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Click here to subscribePair of late Victorian silver Corinthian column candlesticks, the capital with cast scroll and acanthus leaf decoration, stepped square bases with swag and garland foliate decoration, beading to the border, makers James Dixon and Sons Ltd, Sheffield 1900, height approx 28cm, weighted base (2)
[TRAVEL]. TURKEY Mac Farlane, Charles. Constantinople in 1828. A Residence of Sixteen Months in the Turkish Capital and Provinces: with an Account of the Present State of the Naval and Military Power, and of the Resources of the Ottoman Empire, first edition, Saunders & Otley, London, 1829, later quarter scarlet calf and matching buckram, frontispiece and a further four plate illustrations (three hand-coloured; one double-page), two-page publisher's list, quarto. Condition Report : Generally good condition; lightly foxed; half title page creased, with rebuilt upper corner and reinforcement patch top fore-edge; spine evenly faded. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
An impressive late Victorian mahogany bracket clock with eight day triple fusee movement chiming quarters on eight bells or four gongs and striking hours on a larger gong, the floral engraved gilt dial with silvered subsidiary chime/silent, pendulum regulation and chime selection dials above a silvered chapter ring with Arabic hour numerals, all within a pierced and engraved gilt floral and foliate scroll surround, the case with domed top, carved with foliate surmount and bellflower pendant panels, flanked by a pair of reeded finials, the stepped arch pediment with carved mask and foliate scroll frieze, above a glazed door, flanked by carved Ionic capital and bellflower corner columns, the sides with pierced fret panels, on a stepped and moulded plinth base, height 58cm, with pendulum, winder and case keys, together with a matching mahogany wall bracket, height 34.2cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Ω A MONUMENTAL ITALIAN CARVED MARBLE WELLHEAD IN THE FORM OF A CORINTHIAN CAPITAL 20TH CENTURY The top with circular aperture, on a shaped and square marble base 90cm high, the socle 99cm square Ω UK import VAT at the standard rate (currently 20%) Condition Report: The surface of the marble is in all areas knocked, scuffed, chipped, cracked, and worn overall, this is by design to simulate great age. It is almost certainly of 20th century make simulating antiquity - the 'damages' mentioned above are realistic to simulate both great age and use. There are areas of the surface with iron red stainingThere are vacant square socket holes around the foot and also around the top surface again this appears to all be by design and simulating antiquity and historic 'adaptions'. Some have remnants of metal fitted to the sockets for further effect.The shaped recess is rough-hewn and goes through the capital and base, there are areas of 'wearing' where the appearance is to simulate where ropes might have rubbed grooves in the surface. This could be used as a wellhead if wished after suitable installation by the purchaser.The wellhead is formed of two parts - the large capital section above the shaped marble foot these are however joined together and are not separate elements Please refer to additional images for visual reference to condition Additional measurements:the height of the capital section, is 74cm high, the height of the socle section is 16cm high (giving the overall height of 90cm)The sides are each 100cm longThe the diagonal length (from corner to corner) is 123cmThe width of the bottom of the capital where it meets the socle base is approximately 57cm wideThe opening at the base of the wellhead is approximately 52cmThe opening at the top of the wellhead is approximately 75cm Condition Report Disclaimer
‡ A CARVED LIMESTONE WELLHEAD LATE 19TH CENTURY With wrought iron superstructure above the wellhead of stylised column capital form, on a square section baseThe well head 85cm high, 80cm square, the base 125cm square 235cm high overall ‡ UK import VAT at the reduced rate (currently 5%) This wellhead would appear to be influenced by the 15th century Istrian stone/marble example in the Italian gardens at Hever Castle, Kent. That wellhead being illustrated and described in John Davis, Antique Garden Ornament, p.240-1. Condition Report: Overall this weighs approximately 800kgPlease note a condition report is available upon requestCondition Report Disclaimer
Various mixed coins, coin sets, vintage, modern, some silver, also some circulated coins encapsulated by the seller to include Harrington & Byrne, two 2022 Elizabeth II Platinum Jubilee silver plated covers, a 1953 Elizabeth II Coronation crown, 2021 95th Birthday of Her Majesty The Queen uncirculated annual coin set, with commemorative £2 and 50p, to include John Logie Baird, HG Wells, etc, a 1952 Platinum Jubilee uncirculated annual coin set, various coin covers, two albums of coins, mostly British, commemorative coins, banknotes, the Capital of Culture Merseytravel medallion, etc.
§ George Kennethson (British 1910-1994) Wave Form, circa 1950s-60s Clipsham stoneDimensions:43cm high, 30.5cm wide, 20cm deep (17in high, 12in wide, 7 3/4in deep)Provenance:ProvenanceThe Estate of the Artist.Note: LiteratureCork, Richard. The Sculpture of George Kennethson, Redfern Gallery, London, 2014, p. 20 illustrated in the background of a photograph of the artist's studio. George Kennethson (or Arthur Mackenzie as he was, Kennethson being the name he adopted in the early 1970s in order to separate his artistic practice from his role as the art master at Oundle School) met Eileen Guthrie in 1931 at the Royal Academy Schools in London. Intriguingly both were painting students, although in George’s case, the teaching at the still very academic Academy mainly had the effect of turning him into a sculptor, something he was already considering by his final year when the pair of them met [although one of his sons recalls Kennethson generously saying that the reason he became a sculptor was that Eileen was by far the better painter].George had come from a cultured, literary family. Eileen’s father and grandfather were architects and her mother was an accomplished pianist, who had studied at the Royal College of Music [Eileen herself had been taught piano by Gustav Holst when she was young]. And so, like many of their circle, Eileen and George were left-wing in their politics, interested in all things avant-garde in art, music and literature, and looked to Paris for inspiration. As young artists they both revered Cezanne. On their first trip together to the French capital, George tracked down the work of sculptors Maillol, Zadkine and Brancusi. And Eileen no doubt sought out the work of Bonnard, whose influence, both in composition and technique, can be traced in her work. They returned, in 1937, where they saw Picasso’s recently completed Guernica, which moved them both, artistically and politically. Like many artists of their generation, their lives and careers were profoundly affected by the Second World War. The Kennethsons were committed pacifists. A year before war broke out, they had moved to the quiet Berkshire village of Uffington, watched over by its ancient, curiously abstract White Horse, cut into the chalk of the nearby Downs, and so in away had already withdrawn from the political storm of the late 30s. The local villagers had no issues with the Kennethsons’ avowed pacifism: they were artists, after all, so they expected them to be different. Whilst they passed the war in rural seclusion, conflict does seep into Kennethson’s sculpture, such as sculptures of travellers, with staffs and backpacks, or men carrying mattresses down to the local forge – images glimpsed out of the studio window, but now transformed into a moving response to the refugees that war inevitably creates. The couple took in both evacuees from the Blitz and the occasional European refugee (and much later in the 1980s, Kennethson returned to this theme as a response to the migrations forced by famine in Ethiopia). But more than this, the War and its aftermath led to little opportunity for artists to sell their work and therefore live by their art – something that was particularly acute for the Kennethsons, who by the late 1940s had five young boys to feed. Art historians have often been critical of British artists ‘retreating’ into teaching or commercial work, whilst their counterparts in America were splashing newly made paint across acres of pristine canvas and changing the direction of modern art forever, and yet this ignores the pressures on British artists, facing a public that was already relatively indifferent to modern art already and which now was broke.It was at this point that Eileen turned her hand to making prints for textiles. She did so with incredible success – artistically at least, as there was almost as little money for interiors and design in post-war Britain as there was for at. Eileen did, however, sell her ‘Flockhart Fabrics’ range – named after her Scottish grandfather - at Primavera, a leading interiors shop on Sloane Street, as well as to family and friends. Their neighbour in Uffington, John Betjeman, also helped them to find stockists, and Eileen’s twin sister Joan would open her London flat to showcase the designs. Lucienne Day, too, introduced Eileen to Amersham Prints, contractors to the government, and her design Bird and Basket was used in 1954 to furnish the Morag Mhor, the first all-aluminium yacht in the country.George lent a hand too, on the production side, contributing to designs, working on the lino-blocks and silkscreens and helping Eileen with the considerable manual work of printing the fabrics by hand. The prints are deceptively simple, strong and sculptural, whilst retaining the required elegance and beauty. The line that one sees in her gouaches and oils find an easy home amongst the repeats of fabric design and motifs that infuse George’s sculpture – birds, leaves, architectonic flower forms – are abstracted from her landscape painting.The family moved to Oundle in 1954, to a house with a large former malting attached, which made for good, if draughty, studios. George would have been surrounded by Eileen’s fabrics – at the long settle by the kitchen table or on one of the armchairs where he would read and draw- before heading out to his studio to carve equally simple forms, with soft curves and sharp edges, into stone and alabaster, so perhaps Eileen’s influence on George’s work shouldn’t be under-estimated. Meeting her late in her life – a decade after George’s death – she would walk amongst the sculptures, laid out on plinths in a cavernous Victorian former malting attached to their house, and place her hands intuitively on every undercut and turn (the wearing of rings was strictly forbidden!). George resolutely worked alone – no assistants, no power tools, only mallets and chisels and cassettes of classical music and operatic arias for company – but the confluence between their work speaks to a shared vision. We are delighted to include in this selection a painting by Eileen alongside a drawing of George’s, both made at their beloved Isle of Purbeck, where they had holidayed (and found inspiration, in the fields, quarries and shore) every year since the late 1930s. Seen side by side, these works could almost be by the same hand. George’s drawings, mainly of the rock formations of the coast that were the source of his material, whilst studies in sculptural form, have a painter’s confident flow: equally, Eileen’s paintings, whilst more concerned with the wider landscape, have a certain sculptural feel to their construction, even though, in the end, they concern themselves more with colour and abstract form, in the manner of Ivon Hitchens or Patrick Heron, both of whom she admired. The last few years have seen something of a revival in interest in George Kennethson’s work. After all, this is an artist whose work sits very comfortably – and beautifully – in Britain’s best small museum, Kettle’s Yard in Cambridge, alongside Constantin Brancusi and Henri Gaudier-Brzeska. There are now two monographs on the artist, the most recent written by the eminent critic Richard Cork. Eileen Guthrie’s work, on the other hand, still remains something of a secret, her last public exhibitions being held almost 40 years ago now. We hope that this brief glimpse will be the beginning of her revival, as well as a testament an artistic partnership that was very much of its time, yet resonates with beauty today.
§ George Kennethson (British 1910-1994) Girl's Back with Curled Hair - Study for Sculpture, circa 1960 ink and wash on paperDimensions:16cm x 12.5cm (6 3/8in x 4 7/8in)Provenance:ProvenanceThe Estate of the Artist.Note: LiteratureHucker, Simon. George Kennethson: A Modernist Rediscovered. London: Merrell Publishers Limited, 2004, p.14, illustrated. George Kennethson (or Arthur Mackenzie as he was, Kennethson being the name he adopted in the early 1970s in order to separate his artistic practice from his role as the art master at Oundle School) met Eileen Guthrie in 1931 at the Royal Academy Schools in London. Intriguingly both were painting students, although in George’s case, the teaching at the still very academic Academy mainly had the effect of turning him into a sculptor, something he was already considering by his final year when the pair of them met [although one of his sons recalls Kennethson generously saying that the reason he became a sculptor was that Eileen was by far the better painter].George had come from a cultured, literary family. Eileen’s father and grandfather were architects and her mother was an accomplished pianist, who had studied at the Royal College of Music [Eileen herself had been taught piano by Gustav Holst when she was young]. And so, like many of their circle, Eileen and George were left-wing in their politics, interested in all things avant-garde in art, music and literature, and looked to Paris for inspiration. As young artists they both revered Cezanne. On their first trip together to the French capital, George tracked down the work of sculptors Maillol, Zadkine and Brancusi. And Eileen no doubt sought out the work of Bonnard, whose influence, both in composition and technique, can be traced in her work. They returned, in 1937, where they saw Picasso’s recently completed Guernica, which moved them both, artistically and politically. Like many artists of their generation, their lives and careers were profoundly affected by the Second World War. The Kennethsons were committed pacifists. A year before war broke out, they had moved to the quiet Berkshire village of Uffington, watched over by its ancient, curiously abstract White Horse, cut into the chalk of the nearby Downs, and so in away had already withdrawn from the political storm of the late 30s. The local villagers had no issues with the Kennethsons’ avowed pacifism: they were artists, after all, so they expected them to be different. Whilst they passed the war in rural seclusion, conflict does seep into Kennethson’s sculpture, such as sculptures of travellers, with staffs and backpacks, or men carrying mattresses down to the local forge – images glimpsed out of the studio window, but now transformed into a moving response to the refugees that war inevitably creates. The couple took in both evacuees from the Blitz and the occasional European refugee (and much later in the 1980s, Kennethson returned to this theme as a response to the migrations forced by famine in Ethiopia). But more than this, the War and its aftermath led to little opportunity for artists to sell their work and therefore live by their art – something that was particularly acute for the Kennethsons, who by the late 1940s had five young boys to feed. Art historians have often been critical of British artists ‘retreating’ into teaching or commercial work, whilst their counterparts in America were splashing newly made paint across acres of pristine canvas and changing the direction of modern art forever, and yet this ignores the pressures on British artists, facing a public that was already relatively indifferent to modern art already and which now was broke.It was at this point that Eileen turned her hand to making prints for textiles. She did so with incredible success – artistically at least, as there was almost as little money for interiors and design in post-war Britain as there was for at. Eileen did, however, sell her ‘Flockhart Fabrics’ range – named after her Scottish grandfather - at Primavera, a leading interiors shop on Sloane Street, as well as to family and friends. Their neighbour in Uffington, John Betjeman, also helped them to find stockists, and Eileen’s twin sister Joan would open her London flat to showcase the designs. Lucienne Day, too, introduced Eileen to Amersham Prints, contractors to the government, and her design Bird and Basket was used in 1954 to furnish the Morag Mhor, the first all-aluminium yacht in the country.George lent a hand too, on the production side, contributing to designs, working on the lino-blocks and silkscreens and helping Eileen with the considerable manual work of printing the fabrics by hand. The prints are deceptively simple, strong and sculptural, whilst retaining the required elegance and beauty. The line that one sees in her gouaches and oils find an easy home amongst the repeats of fabric design and motifs that infuse George’s sculpture – birds, leaves, architectonic flower forms – are abstracted from her landscape painting.The family moved to Oundle in 1954, to a house with a large former malting attached, which made for good, if draughty, studios. George would have been surrounded by Eileen’s fabrics – at the long settle by the kitchen table or on one of the armchairs where he would read and draw- before heading out to his studio to carve equally simple forms, with soft curves and sharp edges, into stone and alabaster, so perhaps Eileen’s influence on George’s work shouldn’t be under-estimated. Meeting her late in her life – a decade after George’s death – she would walk amongst the sculptures, laid out on plinths in a cavernous Victorian former malting attached to their house, and place her hands intuitively on every undercut and turn (the wearing of rings was strictly forbidden!). George resolutely worked alone – no assistants, no power tools, only mallets and chisels and cassettes of classical music and operatic arias for company – but the confluence between their work speaks to a shared vision. We are delighted to include in this selection a painting by Eileen alongside a drawing of George’s, both made at their beloved Isle of Purbeck, where they had holidayed (and found inspiration, in the fields, quarries and shore) every year since the late 1930s. Seen side by side, these works could almost be by the same hand. George’s drawings, mainly of the rock formations of the coast that were the source of his material, whilst studies in sculptural form, have a painter’s confident flow: equally, Eileen’s paintings, whilst more concerned with the wider landscape, have a certain sculptural feel to their construction, even though, in the end, they concern themselves more with colour and abstract form, in the manner of Ivon Hitchens or Patrick Heron, both of whom she admired. The last few years have seen something of a revival in interest in George Kennethson’s work. After all, this is an artist whose work sits very comfortably – and beautifully – in Britain’s best small museum, Kettle’s Yard in Cambridge, alongside Constantin Brancusi and Henri Gaudier-Brzeska. There are now two monographs on the artist, the most recent written by the eminent critic Richard Cork. Eileen Guthrie’s work, on the other hand, still remains something of a secret, her last public exhibitions being held almost 40 years ago now. We hope that this brief glimpse will be the beginning of her revival, as well as a testament an artistic partnership that was very much of its time, yet resonates with beauty today.
§ George Kennethson (British 1910-1994) Waves initialled (lower right), pencil, ink and wash on blue paperDimensions:18cm x 22cm (7 1/8in x 8 5/8in)Provenance:ProvenanceThe Estate of the Artist.Note: George Kennethson (or Arthur Mackenzie as he was, Kennethson being the name he adopted in the early 1970s in order to separate his artistic practice from his role as the art master at Oundle School) met Eileen Guthrie in 1931 at the Royal Academy Schools in London. Intriguingly both were painting students, although in George’s case, the teaching at the still very academic Academy mainly had the effect of turning him into a sculptor, something he was already considering by his final year when the pair of them met [although one of his sons recalls Kennethson generously saying that the reason he became a sculptor was that Eileen was by far the better painter].George had come from a cultured, literary family. Eileen’s father and grandfather were architects and her mother was an accomplished pianist, who had studied at the Royal College of Music [Eileen herself had been taught piano by Gustav Holst when she was young]. And so, like many of their circle, Eileen and George were left-wing in their politics, interested in all things avant-garde in art, music and literature, and looked to Paris for inspiration. As young artists they both revered Cezanne. On their first trip together to the French capital, George tracked down the work of sculptors Maillol, Zadkine and Brancusi. And Eileen no doubt sought out the work of Bonnard, whose influence, both in composition and technique, can be traced in her work. They returned, in 1937, where they saw Picasso’s recently completed Guernica, which moved them both, artistically and politically. Like many artists of their generation, their lives and careers were profoundly affected by the Second World War. The Kennethsons were committed pacifists. A year before war broke out, they had moved to the quiet Berkshire village of Uffington, watched over by its ancient, curiously abstract White Horse, cut into the chalk of the nearby Downs, and so in away had already withdrawn from the political storm of the late 30s. The local villagers had no issues with the Kennethsons’ avowed pacifism: they were artists, after all, so they expected them to be different. Whilst they passed the war in rural seclusion, conflict does seep into Kennethson’s sculpture, such as sculptures of travellers, with staffs and backpacks, or men carrying mattresses down to the local forge – images glimpsed out of the studio window, but now transformed into a moving response to the refugees that war inevitably creates. The couple took in both evacuees from the Blitz and the occasional European refugee (and much later in the 1980s, Kennethson returned to this theme as a response to the migrations forced by famine in Ethiopia). But more than this, the War and its aftermath led to little opportunity for artists to sell their work and therefore live by their art – something that was particularly acute for the Kennethsons, who by the late 1940s had five young boys to feed. Art historians have often been critical of British artists ‘retreating’ into teaching or commercial work, whilst their counterparts in America were splashing newly made paint across acres of pristine canvas and changing the direction of modern art forever, and yet this ignores the pressures on British artists, facing a public that was already relatively indifferent to modern art already and which now was broke.It was at this point that Eileen turned her hand to making prints for textiles. She did so with incredible success – artistically at least, as there was almost as little money for interiors and design in post-war Britain as there was for at. Eileen did, however, sell her ‘Flockhart Fabrics’ range – named after her Scottish grandfather - at Primavera, a leading interiors shop on Sloane Street, as well as to family and friends. Their neighbour in Uffington, John Betjeman, also helped them to find stockists, and Eileen’s twin sister Joan would open her London flat to showcase the designs. Lucienne Day, too, introduced Eileen to Amersham Prints, contractors to the government, and her design Bird and Basket was used in 1954 to furnish the Morag Mhor, the first all-aluminium yacht in the country.George lent a hand too, on the production side, contributing to designs, working on the lino-blocks and silkscreens and helping Eileen with the considerable manual work of printing the fabrics by hand. The prints are deceptively simple, strong and sculptural, whilst retaining the required elegance and beauty. The line that one sees in her gouaches and oils find an easy home amongst the repeats of fabric design and motifs that infuse George’s sculpture – birds, leaves, architectonic flower forms – are abstracted from her landscape painting.The family moved to Oundle in 1954, to a house with a large former malting attached, which made for good, if draughty, studios. George would have been surrounded by Eileen’s fabrics – at the long settle by the kitchen table or on one of the armchairs where he would read and draw- before heading out to his studio to carve equally simple forms, with soft curves and sharp edges, into stone and alabaster, so perhaps Eileen’s influence on George’s work shouldn’t be under-estimated. Meeting her late in her life – a decade after George’s death – she would walk amongst the sculptures, laid out on plinths in a cavernous Victorian former malting attached to their house, and place her hands intuitively on every undercut and turn (the wearing of rings was strictly forbidden!). George resolutely worked alone – no assistants, no power tools, only mallets and chisels and cassettes of classical music and operatic arias for company – but the confluence between their work speaks to a shared vision. We are delighted to include in this selection a painting by Eileen alongside a drawing of George’s, both made at their beloved Isle of Purbeck, where they had holidayed (and found inspiration, in the fields, quarries and shore) every year since the late 1930s. Seen side by side, these works could almost be by the same hand. George’s drawings, mainly of the rock formations of the coast that were the source of his material, whilst studies in sculptural form, have a painter’s confident flow: equally, Eileen’s paintings, whilst more concerned with the wider landscape, have a certain sculptural feel to their construction, even though, in the end, they concern themselves more with colour and abstract form, in the manner of Ivon Hitchens or Patrick Heron, both of whom she admired. The last few years have seen something of a revival in interest in George Kennethson’s work. After all, this is an artist whose work sits very comfortably – and beautifully – in Britain’s best small museum, Kettle’s Yard in Cambridge, alongside Constantin Brancusi and Henri Gaudier-Brzeska. There are now two monographs on the artist, the most recent written by the eminent critic Richard Cork. Eileen Guthrie’s work, on the other hand, still remains something of a secret, her last public exhibitions being held almost 40 years ago now. We hope that this brief glimpse will be the beginning of her revival, as well as a testament an artistic partnership that was very much of its time, yet resonates with beauty today.
§ George Kennethson (British 1910-1994) Father and Child, 1960s English alabasterDimensions:45.7cm high, 33cm wide, 25.5cm deep (18in high, 13in wide, 10in deep)Provenance:ProvenanceThe Estate of the Artist.Note: George Kennethson (or Arthur Mackenzie as he was, Kennethson being the name he adopted in the early 1970s in order to separate his artistic practice from his role as the art master at Oundle School) met Eileen Guthrie in 1931 at the Royal Academy Schools in London. Intriguingly both were painting students, although in George’s case, the teaching at the still very academic Academy mainly had the effect of turning him into a sculptor, something he was already considering by his final year when the pair of them met [although one of his sons recalls Kennethson generously saying that the reason he became a sculptor was that Eileen was by far the better painter].George had come from a cultured, literary family. Eileen’s father and grandfather were architects and her mother was an accomplished pianist, who had studied at the Royal College of Music [Eileen herself had been taught piano by Gustav Holst when she was young]. And so, like many of their circle, Eileen and George were left-wing in their politics, interested in all things avant-garde in art, music and literature, and looked to Paris for inspiration. As young artists they both revered Cezanne. On their first trip together to the French capital, George tracked down the work of sculptors Maillol, Zadkine and Brancusi. And Eileen no doubt sought out the work of Bonnard, whose influence, both in composition and technique, can be traced in her work. They returned, in 1937, where they saw Picasso’s recently completed Guernica, which moved them both, artistically and politically. Like many artists of their generation, their lives and careers were profoundly affected by the Second World War. The Kennethsons were committed pacifists. A year before war broke out, they had moved to the quiet Berkshire village of Uffington, watched over by its ancient, curiously abstract White Horse, cut into the chalk of the nearby Downs, and so in away had already withdrawn from the political storm of the late 30s. The local villagers had no issues with the Kennethsons’ avowed pacifism: they were artists, after all, so they expected them to be different. Whilst they passed the war in rural seclusion, conflict does seep into Kennethson’s sculpture, such as sculptures of travellers, with staffs and backpacks, or men carrying mattresses down to the local forge – images glimpsed out of the studio window, but now transformed into a moving response to the refugees that war inevitably creates. The couple took in both evacuees from the Blitz and the occasional European refugee (and much later in the 1980s, Kennethson returned to this theme as a response to the migrations forced by famine in Ethiopia). But more than this, the War and its aftermath led to little opportunity for artists to sell their work and therefore live by their art – something that was particularly acute for the Kennethsons, who by the late 1940s had five young boys to feed. Art historians have often been critical of British artists ‘retreating’ into teaching or commercial work, whilst their counterparts in America were splashing newly made paint across acres of pristine canvas and changing the direction of modern art forever, and yet this ignores the pressures on British artists, facing a public that was already relatively indifferent to modern art already and which now was broke.It was at this point that Eileen turned her hand to making prints for textiles. She did so with incredible success – artistically at least, as there was almost as little money for interiors and design in post-war Britain as there was for at. Eileen did, however, sell her ‘Flockhart Fabrics’ range – named after her Scottish grandfather - at Primavera, a leading interiors shop on Sloane Street, as well as to family and friends. Their neighbour in Uffington, John Betjeman, also helped them to find stockists, and Eileen’s twin sister Joan would open her London flat to showcase the designs. Lucienne Day, too, introduced Eileen to Amersham Prints, contractors to the government, and her design Bird and Basket was used in 1954 to furnish the Morag Mhor, the first all-aluminium yacht in the country.George lent a hand too, on the production side, contributing to designs, working on the lino-blocks and silkscreens and helping Eileen with the considerable manual work of printing the fabrics by hand. The prints are deceptively simple, strong and sculptural, whilst retaining the required elegance and beauty. The line that one sees in her gouaches and oils find an easy home amongst the repeats of fabric design and motifs that infuse George’s sculpture – birds, leaves, architectonic flower forms – are abstracted from her landscape painting.The family moved to Oundle in 1954, to a house with a large former malting attached, which made for good, if draughty, studios. George would have been surrounded by Eileen’s fabrics – at the long settle by the kitchen table or on one of the armchairs where he would read and draw- before heading out to his studio to carve equally simple forms, with soft curves and sharp edges, into stone and alabaster, so perhaps Eileen’s influence on George’s work shouldn’t be under-estimated. Meeting her late in her life – a decade after George’s death – she would walk amongst the sculptures, laid out on plinths in a cavernous Victorian former malting attached to their house, and place her hands intuitively on every undercut and turn (the wearing of rings was strictly forbidden!). George resolutely worked alone – no assistants, no power tools, only mallets and chisels and cassettes of classical music and operatic arias for company – but the confluence between their work speaks to a shared vision. We are delighted to include in this selection a painting by Eileen alongside a drawing of George’s, both made at their beloved Isle of Purbeck, where they had holidayed (and found inspiration, in the fields, quarries and shore) every year since the late 1930s. Seen side by side, these works could almost be by the same hand. George’s drawings, mainly of the rock formations of the coast that were the source of his material, whilst studies in sculptural form, have a painter’s confident flow: equally, Eileen’s paintings, whilst more concerned with the wider landscape, have a certain sculptural feel to their construction, even though, in the end, they concern themselves more with colour and abstract form, in the manner of Ivon Hitchens or Patrick Heron, both of whom she admired. The last few years have seen something of a revival in interest in George Kennethson’s work. After all, this is an artist whose work sits very comfortably – and beautifully – in Britain’s best small museum, Kettle’s Yard in Cambridge, alongside Constantin Brancusi and Henri Gaudier-Brzeska. There are now two monographs on the artist, the most recent written by the eminent critic Richard Cork. Eileen Guthrie’s work, on the other hand, still remains something of a secret, her last public exhibitions being held almost 40 years ago now. We hope that this brief glimpse will be the beginning of her revival, as well as a testament an artistic partnership that was very much of its time, yet resonates with beauty today.
Carla Bosch (South African, 20th century)Title UnknownOil on boardSigned too frontFramed & glazed90 x 30cm (35.5" x 12")Carla Bosch’s life of bold color began in 1976 in South Africa’s capital, Pretoria – and the city’s famous annual carpet of purple jacaranda blossoms no doubt inspired the bold impressionism that would years later entrance art-lovers around the world. By 1998, with her giving personality shining through in her liberal use of bright colors, the warmth and cheerfulness of her landscapes, coastal and street scenes caught the eye of top South African art galleries. She has won numerous international awards, and is a regular participant in top tier "plein air" events across the USA. Carla is represented by leading art galleries in South Africa, the UK, France, and the USA, where she now resides.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Russia.- Granville (A.B.) St. Petersburgh. A Journal of Travels To and From that Capital, 2 vol., second edition, frontispiece to both volumes, second folding, numerous illustrations, 36 plates, plans and maps, two folding, pages very lightly toned, some offset, new endpapers, later half calf over marbled boards, spines gilt with red morocco labels, edges uncut, 1829.
VICTORIAN BRASS AND CLEAR GLASS CORINTHIAN OIL LAMP LATE 19TH CENTURY with faceted cut reservoir over capital and tapered cylindrical column, domed circular foot with facet cuts to baseSome rubbing to the brass capital, the reservoir sits slightly tilted to one side, chips to base rim.70cm high.
Crimean War 1854-56, nine rolled-up original large plans in colour lithography published by the Topographical and Statistical Department of the War Office, with blind stamped royal arms, largest circa 104 x 67cm. Included are Plan of Skutari, Barracks and Hospitals; Plan of the Town and Fortress of Erzerum the Capital of Turkish Armenia; Plan of the Bay and Fortifications of Eupatoria; Plan of the Defences of Sevastopol, with the LInes of Attack of the Allied Armies; Sketch of Encampment of the British Troops ... at Varna by Colonel Hamilton (9)
A pair of late Victorian silver and cut glass oil lampsboth London, 1897, Goldsmiths & Silversmiths Co., with glass chimneys and similar pink waisted shades etched with foliage, the silver plate Hinks and Son. burners above cut glass reservoirs and on stop fluted Corinthian columns on square stepped plinth bases with gadrooned borders, weighted, engraved to base edge '1872. Sep. 25th 1897', (2)Approx height from top of the capital of the columns 30cm, approx height including screwfitting and burner 49cm, approx height including shade not with chimney 59cm. Approx height of shade 15cm, approx height of bulbus shade 16cm. Condition:Some wear to the silvering at the edge of the burners. Good condition otherwise good.
A two-door cabinet, Northern Netherlands, early 19th century. Oak wood, curved profiled hood with carving in motif of a vase on a foot, surrounded by acanthus leaf, columns with copper laton capital and base as posts, contoured doors, base cabinet three drawers with copper brass ring fittings (later date), resting on conical fluted legs, h 245 x W 158 x D 50 cm.
A two-door cabinet, Northern Netherlands, early 19th century. Oak wood, curved profiled hood with carving in motif of a vase on a foot, surrounded by acanthus leaf, columns with copper laton capital and base as posts, contoured doors, base cabinet three drawers with copper brass ring fittings, resting on conical fluted legs, h 255 x w 160 x d 50 cm.
A Frisian tail clock, Friesland, mid 19th century. Oak case, the curved hood is crowned by Atlas and trumpet blowing angels, pilasters with Corinthian capital and base as posts. Polychrome decorated dial with a fantasy village scene in the arch, the dial ring with Roman numerals indicates the hours and minutes, h 140 cm.
An Italian carved, parcel gilt and polychromed wood table lamp, 20th century, the urn form body carved with cherub masks, above a triform base painted with armorial cartouches, descending to paw feet, 59cm high overall including electrical socket; together with a second Continental table carved and giltwood lamp, modelled as a simulated candle above a column capital base, 96cm high overall excluding pink silk shade
A Burmese pink ribbed glass and brass columnar oil lamp, early 20th century, the ribbed and moulded shade above a conforming reservoir, descending to a Corinthian order capital and fluted stem, on a stepped base, the clear glass funnel with etched inscription for 'Griffin Brand', 50cm high, the base 9cm square
CLAUDE STANSFIELD-MOORE (BRITISH, 1853-1901)H.M.S. 'Britannia' firing a salute at sunsetsigned 'Claude T. S. Moore, 79' (lower left)oil on canvas19 1/2 x 29 1/4in. (49.5 x 74cm.) H.M.S. Britannia, a large first-rate of 120 guns and one of the biggest ships of her day, was begun in 1813 but not completed until 1820 by which time the need for capital ships had been greatly reduced by the ending of the Napoleonic Wars. Measured at 2,616 tons, she was first commissioned in 1823 and, after several spells with the Mediterranean Fleet, served as flagship to Vice-Admiral Dundas in the Black Sea during the Crimean War (1854-56). Laid up thereafter, in 1859 she became the first training ship exclusively for naval cadets based at Portsmouth but was moved to a permanent home at Dartmouth in 1863. Although broken up in 1869, she was replaced by another vessel and then by buildings ashore, all of which took her name to perpetuate the tradition, see lot 237. Fine condition. Two patches. Needs cleaning.
A BUILDER'S HALF-BLOCK MODEL FOR THE H.M. DISPATCH VESSELS/GUNBOATS FLY AND FLAMER, BUILT BY FLETCHER FEARNALL, LIMEHOUSE, 1856with 45in. hull carved from the solid, with ebonised top sides, with pierced gun ports and chain plates, mounted on display board with launching cradle and nameplate, overall measurements -- 10½ x 60in. (27 x 152.5cm.)During the Crimean War (1854-56), the Royal Navy’s capital ships were faced with the Russian fleet’s repeated refusal to emerge from their safe harbours and give battle in both the Baltic and the Black Seas. Accordingly, the Admiralty embarked upon a massive programme – known as the ‘Great Armament’ – to build a large flotilla of small wooden craft designed to operate in very shallow waters and comprising 156 screw gunboats, 56 sail-powered mortar vessels and 50 non-self-propelled mortar floats, i.e. floating batteries. The Admiralty also required this huge project to be complete by 1st March 1856, with the result that the orders were spread between practically every shipyard on the Thames, including some which had never before built ships for the fleet. However, the various contractors were only required to build the bare hulls by the deadline; the machinery was then installed by the engine-builders, and the boats were finally taken to a new specialist Gunboat Yard which had been constructed at Haslar Creek, Gosport, where they were coppered, armed and stored ready for use.Flamer and Fly were built by Fletcher & Fearnall at Limehouse and engined by John Penn & Sons. Constructed to the standard specification of W.H. Walker, they were 106 feet long with a 22 foot beam and an 8 foot draught. Measured at 284 tons displacement, they were armed with a single 68pdr. on a pivot aft and one 32pdr. forward. Each was screw powered by a single expansion engine and could make 7.5 knots. Flamer’s keel was laid in November 1855 and Fly’s the next month, with both launched in April 1856. Fly was completed first, in July 1856, but seems to have seen very little service and was broken up in 1862. Flamer however, was left unfinished until 1859, but thereafter employed in coastal defence (1868) and as a hospital ship in 1871. Blown ashore in a typhoon at Hong Kong in September 1871, she was wrecked beyond repair and sold for breaking.Old wear and losses. Forward chain plate missing. Ebonised topsides retouched. lacking propellor and cradle. Backboard split forward of bow. Cradle possibly repaired.
A French bronzed spelter sculpture of a bird in flight over a large wave, on large rectangular hardstone base, impressed mark 'Made In France' and capital AThe bird is detachable from the wave but when attached approx. 40cm high x 67cm wide.Further Details: Some wear, slight scratching and staining.
An Edwardian silver spoon, with foliate and scroll decorated capital engraved 'Elma' marks for Birmingham 1902, maker Josiah Williams & Co, 16cm, 35grams, sold together with a late Victorian silver spoon, engraved with floral decoration and topped with the initial H, marks for Birmingham 1896, maker A J Bailey, 16cm, 17grams, and a George V mother-of-pearl handled silver spoon, marks for Sheffield 1926, maker John Sanderson & Son Ltd, 24grams
Featuring 3 cent postage stamp with Washington National Capital Sesquicentennial 1850-1950 and stamp stating INAUGURATION DAY. Postmark is dated Jan. 21, 1957 and processed in Washington D.C. Photo of Dwight on left side of envelope above line that reads 34th president of the United States of America. Dimensions: 6.5"L x 3.75"HCountry of Origin: United StatesCondition: Age related wear.
Featuring landmark and historical building in Santiago de Cuba, the second largest city in Cuba and the capital city of Santiago de Cuba Province. Originally constructed in 1864. Photo shows plaza with trees and Cuban locals including an older gentleman in front and several children nearby. Housed in protective transparent yellow tone sleeve. Dimensions: 14"L x 11"WCountry of Origin: CubaCondition: Age related wear.
Original vintage travel poster for Lucerne in Switzerland. Image of a butterly in the sky and lake and city in the background. Lucerne is a city in central Switzerland, in the German-speaking portion of the country. Lucerne is the capital of the canton of Lucerne and part of the district of the same name. With a population of approximately 82,000 people, Lucerne is the most populous town in Central Switzerland, and a nexus of economics, transportation, culture, and media in the region. The city's urban area consists of 19 municipalities and towns with an overall population of about 220,000 people. Owing to its location on the shores of Lake Lucerne (German: Vierwaldstattersee) and its outflow, the river Reuss, within sight of the mounts Pilatus and Rigi in the Swiss Alps, Lucerne has long been a destination for tourists. One of the city's famous landmarks is the Chapel Bridge (German: Kapellbrucke), a wooden bridge first erected in the 14th century. The official language of Lucerne is (the Swiss variety of Standard) German, but the main spoken language is the local variant of the Alemannic Swiss German dialect. Acceptable condition, large tears, tape marks, creasing, pinholes, staining at left margin. Country of issue: Switzerland, designer: Schmidlin & Magoni, size (cm): 101.5x63.5, year of printing: 1956.
Original vintage travel advertising poster for the French capital city of Paris published by SNCF French National Railway (Societe Nationale des Chemins de Fer Francais) featuring a scenic view over Paris by the painter Jules Cavailles (1901-1977) with French flags and the Obelisk and Fountain of the Place de la Concorde in the foreground, cars and a horse drawn carriage passing by, the tree lined Champs Elysees avenue leading past parks to the Arc de Triomphe covered with a French flag and the Eiffel Tower in the distance, the text below. Printed in France for and by French National Railways by OEDIP, Paris. Good condition, creasing, pinholes, tears, staining Country of issue: France, designer: J. Cavailles, size (cm): 100x62, year of printing: 1957.
Original antique sport poster for the Schützenverein der Landeshauptstadt Graz Fest Freischiessen / Shooting Club of the provincial capital Graz Free Shooting Festival at the provincial capital in Andrik near Graz 28 May 28 - 2 June 1905 Best money 10,000 crowns in gold and all dedicated honorary gifts, the poster features a gentleman aiming a rifle standing in front of a green and white flag with a flower decorated lion on a green coat of arms. Good condition, folds, staining, foxing, creasing, repaired tears, repaired pinholes, backed on Japanese paper. Country of issue: Austria, designer: Ferdinand Pamberger, size (cm): 105x68, year of printing: 1905.
Original vintage Soviet anti-American propaganda poster featuring an image of a vulture in a helmet sitting on a money bag with blood dripping off its talons, covering the NATO, Israel and American soldiers with its wings, the poem reads - The ominous kite... he is from that country where capital is in alliance with the military, sparing no expense, knitting a knot of criminal plans for oppression and war. - Horizontal. Fair condition, creasing, staining, foxing, tears. Country of issue: Russia, designer: M. Abramov , size (cm): 59x88, year of printing: 1971.
Original antique World War One recruitment poster encouraging men to enlist in the army and fight the war in France: Boys Come over here you’re wanted. Great design featuring a young soldier in uniform holding his hat and rifle gun with a colourful map of the Channel between the south coast of England and north coast of France in the background, the stylised text across the two countries with the capital cities - London and Paris - marked with boxes showing St Paul's Cathedral and the Eiffel Tower in addition to other towns marked: Portsmouth Brighton Dover Folkestone Southampton Calais Dieppe Havre Boulogne and Amiens. Published by the Parliamentary Recruiting Committee, London. Printed by David Allen & Sons. Ltd., Harrow, Middlesex. Horizontal. Large size. Poor condition, folds, tears, paper losses, staining, creasing, pinholes, split in two parts and backed on wooden board. Country of issue: UK, designer: Unknown, size (cm): 100x126, year of printing: 1915.
Set of six original antique World War One posters for war loans. 1. Banque de France advertising the National Defence War Loan in 1916. Design features black lettering and is framed by a decorative blue leaves and French flags in the border. Good condition, folds, staining, tears, creasing, sun damage, small paper losses. Country of issue: France, designer: , size (cm): 140x100, year of printing: 1916; 2. Austrian War Bonds explaining the value of bond slips - Design features bold lettering and images of War bond documents on a green background. A K17.22 has the face value of a K100 and K172.20 has a value of K1000 - to be purchased according to the sample below. With such a small cash outlay one becomes a war bond subscriber and yet has one helped the state in the full height drawing, since the bank pays the entire amount corresponding to the subscription to the state administration in cash. Printed by J.N Vernay in Vienna. Good condition, folds, creasing, staining, tears. Country of issue: Austria, designer: , size (cm): 96x63, year of printing: 1910s; 3. Subscribe to War Bonds! Bold black lettering translates to - Our brave troops fight for victory after victory, taking the bloodiest sacrifices against overpowering enemies and faithless friends. But what is the use of all heroism if the brave army is not provided with the means it needs to completely defeat these enemies. A thousand woes resound from the graves of heroes and from the pain camps of the military hospitals towards those who, out of envy, greed and excessive anxiety, refuse to give the fatherland what it so desperately needs in these difficult times: Money, money and more money! Therefore let no one delay in subscribing for the war loan, and at once! Any bank or exchange office will be happy to lend a hand and make it possible for everyone to fulfill this patriotic duty. May no one feel condemned by his own conscience for committing a betrayal of his fatherland by failing to subscribe to the war loan! With the urgent request to want to fulfill this request in the interests of our beloved fatherland. Fair condition, folds, tears, creasing, paper losses, staining. Country of issue: Austria, designer: , size (cm): 95x63, year of printing: 1910s; 4. Fifth Austrian War Loan - Design features the Austrian coat of arms with bold black lettering which translates to - The way to Victory and Peace leads over the Fifth Austrian War Loan! Hence the call to the people of Austria to provide the state with the means necessary for the victorious end of the war forced on us by our enemies. Think of the heroes who fight for the honor and prosperity of the fatherland, do your duty and earn your war loan! Anyone who complies with this duty of conscience does not make any sacrifices, because the buyer acquires a first-class, pupil-safe government bond, which guarantees the owner an extraordinarily high interest rate and, moreover, a capital gain on maturity. Everyone who acquires war bonds serves the state and their own welfare! Good condition, folds, creasing, staining, tears, paper loss in top left corner. Country of issue: Austria, designer: , size (cm): 95x63, year of printing: 1910s; 5. 5th Austrian War Loan issued by the Wiener Bankverein / Vienna Bank Corporation. Design features bold black lettering on a green background. Horizontal. Good condition, folds, creasing, tears. Country of issue: Austria, designer: , size (cm): 40x60, year of printing: 1910s; 6. Exchange the 2nd War Loan for the 5th War Loan (40-year amortizable government bond) / Umtausch von 2 Kriegsanleihe ín 5 Kriegsanleihe (40jährige amortisable Staatsanleihe) - Design features bold black lettering on a yellow background. Good condition, folds, creasing, tears, staining. Country of issue: Austria, designer: , size (cm): 94x63, year of printing: 1910s.
Set of six original antique World War One posters for war loans and post-war currency issues. 1. Who has not yet drawn, hurry up to fulfill your patriotic duty! / Wer noch nicht gezeichnet hat, beeile sich, seine vaterländische Pflicht zu erfüllen! Very good condition, minor creasing, minor staining. Country of issue: Austria, designer: , size (cm): 12x63, year of printing: 1910s; 2. 5th War Loan / 5 Kriegsanleihe - Bold black lettering. Printed by J. Weiner in Vienna. Good condition, folds, creasing, tears, minor staining. Country of issue: Austria, designer: , size (cm): 62x95, year of printing: 1910s; 3. Danger! Pre-war money owner! Report on the Supreme Court hearing from Company lawyer Gustav Winter, Leipzig on Thursday, May 20, 1926 in the large hall of the"Zoologische Garden" in Leipzig. Appearance is mandatory! Horizontal. Good condition, fold, tears, browning, paper losses, ink stamp on reverse. Country of issue: Germany, designer: , size (cm): 46x60, year of printing: 1926; 4. Announcement! His f. and f. Apostolic Majesty have addressed the f. f. Finance Minister Dr. von Spitzmüller graciously deigned to send the following telegram: I have read your report on the preparations for the sixth war loan and am thankful for the extraordinary achievements that all strata of the estate have achieved with regard to war loans so far, I express my expectation that Austrian capital and the large circle of savers will step up again. This will be a test of our unbroken financial strength and unbridled determination. I myself subscribe 12 million sixth Austrian war loan. Karl. This is according to decree of t. t. Ministry of Finance of May 9, 1917, Good condition, folds, tears, browning, minor staining, minor creasing. Country of issue: Austria, designer: , size (cm): 84x61, year of printing: 1917; 5. 5th Austrian War Bond / Fünfte Österr. Kriegsanleihe - Design features bold black lettering on a yellow background. The government offered a Forty-year tax-free 52% amortizable bond. Good condition, creasing, folds, minor staining, small tears. Country of issue: Austria, designer: , size (cm): 56x76, year of printing: 1910s; 6. Subscribe to the Sixth War Loan / Zeichnet die Sechste Kriegsanleihe. Stylised decorative lettering on a brown background. Printed by J Weiner in Vienna. Good condition, folds, creasing, tears, staining. Country of issue: Austria, designer: , size (cm): 28x74, year of printing: 1910s.
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