§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) KELVIN VALLEY Signed, titled and dated 1942 verso, oil on boardDimensions:25cm x 19cm (9.75 x 7.5in)Provenance:Provenance:Given by Margaret Morris to Martha Arnott in 1967 and thence by descent to the present ownerNote: Note: John Duncan Fergusson and Margaret Morris first met Martha Lawrence Grant (1916-96) when the latter attended Morris’s dance classes in Glasgow in the 1930s. She became a vital figure in Margaret Morris Movement (MMM) and was in the process of establishing an MMM school in Aberdeen when World War Two began. At that point, Fergusson was primarily based in Paris, whilst Morris spent most of her time in London; the conflict resulted in their move to 4 Clouston Street, Glasgow.Fergus and Meg, as they were affectionately known, galvanised the city’s art scene. They were founder members of the New Art Club in 1940, which aimed to stimulate debate and to create affordable exhibiting opportunities. Two years later, Fergusson became founding President of the Club’s successor, the New Scottish Group, which staged eight exhibitions of its members’ work between 1943 and 1956.It is believed that Martha met James Fullarton Arnott (1914-82) through the New Art Club. James was an Assistant Lecturer in the English Department at the University of Glasgow, where he was to become Emeritus Professor of Drama. The couple formed a lifelong creative friendship with Fergus and Meg and were married in 1945. Their son Alan was born in 1948 and he has recalled:The impact of Fergus and Meg on the artistic life of post-war Glasgow, and indeed Scotland, was immense. Painters, sculptors, potters, designers, dancers, actors and musicians all thrived in the atmosphere of post-war Glasgow. While Meg and Fergus provided the artistic inspiration, Mum and Dad provided backing, encouragement and support. During James’s illustrious career, he devised the Drama course at the re-opened Royal Scottish Academy of Music and Drama (RSAMD) and in 1966 was appointed the first Head of the Drama Department at the University of Glasgow. Martha helped to establish and run the RSAMD Library, as well as designing and creating costumes for Academy and University productions.With his knowledge of arts funding and art world contacts, James provided vital support in Meg’s launching of the Celtic Ballet, Scottish National Ballet and Scottish Ballet companies. In her turn, Martha taught and danced at MMM Summer Schools and sat for Fergus, not least sharing modelling duties with Meg for his Glasgow-era masterpiece Danu, Mother of the Gods of 1952, now in The Fergusson Gallery, Perth.Alan has further explained:We holidayed in the South of France with them both in the 50s and with Meg in the 60s. They lived in Glasgow (in the West End) and were regular visitors to our houses in Saltcoats and then Glasgow – and we frequently visited them.Following Fergus’s death in 1961, Meg established the J. D. Fergusson Art Foundation to secure his legacy and to support living artists. Martha and James were founding committee members and Alan succeeded James on the committee in 1983. The Foundation’s aims were achieved with the opening of The Fergusson Gallery in Perth in 1992 and the launch of the J. D. Fergusson Arts Award Trust in 1995.Supper Dance (Lot 149) and Kelvin Valley (Lot 148) pay testament to this creative friendship. Both were given to the Arnotts by Meg in the 1960s and are beautiful examples from key periods in Fergus’s career. In 1907, he took the momentous decision to move from Edinburgh to Paris, which he described as ‘simply a place of freedom’. He immersed himself in the artistic, intellectual and social life of the French capital and made his reputation as a leading artist of the twentieth century during the six years he lived there before World War One. He particularly revelled in its bustling café and restaurant scene and Supper Dance is a beautifully accomplished image of the fashionable clientele whom Fergus enjoyed capturing in images of elegance and movement. His fluid draughtsmanship is clear in passages such as the realisation of the female dancer’s gown, whilst a lively composition leads the eye from the champagne in the foreground, to the dancing couple, to another observed in intimate conversation in the background.Kelvin Valley is a jewel of a painting, in which Fergus pays homage to the city which was the location for the final chapter of his international career. The Clouston Street flat overlooked Glasgow’s Botanic Gardens and was joined, via the River Kelvin, to Kelvingrove Park; these green spaces provided inspiration for the artist’s late, lyrical landscapes. He developed a distinct ‘Glasgow palette’ characterised by high-toned shades of green and pink, which were delicately and deftly applied to their supports in a gentle yet confident finale to the images of Princes Street Gardens, the Scottish Highlands and the South of France which preceded them.As Alan has concluded:Fergus was a lovely man. He treated children the same as everyone else and encouraged me to draw. Meg was full of life and energy and retained the strength and grace of a 20-year-old. There was great love and generosity of spirit amongst us all.
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◆ ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) SWEET VIOLETS Oil on canvasDimensions:68.5cm x 104cm (27in x 41in)Provenance:Provenance: Alexander Ogston, ArdoeAcquired from the above by the sitters's husband and thence by family descentPrivate Collection, Scotland Exhibited: Royal Glasgow Institute, Glasgow, 1897, no.149Aberdeen Artists Society, Aberdeen, 1906, no.488Burlington Fine Arts Club, London, 1907, no.43Royal Scottish Academy, Edinburgh, 1926, no.335Palace of Arts, Empire Exhibition, Bellahouston Park, Glasgow, 3 May-29 October 1938, no. 59.Aberdeen Art Gallery, Aberdeen, Robert Brough ARSA, 18 February-25 March 1995, no.63, pp.50-51 Note: Note: In around 1900 a young Aberdonian artist named Robert Brough arrived in London. A rising star whose recent paintings had prompted a media frenzy, Brough felt compelled to relocate to the English capital to further develop his artistic career. Chelsea was the beating heart of London’s art world; accordingly, Brough took a lease at Rossetti Studios in Flood Street.Despite his youth, Brough already had the experience and credentials to mark him as an artist of consequence. He had trained in Paris at the Académie Julian, where in 1894 he shared lodgings with the Scottish Colourist S. J. Peploe (1871-1935), and following this spent a period working in Brittany, inspired by Paul Gauguin (1848-1903). He was charmed by the traditional way of life of the Breton people, and by the distinctive quality of light and vivid colouring of the landscape.Both Gauguin and Brough assimilated the tenets of the Synthesist movement, a painting style which prioritised the use of flat planes of harmonious colour and of rhythmic, pattern-inflected composition over more naturalistic representation. Brough’s Brittany work firmly acknowledges Syntheticism but is tempered by an observational grounding, owing to his fascination with the Breton peoples’ lives and customs. His paintings from this period constitute a sensitive record of a traditional people, rendered with an innovatively modern, almost post-Impressionist eye.Jennifer Melville observed that ‘In Breton Women Sitting on a Beach Brough sets the silhouettes created by [the] local costumes against a glowing pink sand - coming as close to Gauguin’s flat patterns as in any work’. (Jennifer Melville, Robert Brough, Aberdeen Art Gallery, 1995, p.21)Upon returning to Aberdeen in 1894, Brough began to earn a living as a portrait artist. He soon attracted commissions from notable families in the area, particularly those involved with the arts. His style retained the compositional brilliance of his earlier work, but his technique became increasingly dynamic and ‘sweeping’ owing to his confident application of licks of oil pigment. Sweet Violets dates to 1897, when Brough was establishing himself as an accomplished society portraitist, and is one of the artist’s masterpieces. His characteristically flamboyant brushwork delineates the elegant profile and fashionable attire of his subject, Barbara Staples, whom Brough had secured permission to paint after a meeting in Aberdeen. Affixed under Staples’ spectacular hat is a delicate patterned veil, through which her pink lips and cheeks are visible. She holds aloft a jar of violets, with their purple hues reflected at her throat and cuffs, inviting comparison between the beauty of the sitter and the flowers she holds. Sweet Violets and a companion painting titled Fantaisie en Folie (now in the Tate collection) implement a similar palette and portray their sitter in profile against a plain background, which Thomas Cooper suggests may have been informed by John Singer Sargent’s Madame Gautreau Drinking a Toast (1882-1883). (Thomas Cooper, ‘A Monstrous Imagining of Matter and Spirit: Robert Brough’s Fantaisie en Folie (1897)’, Immediations, Courtauld Institute of Art on-line journal, vol.4, no.3, 2018, accessed 10 May 2023) Brough’s companion portraits were exhibited widely to exceptional acclaim, rendering the young artist something of a critical phenomenon.Sweet Violets was acquired by Alexander Ogsten and hung in his home at Ardoe House, Aberdeen, for many years. So enamoured was Ogsten with the painting that he declined the many offers he received for it - including those made by Barbara Staples’ husband. Eventually the portrait was exhibited in a Munich gallery in 1960, where Staples’ family were able to purchase the picture and return it to the family. They, in turn, refused to accept any offer that was made for it, and for a long time it remained a family treasure. In the 1990s an article appeared in Country Life magazine searching for Brough’s lost masterpiece, and the Staples family responded explaining that the portrait was in their collection, and that the sitter was their grandmother. In 1995 Sweet Violets was included in Aberdeen Art Gallery’s Brough exhibition, after which it was loaned to, and ultimately purchased by, the present vendor.The success of Sweet Violets and Fantaisie en Folie encouraged Robert Brough to move to London. He promptly joined the Chelsea Arts Club, where he met Sargent, one of his artistic heroes. The pair became close friends, developing a mentor-protégé relationship and taking nearby Chelsea studios. Thanks in part to Sargent’s support, Brough’s painting career flourished year upon year. Young, ambitious, and precociously talented, Brough was on an impressive professional trajectory, yet was unable to reach the soaring heights for which he appeared to be destined on account of a tragic accident. On 20th January 1905 Brough was travelling by train from Perth to London when a major crash occurred. He suffered serious burns and died the following day, with his mother and Singer Sargent at his bedside. His life, and extraordinary potential, was thus curtailed. Throughout his life Brough was successful and well-known; his obituary recorded that he combined ‘the dash of Sargent and the beautiful refinement of Velazquez.’ (The artist W. G. Robb quoted in an obituary in a Scottish newspaper, 1905) Despite this, his early death appears initially to have prevented him from being fully admitted to the canon of great painters in the history of Scottish art. This is largely due to the brevity of his career: relatively few artworks survive and he had less time than most to crystallise his artistic legacy. Fortunately, recent reviews of Scottish painting have done much to reinstate Brough’s status as a painter of remarkable quality, who worked at the forefront of innovative artistic movements, both in Britain and in France. Robert Brough’s artworks appear on the market infrequently, and Lyon & Turnbull is therefore particularly delighted to be offering two tour-de-force oils, both of exceptional importance and each dating to key moments in his career.
British School, 19th CenturyA panoramic view of the Vale of Kashmir and River Jhelum from Takht-I-Sulaiman, including the city of Srinagar and the Lake of Lala Rookh with Islamabad in the distance oil on panel14 x 69.5cm (5 1/2 x 27 3/8in).Footnotes:Known as the summer capital of Kashmir, Srinagar lies in the Kashmir Valley on the banks of the Jhelum River and is home to both the Hari Parbot Fort and Shankaracharya temple. Lying to the west of the Dal lake, the fort is a Mughal structure. The outer wall was built by Emperor Akbar in 1590 with the intention of laying down foundations for a new capital inside the fort that would be named Nagor Nagor. However, this was never achieved. The fort that still stands is considered to have been built during the late 18th Century by Atta Mohammed Khan, a governor of Afghanistan. The focal point in this scene is The Hindu temple Shankaracharya, which stands on the summit of Shankaracharya Hill, previously known as Takht-i-Sulaiman. The temple is named after the philosopher Shankarcharya and is still considered important religious architecture.For further information on this lot please visit Bonhams.com
A pair of early 20th century silver plated candlesticks with square urn top, on tapered columns to stepped base, height 33cm, together with a short pair of Italian-style silver plated candlesticks of modern form, bell-shaped capital, cylindrical Perspex column, on outswept circular base, height 22cm (2).
A good pair of mid 19th century bronze cannon barrels, 39" overall with 1½" bore, the first reinforce bearing a large stylised crown over capital "P", the rear of the breeches with the weight "1.0.7" and "1.0.4" respectively, one trunnion end stamped with number "9" and another with unidentified mark. GC with good even patina overall; mounted on home made four wheeled wooden naval type carriages. £3,000-3500
Very rare Gloucestershire Banking Company Printing Share Plate for Capital of £500,000. The bank was formed in 1831, same date as the plate, and was based in Gloucester. The bank was amalgamated with Capital Counties Bank in 1886, which was subsequently acquired by Lloyds in 1918. Length approximately 30cm x height approximately 16cm.The first photo shown has been flipped so the writing can be easily read. Note - whilst the share plate was produced, it is interesting to note that no shares have ever been produced.
Manchester United club accounting ephemera, Revenue Account and Balance Sheets for seasons 1947-48 (Cup winning season), 1949-50, 1950-51, 1952-53, 1953-54 & 1954-55; Goldman Sachs press release regarding Sky Broadcasting's offer of £623.4 million for all of Manchester United FC's share capital 9th September 1998 (offer accepted by the club but blocked by the monopolies & mergers commission in 1999), two Extraordinary General Meeting papers proposing Special Resolutions, both in November 1949, some Ordinary Shares Receipts, AGM Statement of Accounts and Annual Reports for 1962, 1963, 1967, 1968, 1969, 1978 and 1981, (qty)
A RARE TERRACOTTA RELIEF DEPICTING AN ASURA, GUPTA PERIODEastern India, Bengal, 5th-6th century. Powerfully modeled, the asura standing in a dynamic pose with one leg crossed over the other, his face with a confident expression, perhaps mocking an unseen opponent, marked by his bulging wild eyes and the open mouth showing teeth, framed by a thick beard. He is wearing a short robe secured at the waist by a floral belt and adorned with jewelry. Provenance: From a notable collector in London, United Kingdom. Condition: Excellent condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, encrustations, few structural cracks.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 14 September 2020, based on sample number C120e27, sets the firing date of one sample taken at between 900 and 1500 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Academic Dossier: A detailed academic commentary on the present lot, elaborating on the meaning of the Asuras as well as the history of the Gupta Empire in general, and showing many comparisons to examples in both public and private collections, is available upon request. For a PDF copy of this dossier, please refer to the department.Weight: 4,507 g (excl. stand) Dimensions: Height 43 cm (excl. stand)With an acrylic glass mounting at the back and an associated metal stand. (2)The lively figure depicted in this terracotta fragment is probably an Asura, one of a group of gods who opposed but were ultimately defeated by the Devas, the gods who are central to Hindu and earlier Vedic beliefs; it is quite likely that the myths relating to the Devas and Asuras evolved from a single belief system. The legendary conflict may be based on a factual clash between two sects that existed in the post-Harappan period, when beliefs surrounding the Vedic gods and their associated social structure were challenged by revised ideas emanating from Iran, which ultimately died out or were driven away by the existing mainstream hierarchy in western India.Terracotta was the traditional material for religious images in the Ganges Valley and in the Mauryan and Shunga periods (3rd-1st century BC). Bengal had been the source of some of the most sophisticated figures of gods and goddesses. In the Gupta period, several centers of terracotta sculpture emerged across the Empire, from Akhnur in Kashmir, down to Shravasti and Bitargaon in Uttar Pradesh, around the Gupta capital at Pataliputra (Patna), and down into the Ganges Delta where some of the richest red clays were available. The lack of stone in eastern Bihar and Bengal meant that clay had always been used for architectural purposes, brick adorned with terracotta or stucco being the most widely used material, and a number of archaeological sites in Bengal attest to the sophistication of the effects achieved.Literature comparison: Compare a related terracotta relief depicting Krishna killing the horse demon Keshi, dated to the 5th century, in the collection of the Metropolitan Museum of Art, accession number 1991.300. Compare a related terracotta torso of a nobleman, dated 5th century, in the collection of the Michael C. Carlos Museum, Emory University, object number 2001.001.011. Compare a related terracotta relief depicting the battle between Hanuman and Indrajit, dated 6th century, in the collection of the State Museum, Lucknow, illustrated by M. C. Joshi and J. F. Farrige, L'Âge d'or de l'Inde Classique, L'Empire des Gupta, Paris, 2007. 13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.
A Sheraton Revival satinwood banded mahogany hanging press cupboard, formerly a linen press, pagoda cornice with meandrous capital above a pair of panel doors enclosing a hanging rail and hooks, the base with four short drawers, skirted base, bracket feet, 193.5cm high, 125.5cm wide, 62cm deep
Alan Fluff Freeman signed 6x4 inch Capital Radio Black and White photo. Dedicated. Music Autograph. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
(Bergamo 1822 - Udine 1882)Cm 70x100 | In 27.56x39.37Oil on canvasHe was born in Bergamo on July 9, 1822, to Paolo Decio and Elisabetta Deleidi, both tailors by profession. In 1837 he enrolled at the Academy of Fine Arts in Venice, where he exhibited as early as the following year, on the occasion of the visit to the city of the Emperor of Austria, Ferdinand I. A gifted pupil but with a lively disposition and recalcitrant to rules, he had quite a few problems with his relationship with the teaching staff. In 1842 he left his studies to return temporarily to his homeland, where he frequented a prominent cultural milieu such as the salon of Count Andrea Vertova, a secular family of patrons of the arts, visited regularly by such personalities as Giovanni Simone Mayr, founder of the Music School of the Congregation of Charity, Girolamo Forini, a well-known singer and singing master of the time, and Giuseppe Diotti, director of the local Carrara Academy. Perhaps to complete his education, he made a trip to Rome in 1846, later returning to Venice, where he took part in the revolutionary uprisings of 1848-1849. He then moved to Palmanova, where he probably arrived following the contingent sent from Venice to help the fortress in 1848. Here he married, in 1851, Ursula Brandolini, a local hostess, with whom he soon moved to Udine, where he owned an atélier as early as 1853. During the 30 years he lived in the Friulian capital, A. also worked as a private drawing teacher with a number of noble families and, later, at the Scuola d'arti e mestieri della locale Società operaia di mutuo soccorso, even taking on the role of director there. A.'s fame remains tied to landscape and portrait painting, a genre in which he distinguished himself for the realism and psychological introspection of his subjects. His portraits include Count Augusto Agricola (1857, Udine, Civic Museums), a pioneer of photography in Friuli; publisher and director of Udine's Teatro Sociale Paolo Gambierasi (1871, Udine, Civic Museums); Pordenone architect Giambattista Bassi (1879, Pordenone, Civic Museum of Art); and Vittorio Emanuele II (private collection), the first king of Italy. In the landscapes, however, A. expresses a personal vein of romantic inspiration, which can be traced back to the academic training that took place under Francesco Bagnara, previously a set designer at the Venetian theater La Fenice. The felicity of the graphic stroke also gave the painter the opportunity to work in the field of lithography, executing portraits of the Friulian architect Valentino Presani, Francesco Tomadini, Theobaldo Ciconi, patriot and playwright, Girolamo Forini, a musician from Bergamo, and Clementina Cazzola, a well-known actress of the time. Sources also mention his activity in the field of sacred painting, to which the altarpiece depicting St. Agatha, St. Lucy and St. Apollonia, certainly autographed, painted for the church of the Blessed Virgin Marcelliana in Monfalcone (Gorizia) between 1856 and 1857, can be traced. After a short illness, A. died in Udine on January 25, 1882, leaving uncovered also the post of adviser to the newly formed Udine Artistic Circle.
(Fucine (TN) 1851 - Cles (TN) 1923)Cm 62x100 | In 24.41x39.37Oil on canvasOn February 6, 1851, Bartolomeo Teofilo Ismaele Bezzi, son of Domenico Bezzi, a surveyor and great art lover, and Luigia Taraboi, was born in Fucine d'Ossana in Val di Sole. In 1862 he was orphaned by his father. He left Fucine to seek his fortune as a peddler. After a few years, in 1870, tired of that kind of life, thanks to savings and the help of a cousin and his uncle Don Ambrogio, a priest in Pellizzano in Val di Sole, he decided to enroll in the Brera Academy of Fine Arts. Here he became a pupil of Giuseppe Bertini and in the course of his studies he soon made a name for himself and, already in his second year, managed to obtain mentions and medals with his works. During these years he also frequented a group of young artists with a renewing and anti-academic spirit and took an active part in debates on French Impressionism. In 1876 he has his first exhibition at the annual group show prepared by the academy. He presents Landscape and Impression. The following year he exhibits At the Well and Val Solandra. Two years later, he gained recognition with his work Valle di Rabbi, which impressed the commission with its colors that succeeded in making even those sharp and steep alpine landscapes softer and softer. In 1879 he was forced to abandon his academic studies because of his poor health. But not even the illness prevented him from continuing his work as an artist, enjoying enormous success, heartened by his friends, admirers, collectors and art lovers. During these years he opened his own studio in Milan but spent several days in Trent, where he portrayed the city on a canvas of vast proportions. This is also a testimony to how Bartolomeo Bezzi remains affectively attached to Trentino. Recurring episodes will be in the capital city as well as in Val di Non and Val di Sole. In Turin he was present at the Fourth National Exhibition of Fine Arts with the works Sul Tonale, Una via di Trento, La vigna, and Una frana in Val d'Adige. In 1881 at the National Exhibition in Brera he exhibited Il mio paesello, Ricordo dei bagni, again Sul Tonale and Confidenze. At age thirty-one, in 1882, he won his first major prize in Milan: the Fumagalli Prize. A few months later he received 4,000 liras for the work Pescarenico, purchased by Prince Ruspoli. During these years he lived between Verona and Milan. During the Verona period he painted several landscape-related works and some of them were exhibited at the Esposizione di Belle Arti in Rome: Verona along the Adige, Un mattino a Verona, Pescarenico, Mulini sull'Adige and Giornata d'Autunno. Here he finds great success but, of all his paintings, the one that receives the most attention is: Mulini sull'Adige. The work Mulini a Verona was purchased by the National Gallery of Modern Art. In 1884 in Turin, at the Italian National Exhibition organized by the Società Promotrice di Belle Arti, he presented Venice, Roman Campagna, Autumn, Memories of Rome, Gray Weather in Venice, Evening. At the Brera exhibition he exhibited Bambocci, Sito alpestre and Acqua morta, purchased by Count Aldo Annoni of Milan. Shortly thereafter he became an honorary member of the Brera Academy. He exhibited Sulle rive dell'Adige, in Milan in 1885 and the following year at a group exhibition in Berlin and finally in Venice in 1887 where he was purchased by King Umberto. In 1886 he participated in the inaugural exhibition of the newly formed Society for Fine Arts and Permanent Exhibition in Milan with A Chioggia, Mulini a Verona, Paesaggio, Betulle and with the sketch Pescarenico. The following year he exhibited six works at the National Exhibition in Venice: Riva di Trento, Studio, Mestizia, Sulle rive dell'Adige, Paesaggio and Bosco ceduo, the latter painting, known as Bosco di birulle, in 1890 would be purchased for 500 florins by the Trento City Hall and placed in the city's Historical Museum. In 1888 at the Paris Exhibition he was awarded a prize for his work Falling Sun on Lake Garda, which would later be purchased by the Revoltella Museum in Trieste. The following year, he participated in an exhibition in Rome with Venezia che dorme, Armonie della sera, Raggio di luna and Amori dell'aria. He participated for the first time in the Universal Exhibition in Paris with Les bords d'un rivière. The same year he is named a Knight of the Order of St. Michael of Bavaria. He moved to Venice, where he lived on the Fondamenta delle Zattere, a neighborhood at the time frequented by many artists, poets and writers. Here he met realist and post-macchiaioli painters such as Guglielmo Ciardi, Luigi Nono, Silvio Rota, Alessandro Milesi and Mario de Maria. It was during this period, influenced by the Venetian artistic environment and especially by the works of Giacomo Favretto, that he abandoned, albeit briefly, landscape painting to devote himself to genre painting. Another important encounter is with the artist Pietro Fragiacomo and his fascinatingly luminous lagoon landscapes. In Venice, he lays the foundations of a project for an International Art Exhibition, which will materialize in the Biennale. Bezzi participated in all editions, from the first, in 1895, to that of 1914. Membership in the organizing committee enabled him to make numerous trips abroad, in 1897 to Scotland and England, in 1898 and 1901 to Germany, Austria and France, during which he came into contact with different international artistic languages. In 1891 he exhibited his work Spiaggia del Lido at the Brera Triennale in Milan. This painting is later awarded a silver medal at the 1893 Rome exhibition by the city's City Hall. In Munich he won the gold medal for the work Spring Night. In 1892 he went to Trent, where he was part of the jury to determine who should be entrusted with the creation of the monument to Dante in the square of the same name. Here he befriended Cesare Battisti and devoted himself to irredentist propaganda, participating in artistic events aimed at affirming the Italian character of Trentino. A few months later, during a visit to the home of Counts Cesarini Sforza in his homeland, he met Isabella Dal Lago of Cles and married her on September 26, 1892. The Ministry of Education awards him a gold medal for the painting Paesaggio trentino o Da Cles exhibited at the Turin exhibition. Three years later he was present at the first International Art Exhibition of the city of Venice with S. Michele all'Adige and Giorno di magro. In 1896 he participated in the Munich Secession Exhibition presenting the work Canal Grande in Venice. During this period he became acquainted with Secessionist floral art and Art Noveau however, he was not influenced by this vision of landscape softened by plant lines and decorative colors. Bezzi continued to cultivate a lyrical, twilight representation of nature that would characterize his production until about 1910. In 1897 he presented Prelude of the Evening at the Second Venice Biennale, and three years later he received a silver medal at the Universal Exhibition in Paris for the painting Day of the Skinny, executed in 1895. In 1899 he participated in the Third International Art Exhibition in Venice. At the 1901 Venice Biennale he presented the works, Autumn Vagueness, In the Evening and Night Calm. Two years later, at the Fifth Biennale: Morning on the Lake, Clear Night, The Trees, On the Shore of Lake Garda and First Snow. In 1905 his nervous illness began to worsen, but he still participated in the sixth Venice Biennale, presenting Fantasie dell'aria, Pescarenico and Acqua morta. Two years later his only solo art exhibition while alive is organized in Trent. In the same year he is in Turin with Notte di luna, in Venice with Sulle rive del Ticino, Mattino d'autunno, Tramonto and also travels abroad: to Buenos Aires, Montevideo and Valparaiso with the works Prima neve a Desenzano and Quiete del lago. In 1909 he participated in t [...]
(Amalfi (SA) 1863 - Napoli 1920)Cm 47x29,5 | In 18.50x11.61Oil on canvasDevoting himself initially to architectural studies, he abandoned them to train artistically, under the guidance of Giacomo Di Chirico. Residing in Naples, starting in 1891, he had the opportunity to live in a climate of strong movements of cultural evolution, coinciding with the changing urban physiognomy following the controversial Plan of Renovation, wanted by the Savoys. Indeed, on the one hand there was the creation of new residential neighborhoods, and on the other the construction of public works of great impact, such as the Galleria Umberto I and the Palazzo della Borsa. In this context, Pietro Scoppetta moved skillfully, showing great talent especially in the depiction of his native Amalfi coast and the Valley of the Mills. With his works he participated in several exhibitions of the Promotrice Society of Naples. The city's activity was also expressed in the birth of elegant cultural gathering places, such as the café-chantant Salone Margherita and the Caffè Gambrinus, which soon became landmarks of the Neapolitan Belle Époque. It was precisely the Gambrinus that provided him with an important opportunity to showcase his skills, when in the period 1889-1890 he was called upon to fresco its vaults with other leading painters of the Neapolitan milieu of the time (Luca Postiglione, Vincenzo Volpe, Edoardo Matania, Attilio Pratella, Giuseppe Alberto Cocco, Giuseppe Casciaro, Giuseppe Chiarolanza, Gaetano Esposito, Vincenzo Migliaro, Vincenzo Irolli and Vincenzo Caprile). Like other earlier and contemporary artists, who alongside his main painting activity pursued an alternative profession, he worked as an illustrator for the magazines la Cronaca partenopea, La tavola rotonda and Illustrazione Italiana, working in the employ of the Treves publishing house. Despite his commercial and critical success, which led him to have as admirers of his works King Umberto I and the Prince of Sirignano, Scoppetta decided to leave Italy for foreign countries, and stayed for a long time in London and Paris. In the French capital, where he stayed between 1897 and 1903, he became part of the large group of Neapolitan painters attracted by the bourgeois suggestions of the Belle Époque, including Lionello Balestrieri, Arnaldo De Lisio, Ulisse Caputo, Raffaele Ragione and Vincenzo La Bella, and inserting himself in the strand of Italian pro-Impressionist artists, of whom Giuseppe De Nittis was a great precursor. From his French experience he retained important elements of Impressionism, which he brought together and amalgamated in his painting technique with the vivid hues of the Neapolitan school. The Parisian period also saw a marked change in the subjects of his paintings. In fact, having abandoned the landscape representations that had characterized his previous career, he turned to the depiction of bourgeois life, in which he identified the elements of optimism and striving for the future that best suited his temperament. After 1910 he left Paris for Rome, where he frequented the home of his friend Pietro Carrara and his wife, Marchesa Maria Valdambrini, for a long time. He died in Naples on November 9, 1920. Upon his death, the 1920 Venice Biennale dedicated a personal room to him where thirty-five paintings were exhibited. In addition to excelling in painting, Scoppetta was also a poet. Under the pseudonym Pictor Petrus he published in 1919 in Naples the collection "Rhythms of the Heart." The guiding thread of the work is the yearning for love, a literary reflection of a true love that the artist cultivated at an advanced age for a young pupil. Works in museums: Museo civico di Castel Nuovo in Naples with the works: Portrait of the Princess (1911), Marina. Pinacoteca Comunale di Porto Recanati with the work: Portrait of a Lady. Pinacoteca De Nittis in Barletta with the works: The painter Attilio Pratella and the self-portrait of Pietro Scoppetta, Paris - CaffèChantant, Confidence. Museo nazionale di Capodimonte in Naples with the work: La valle dei Mulini di Amalfi Galleria dell'Accademia di belle arti in Naples with the work? Venezia, oil on panel.
(Barisciano (AQ) 1871 - 1950)Cm 69x35,5 | In 27.17x13.98Oil on canvasTiziano Pellicciotti, known as Tito, was born on December 2, 1873, in Barisciano, a small town in the L'Aquila area. His father Carlo, a sculptor of local fame, immediately sensed the young man's good inclination for drawing and did not hinder his intentions and his "manifested intention to undergo the discipline of a more rigorous preparation" (G.L. Marini). As a result, young Tito "without serious family sacrifices moved to Naples and enrolled at the Neapolitan Institute of Fine Arts in 1890" (G.L. Marini) where he had Domenico Morelli and Filippo Palizzi as teachers. From their teachings he elaborated a strong verist connotation of the first stylistic elements, making use of a soft and full-bodied brushstroke and a special attention to luministic and chromatic aspects. A preliminary period of teaching (in the mid-1980s) is convincingly referred by critics to Teofilo Patini. It seems in this regard almost certain that in those years the Nostro frequented the School of Arts and Crafts in L'Aquila, of which the master from Altosangrino was director at the time. Patini himself would later encourage the transfer of the valiant pupil to that of Naples on the threshold of his twenties. Having completed his training in the Neapolitan capital (and after a brief attendance at the Michelottian circle in Francavilla) Pellicciotti returned to his native town, where he successfully embodied his pictorial activity, issuing a conspicuous production, but one that was entirely captivating in its themes. Mindful of Palizzi's lesson, he also pays attention to the rural world of his land, depicting rustic interiors and stables, peasants and shepherdesses, cowsheds and stubble, but above all successful figurines of domestic animals caught in a sort of delicate lyricism and surrounded by objects and dishes of everyday life, spagliate chairs and copper basins, onions and hay; there is no shortage of tavern interiors enlivened by popular figures and views "en plein aire" with shepherdesses of sheep and turkeys or even street squares with onion sellers, traveling musicians and umbrella makers with smoking pipes; and again pastoral caravans, hunting scenes and some delicate motherhood. In this pictorial phase Nostro, burdened moreover by a substantial market demand (which indeed was not always matched by equal effectiveness of artistic result), was strongly influenced by another illustrious countryman of his, Francesco Paolo Michetti, which for some is even to be understood as a "sort of subordination" of inspiration. See in this regard the insistent "shepherdesses" posed against the backdrop of tiny perched villages. Admiration for Michetti's genius was later sustained by a true personal friendship for which Michetti did not spare Our Lord public appreciation and sincere esteem. In 1911 Pellicciotti took part in the Libyan campaign to which he not incidentally attached an artistic production of the "orientalist" genre (very much in vogue at that time) which he voluntarily extended throughout 1912. The themes (usually caravans of camels and dromedaries among palm trees and desert) diligently jotted down in the travel notebook are then treated on canvas with the usual levity, almost "fairytale-like" atmosphere and sparkling color rendering. In the course of his career, the painter organized numerous solo exhibitions in various cities in Italy (Rome, Naples, L'Aquila) all of which were received with considerable favor especially by the public but of which no trace remains in catalogs or reviews. He participated, in Italy and abroad, in several group exhibitions curated by art patrons to whom he entrusted his conspicuous production for sale. His de facto works are now in collections all over the world with a certain prevalence of the United States. Tito Pellicciotti died in his hometown of Barisciano on April 12, 1950. A major retrospective exhibition is hosted in the Spanish Fort in L'Aquila from August 3 to 30, 1993. His works nonetheless record a constant presence on the art market and are appreciated by a growing public, despite an initial lack of interest on the part of "educated" critics.
2006 BMW E63 630i Coupé Transmission: automaticMileage:139000The BMW 6 Series began production by BMW since 1976, the successor to the E9 Coupé and currently in its fourth generation, initially only available as a two-door coupé, however a convertible body style was later added with the introduction of the BMW E63/E64 6 Series in 2004. The second generation of 6 Series sold from 2003 to 2010 and re-introduced the 6 Series to the BMW line-up following a 14 year hiatus after the E24 6 Series finished production. Using a shortened 5 Series chassis and sharing many features, the car initially drew criticism, due to its controversial styling and complicated iDrive system but become a much loved grand tourer capable of travelling great distance in supreme comfort and of course with the M6 model, which was powered by the S85 V10 engine, it became more desirable as a performance machine.This 630i Coupé is presented in Titanium Silver metallic with an exclusive Pearl Black leather interior, heated sports seats and high-gloss dark birch wood. A previous vendor not only worked for BMW but was also a genuine BMW enthusiast prior to our vendor purchasing the car from Historics in 2019. This 6 Series was specified from factory with over £8,000 of extras including full professional navigation system and the desirable electric tilt full glass roof, with the car sitting on optional double-spoke 120 light alloy wheels alone, a £950 option. The car has been serviced regularly and is supplied with a very comprehensive service file. Offered with an MoT test certificate valid until February 2024 and with such a huge specification with a capital cost, when new, in excess of £54,000, this is fabulous value for money and offered without reserve.Guide Price £3,000 - £6,000Interested parties should note that this car was stolen from the vendor in February 2022 and found undamaged however will be listed on the condition alert register as stolen and recovered.
Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"Virgin of Mercy with San Pedro Nolasco y San Ramón Nonato"Oil on copper. Signed. 24 x 18,5 cm.Miguel Cabrera was one of the most renowned painters in the field of eighteenth-century New Spanish painting, with an oeuvre that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented." Little is known of his youth; In fact, according to the Andrés Blaisten Museum, it is only because of the painter's will in 1768 that we know that he was a native of Oaxaca. The first news of him is from 1739, the year of his marriage to Ana María Solano, and we also know of his stint at Juan Correa's workshop in the capital of the Viceroyalty.Archbishop Rubio Salinas was Cabrera's patron, whom he named his chamber painter. He was also a painter for the Society of Jesus, for whose churches he produced numerous works.In 1753 he was appointed president for life of the Academy of San Carlos.In 1756 Cabrera published "American wonder and set of rare wonders observed and directed by the rules of the art of painting", a narrative about the image of the Virgin Guadalupe from the printing press of the Jesuit school of San Ildefonso.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756, for the temple of San Francisco Javier, is kept in the National Museum of the Viceroyalty.The Dallas Museum of Art has a Saint Gertrude the Great by Miguel Cabrera and another painting of the saint, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Likewise, there is an outstanding series of Casta paintings from 1763 that is kept in the collection at the Museo de América in Madrid. They represent the families, father, mother and son of the various castes and social strata, in situations of daily life. Reference bibliography:- Dallas Museum of Art. (n.d.). "Saint Gertrude". (2006.37). https://collections.dma.org/artwork/5328501 - Museo Andrés Blaisten. (s.f.). https://museoblaisten.com/Artista/79/Miguel-Cabrera
Execution Broadside.- The Last Dying Speech and Confession, Parentage and Education of Henry Fauntleroy..., 30th November 1824, 356 x 256mm., woodcut of gallows with hanging figure at head, double-column, folds and creases, a few small nicks to edges (not affecting text), light spotting, Portsea, Williams, 1824.⁂ One of the last executions for forgery. Fauntleroy was charged with appropriating trust funds by forging the signatures of his bank's, Marsh, Sibbald & Co., trustees. Despite much effort from his supporters, ensuring his case was twice more argued before judges on points of law, and an Italian named Angelini even offering to take Fauntleroy's place on the scaffold, the dreadful sentence was carried out "fronting the Debtor's Door of Newgate [prison]". It was witnessed by novelist and MP, Samuel Warren, who later recalled it in 'My First Circuit', a section of his Miscellanies. Forgery ceased to be a capital crime via two Parliamentary Acts in the 1830s.
* CHARLES JAMIESON MFA PAI PPAI (SCOTTISH b. 1952), PINK HALL, CHIMAYO, NEW MEXICO oil on board, signed, titled versoframed and under glassimage size 19cm x 19cm, overall size 38cm x 38cm Note: Charles Jamieson was born in 1952. He studied art at the Glasgow School of Art from 1969 to 1974. This was followed by further studies at Texas Christian University in Fort Worth. Charles is the Former Chairman of the Aspect Prize and Past President of the Paisley Art Institute. Jamieson's work is held in many collections in Great Britain, USA, Italy, Australia, the Middle East, the Caribbean, Denmark, South Africa and Hong Kong including: Ernst & Young. Prudential, Clydebank Museum, Aspect Capital Ltd, Caledonian Breweries. Lord and Lady MacFarlane, John Le Carre, Harry Enfield, Keeley Hawes, Kirsty Wark, DWF, R.I.C.S & The Kuwait Royal Family.
* CHARLES JAMIESON MFA PAI PPAI (SCOTTISH b. 1952), STORE BAY, TOBAGO mixed media on paper, signed and titledmounted, framed and under glass image size 24cm x 23cm, overall size 49cm x 47cm Note: Charles Jamieson was born in 1952. He studied art at the Glasgow School of Art from 1969 to 1974. This was followed by further studies at Texas Christian University in Fort Worth. Charles is the Former Chairman of the Aspect Prize and Past President of the Paisley Art Institute. Jamieson's work is held in many collections in Great Britain, USA, Italy, Australia, the Middle East, the Caribbean, Denmark, South Africa and Hong Kong including: Ernst & Young. Prudential, Clydebank Museum, Aspect Capital Ltd, Caledonian Breweries. Lord and Lady MacFarlane, John Le Carre, Harry Enfield, Keeley Hawes, Kirsty Wark, DWF, R.I.C.S & The Kuwait Royal Family.
George Abbot, Jun. 'An Essay on the Mines of England,' 1833. 'Their Importance as a Source of National Wealth and as a Channel for the Advantageous Employment of Private Capital,' first edition, 227 pages, with the signature of Justin Brooke, a presentation copy, bound in green boards with a gilt lettered label on a leather spine, a very rare work in near fine condition, for private circulation, Mills, Jowett and Mills, London, 1833.
SPRINGBANK 21 YEAR OLD 2020 RELEASE CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70cl
SPRINGBANK 1969 34 YEAR OLD SIGNATORY RARE RESERVE CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: 12/02/1969Bottled: 10/10/2003Matured in refill Butt #262Bottle Number: 241 / 40854.7% ABV / 70cl
SPRINGBANK 21 YEAR OLD 1990S CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70clFill level in low neck.
SPRINGBANK 15 YEAR OLD 2000S CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70cl
SPRINGBANK 15 YEAR OLD 1990S THISTLE LABEL CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70cl
SPRINGBANK 21 YEAR OLD 2000S CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70cl
SPRINGBANK 15 YEAR OLD 2000S CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70cl
SPRINGBANK 10 YEAR OLD CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70cl
SPRINGBANK 10 YEAR OLD CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.This example was released in the early 2000s.46% ABV / 70cl
SPRINGBANK 1973 18 YEAR OLD CADENHEAD'S CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: June 1973Bottled: September 1991Matured in a Rum Butt57.5% ABV / 70clFill level at top of shoulder
SPRINGBANK 2009 10 YEAR OLD LOCAL BARLEY CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: July 2009Bottled: October 2019One of only 9000 bottles released.Made from locally grown Optic Barley.56.2% ABV / 70cl
SPRINGBANK 12 YEAR OLD CASK STRENGTH 2020 RELEASE CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.55.3% ABV / 70cl
SPRINGBANK 2003 15 YEAR OLD RUM WOOD CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: December 2003Bottled: August 2016One of only 9000 bottles released51% ABV / 70cl
SPRINGBANK 15 YEAR OLD 2017 RELEASE CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70cl
LONGROW RED 11 YEAR OLD PINOT NOIR MATURED CAMPBELTOWN SINGLE MALT There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.One of only 9000 bottles released.53.1% ABV / 70cl
A Scottish Officer's Silver-Mounted Regimental Dirk Of The 92nd Gordon HighlandersLate 19th CenturyWith bright fullered blade (areas of rust patination) notched and fullered along the back, etched with crowned regimental badge above a martial trophy along one side, and with the figure of St. Andrew between thistles along the other, ebonised baluster grip carved with basket-weave set with silver studs, basal mount chased with thistles, and foliate openwork pommel set with a piece of faceted glass against foil, in original wood-lined black patent leather scabbard with border engraved silver mounts set with thistles, the locket with regimental badge for Egypt, the by-knife and fork en suite with the hilt; together with a commemorative dagger adapted from a socket bayonet, the blade (some pitting) of hollow triangular section stamped with a crowned '5' on one side, silver-mounted brass grip engraved 'BLADENSBURG 1814' along one side and 'XXI F.T' along the other, and engraved with a crowned lion rampant in a shield above 'XXI' on the outer side, in its silver scabbard with suspension mount (2)28 cm. and 42 cm. bladesFootnotes:The Battle of Bladensburg was fought on 24 August 1814 during the Chesapeake Campaign during the War of 1812. A British force of army regulars and Royal Marines routed an American force of regulars and militia troops. The defeat resulted in the capture and burning of the national capital, Washington D.C., the only time the city fell to a foreign invaderFor further information on this lot please visit Bonhams.com
A fine Southern Cross Medal group of fourteen awarded to Colonel F. A. Swemmer, South African Air Force, who flew Spitfires with 3 Squadron, S.A.A.F. over Italy during the Second War, and Mustangs as a flight commander of 2 Squadron ‘Flying Cheetahs’, in the Korean War South Africa, Southern Cross Medal, 1st type (495), minor blue enamel damage; South Africa, Korea 1950-53 (Lt. F. A. Swemmer) officially impressed naming; Permanent Force Good Service Medal, 30 Years (438); Permanent Force Good Service Medal, 20 Years (264); Permanent Force Good Service Medal, 18 Years (1313); Chief of Defence Force Commendation Medal (182); Coronation 1953, unnamed as issued; 1939-45 Star; Italy Star; War Medal 1939-45; Africa Service Medal, all officially impressed ‘P6771 F. A. Swemmer’; United States of America, Air Medal, bronze, with 2 oak leaf clusters, unnamed; U.N. Korea (Lt. F. A. Swemmer.) officially impressed naming; South Korea, Korea Medal, mounted as originally worn, generally very fine unless otherwise already stated (14) £1,600-£2,000 --- Southern Cross Medal. The original recommendation dated, 13 March 1967, states: ‘This officer has, over the years, rendered invaluable service to the SA Air Force and, as his record has shown, has always placed the interests of the Air Force far above his own. He was a flight commander during the war in Korea and completed 359 operational flying hours on fighter aircraft. In subsequent years he was a flying instructor at Central Flying School where he rose to the very responsible positions of Officer in Charge of Testing and Assessing, Chief Ground Instructor and Chief Flying Instructor. During all these years on flying instruction Major Swemmer established the proud achievement of never having had one of his own pupils suspended from flying training. On completion of his long and excellent instructional tour he took over 40 Citizen Force Squadron as Officer Commanding. Major Swemmer has always set an extremely high standard in flying efficiency and has always insisted that all the pilots under his command aimed at achieving the same standard. His perseverance and untiring efforts to maintain this ideal has benefited the SA Air Force to a considerable degree and was illustrated in a most convincing manner recently when his squadron won the Citizen Force Inter Squadron Competition. The keenness, discipline and high standard of flying displayed by the members of his squadron was a direct result of the prolonged and untiring efforts of the squadron commander himself. The zeal and enthusiasm shown was a complete reflection of Major Swemmer’s own enthusiasm and zeal.’ Chief of Defence Force Commendation Medal. The original recommendation dated, 25 May 1970, states: ‘Cmdt. Swemmer has been employed as a flying instructor in the SAAF since 1951. Appointed Chief Instructor, FTS DNTR, in January 1968, he has proved to be an extremely capable, conscientious and dependable officer. He organised his flying and ground training programmes in a manner that promoted maximum efficiency and flying safety, leading to the high standard of the trained pilots and the decreased accident rate of the FTS. As a flying instructor on Harvard, Vampire and Cessna aircraft for nineteen years, Cmdt. Swemmer has flown 4,237 hours. 1,859 have been flying instructional hours. he holds an A1 Category IRE Rating. Cmdt. Swemmer’s qualifications are the highest a flying instructor can obtain. His dedication to his work and the diligence shown by this officer has been an outstanding example to the junior flying instructors and helped to enhance the reputation of the South African Air Force.’ Frans Adriaan Swemmer was born in Standerton, South Africa in July 1920, and initially served as a Lieutenant with the S.A.I.C. from September 1939 - January 1942. He transferred to the South African Air Force for pilot training in January 1942, qualified as a pilot in May 1943, and served with 3 Squadron S.A.A.F. (Spitfires) in the Middle East and Italy. Swemmer received an official reprimand for: ‘Being guilty of an act in flying which was likely to cause loss of life to a person, in that he when on active service at or about 10.00 hours on 5 June 1945 at Camp Formido aerodrome when a pilot of His Majesty’s aircraft Spitfire No. CA.F. dived and flew the said aircraft over the runway of the said airfield at a height of approximately 50 ft., which act was likely to cause loss of life to himself as pilot of said aircraft.’ Swemmer was appointed as a Lieutenant to the Permanent Force in May 1946. He was posted to 2 (Flying Cheetahs) Squadron, with the original contingent of 49 officers and 157 men, he left Durban for Tokyo, Japan en route to Korea on 26 September 1950. Arriving at Johnson Air Base on 5 November, the squadron spent the next 10 days converting to F-51 Mustangs. Here the Americans tried to treat them like complete novices, whereas most had flown the Mustang previously, some during the Second War. It took a serious demonstration in acrobatic flying to show the Americans the error of their ways. By 12 November, the conversion was complete and the first pilots were on their way to Korea. On 16 November a further 13 officers and 21 other ranks left for K9 airfield at Pusan. The squadron was attached to the American 18th Fighter Bomber Wing, with whom they remained for the rest of the war. On 19 November, the advance detachment moved to K24 near the North Korean capital, Pyongyang, flying their first combat mission the same day. Swemmer served as a Flight Commander with 2 Squadron during the Korean War, and completed 359 operational flying hours on fighter aircraft. He was involved in a flying accident, 4 March 1951, ‘0645 Hrs Lt. Swemmer took on an armed recce. Engine cut. The aircraft overshot end of runway and he crashed landed in rice paddy fields. Aircraft badly damaged.’ (Accident report refers) Swemmer was posted for service as an Instructor to the Central Flying School in July 1951, and advanced to Captain in December 1957. Swemmer advanced to Major in December 1962, and to Commandant in December 1968. He served as Officer Commanding 40 Squadron, January 1965 - December 1967, and was then posted as Chief Instructor, C.F.S., December 1967 - July 1970. Subsequent postings included as SO Ops, Light Aircraft Command, and Swemmer advanced to Colonel in October 1974. Colonel Swemmer retired in July 1980. Sold with extensive copied service papers, including a photographic image of the recipient in uniform.
‘Have rejoined the Fleet, no damage or casualties, God Save the King!’ A Fine 1949 ‘H.M.S. Amethyst Yangtze Incident’ Naval General Service Medal awarded to Able Seaman E. N. Saunders, Royal Navy, who remained aboard H.M.S. Amethyst as part of a skeleton crew of about fifty men throughout its 101 day ordeal; he was a key member of the Damage Control Party which made the repairs that enabled Amethyst’s daring escape and dash to the sea Naval General Service 1915-62, 1 clasp, Yangtze 1949 (D/SSX.815328 E. Saunders. A.B. R.N.) a few scratches to the obverse field, good very fine £2,800-£3,200 --- Provenance: Dix Noonan Webb, March 2013. Eric Noble Saunders was born in Liverpool on 23 February 1928 and enlisted in the Royal Navy as an Ordinary Seaman on 21 August 1946, serving first in H.M.S. Raleigh, the basic training centre at Torpoint, Cornwall. Promoted to Able Seaman on 11 January 1948, Saunders transferred to the frigate H.M.S. Amethyst in the Far East on 8 July 1948. The Yangtze Incident In April 1949, during the Chinese Civil War, Amethyst was sent up the Yangtze River to Nanjing to relieve H.M.S. Consort as the guardship for the British Embassy (at that time Nanjing was the capital of the Nationalist republic of China). The south bank of the river was held by the Nationalists and the north bank by the Communists. About 09.30 on 20 April 1949 a Communist shore battery opened fire on Amethyst, hitting her bridge, wheelhouse and low-power room. Her Captain was killed and the frigate slewed to port and grounded on a sandbank. The shelling continued, ripping large holes in the hull (some near the waterline), the sickbay and the port engine room. Only one turret was able to bear on the hostile batteries; it fired under local control until it was disabled. Just after 10.00, the wounded First Lieutenant ordered the evacuation of all but essential personnel. Just over 60 men reached the southern shore. Shelling stopped at 11.00; 22 men had been killed and 31 wounded (the wounded were taken off by sampan the next day, and the evacuation of non-essential personnel completed). The ship had received over 50 hits, and People’s Liberation Army (P.L.A.) snipers continued to fire at any visible movement on board. Amethyst was refloated after midnight, but the Communist batteries fired on her whenever she attempted to get underway. Two days later, the British Assistant Naval Attaché, Lieutenant-Commander Kerans, came on board and took over command of the ship and the 50 or so crew members, including Saunders, who remained on board throughout the entire ‘Yangtze Incident’. Amethyst remained a hostage under the guns of the P.L.A.; vital supplies were not permitted to reach her. Negotiations with the Communists made no progress, because they insisted as a precondition that Kerans must begin by confessing that the ship had wrongly invaded Chinese national waters and had fired upon the P.L.A. first (in 1988 the Chinese commander, Ye Fei, admitted that it was his troops that opened fire first). According to Yangtse Incident by Lawrence Earl: ‘As early as mid-May Kerans reserved a corner of his mind for thinking about a possible break-out from the river in case his negotiations for a safe-conduct should fail. With this in his mind he decided to get the ship into seaworthy shape as soon as possible. He appointed Garns and Saunders, under the supervision of Strain, as a damage-control party, which soon became jocularly known among the ship’s company as the Wrecker’s Union. But Kerans did not mention to anyone his secret fears that a break-out might eventually become the only avenue to freedom. Garns and Saunders pitched in with great enthusiasm. They busily stuffed hammocks with mattresses and blankets and old clothing - anything they could lay their hands on that could be spared. Then they took these bulging, sausage-like wads and stuffed them into the gaping shell-holes. They used from one to three of these at a time, according to the size of the hole. After that they shored up the damaged area with planks, using the stock of timber - which they cut down to the proper sizes - which, fortunately, had been taken aboard in Malaya some time previously. In a month they had succeeded in adequately filling in eight holes along the waterline; but one waterline hole, dead astern and directly over the rudder, resisted all their efforts. Garns was a short, sandy-haired man of about thirty years of age [whose period of engagement in the Navy ended while Amethyst was trapped]. “Here I am, stuck,” he said sadly to Saunders. He had been in the Navy for twelve years. “One thing I can tell you, though: the Navy will never get me again after this. No, Sir!” Saunders grinned. “Don’t be an ass, Garnsey. Don’t you know you’ll never get out of this predicament? Don’t you know you’ll never be demobbed now?” Garns gave him a long, sideways look of suspicion. “You’ll be soldiering on, me lad,” he said, “long after I get back to Civvie Street. And, brother, am I going to have the laugh on you!” Kerans was feeling pretty good about the break-out now that the decision had been made. He had worked out all the angles, quietly and alone, during the long, tiresome wait. He drew up a list of seventeen petty officers and key ratings, and ordered them to meet in his cabin at about eight that evening. The seventeen trooped silently into Kerans’ small cabin. There was not much room to spare. The door was shut, and almost at once the air became stifling. “I’m going to break out tonight at ten,” Kerans said matter-of-factly. When Amethyst finally slipped her mooring, a brief maelstrom of firing, mostly inaccurate and causing much damage to the Communists themselves, enabled Kerans to steer Amethyst neatly through and under and around the wild barrage and make good his escape, [having suffered only one hit]. Reports came up from the engine-room that Amethyst was flooding badly from the one waterline hole, right in the stern, which Garns and Saunders had been unable to repair. Pumps were put into action to keep the water in check. Kerans prayed: ‘Dear God, don’t let it flood so badly that it will put paid to my steering”.’ Saunders was present throughout the hostage crisis and was instrumental in enabling the famous escape and dash down the Yangtze River that ended it (after 101 days) on the night of 30-31 July. Amethyst rejoined the Fleet and returned to England on 1 November 1949. The Commander-in-Chief, Plymouth, notified the ship’s company that their conduct had been ‘up to standard’. King George VI was more effusive: ‘Please convey to the commanding officer and ship’s company of H.M.S. Amethyst my hearty congratulations on their daring exploit to re-join the Fleet. The courage, skill and determination shown by all on board have my highest commendation. Splice the mainbrace.’ Saunders took part in the celebrations when the ship returned home and sat on Table 2 at the Celebratory Dinner at the Dorchester Hotel, London, on 16 November 1949. He married in Liverpool in 1951, and was discharged from the Navy on 14 December 1953, after seven years’ service. He died in Liverpool on 15 January 1968. Sold with copied research.
F BASIRE; 18th century engraving, Fu chew fu, or Hokfyew, Capital of Fo kyen, from Montanus, 29.5 x 34cm, framed and glazed; Rooker after Canaletto, 'A View from the Grand Walk & Co in Vauxhall Gardens taken from the entrance', published May 1794 by Laurie & Whittle, a Thomas Allam hand coloured book plate of the palace of Peking (3).
A finely cast bell stamped 'METAL FROM HMS TIGER JUTLAND 1916'. H.M.S. Tiger was a 1913 Battlecruiser which fought with the 1st Battle Cruiser Squadron. The Navy's largest and fastest capital ship as well as being the last capital ship to burn coal. Tiger fought at Dogger Bank and Jutland where she suffered 24 killed and 46 wounded. Placed in the reserve in 1921 she was refitted in 1922 and was not paid off until May 1931. 22cm high, 17cm wide *Condition: Good condition.
King, Jessie M.The Little White Town of Never-Weary George G. Harrap and Company, undated, pictorial green-brown cloth binding The Enchanted Capital of Scotland: A Tale of Mystery and Adventure Isobel K.C. Steele (auth.), Plaid Stationary of Scotland, undated, gilt blue cloth binding, retaining dust jacket (2) Condition Report:No condition report is available. We strongly recommend viewing in person for this lot.
UTAGAWA KUNISADA (UTAGAWA TOYOKUNI III, 1786-1865)Edo period (1615-1868), early to mid-19th centurySix oban tate-e bijinga prints: the first of Toto Tatsumi, Fukagawa Shin Fuji (New Fuji at Fukagawa in the Eastern Capital), from the series Ukiyo meijo zue (Pictorial Gathering of Remarkable Women of the Floating World); the second of Tatsu no koku, Asa no itsutsu (Fifth Hour of the Morning) from the series Yoshiwara tokei (A Yoshiwara Clock); the third of Hagi no Tamagawa (The Jewel River of Bush Clovers) from the series Furyu Mutamagao (Elegant Six Jewel Faces); the fourth of Futaba no ue from the series Nise Murasaki Inaka Genji (The False Murasaki's Rustic Genji); the fifth, the middle sheet from the triptych Tagawaya furoba no zu (A Picture of the Baths at Tagawaya); the last a sheet from a triptych, depicting the courtesan Kurenai of the Akatsutaya; all variously published and signed Gototei Kunisada ga/Kochoro Kunisada ga; all mounted on card. The smallest: 36.7cm x 23.8cm (14 7/16in x 9 3/8in); the largest: 38.2cm x 26.5cm (15 1/16in x 10 7/16in). (6).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Marinid painted wood calligraphic panel North Africa or Spain, 14th Centuryof rectangular form, carved with a series of cusped arches containing mirror inscriptions in kufic on a ground of split-palmette interlace, interspersed by smaller arches filled with foliate motifs, the spandrels with split palmettes, the upper border with a band of quatrefoil motifs, decorated in yellow, red, black brown and white paint, framed 100 x 29.5 cm.Footnotes:ProvenanceFormerly in a Private Spanish Collection, Seville.This lot is accompanied by an export license from the Ministerio de Educación, Cultura y Deporte (no. 2022/10933) and Ciram Carbon-14 Test Report 112-OA-1207R-2. Inscriptions: a repeat of mulk, 'Sovereignty (is God's)', in positive and negativeThis strongly carved wood panel is a fine and compact example of one of the most distinctive approaches to decoration in Muslim architecture. It belongs to a type of wooden facing that occurs in Morocco particularly in the 13th and 14th centuries. Carved woodwork typically formed about one-third of the decorative treatment of architecture produced during the Marinid period (1244–1465 CE) and typically formed the upper elements of the decorative schemes with stucco, and then zellij or mosaic tilework below.This panel, with its row of boldly cusped arches containing a mirror inscription in crisply angular Kufic, reflects the aesthetic found in major Marinid constructions, such as the madrasa of Abu'l Hasan (1332–1342) and the Bou Inaniya (1350–55), both of which are in Fez, the capital founded by the Marinids. A comparable example is in the Kasbah Museum, Tangiers (Inv. No. 90.B.3). Even the broad fillet frame, with its row of small quatrefoil rosettes, is typical of the era. Over time the rosettes developed more petals, suggesting that this comes in an earlier phase of the style. Increasing complexity in design seems to be a feature in the development of Marinid woodwork, and this panel has a balance in its design which suggests a date of production in the first half of the 14th Century. This stylistic dating is supported by the result of the Carbon 14 test which yielded date ranges of 1282-1328 (with 43.8% probablility) and 1347-1395 (51.7%).The frieze is further distinguished by its colourful painting. Much of the woodwork in Marinid buildings has lost its polychromy, and there has been little study of the materials and colour schemes. A panel in the Metropolitan Museum (acc.1985.241) has, however, been investigated, revealing that it was repainted at some stage but when it was not possible to determine. (Ekhtiar, Soucek, Canby, and Haidar, Masterpieces from the Department of Islamic Art in the Metropolitan Museum of Art, 2011, pp. 72-73). The same might be true of this panel but, if so, the painting still has considerable age. The Kufic mirror inscription on the Bou Inaniya and the present panels most probably reads mulk, 'Sovereignty'. In a religious context this could promptly trigger a connection to the Qur'an surah al-Mulk (67:1). However, Mulk, also applied to secular sovereignty, so the panel may also come from a palace rather than a religious institution.Given the close connections between the Maghrib and al-Andalus, it is not surprising that comparable woodwork also occurs in Spain. Elaborate wood panels, with painted polychromy, were found in the palace the Condesa de Peñaflor in Seville, the remnants, it is assumed, of an earlier, possibly Almohad building on the site (see Claire Déléry Le Maroc Médiéval, Un empire de l'Afrique à l'Espagne, 2014, cat. 229). Panels, with rows of cusped arches and kufic mirror inscriptions, that are very reminiscent of the panel presented here, are also in Museo Arqueológico in Seville. They are said to come from Seville, but their precise find-spot is not recorded, and they were acquired in 1946 from an antiques dealer in Cordoba (see Donatella Giasante, La Coleccion de madera Hispano-Arabe y Mudejar del Museo Arquologico de Sevilla, in Laboratorio de Arte 15, 2002).For further information on this lot please visit Bonhams.com
A SET OF FOUR CONTINENTAL SIMULATED MARBLE AND PARCEL GILT WALL HALF COLUMNS MID/LATE 18TH CENTURY, PROBABLY BELGIAN Each with regilded scrolling capital above half columns Each approximately 291cm high, 46cm wide, 26cm deepProvenance: Formerly from the collection of Karl Moes, Belgium By repute removed from a church in LiegeCondition Report: The image online is a cloned image of one column- we've attached images that show each is quite distinctly different in its had decorated scheme- and updated website to show columns in situThe gilding refreshed to capitals and bases and possibly concealing some remedial work- the columns with varying levels of rubbing- and what appears to be some refreshment to surface. One with vertical shrinkage crack running from top to bottom, these are fixed to walls and we have not inspected reversesPlease see additional images for visual references to condition which form part of this condition report. Please note viewing is at Guinevere (574-580 King's Road, London SW6 2DY). The auction takes place at Dreweatts Donnington Priory on Tuesday 23 May (10.30am BST). There will be no viewing or bidding at Guinevere on the day of the auction. Lots will be available for collection from Guinevere from Wednesday 24 - Friday 26 May (by appointment, 10am - 5pm). After Friday 26 May (5pm), all lots will be removed from Guinevere to commercial storage at Sackville-West Moving & Storing (Andover) and available for collection from Wednesday 31 May. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer
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