document from the court of Edward III of England containing the fancy calligraphy of the day showing cartoons of a bird, a person’s head and typical ballooning of the top line words. Written on vellum and punched to fit into bindings. Mounted in a plexiglass covered frame to a black background and sealed. Comes with a letter dated Dec 22, 1999, mounted to the verso, from H. George Fletcher, director of the Brooke Russell Astor Special Collections department of the New York Public Library. The document is quoted as being the confirmation of the rights of a certain abbey St. Victor and speaks of three manors in England that produce income for the abbey. Approximate Dimensions:h. 19", w. 14.5"Condition: A few water spots and edge damage with a penciled inscription in upper left corner with a couple of names and looks like vol1 page 32, (n) Wilks Crawford St. Victor. Light chipping and nicking to frame.
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