There are 9689 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA matched pair of modern silver three-light candelabrum,by Roberts and Belk, Sheffield 1966, and C.J. Vander, London 1962,knopped baluster columns, spool-shaped capitals, with two scroll arms each supporting a capital and with a central light, detachable drip pans, on raised shaped square bases, height 36.5cm, approx. weight of branches 53oz. (2)
Britbus 1:76 Scale Double Deck Buses (13), all boxed, with card sleeves, Leyland Atlanteans, AN1-001 London Country, AN1-006 Southdown Motor Services, AN2-002 London Country, AN1-002 London Country, Leyland Olympians, R904 Westlink Buses, R900FW Bus Fan World Special Model, R702 Dublin Buses, R901 Westlink Buses, R701 Dublin Buses, R906 First Capital Citybus Route 91, R902 Sovereign Buses, R905 London United, Volvo Olympian R903 London United, G-E, boxes VG-E, (13)
Exclusive First Editions 1:76 Scale Double Deck Buses Southern England Region (28), all boxed, includes Plymouth, Thamesdown, Capital City Bus, Metrobus, Ensignbus, Kentish Bus, Oxford City Line, Maidstone & District, Western National, Oxford, Reading, Eastern National, some De Regulation models, 2013 New Year Special and Showbus 1999, VG-E, boxes G-E, (28)
Creative Master Northcord 1:76 Scale Modern Dennis Trident Double Deck Buses London and the South (14), all cased with card sleeves, UKBUS 2011 Blue Triangle, UKBUS 1003 Stagecoach, UKBUS 1020 London 2012 Back the Bid, UKBUS 1010 Arriva, UKBUS 1001 First Capital, UKBUS 2005 First London, UKBUS 0002 Open Top London Sight Seeing, UKBUS 2003 Metroline, UKBUS 1023 Stagecoach East London, UKBUS 1018 First, UKBUS 1036 Stagecoach Oxfordshire, UKBUS 2012 Brookes Bus, UKBUS 1025 Brookes Bus, UKBUS 1017 London United, VG-E, cases VG-E, (14)
His Majesty Mahommed Shah of Persia, Proof state of a mezzotint by J. E. Coombs, after a painting by J. H. Twigg (fl. 1839), published by Welch and Gwynne: 24 St. James's Street and printed by James Kahee and Co., dedicated by Twigg to Sir John N.R. Cambell Captain of the 2nd Regiment Madras Light Cavalry, Envoy from the Supreme Government of India to the Court of Tehran, depicted three-quarters length portrait, seated, turned to left, holding a paper on lap. He wears an elaborate crown and plumes and diamonds, a gown studded with stones and pearl, pearl chains, a jewelled belt and arm bands with Tehran in the background, in an early 20th century painted and gilt decorated frame, 59 x 46.5cm. Footnotes: Another state of this mezzotint is in the Royal Collection Trust (RCIN 818294); another is in the British Museum (1902,1011.519).Mohammad Shah, born Mohammad Mirza, was the third Qajar shah of Iran from 1834 to 1848, having succeeded his grandfather Fath-Ali Shah. From a young age, Mohammad Mirza was under the tutelage of Haji Mirza Aqasi, a local dervish from Tabriz whose teachings influenced the young prince to become a Sufi-king later in his life. After his father Abbas Mirza died in 1833, Mohammad Mirza became the Crown Prince of Iran and was conferred the title of Governor of Azarbaijan. Not long after, Fath-Ali Shah died on his way to Shiraz, leading some of his sons—including Ali Shah Mirza and Hossein Ali Mirza—to revolt but Mohammad Shah, with the support of his grand vizier, Abol-Qasem Qa'em-Maqam, suppressed the rebellions and asserted his authority.After Fatḥ-ʿAlī Shah’s death in October 1834 Sir John Campbell played an effective role in securing the throne for his grandson Moḥammad Mīrzā. ʿAbbās Mīrzā had died before his father, and a British army detachment that had arrived in Persia in November, 1833, to support his succession was then employed in Azerbaijan training the troops of the new heir apparent; nevertheless at the time of his grandfather’s death Moḥammad Mīrzā was not yet ready to march from Tabrīz against the two rival Qajar claimants in Shiraz and Tehran. On Campbell’s advice military assistance was provided for the advance of Moḥammad Mīrzā’s troops to the capital, counteracting a similar offer by the Russians. On 10 November, less than three days after news of the shah’s death had reached Tabrīz, the troops commanded by British officers set out for Tehran. It was a combination of British military leadership and an advance of 30,000 pounds sterling from Campbell to pay Moḥammad Mīrzā’s troops that won the throne for him.
Three Ottoman calligraphic panels (ijaza'), Turkey, 18th century, unsigned, one with attribution to Sheikh Hamdullah, comprising a fine ijaza', the top line in large black thuluth script, a panel of 4ll. of black naskh script below, with gold rosette markers, blue marbled paper border, outer gold speckled orange border, 25.1 x 19.2cm; another ijaza' with the top and bottom lines in bold thuluth, with 2ll. of naskh between, gold roundel verse markers, gold flecked blue border, plain outer border 29 x 20.7cm., and another with 2ll. of bold naskh with pink and pale blue marbled border, unmounted 25 x 17cm.; two glazed and framed (3)Sheikh Hamdullah was born in Amasya, a north-central town in Anatolia. His father, Mustafa Dede, was a Sheik of the Suhrawardi order, and had migrated from Bukhara (in present-day Uzbekistan) to Anatolia. In Amasya, he studied the six scripts under the tutelage of Hayreddin Mar'asi. He learned the traditional method of the old masters, but struggled to reproduce it. While studying, he met Bâyezïd, the son of Sultan Mehmed, the Conqueror who was a fellow student, and the pair became friends. When Bâyezïd assumed the throne in 1481, following his father's death, he invited his friend, Sheikh Hamdullah, to the capital, Istanbul. Hamdullah went on to become a master calligrapher at the Imperial Palace.
Napoleon Bonaparte (1769-1821), first consul of France; dictated letter, signed Bonaparte, to Citizen [Jean-François Aimé, Comte] Dejean, Councillor of State, Department of War administration; 21 Messidor Year 10 [9 July 1802] Corrupt practices are at their height in Italy, be it in the Italian Republic or in Piedmont. The markets in bread and food are carried on in such a manner that the suppliers are making a profit of 50%.I should like Councilor Berenger to go to that country, gather all necessary information on the spot, visiting every departmental capital so that not a single moment is lost in putting an end to these corrupt practices.[Inserted]: Let me know if you can do without Councilor Berenger; I should like to see him before he leaves.I should also like you from this moment to take over the responsibilities which Vanlubergth was given, to begin on the 1 Vendémiaire Year 11 [22 September 1802], of the provisioning department (service des vivres), so that there is only one administration in the whole of Italy. It is a business that he must stop as soon as possible, so that he can begin to make his purchases. There is so much wheat in Italy that the administration of the country has asked me to authorize exports.I salute youBonaparteBifolium, 232 x 183 mm; engraved letterhead, representing on a flat stone, the edge of which is inscribed BONAPARTE 1E CONSUL DE LA REPUBLIQUE, a robed seated female figure, wearing a cap of liberty and holding a rudder in her right hand and in her left a laurel wreath; AU NOM DU PEUPLE DE FRANCE inscribed on the side of the chair. Drawn by [Jean-Claude] Naigeon l’Ainé and engraved by B[arthélemy] Roger. Wafered red wax sealWritten from dictation by a secretary, perhaps Louis-Antoine Fauvelet de Bourrienne (1769-1834). Annotated by S P Cox, Farningham, Kent with a note of his insertion of a copy of the letter in the Gentleman’s Magazine for October 1841 [page 358].An obituary of Solomon Penway Cox (1794-1850) of the Inner Temple and Farningham in Kent, antiquary and collector, appeared in the Gentleman’s Magazine for March 1850, page 338.The letter was written in the context of the creation of the Italian Republic, with Napoleon at its head as president, on 26 January 1802. Piedmont, formerly part of the kingdom of Sardinia, was united with France in 1798, briefly occupied by Austria and Russia and returned to France after the battle of Marengo in 1800.Jean-François Aimé, Comte Dejean (1749-1824) entered the French army as an engineer officer in 1766. During the Revolution he embraced the principles of moderate reform. He performed a variety of important diplomatic missions, including to Genoa, where he lived for nearly two years with the title of minister extraordinary; doubtless his experience of Italy was valuable in the context of the proposed investigation. He was recalled to Paris in 1802 to take the portfolio of Minister of War, a position he held until 1809.Jean Bérenger (1767-1850), son of a pastor from Grenoble, studied medicine at Montpellier from 1786 to 1788. An anti-Jacobin, he survived arrest in 1794 and became an active participant in Napoleon’s coup d'etat of 18 Brumaire (November 9, 1799). In 1801 he was appointed to the Council of State and became a member of the board of directors of war in 1802.For the artist Jean-Claude Naigeon, 1753-1832, see Natalie Motte Masselink Jean-Claude Naigeon, 1753-1832 : les dessins d'un artiste du siecle des lumieres (Paris, 2012).Offered with Anon., Military Maxims of Napoleon the 1st interspersed with copious explanatory notes, translated from the French; Meerut, printed by J J Robinson at the Mofussilite Press, 1861; 101 pages.
London Tram & Trolleybus Driver's METROPOLITAN STAGE CARRIAGE BADGE T 4614. A low-numbered issue with a sprung-clip fixing on reverse. Equivalent to PSV licence badges, these badges were issued from 1935-1962 for electric traction in the capital. In as-used condition over a long period of time, could do with a clean, a small blemish at the top by the clip. [1]
§ Roy De Maistre C.B.E. (Australian / British 1894-1968) Two Figures oil on board Dimensions:41cm x 33cm (16 1/8in x 13in) Provenance:ProvenanceCelia Broadbent (neé Keogh) and by direct descent to the present owner.LiteratureJohnson, Heather, Roy De Maistre: The English Years 1930-1968, Sydney: Craftsman House, 1995, p.27, plate 7, illustrated. Note: Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her older sister, Camilla Margery Keogh, was the subject of ‘La Folie', considered one of de Maistre’s major works Roy de Maistre: ‘Fellas doing things to Fellas’Described as ‘the man who taught Francis Bacon to paint’ (Ronald Alley interviewed by Heather Johnson 1988), Roy de Maistre moved from his native Australia to London in 1930, where he lived for the rest of his life. He had trained at Sydney Art School and the Royal Art Society, had spent two years travelling in Europe between 1923 and 1925 and had had two solo exhibitions, at the Macquarie Galleries in Sydney in 1926 and 1928. Despite this successful start to his career, de Maistre looked to London for a more progressive art world into which he was immediately admitted. In his first year in the English capital, de Maistre had a solo show at the Beaux Arts Gallery and a joint exhibition of paintings and furniture with Francis Bacon, held in the latter’s studio at 7 Queensberry Mews.De Maistre’s friendship with Bacon was closest in the early 1930s, though they remained in contact until the former’s death in 1968. There is some debate as to whether they had studios in the same buildings but on different floors, but what is certain is de Maistre’s fascination with Bacon’s working spaces, which he painted on several occasions. As de Maistre’s biographer, Heather Johnson, has declared ‘the main importance of the association between de Maistre and Bacon is the influence on their respective work…in the early 1930s de Maistre had just as great or greater influence on Bacon.’ (Heather Johnson, Roy de Maistre: The English Years 1930-1968, Craftsman House, Roseville East, 1995, p.22).The 1930s were a particularly fertile period in de Maistre’s career; his work featured in cutting-edge publications, such as Herbert Read’s 1933 Art Now and in group exhibitions including at the Zwemmer Gallery and Leicester Galleries. He had solo exhibitions at the avant-garde Mayor Gallery in 1934 and at the Calmann Gallery four years later. In 1934 he established the School of Contemporary Painting and Drawing with Martin Bloch, with its stated aim acting as a manifesto for his own work, namely ‘to help the pupils to give expression to their enjoyment of the beauty and significance of things seen and experienced; to understand and appreciate the materials they use and to recognise the logic of the laws of colour and composition’ (see Johnson, op.cit., p.82).Two Figures dates from this important period. Johnson explained that in this painting, compared with other contemporary works, ‘de Maistre has…concentrated on a sensitive and intellectual rapport between the figures rather than a purely sexual one, the blending of the figures and their closeness is much more successful’ (Johnson, ibid., p.28). Two Figures is all the more significant given de Maistre’s instructions to his Executors that, following his death, ‘a large body of work, described as ‘fellas doing things to fellas’ be destroyed (see Johnson, ibid., p. 28). The two men are seen unclothed, caught in a moment of intimate relaxation – both have their eyes closed and are viewed in profile. Bold black outlining provides the structure of a pictorial design based on shallow depth, whilst a harmonious palette, direct technique and frank appreciation of the male form create an image which is at once sensual and bold.In contrast, Crucifixion of 1945, whilst based on earlier notes and studies, was painted in response to the dropping of the first atomic bomb, on Hiroshima on 6 August of that year. By this point in his career, de Maistre was becoming known as a modernist religious painter, not least with the acquisition in 1944 of a work of the same Biblical scene to Iona Abbey. De Maistre formally converted to the Roman Catholic faith in 1951. The 1940s saw him receive solo exhibitions in Leeds and Birmingham and culminated in one at Adams Gallery, London in 1950.The influence of Bacon’s working methods can arguably be detected in Man and Tree of 1959. Johnson posits that Bacon’s use of Portrait of Innocent X by Diego Velázquez in a series of works started in 1951, may have encouraged de Maistre to look to past masters for inspiration. Indeed, she established that Man and Tree is based on a work by Henri Matisse, reproduced in an article about Fauvism in the December 1934 issue of the D’Aci I D’Alla magazine, of which de Maistre owned a copy. (M. A. Cassanyes, ‘Fauvisme’, D’Aci D’Alla, no.179, vol. XXII, December 1934 see Johnson, ibid., pp.163 and 165). This work dates from the period during which de Maistre was preparing his retrospective exhibition at the Whitechapel Gallery, London, which opened in May 1960.All three of the works by de Maistre presented here formerly belonged to Celia Broadbent (née Keogh). She was a daughter of the artist’s cousin, Camilla Keogh (1866-1948) who was one of his most significant patrons and muses. Celia went on to support de Maistre herself, not least in asking him to design tapestry versions of some of his paintings, which she then stitched (see Johnson, ibid., p. 112).As de Maistre’s patron, Rab Butler, proclaimed: ‘His most impressive quality as an artist was his absolute integrity. He went through long periods of difficulty in earning his living from painting because he refused to conform to any standards other than those which he had rigorously laid down for himself.’ (quoted in Johnson, ibid. p.55)
József Rippl-Rónai (Hungarian 1861-1927) Man in a Pointed Hat, probably a Self-Portrait, 1905 signed and dated (upper left), and stamped Látta / Kladta (to reverse of back board), oil on cardboard Dimensions:65.6cm x 49cm (25 7/8in x 19 1/4in) Provenance:ProvenancePrivate Collection, London. It has been suggested that this work could possibly be 'Self-Portrait in a Pointed Hat', which would correspond to a work exhibited by the artist in 1906.The current work bears an exhibition label numbered 431 to the reverse of its backboard, and was possibly exhibited as part of a one-man exhibition in Kaposvár, the artist's home town, in either 1905, 1913 or 1920. Note: ‘The Hungarian Nabi’: József Rippl-Rónai (1861–1927)József Rippl-Rónai’s lifetime work can be seen as an important articulation of a pan-European approach that incorporated elements of Art Nouveau, Fauvism, Expressionism and in particular the Post-Impressionist painters known as Les Nabis. Born in Kaposvár, Hungary in 1861, he studied at the Akademie der Bildenden Künste in Munich in 1884, before moving to Paris in 1887. There he continued his studies under the Hungarian Realist painter Mihaly Munkácsy then living in the French capital. By 1889 Rippl-Rónai made a brief visit to Pont Aven and soon cut ties with his earlier style embracing a new aesthetic buoyed by Paul Gauguin and his circle. He became friends with artists such as Aristide Maillol, Pierre Bonnard and in particular Édouard Vuillard whom he met at the Académie Julian in Paris. He joined the Nabis, whose influence can clearly be felt in his work.Rippl-Rónai returned to Hungary in 1902 and the current work dates from this early period back in his homeland, but continues to bear the impression of the Nabis, with a gentle intimacy and a fondness for decoration. Possibly a self-portrait, the painting is dated to 1905 and communicates his interest in materials and clothing. He believed that not only was the artist’s full body of work of importance, but also his public persona and mode of living, including the way he dressed. Rippl-Rónai’s Post-Impressionist tendencies, including his use of two-dimensional representation and contouring, continues with this portrait, as well as his playful use of a painting within a painting motif, a technique that can be seen in a number of his important works.The artist took part in public life throughout his career, including designing posters and tapestries and contributing to many successful exhibitions both at home and abroad, including those mounted in his home town of Kaposvár. Indeed, the current work bears the remains of a label which suggests an exhibition held there, which might relate to his solo shows of 1905 or 1913. After the World War One, Rippl-Rónai gave up oil painting in favour of pastels and his mastery of this medium reached its pinnacle with a series of portraits of literary friends. Rippl-Rónai’s continuing importance is that he succeeded in remaining a Hungarian artist who was faithful to his historical roots, whilst embracing modern art tendencies from his close associations with French artists linked to Paris at the turn of the century.
József Rippl-Rónai (Hungarian 1861-1927) Portrait of a Young Man Wearing a Cap signed (lower right), pastel on paper Dimensions:43cm x 31.5cm (17in x 12 3/8in) Provenance:ProvenancePrivate Collection, London. Note: ‘The Hungarian Nabi’: József Rippl-Rónai (1861–1927)József Rippl-Rónai’s lifetime work can be seen as an important articulation of a pan-European approach that incorporated elements of Art Nouveau, Fauvism, Expressionism and in particular the Post-Impressionist painters known as Les Nabis. Born in Kaposvár, Hungary in 1861, he studied at the Akademie der Bildenden Künste in Munich in 1884, before moving to Paris in 1887. There he continued his studies under the Hungarian Realist painter Mihaly Munkácsy then living in the French capital. By 1889 Rippl-Rónai made a brief visit to Pont Aven and soon cut ties with his earlier style embracing a new aesthetic buoyed by Paul Gauguin and his circle. He became friends with artists such as Aristide Maillol, Pierre Bonnard and in particular Édouard Vuillard whom he met at the Académie Julian in Paris. He joined the Nabis, whose influence can clearly be felt in his work.Rippl-Rónai returned to Hungary in 1902 and the current work dates from this early period back in his homeland, but continues to bear the impression of the Nabis, with a gentle intimacy and a fondness for decoration. Possibly a self-portrait, the painting is dated to 1905 and communicates his interest in materials and clothing. He believed that not only was the artist’s full body of work of importance, but also his public persona and mode of living, including the way he dressed. Rippl-Rónai’s Post-Impressionist tendencies, including his use of two-dimensional representation and contouring, continues with this portrait, as well as his playful use of a painting within a painting motif, a technique that can be seen in a number of his important works.The artist took part in public life throughout his career, including designing posters and tapestries and contributing to many successful exhibitions both at home and abroad, including those mounted in his home town of Kaposvár. Indeed, the current work bears the remains of a label which suggests an exhibition held there, which might relate to his solo shows of 1905 or 1913. After the World War One, Rippl-Rónai gave up oil painting in favour of pastels and his mastery of this medium reached its pinnacle with a series of portraits of literary friends. Rippl-Rónai’s continuing importance is that he succeeded in remaining a Hungarian artist who was faithful to his historical roots, whilst embracing modern art tendencies from his close associations with French artists linked to Paris at the turn of the century.
§ Gerald Leslie Brockhurst (British 1890-1978) Adolescence (Kathleen Nancy Woodward), 1932 (Fletcher 75) signed in pencil (in the margin lower right), from the unnumbered edition of 90, etching on wove paper Dimensions:plate 26.5cm x 37cm (10 1/2in x 14 3/4in); sheet 33.6cm x 45.6cm (131/4in x 17 7/8in), unframed Note: Adolescence is the most famous and virtuoso image of Brockhurst’s career and is widely considered a masterpiece of twentieth-century printmaking.Having shown early promise and commitment to his studies, Brockhurst enrolled at Birmingham School of Art aged just twelve years old. He later entered the Royal Academy Schools in London in 1907. Brockhurst’s trajectory to success was set early on, as in both schools he was awarded many of their highest accolades. After travel in France and Italy before the outbreak of World War One, followed by a five-year period spent living in Ireland, Brockhurst eventually re-settled in the English capital. Over the course of the 1920s he made his name in artistic circles, foremost as an outstanding printmaker at this point in time, while his reputation as a painter of extraordinary skill would come to fruition a decade later.Adolescence is rightly regarded as a significant artistic achievement. In 1924, Hugh Stokes encapsulated the artist’s technique as follows: ‘What…[Brockhurst]…is gradually attaining… is a soft and velvety richness of quality in which line disappears, although the form is based upon line.’ It is a startling process which results in a remarkable level of finesse. Brockhurst’s ability to convey such an extraordinary variety of texture and tone in Adolescence make it a prized work among collectors, as too does its period elegance and subtle sensuality.As with many of history’s great artworks, the backstory can add as much appeal for collectors as can the aesthetics of the image itself. Adolescence is one such example of this. Brockhurst had attracted scandal (with the added benefit of renown) due to his affair with Kathleen Woodward, a 16-year-old life model for whom he subsequently left his wife and former muse Anaïs Folin. In the manner of his friend Augustus John, Brockhurst re-christened Kathleen ‘Dorette’, and she came to feature in many of his most successful and notable portraits. In Adolescence, Dorette is depicted seated nude on her bed, assessing herself in a dressing-table mirror, lost in her interior world. It is an idealisation of young womanhood, a subject that preoccupied much of Brockhurst’s career, but it is also a study of nascent sexuality. It remains Brockhurst’s most overtly sensual image.
§ Roy De Maistre C.B.E. (Australian / British 1894-1968) Crucifixion, 1945 signed (lower right), oil on canvas Dimensions:25cm x 20.5cm (9 7/8in x 8in) Provenance:ProvenanceCelia Broadbent (neé Keogh) and by direct descent to the present owner.Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her older sister, Camilla Margery Keogh, was the subject of ‘La Folie', considered one of de Maistre’s major works. Note: with label signed and inscribed THIS CRUCIFIXION, painted from notes and studies made at St. Jean-de-Luz in 1932 was begun on the day after the first atomic bomb was dropped on Hiroshima - painted in Sorrow for the innocent victims and in condemnation of those politicians who perpetrated this appalling act of mass murder in defiance of Christian love and compassion. / 13 Eccleston Street, London, 1945. (to reverse) Roy de Maistre: ‘Fellas doing things to Fellas’Described as ‘the man who taught Francis Bacon to paint’ (Ronald Alley interviewed by Heather Johnson 1988), Roy de Maistre moved from his native Australia to London in 1930, where he lived for the rest of his life. He had trained at Sydney Art School and the Royal Art Society, had spent two years travelling in Europe between 1923 and 1925 and had had two solo exhibitions, at the Macquarie Galleries in Sydney in 1926 and 1928. Despite this successful start to his career, de Maistre looked to London for a more progressive art world into which he was immediately admitted. In his first year in the English capital, de Maistre had a solo show at the Beaux Arts Gallery and a joint exhibition of paintings and furniture with Francis Bacon, held in the latter’s studio at 7 Queensberry Mews.De Maistre’s friendship with Bacon was closest in the early 1930s, though they remained in contact until the former’s death in 1968. There is some debate as to whether they had studios in the same buildings but on different floors, but what is certain is de Maistre’s fascination with Bacon’s working spaces, which he painted on several occasions. As de Maistre’s biographer, Heather Johnson, has declared ‘the main importance of the association between de Maistre and Bacon is the influence on their respective work…in the early 1930s de Maistre had just as great or greater influence on Bacon.’ (Heather Johnson, Roy de Maistre: The English Years 1930-1968, Craftsman House, Roseville East, 1995, p.22).The 1930s were a particularly fertile period in de Maistre’s career; his work featured in cutting-edge publications, such as Herbert Read’s 1933 Art Now and in group exhibitions including at the Zwemmer Gallery and Leicester Galleries. He had solo exhibitions at the avant-garde Mayor Gallery in 1934 and at the Calmann Gallery four years later. In 1934 he established the School of Contemporary Painting and Drawing with Martin Bloch, with its stated aim acting as a manifesto for his own work, namely ‘to help the pupils to give expression to their enjoyment of the beauty and significance of things seen and experienced; to understand and appreciate the materials they use and to recognise the logic of the laws of colour and composition’ (see Johnson, op.cit., p.82).Two Figures dates from this important period. Johnson explained that in this painting, compared with other contemporary works, ‘de Maistre has…concentrated on a sensitive and intellectual rapport between the figures rather than a purely sexual one, the blending of the figures and their closeness is much more successful’ (Johnson, ibid., p.28). Two Figures is all the more significant given de Maistre’s instructions to his Executors that, following his death, ‘a large body of work, described as ‘fellas doing things to fellas’ be destroyed (see Johnson, ibid., p. 28). The two men are seen unclothed, caught in a moment of intimate relaxation – both have their eyes closed and are viewed in profile. Bold black outlining provides the structure of a pictorial design based on shallow depth, whilst a harmonious palette, direct technique and frank appreciation of the male form create an image which is at once sensual and bold.In contrast, Crucifixion of 1945, whilst based on earlier notes and studies, was painted in response to the dropping of the first atomic bomb, on Hiroshima on 6 August of that year. By this point in his career, de Maistre was becoming known as a modernist religious painter, not least with the acquisition in 1944 of a work of the same Biblical scene to Iona Abbey. De Maistre formally converted to the Roman Catholic faith in 1951. The 1940s saw him receive solo exhibitions in Leeds and Birmingham and culminated in one at Adams Gallery, London in 1950.The influence of Bacon’s working methods can arguably be detected in Man and Tree of 1959. Johnson posits that Bacon’s use of Portrait of Innocent X by Diego Velázquez in a series of works started in 1951, may have encouraged de Maistre to look to past masters for inspiration. Indeed, she established that Man and Tree is based on a work by Henri Matisse, reproduced in an article about Fauvism in the December 1934 issue of the D’Aci I D’Alla magazine, of which de Maistre owned a copy. (M. A. Cassanyes, ‘Fauvisme’, D’Aci D’Alla, no.179, vol. XXII, December 1934 see Johnson, ibid., pp.163 and 165). This work dates from the period during which de Maistre was preparing his retrospective exhibition at the Whitechapel Gallery, London, which opened in May 1960.All three of the works by de Maistre presented here formerly belonged to Celia Broadbent (née Keogh). She was a daughter of the artist’s cousin, Camilla Keogh (1866-1948) who was one of his most significant patrons and muses. Celia went on to support de Maistre herself, not least in asking him to design tapestry versions of some of his paintings, which she then stitched (see Johnson, ibid., p. 112).As de Maistre’s patron, Rab Butler, proclaimed: ‘His most impressive quality as an artist was his absolute integrity. He went through long periods of difficulty in earning his living from painting because he refused to conform to any standards other than those which he had rigorously laid down for himself.’ (quoted in Johnson, ibid. p.55)
Indonesia.- Lauters (Paulus) and others. Collection of 20 views of Java, including 11 crayon-style lithographic views by Lauters, trimmed to image but probably from 'Gezigten uit Neerlands Indie, naar de natuur geteekend en beschreven', Heinrich August Grosch's view 'Staden og Foestningen Batavia paa Oen Java', after C.F. Klinck, J. Well's aquatint after Drummond's 'A View of Batavia the Capital of the Dutch-settlements in India', and others similar, lithographs, etchings, aquatints, a few with hand-colouring, various sizes between 200 x 305 mm (7 7/8 x 12 in) and 380 x 470 mm (15 x 18 1/2 in), most presented in mounts, some handling creases and minor signs of careful restoration to a few, all unframed, 19th century (20)
China.- Chien Lung (Emperor of China) Éloge de la ville de Moukden et de ses environs, translated by Father Jean Joseph Marie Amiot, first French edition, title with small woodcut floral ornament, woodcut head- and tail-pieces, approbation f. at end, final f. blank, some spotting and light staining, lightly browned, printed bookplate of printers and booksellers Frères Perisse to front pastedown, contemporary mottled calf, richly gilt spine in compartments and with citron leather label, joints starting, but holding firm, spine with ends little worn and with small wormhole at foot, scuffmarks to lower cover, little rubbed, [Cordier, Sinica, 1790; Lust 179], 8vo, Paris, N.M. Tilliard, 1770.⁂ In praise of the town of Mukden, in Manchuria, which was the capital of China during the rule of the Manchu dynasty. Includes a short poem on tea.
1927 (Dec. 23) Cover with a printed heading "RHODESIAN AVIATION SYNDICATE" and a picture of a biplane, posted within Bulawayo franked 1d, addressed to F. Issels, Chairman, The Rhodesian Aviation Co Ltd. Also a printed Prospectus for establishing a limited company, The Rhodesian Aviation Co. Ltd., which was to acquire the Rhodesian Aviation Syndicate; the share capital of £10,000 was not raised by the end of January 1928, and the limited company did not materialise for another two years. A unique advertising envelope from one of the earliest aviation companies in Southern Rhodesia; the accompanying prospectus showed it owned just two aeroplanes (one in transit from London) and had a single pilot. (Cover + Prospectus). Photo on Page 216.
The Madonna of SorrowsSilver 833/000 sculptureReliefs and chiselled naturalistic decorationResting on a capital monogrammed "FAMM - Francisco Augusto Mendes Monteiro" inscribed "Esta fes João Ant. Soares de Mello 1826"Oporto assay-mark (1810-1826) and goldsmith's mark attributable to João António Soares de Melo (1825-1827)(signs of wear)Provenance:Private collectionIt belonged to Francisco Augusto Mendes Monteiro (1816-1890), the father of António Augusto Carvalho Monteiro (1848-1920) owner of the Regaleira estate in Sintra.Literature:ALMEIDA, Fernando Moitinho de; CARLOS, Rita - "Inventário de Marcas de Pratas Portuguesas e Brasileiras - Século XV a 1887". Lisboa: IN-CM, 2018, P-25.0 and P-311.0Alt.: 111 cm16815 g
Paar Lampenfüße im Empire-Stil. Im Fuß je "EBM" gemarkt mit Nr. Mitte 20. Jh. Bronze, teils dunkelgrün lackiert, Gusseisen-Fußbeschwerung. H bis Schirmauflage 59 cm. Zusammen 7,7 kg. Würfelförmiger Sockel und Schaftansatz mit Blattfriesen und Lyra-Applik in der Front, geriffelter Säulenschaft und Kapitell mit Zungenblättern, Standard-Schirmhalterung, Bajonettfassung. Funktioniert. Aufrufzeit 26. | Okt 2023 | voraussichtlich 19:20 Uhr (CET)Pair of lamp feet in Empire style. Marked in the foot of each "EBM" with no. mid-20th century Bronze, partly painted dark green, cast iron foot weighting. H to umbrella support 59 cm. Together 7.7 kg. Cube-shaped base and shaft base with foliate friezes and lyre applique in front, fluted column shaft and capital with tongue leaves, standard umbrella support, bayonet socket. Functional. Call time 26 | Oct 2023 | expected 19:20 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
"Malerisches Album der Thüringischen Eisenbahnen""... von Halle über Merseburg, Weißenfels, Naumburg, Weimar, Erfurt, Gotha, Eisenach bis an die Kurhessische Grenze. Mit 24 Ansichten der merkwürdigsten Punkte der Bahn, mit Reisejournal, technischer Beschreibung, Höhen-Profilen und Situations-Karten". Druck, Verlag und Lithographie von Bernhard Friedrich Voigt. Weimar. (1850). 14 x 22,5 cm. Ausführliche Streckenbeschreibungen, Aufzählung von Bauwerken für die Bahntrasse mit Höhenangaben, Erdarbeiten, Oberbau sowie Betriebsmittel und Betrieb. Angaben zum Baukapital. Lithographien von Weimar, Erfurt, Die drei Gleichenburgen, Viaduct von Gotha, Inselsberg Schloss Tenneberg, Der Hoerselberg, Eisenach Wartburg, Eingang in das Werrathal, Die Brandenburg im Werrathal, Der Bielstein. Alle mit Brücken- oder Bahnhofsdarstellungen. "Profil und Karte der Thüringischen Eisenbahn" auf zwei Doppelseiten. Im goldgeprägten Leineneinband. Altersspuren. Aufrufzeit 28. | Okt 2023 | voraussichtlich 10:32 Uhr (CET) "Picturesque Album of the Thuringian Railways""... From Halle to Merseburg, Weißenfels, Naumburg, Weimar, Erfurt, Gotha, Eisenach to the Kurhessische border. With 24 views of the most curious points of the railroad, with travel journal, technical description, elevation profiles and situation maps." Printing, publishing and lithography by Bernhard Friedrich Voigt. Weimar. (1850). 14 x 22,5 cm. Detailed route descriptions, enumeration of structures for the railroad route with elevations, earthworks, superstructure as well as operating equipment and operation. Details of construction capital. Lithographs of Weimar, Erfurt, The Three Gleichenburgen, Viaduct of Gotha, Inselsberg Castle Tenneberg, The Hoerselberg, Eisenach Wartburg, Entrance to the Werrathal, The Brandenburg in the Werrathal, The Bielstein. All with bridge or station depictions. "Profile and Map of the Thuringian Railway" on two double pages. In gold-stamped cloth binding. Alter traces. Call time 28th | Oct 2023 | expected 10:32 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
DUREY, René(1890 Paris - 1959) Ansicht von ParisÖl/Leinwand. Rechts unten signiert. 54 x 65 cm. Gerahmt : 41 x 82 cm. Helles Sonnenlicht über der französischen Hauptstadt mit dem Eiffelturm im atmosphärischen Dunst am Horizont. Landschafts- und Stilllebenmaler, beeinflusst durch den Kubismus Rogers de la Fresaye. Literatur : Vollmer. Aufrufzeit 28. | Okt 2023 | voraussichtlich 17:07 Uhr (CET) DUREY, René(1890 Paris - 1959) View of ParisOil / canvas. Signed lower right. 54 x 65 cm. Framed : 41 x 82 cm. Bright sunlight over the French capital with the Eiffel Tower in the atmospheric haze on the horizon. Landscape and still life painter influenced by cubism Rogers de la Fresaye. Literature : Vollmer. Call time 28th | Oct 2023 | expected 17:07 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
SCHMIDT, F.K. Erfurt - "Alte Stadt"Öl/Malkarton. Links unten monogrammiert, verso signiert/betitelt mit Zusatz Erfurt. 1921. 50 x 45,5 cm. Gerahmt : 61 x 56 cm. Blick über die Dächer der thüringischen Hauptstadt mit den Silhouetten des Doms und der Severikirche am Horizont. Aufrufzeit 28. | Okt 2023 | voraussichtlich 17:43 Uhr (CET) SCHMIDT, F.K. Erfurt - "Old Town"Oil/painted cardboard. Bottom left monogrammed, verso signed / titled with addition Erfurt. 1921. 50 x 45.5 cm. Framed : 61 x 56 cm. View over the rooftops of the Thuringian capital with the silhouettes of the Cathedral and the Severi Church on the horizon. Call time 28th | Oct 2023 | probably 17:43 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
JOHANSEN, Einer(1893 Kopenhagen - 1965) Szene in ParisÖl/Leinwand. Links unten signiert, rechts unten Ortsangabe Paris. 60 x 70 cm. Gerahmt : 63,5 x 73,5 cm. Pastos gespachtelte Straßenszene mit mehreren Personen in der französischen Hauptstadt. Dänischer Maler, studierte an der Akademie Kopenhagen. Literatur : Weilbach. Aufrufzeit 28. | Okt 2023 | voraussichtlich 20:05 Uhr (CET) JOHANSEN, One(1893 Copenhagen - 1965) Scene in ParisOil/canvas. Signed lower left, lower right indication of place Paris. 60 x 70 cm. Framed : 63.5 x 73.5 cm. Pastos spatulaed street scene with several people in the French capital. Danish painter, studied at the Academy of Copenhagen. Literature : Weilbach. Call time 28th | Oct 2023 | expected 20:05 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
THE LONDON POLICE, A DOG WITH LYRICS permanent marker on card album cover, signed31cm x 31cmThe London Police is an art collective started in 1998 when two English geezers headed to Amsterdam to rejuvenate the visually disappointing streets of Hollands capital. They were part of a small group of artists at the end of the last century that helped pioneer the street art movement. After a few years of mixing traveling and making art in the street TLP began to receive worldwide recognition for their contribution to the graffiti/street art movement. The London Police are Chaz Barrisson who draws the iconic ‘LADS’ character and Bob Gibson whose tight portrait and architectural illustrations help marry the two styles to create an endearing, exciting fantasy world... Instagram: thelondonpolice
λ PATRICIA O'BRIEN (IRISH B. 1927) THE LESSON Oil on canvas Signed and dated '90 (lower right); further signed and titled to frame (verso) 81 x 100cm (31¾ x 39¼ in.)Exhibited: London, Stephen Bartley Gallery, 1990 Patricia O'Brien's artistic journey took off in 1977 when she first exhibited her work at the Upper Street Gallery in London. This initial exhibition marked the beginning of a flourishing career that would see her gain representation by Stephen Bartley and participate in numerous international exhibitions. From 1981, O'Brien's talent and unique artistic vision caught the attention of the Royal Academy. She participated in the prestigious Royal Academy Summer Exhibition, a renowned annual event that showcases the best of contemporary art. John Russell Taylor, an esteemed critic, hailed O'Brien as an "out-and-out discovery" in his review of the 1989 Royal Academy Summer Show. In a remarkable testament to the impact of her work, O'Brien's painting titled "The Fruit Eaters" became the main promotional press image for the Royal Academy Summer Show in 1990. Throughout Patricia O'Brien's body of work, the female figure takes centre stage, becoming a focal point of her compositions. O'Brien delves into the complexities of human relationships, exploring their dynamics, inviting viewers to interpret and question the narratives presented. O'Brien repeatedly portrays three figures, possibly a connotation to her own complicated relationships. Her works exude an intense visual poetry, compelling viewers to unravel the stories behind each character and scene portrayed on the canvas. O'Brien creates a sense of stillness in her work, capturing a fleeting moment suspended in time whether that be taking a lesson (Lot 96), eating fruit (Lot 98) or purchasing flowers at the market (Lot 100). There is a mystical and disquieting quality to her pieces, evoking a sense of melancholy that adds depth and complexity to the overall atmosphere. The deliberate absence of traditional perspective in O'Brien's work contributes to her distinctive style, along with a subdued colour palette and meticulous composition of objects and figures within the surrealist landscapes. These elements make O'Brien's art instantly recognisable and draw the viewer into a world of carefully constructed beauty.In 1972, Patricia O'Brien made the decision to settle down in the perfume capital of France, Grasse. Drawn to the allure of its mountainous landscapes and expansive vistas, these majestic surroundings served as a prominent influence in her work, providing the backdrop against which her pensive figures would come to life as can be seen in lot 98 and 99. It was during her time in France that she forged a close friendship with Frederick Gore, a fellow artist.Patricia O'Brien's artwork is a captivating blend of surrealist iconography and Renaissance influences, creating a unique and distinctive style. O'Brien was especially drawn to fifteenth century Italian artists such as Sandro Botticelli and Piero della Francesca whose focus on exquisite attention to detail, with a particular emphasis on depicting the human form with individuality, empathy, and sensitivity, inspired her. Humanism permeates O'Brien's work, as she delves deep into the layers of emotions experienced by her figures and situates them within the natural world, infusing her paintings with spiritual meaning. One striking aspect of O'Brien's paintings is the luminous complexion and porcelain skin of her figures particularly apparent in Lot 99 which shows three female nudes attending to flowers beneath the mountainous landscape beyond. Condition Report: Very light surface dirt throughout. There is a small cluster of minute losses to the edge of the woman's pink dress. In overall good original condition. Condition Report Disclaimer
λ PATRICIA O'BRIEN (IRISH B. 1927) BIRDS OF PREY Oil on canvas Signed and dated '94 (lower left); titled to frame (verso) 36 x 31cm (14 x 12 in.)Patricia O'Brien's artistic journey took off in 1977 when she first exhibited her work at the Upper Street Gallery in London. This initial exhibition marked the beginning of a flourishing career that would see her gain representation by Stephen Bartley and participate in numerous international exhibitions. From 1981, O'Brien's talent and unique artistic vision caught the attention of the Royal Academy. She participated in the prestigious Royal Academy Summer Exhibition, a renowned annual event that showcases the best of contemporary art. John Russell Taylor, an esteemed critic, hailed O'Brien as an "out-and-out discovery" in his review of the 1989 Royal Academy Summer Show. In a remarkable testament to the impact of her work, O'Brien's painting titled "The Fruit Eaters" became the main promotional press image for the Royal Academy Summer Show in 1990. Throughout Patricia O'Brien's body of work, the female figure takes centre stage, becoming a focal point of her compositions. O'Brien delves into the complexities of human relationships, exploring their dynamics, inviting viewers to interpret and question the narratives presented. O'Brien repeatedly portrays three figures, possibly a connotation to her own complicated relationships. Her works exude an intense visual poetry, compelling viewers to unravel the stories behind each character and scene portrayed on the canvas. O'Brien creates a sense of stillness in her work, capturing a fleeting moment suspended in time whether that be taking a lesson (Lot 96), eating fruit (Lot 98) or purchasing flowers at the market (Lot 100). There is a mystical and disquieting quality to her pieces, evoking a sense of melancholy that adds depth and complexity to the overall atmosphere. The deliberate absence of traditional perspective in O'Brien's work contributes to her distinctive style, along with a subdued colour palette and meticulous composition of objects and figures within the surrealist landscapes. These elements make O'Brien's art instantly recognisable and draw the viewer into a world of carefully constructed beauty.In 1972, Patricia O'Brien made the decision to settle down in the perfume capital of France, Grasse. Drawn to the allure of its mountainous landscapes and expansive vistas, these majestic surroundings served as a prominent influence in her work, providing the backdrop against which her pensive figures would come to life as can be seen in lot 98 and 99. It was during her time in France that she forged a close friendship with Frederick Gore, a fellow artist.Patricia O'Brien's artwork is a captivating blend of surrealist iconography and Renaissance influences, creating a unique and distinctive style. O'Brien was especially drawn to fifteenth century Italian artists such as Sandro Botticelli and Piero della Francesca whose focus on exquisite attention to detail, with a particular emphasis on depicting the human form with individuality, empathy, and sensitivity, inspired her. Humanism permeates O'Brien's work, as she delves deep into the layers of emotions experienced by her figures and situates them within the natural world, infusing her paintings with spiritual meaning. One striking aspect of O'Brien's paintings is the luminous complexion and porcelain skin of her figures particularly apparent in Lot 99 which shows three female nudes attending to flowers beneath the mountainous landscape beyond. Condition Report: In good original condition. Condition Report Disclaimer
λ PATRICIA O'BRIEN (IRISH B. 1927) THE YELLOW HAT Oil on canvas Signed and dated '96 (upper right); titled to frame (verso) 102 x 61cm (40 x 24 in.)Patricia O'Brien's artistic journey took off in 1977 when she first exhibited her work at the Upper Street Gallery in London. This initial exhibition marked the beginning of a flourishing career that would see her gain representation by Stephen Bartley and participate in numerous international exhibitions. From 1981, O'Brien's talent and unique artistic vision caught the attention of the Royal Academy. She participated in the prestigious Royal Academy Summer Exhibition, a renowned annual event that showcases the best of contemporary art. John Russell Taylor, an esteemed critic, hailed O'Brien as an "out-and-out discovery" in his review of the 1989 Royal Academy Summer Show. In a remarkable testament to the impact of her work, O'Brien's painting titled "The Fruit Eaters" became the main promotional press image for the Royal Academy Summer Show in 1990. Throughout Patricia O'Brien's body of work, the female figure takes centre stage, becoming a focal point of her compositions. O'Brien delves into the complexities of human relationships, exploring their dynamics, inviting viewers to interpret and question the narratives presented. O'Brien repeatedly portrays three figures, possibly a connotation to her own complicated relationships. Her works exude an intense visual poetry, compelling viewers to unravel the stories behind each character and scene portrayed on the canvas. O'Brien creates a sense of stillness in her work, capturing a fleeting moment suspended in time whether that be taking a lesson (Lot 96), eating fruit (Lot 98) or purchasing flowers at the market (Lot 100). There is a mystical and disquieting quality to her pieces, evoking a sense of melancholy that adds depth and complexity to the overall atmosphere. The deliberate absence of traditional perspective in O'Brien's work contributes to her distinctive style, along with a subdued colour palette and meticulous composition of objects and figures within the surrealist landscapes. These elements make O'Brien's art instantly recognisable and draw the viewer into a world of carefully constructed beauty.In 1972, Patricia O'Brien made the decision to settle down in the perfume capital of France, Grasse. Drawn to the allure of its mountainous landscapes and expansive vistas, these majestic surroundings served as a prominent influence in her work, providing the backdrop against which her pensive figures would come to life as can be seen in lot 98 and 99. It was during her time in France that she forged a close friendship with Frederick Gore, a fellow artist.Patricia O'Brien's artwork is a captivating blend of surrealist iconography and Renaissance influences, creating a unique and distinctive style. O'Brien was especially drawn to fifteenth century Italian artists such as Sandro Botticelli and Piero della Francesca whose focus on exquisite attention to detail, with a particular emphasis on depicting the human form with individuality, empathy, and sensitivity, inspired her. Humanism permeates O'Brien's work, as she delves deep into the layers of emotions experienced by her figures and situates them within the natural world, infusing her paintings with spiritual meaning. One striking aspect of O'Brien's paintings is the luminous complexion and porcelain skin of her figures particularly apparent in Lot 99 which shows three female nudes attending to flowers beneath the mountainous landscape beyond. Condition Report: Very light surface dirt. Some minute pooling of varnish scattered across the surface. Overall in good original condition. Condition Report Disclaimer
λ  PATRICIA O'BRIEN (IRISH B. 1927) THE OFFERING Signed (lower right) 91 x 122cm (35¾ x 48 in.)Provenance: Solomon Gallery, Dublin Patricia O'Brien's artistic journey took off in 1977 when she first exhibited her work at the Upper Street Gallery in London. This initial exhibition marked the beginning of a flourishing career that would see her gain representation by Stephen Bartley and participate in numerous international exhibitions. From 1981, O'Brien's talent and unique artistic vision caught the attention of the Royal Academy. She participated in the prestigious Royal Academy Summer Exhibition, a renowned annual event that showcases the best of contemporary art. John Russell Taylor, an esteemed critic, hailed O'Brien as an "out-and-out discovery" in his review of the 1989 Royal Academy Summer Show. In a remarkable testament to the impact of her work, O'Brien's painting titled "The Fruit Eaters" became the main promotional press image for the Royal Academy Summer Show in 1990. Throughout Patricia O'Brien's body of work, the female figure takes centre stage, becoming a focal point of her compositions. O'Brien delves into the complexities of human relationships, exploring their dynamics, inviting viewers to interpret and question the narratives presented. O'Brien repeatedly portrays three figures, possibly a connotation to her own complicated relationships. Her works exude an intense visual poetry, compelling viewers to unravel the stories behind each character and scene portrayed on the canvas. O'Brien creates a sense of stillness in her work, capturing a fleeting moment suspended in time whether that be taking a lesson (Lot 96), eating fruit (Lot 98) or purchasing flowers at the market (Lot 100). There is a mystical and disquieting quality to her pieces, evoking a sense of melancholy that adds depth and complexity to the overall atmosphere. The deliberate absence of traditional perspective in O'Brien's work contributes to her distinctive style, along with a subdued colour palette and meticulous composition of objects and figures within the surrealist landscapes. These elements make O'Brien's art instantly recognisable and draw the viewer into a world of carefully constructed beauty.In 1972, Patricia O'Brien made the decision to settle down in the perfume capital of France, Grasse. Drawn to the allure of its mountainous landscapes and expansive vistas, these majestic surroundings served as a prominent influence in her work, providing the backdrop against which her pensive figures would come to life as can be seen in lot 98 and 99. It was during her time in France that she forged a close friendship with Frederick Gore, a fellow artist.Patricia O'Brien's artwork is a captivating blend of surrealist iconography and Renaissance influences, creating a unique and distinctive style. O'Brien was especially drawn to fifteenth century Italian artists such as Sandro Botticelli and Piero della Francesca whose focus on exquisite attention to detail, with a particular emphasis on depicting the human form with individuality, empathy, and sensitivity, inspired her. Humanism permeates O'Brien's work, as she delves deep into the layers of emotions experienced by her figures and situates them within the natural world, infusing her paintings with spiritual meaning. One striking aspect of O'Brien's paintings is the luminous complexion and porcelain skin of her figures particularly apparent in Lot 99 which shows three female nudes attending to flowers beneath the mountainous landscape beyond. Condition Report: The work appears to be in good original condition.Condition Report Disclaimer
Royal Doulton, Poole, Royal Worcester, Regency, Capital - A mixed lot of tea and dinner service ceramic pieces - Lot includes 4 x green Capital tea cups. Royal Doulton dinner service. 3 x Poole tea plates. Approximately 69 pieces. Appear in good condition. (This does not constitute a guarantee) NOTE: THIS LOT IS NOT AVAILABLE FOR IN HOUSE SHIPPING, PLEASE CONTACT RECEPTION FOR A LIST OF SUITABLE COURIERS AND A QUOTE.
Italian design gilt metal standard lamp, corinthian capital over reeded column, on square marble base, with matching olive green and gold shade (H164cm); and Classical French design cream painted standard lamp, reeded column with floral decoration on circular base, with matching fringed shade (H185cm)
A Pair of Edward VII Silver Candlesticks, by William Henry Sparrow, Birmingham, 1904, on stepped and beaded square base, with fluted tapering stem and Corinthian capital, with detachable beaded nozzle, filled, 23cm high (2) Each fully marked on base and further part maked on nozzle. There is some wear to the marks. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the high points. There are some bruises and pin dents overall. There is some surface unevenness to the base of the stem on one. This may be a repair.
Explore a remarkable collection of twelve sterling silver silhouette skyline souvenir spoons, each capturing iconic landmarks and moments. Included are captivating designs like a tramcar with passengers celebrating Seeing Chicago, a bowl featuring the U.S. Government building and Post Office in Chicago, wagon trains showcasing the Louisiana Purchase Exposition Machinery Building and Varied Industries Building, ships and skylines, a lighthouse symbolizing Miami, Florida, the State Capital Building in Oklahoma City, OK, and a diverse range of public buildings including those in Whittier, CA, and Grinell. The collection also features the Jeweled Tower and Fine Arts Palace from the Panama Exposition in 1915, city skylines of Fort Dearborn, Chicago in 1830, New York seen from the North River with a bowl engraved with the Brooklyn Bridge, and city skylines of Royal Poinciana, Palm Beach, FL, and Salt Lake City. Largest piece measures 5.75"L x 1.25"W x 0.5"H. Issued: 20th CenturyCondition: Age related wear.
*JENNY MONTIGNY (1875-1937) 'Recreation en Automne, Deurle, 1921' Children at play under the shade of autumnal trees, signed lower right, further signed, titled and dated verso, oil on canvas, 63cm x 74cmProvenance: The Collection of the ArtistThe Collection of Louis Montigny, the brother of the Artist and his wife Lilian Attneave and thence by descent.A pioneering female impressionist, Jenny Montigny (1875-1937) was a founding member of the luminist group of Belgian artists 'Vie et Lumière' .Born in Ghent where her father was a law professor at the city’s university, Montigny’s early interest in art was fuelled by an early encounter with 'The Kingfishers' by Emile Claus (1849-1924) housed in the Museum of Fine Art (MSK) in Ghent. This pivotal experience led her to take private lessons with Claus at his country home Villa Zonneschijn in 1893. Despite the fact that Claus was married and twenty-six years her senior, they began a relationship that lasted until his death in 1924. Unsupported by her parents, who disapproved of her artistic interests, Montigny dared to be independent, and settled at Villa Rustoord in nearby Deurle in 1904. While a number of other female artists emerged at this time, notably Anna de Weert (née Cogen), Montigny was unique in living on her own, with neither a husband nor her parents. At the outbreak of World War I, she fled to London, where her brother Louis Montigny was living with his wife, Lillian Atneave. Claus and his wife Charlotte Dufaux also came to London and it is often insinuated that Jenny deliberately followed Claus, but in reality Claus only stayed in the capital for a few weeks before travelling to Wales. On 5th November 1914 Claus wrote to Cyriel Buysse in The Hague that he had left London. "I’ve run away from London: too many refugees of all kinds." In the same letter, Claus asked about the whereabouts of friends and acquaintances, including that of ‘J.M.’. It is clear that in the first chaotic period of the war, Claus and his pupil had no contact and no idea about each other’s whereabouts. Artistically, Montigny flourished during her time in London. She exhibited in several London galleries, including the Dowdeswell Gallery, the Grafton Galleries and the New English Art Club. Her name appeared in many exhibitions for and by the Belgian artists in exile, well known all the way to Rotterdam. She joined the Women’s International Art Club, exhibiting with other artists such as Amy Katherine Browning (1881-1978) and Dorothea Sharp (1874-1955).After the war, she returned to Belgium and, finding it necessary to sell her villa, moved into a more modest home. In 1923, she joined the Société Nationale des Beaux-Arts. After Claus' death, she found herself in worsening financial straits. Her painting style was no longer popular and it was necessary to accept charity from family and friends. She was largely forgotten after her death until 1987, when exhibitions were held in Deurle and Deinze. In 1995, a major retrospective took place at the Musée Pissarro in Pontoise.Jenny Montigny died of cancer on 31 October 1937, in her house in the Pontstraat in Deurle at half past one in the morning. As with so many female artists of the period, Montigny suffered from a lack of exposure due to being a woman, but in recent years her work has been enjoying renewed and deserved attention internationally. In 2019 the city of Ghent even named a street after her.
*JENNY MONTIGNY (1875-1937) 'Été (au jardin)' A mother and her children enjoying a summers day in a garden of hollyhocks, signed lower right, further signed, initialled and titled verso, oil on canvas, 57cm x 71cmProvenance: The Collection of the ArtistThe Collection of Louis Montigny, the brother of the Artist and his wife Lilian Attneave and thence by descentA pioneering female impressionist, Jenny Montigny (1875-1937) was a founding member of the luminist group of Belgian artists 'Vie et Lumière' .Born in Ghent where her father was a law professor at the city’s university, Montigny’s early interest in art was fuelled by an early encounter with 'The Kingfishers' by Emile Claus (1849-1924) housed in the Museum of Fine Art (MSK) in Ghent. This pivotal experience led her to take private lessons with Claus at his country home Villa Zonneschijn in 1893. Despite the fact that Claus was married and twenty-six years her senior, they began a relationship that lasted until his death in 1924. Unsupported by her parents, who disapproved of her artistic interests, Montigny dared to be independent, and settled at Villa Rustoord in nearby Deurle in 1904. While a number of other female artists emerged at this time, notably Anna de Weert (née Cogen), Montigny was unique in living on her own, with neither a husband nor her parents. At the outbreak of World War I, she fled to London, where her brother Louis Montigny was living with his wife, Lillian Atneave. Claus and his wife Charlotte Dufaux also came to London and it is often insinuated that Jenny deliberately followed Claus, but in reality Claus only stayed in the capital for a few weeks before travelling to Wales. On 5th November 1914 Claus wrote to Cyriel Buysse in The Hague that he had left London. "I’ve run away from London: too many refugees of all kinds." In the same letter, Claus asked about the whereabouts of friends and acquaintances, including that of ‘J.M.’. It is clear that in the first chaotic period of the war, Claus and his pupil had no contact and no idea about each other’s whereabouts. Artistically, Montigny flourished during her time in London. She exhibited in several London galleries, including the Dowdeswell Gallery, the Grafton Galleries and the New English Art Club. Her name appeared in many exhibitions for and by the Belgian artists in exile, well known all the way to Rotterdam. She joined the Women’s International Art Club, exhibiting with other artists such as Amy Katherine Browning (1881-1978) and Dorothea Sharp (1874-1955).After the war, she returned to Belgium and, finding it necessary to sell her villa, moved into a more modest home. In 1923, she joined the Société Nationale des Beaux-Arts. After Claus' death, she found herself in worsening financial straits. Her painting style was no longer popular and it was necessary to accept charity from family and friends. She was largely forgotten after her death until 1987, when exhibitions were held in Deurle and Deinze. In 1995, a major retrospective took place at the Musée Pissarro in Pontoise.Jenny Montigny died of cancer on 31 October 1937, in her house in the Pontstraat in Deurle at half past one in the morning. As with so many female artists of the period, Montigny suffered from a lack of exposure due to being a woman, but in recent years her work has been enjoying renewed and deserved attention internationally. In 2019 the city of Ghent even named a street after her.
* Chinese scholar's vessels, Kangxi (1662-1722) and later, a group of 7 vessels comprising: three of finely carved coconut shell with tin liner, the smaller tea cup very finely carved, with low relief auspicious objects within four roundels, some cracks to wood, 7.3 cm diameter, the larger tea cup carved with alternating florets, namely plum tree and pomegranate, and poems “Chuhuo cha kanshi, chakong qia daojing” (should taste the just cooked tea and arrived the capital as soon as finished the tea”, the decorations in green and gold paint, 8cm diameter, the blush pot with top section decorated with low relief auspicious objects, the middle section with poems and the bottom with foliages and rocks, slightly chipped and cracked, wooden base defective, 10cm high; and four cloisonné teacups, of lobed petal form, including a pair decorated with scholars in mountainous landscapers and enjoying the garden, another decorated with auspicious objects in panels, on diaper patterned ground, plus another with character “Shou” (Longevity) roundels, on flower heads patterned brocade ground, base marked with red prune flower head, some hairline cracks, one with few internal chips, all 3.1 cm highQTY: (7)NOTE:Provenance: The David & Sarah Battie Collection.
Albert Speer - Entwurf für die Reichstagskanzlei am "Großen Platz in Berlin" sowie für die große Achse "Das Viertel der Museen und Theater", 1942 Ein Entwurf der nordöstlichen Partie der Bauten am "Großen Platz in Berlin", Reichshauptstadt Germania 1942: eine Fotografie eines Modelles von Albert Speer, hier sollten Grünflächen entstehen mit Baumgruppen, Wasserspielen und Skulpturen nach Art der Gartenanlagen des 18. Jahrhunderts, hinten beschriftet und gestempelt "Staatliche Bildstelle Berlin", geknickt, Maße ca. 38 x 59 cm. Dazu eine nahe Bildaufnahme der Bauten am "Großen Platz" 1942, eine maßstabsgetreue Nachbildung des Reichstagsgebäudes: die kupfergedeckte Kuppel hätte 230 Meter hoch über der Stadt geragt. Mit Abdeckfolie, farblich den Hintergrund dunkler darstellend. Hinten mit Anmerkungen Speers sowie einem "Zeit-Magazin"-Stempel, da dieses Bild wohl im Magazin abgebildet wurde, Maße ca. 29 x 32 cm. Speers Plan sah vor, die Stadt mit zwei großen Verkehrsachsen von Norden nach Süden und Westen nach Osten zu durchziehen. Den Knotenpunkt sollte die Reichskanzlei bilden. Hauptbestandteil des "Germania-Modells" war die "Ruhmeshalle". Der Kuppelbau aus Granit und Marmor sollte als Kult- und Versammlungsstätte Raum für bis zu 180.000 Menschen bieten. Im Frühjahr 1943 wurden die Arbeiten aufgrund der Kriegslage jedoch eingestellt.Provenienz: Aus Familienbesitz. Albert Speer - design sketches for the Reichstag Chancellery at the "Großer Platz in Berlin" and for the large axis (tr.) "The quarter of museums and theatres", 1942 Albert Speer - design sketches for the Reichstag Chancellery at the "Großer Platz in Berlin" and for the large axis (tr.) "The quarter of museums and theatres", 1942Design sketch of the north-eastern part of the buildings at the "Großer Platz in Berlin", Reich capital of Germania 1942: photograph of a model by Albert Speer, showing green spaces with groups of trees, fountains and sculptures in the style of 18th-century gardens, the reverse with inscription and stamp "Staatliche Bildstelle Berlin", bent, dimensions approx. 38 x 59 cm. Comes with a close-up photograph of the buildings at the "Großer Platz" 1942, a replica true to scale of the Reichstag building: the copper-clad cupola was meant to tower 230 metres above the city. With cover foil, giving the background a darker colour. On the reverse with notes by Speer and a "Zeit-Magazin" stamp, as this picture was probably printed in a magazine, dimensions approx. 29 x 32 cm.Speer’s plan for the city included two broad traffic arteries on the north-south and the east-west axes; the two were to intersect at the Reich Chancellery. The most important component of the "Germania model" was the "Hall of Fame". This domed building of granite and marble was supposed to function as a place of worship for the Nazi cult and an assembly hall, accommodating as many as 180,000 people. Work was halted in the spring of 1943 on account of the military situation.Provenance: From family possession.Condition: II
The Wolseley Hall Overmantel: A rare Elizabeth I carved oak overmantel, circa 1580, with family coat of arms and royal cypher adjustments circa 1630 Having three panels, each enclosed by a flower centred scale-carved arch, with an egg-and-dart lower edge and leafy-carved spandrels, each pillar carved with a single carnation stem, each outer panel carved with a Tudor double rose slipped and crowned, with ‘mastic’ inlaid and gilt-painted royal cypher ‘CR’, presumably for Charles I, the central panel with an applied armorial, carved with the MARITAL ARMS OF WOLSELEY AND WROUGHTON, spaced and flanked by Ionic capital and strapwork carved pilasters, with lunette-carved stepped cushion-moulded base rail, height 59.5cm, width 174cm The arms are blazoned as follows: (dexter) Argent a talbot passant gules (with the Baronet’s augmentation in the dexter chief) - for Wolseley (sinister) Argent a chevron gules between three boars’ head couped sable - for Wroughton (The impales arms have a crescent, surmounting both the Wolsey and Wroughton arms. In this instance it should have only appeared on the arms of Wolsey, as the cadency mark for a second son) The arms undoubtedly commemorate the marriage of Sir Robert Wolsey (b.1587, d.1646) of Morton and Wolseley, Staffordshire, the 1st Baronet of Wolseley, and Mary Wroughton (b.1605/7, d.1671). Robert was the second son of John Wolseley and his wife Isabella Porter. Mary Wroughton was the second daughter of Sir George Wroughton of Wilcot, Wiltshire and his wife Ann Gibbs. Robert and Mary married circa 1630. Robert was created a Baronet on the 24 November 1628. Prior to this date Robert acquired the family estate of Wolseley from a distant cousin, Sir Thomas Wolseley. Robert served as the Clerk to the King’s Letters Patent and as a Colonel in the King’s Army This overmantel was presumable at one time in situ within the ancient Manor House of Wolseley Hall, Colwich, Staffordshire. The estate was held by the Wolseley family from the 11th century. Sir Robert Wolsey was a staunch Royalist and it would stand to reason he added the Royal Cypher, along with his own coat of arms to an existing Elizabethan overmantel within the Hall
A 16th century impressive oak court cupboard, French, circa 1560-80 Having a back of fifteen panels, including a top row of five panels, each carved with guilloche arcade on fluted pillars, atop a gadrooned and punch-decorated carved frieze, raised on Corinthian capital bulbous end-columns, centred by small cupboard, enclosed by a female Romayne-type portrait panel carved boarded door, and with twin-panelled sides, flanked by Corinthian capital stop-fluted pilasters, and an open recess, a tall open boarded undertier below, enclosed by addorsed baluster-turned end columns, with raised nulled-carved base rail, 204cm high, 175cm wide, 50cm deep Provenance: Formerly with the Blumka Gallery, New York. Reputedly former collection of Dr Albert Figdor This is a court cupboard in the true sense of the word - designed principally for display, probably for use in 'The Great Hall’ of a large manor house.
A rare mid-16th century walnut centre table, French, with a fabulous 'Mandale' Derbyshire fossil limestone top, circa 1550 and later The trestle base with bold end-supports, each carved with a stepped tapering fluted column, with an Iconic capital extending to pairs of arcades, with end pendants, the scroll downswept sledge foot centred by a lion sejant erect cartouche, joined by a central arcade raised on four fluted columns, 244cm wide, 112cm deep, 78cm high For comparable tables, all with a central arcade and trestle-end base, dated to the mid-16th century and attributed to France, see the Victoria & Albert Museum Collection, London, acc. nos. 572-1893; W.212-1910 and The Metropolitan Museum, New York, acc. no. 32.100.329.
A pair of Neapolitan silver candlesticksmaker's mark 'UD', Naples 1832-1873 Tapering circular form, cast, neoclassical style with fluted column, to the top an urn capital surmounting an acanthus leaf drip pan, double knopped, the upper part-fluted, the lower with embossed floral and foliate decoration, all raised on a plain polished spreading base bordered by a floral and foliate repoussé border, height 35.5cm, diameter base 14.5cm, weight total 29oz.For further information on this lot please visit Bonhams.com
A silver table service of flatware and cutleryMappin & Webb, Sheffield 1996Old English shaped with ribbon thread edge and leaf capital, placings for six, comprising: table forks, soup spoons, dessert forks, dessert spoons, teaspoons, table knives and dessert knives, with stainless steel blades, with a canteen box, weight excluding knives with steel blades 61oz. (42)For further information on this lot please visit Bonhams.com
ITALY, 50th Anniversary of the Proclamation of Rome as the Capital of Italy, 1911, a bronze plaque by M. Nellie, 80 x 53mm; Centenary of the Death of Alessandro Volta, 1927, a bronze medal by E. Boninsegna and R. Castelli for Lorioli and Castelli, Milan, 60mm (cf. DNW 64, 1446) [2]. Extremely fine £50-£70
Loading...
