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Click here to subscribeA LATE VICTORIAN GOLD PENCIL UNMARKED, CIRCA 1880 With a vacant white onyx cartouche shaped matrix, a scroll and flower chased capital, the cylindrical shaft scroll foliate engraved, with a push action tip, 9.7cm (3 3/4in) long closed, 19.7g grossCondition Report: The pencil has some light scratches to the barrel from use, and a solder line from manufacture, the mechanism is stiff, but in useable orderCondition Report Disclaimer
A Cased Pair Of 40-Bore Percussion Duelling Or Target PistolsBy H. Bales, Ipswich, Nos. 240 And 241, Circa 1830With rebrowned twist sighted barrels signed in gold capital letters along the top flat, foliate engraved breeches (some old pitting around the nipples) each with gold lines and pierced platinum plug, foliate engraved tangs each with back-sight, signed border engraved flat detented locks and dolphin hammers decorated with scrolling foliage, the former each with engraved safety-catch, figured half-stock (minor old bruising) with chequered rounded butts and silver fore-end caps, steel trigger-guards each retaining some blueing on the inside and decorated with scrolling foliage on the serial numbered border engraved bow, trigger-plates each with pineapple finial, vacant silver escutcheons and barrel-bolt escutcheons, adjustable set triggers, and original brass-mounted ramrods (some light rust patination): in their lined and fitted mahogany case (slender old split, two compartment lids missing) with some accessories including Sykes brass-mounted three-way powder-flask, the interior of the lid with maker's trade label (some damage), the exterior with circular vacant brass escutcheon centred on a flush-fitting brass carrying handle, London proof marks 24.3 cm. barrelsFootnotes:Henry Bales is recorded as working for Forsyth & Co. in London from about 1808 before setting up on his own at 2 Upper James Street, Golden Square in 1811. He is recorded working in Ipswich between 1814 and 1830, and died in 1835This 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 Cased Pair Of 40-Bore Flintlock Saw-Handled Duelling PistolsBy Wattell Clark Of London, The Barrels By Johann Jakob Kuchenreuter, Early 19th CenturyWith swamped octagonal barrels (now blackened) signed in silver capital letters along the top flat and inlaid with symmetrical silver scrollwork (some losses) at the muzzle and breech, the latter each with gilt brass-lined maker's stamp (Neue Støckel 621, one with some corrosion), lined touch-holes, foliate engraved tangs each with folding two-leaf back-sights, signed border engraved flat detented locks each decorated with a starburst behind the rainproof pan and with a martial trophy at the tail, foliate engraved cocks, safety-catches and rollers (cock retaining screws and one safety-catch replaced), figured half-stocks (small splits and repairs) each with rounded spur and chequered rounded butt, the latter each with flat ovoidal pommel with border engraved oval plate decorated with foliage, steel trigger-guards each with pineapple finial and decorated with a martial trophy on the border engraved bow, silver fore-end caps and barrel-bolt escutcheons, set triggers, and later horn-tipped ramrods (steel parts with some wear and light surface pitting): in relined and refitted mahogany case with James Dixon & Sons powder-flask with split-ring for suspension, the interior of the lid with armorial bookplate of The right Hon.ble Tho. James Lord Viscount Bulkeley 1785, the exterior with brass plate incorporating a flush-fitting carrying handle 27.3 cm. barrels Footnotes:ProvenanceChristie's London, Antique Arms and Armour..., 18 July 2002, lot 351This 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
An early 20th century mahogany wardrobe, outswept cornice with faux-meandrous capital, above a door and four graduated drawers, flanked by further glazed doors, each enclosing a shelf, hanging rail and hooks, outlined throughout with satinwood banding and boxwood and ebony stringing, bracket-form plinth base, 209.5cm high, 189cm wide, 58.5cm deep
A silver bracelet, by Antonio Belgiorno and a pair of silver ear clips, the articulated bracelet composed of hollow domed links, clasp signed ‘BELGIORNO’, together with a pair of quatrefoil ear clips with ropetwist decoration and silver bead accents, stamped ‘900’, indistinct signature to the reverse, bracelet length 21.3cm. £120-£150 --- The Argentinian jewellers Belgiorno were founded in 1931 by Antonio Belgiorno and his wife Maria Angelica Morteo. Living in the Argentinian province of Còrdoba at a time when silver was not considered a suitable metal for the manufacture of jewellery, the preference for jewellery manufacture was gold. Belgiorno introduced his new bold jewellery designs in silver and his business grew rapidly. Soon the company was opening branches in several Argentinean cites - Rosario de la Frontera, Bariloche, Mar del Plata and Capital Federal (now known as Buenos Aires). With the death of Antonio in 1966, Maria Angelica and her nephew Juan Morteo continued the business and moved the main store to 1347 Santa Fe Avenue in Buenos Aires. Today the business continues under Juan Morteo's son, Darío Morteo, and his business partner, Silvio Faoro and is one of the leading jewellers in Buenos Aires.
UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSTOYOHARA KUNICHIKA 豊原 国周 (Japan, 1835-1900)Tattooed carpenter Kichizo Uzaemon IchimuraOban tata-e / woodblock printFrom the series of the 36 views of the Eastern CapitalDimensions: 38,5 x 25 cmProvenance: PROPERTIES FROM A FRENCH COLLECTOR Condition Report: Dimensions: 38,5 x 25 cmONE SINGLE PRINT SOLD UNDER LOT 321Condition report:- stains;- faded;- wears;- margins may have been cut;- minor folds to margins.
A RARE AND IMPORTANT JAPANESE LACQUER CABINET FOR THE DUTCH MARKET EDO PERIOD, C.1680 Of rectangular form with a flat top, the sides and front embellished in gold, silver, brown and red lacquer hiramaki-e on a deep black roiro ground with a continuous design, the large panels depicting a complex scene of many figures in a mountainous river landscape; the left side with a rare depiction of the island of Dejima, a three-masted fluyt (cargo ship) sailing toward it, flying the tricolour flags of the Dutch East India Company and the stern with a small monogram reading VOC. The right-hand side of the panel depicts a busy street of Nagasaki leading to the Dutch island, with many figures in traditional garments engaged in daily life; a small wooden bridge leads to the fan-shaped artificial island, three Dutch men are visible outside the buildings and two Japanese figures sit in seiza in a small hut in the centre, probably guards. Japanese boats sail in the distance, and a four-storey pagoda with many birds flying above are visible behind. The front doors are decorated with a long procession, the many travellers on foot and on horseback, three of the horse riders dressed as Dutch merchants and a fourth figure, probably the Opperhoof (chief trader), is seen in a palanquin. Many Japanese figures on either side of the procession are engaged in various activities: some play musical instruments on board of small boats, others are fishing; figures inside buildings are depicted playing go, and farmers to the side are tending to their rice paddocks. The upper half of the right door depicts a large mansion, probably the local daimyo's castle, with men kneeling before another figure in the central courtyard. The right side of the cabinet is painted with further horse riders and their retinue journeying through mountains. The pair of doors to the front open to reveal eight rectangular drawers and two further doors with escutcheons; the cabinet is decorated to the inside with scenes of many birds in flight in further mountainous river landscapes, the reverse of the left door with two thatched buildings, one with a ladder, underneath a camellia tree with large blooms; the right door with a three-storey pagoda nestled amongst trees; with some details rendered in raised takamaki-e; the cabinet with elaborately engraved metal clasps and lock plates, together with the original key, raised on a later European Japanned wood stand, the cabinet 88cm x 100.5cm x 54cm.Provenance: an English private collection formerly at Cliff Avenue, Cromer, Norfolk since the 1950s and thence by descent. Believed by the family to have been purchased from Margaret Jane Barclay (1861-1958) of Herne Close, Cromer, together with the entire contents of her house. Margaret's ancestor James Barclay (1708-66) established the Barclays banking dynasty. It is likely that the cabinet was purchased by Margaret's father, Joseph Gurney Barclay (1816-98), who built Herne Close as a holiday house and furnished it. Joseph was one of the wealthiest members of the Barclays family, leaving many properties and a fortune of £900,000 to his children after his death.LOT ESSAY:The Dutch East India Company or VOC (Vereenigde Oostindische Compagnie) had an exceptional position in 17th century Japan. On 24th August 1609, Jacques Specx (the first chief merchant or Opperhoofd) was given the permission to trade by the Shogun, Tokugawa Ieyasu. After the Portuguese were expelled from the country, the Dutch became the only Europeans allowed to trade there. In 1634, the artificial fan-shaped island of Dejima became their trading post. The island was only 185 meters long and the VOC had to pay about £150,000 per year for it. There was only one bridge connecting it to the shore which gave local authorities complete control over the Westerners. There was a maximum of twenty Dutch people living on the island at any time, and -officially- none of them were soldiers or women. Restrictions on Dejima were tight and the merchants were only allowed to leave the island by special permission. The Chief Opperhoofd could only stay on Dejima for a year, and each new one had to go to the capital of Edo to pay tribute to the Shogun and obtain permission to keep on trading. At first, they would travel with gifts once a year, but later this audience was only required once every four years. The procession (the Hofreis) would include the Opperhoofd (depicted here in a norimono palanquin), his secretary and his physician. The Dutchmen on this cabinet are easily recognisable, wearing Western outfits and wide-brimmed hats.The Dutch travellers were treated like local daimyo lords, who also had to pay tribute to the Tokugawa leader and undertake regular trips to Edo under the sankin kōtai (alternate attendance) system. One can only imagine the spectacle this procession would have been for local people, and many are depicted here stepping out of their houses to observe the foreigners. European collectors would have been familiar with some of the decorative elements often encountered on these lacquer pieces for export, including combinations of the ‘seven grasses of autumn’ and other blooms such as chrysanthemum, magnolia, and peonies.The decoration with many figures engaged in daily activities is reminiscent of rakuchu rakugai zu (Scenes in and around the Capital), a style of paper screens decorated with bird’s eye views of the busy streets of the old capital of Kyoto. The Japanese figures here are depicted fishing, playing musical instruments on boats, tending to their fields, playing go, and paying tribute to the local lord. Japanese lacquer cabinets such as lot 1046 were very expensive and as such, they were seen as a luxury item worthy of European courts. This cabinet is a good example of the type of export lacquer popular in the 17th century for its decoration of mountainous river landscapes. The shape is adapted from earlier Portuguese and Spanish escritórios or bargueños concealing many drawers of various sizes. Japanese lacquer was a luxury commodity, and it became even more sought-after when Japan restricted relations with the rest of the world after 1639. Some of the most prestigious commissions for these high-quality lacquer cabinets include Cardinal de Mazarin’s order for sixty coffers and cabinets in 1661, largely decorated with landscapes and figures. One of these magnificent coffers is now on display at the Victoria & Albert Museum, access. no.412:1, 2-1882.The Dutch Royal Collections also include a pair of important Japanese lacquer cabinets with depictions of Dejima and the Chief merchant travelling to Edo for the Hofreis. These cabinets were possibly a gift to Amalia van Solms (1602-75), an avid Japanese art collector and lover of lacquerwares. Japanese cabinets depicting Dutch merchants would have been appropriate presents to the wife of the Stadtholder. This very expensive pair of cabinets were probably commissioned by the Company or by one of the VOC Chambers; however, there is no documentation recording the order.The unusual depictions of the Opperhoofd and the Hofreis on lot 1046 suggest that the cabinet was also a special commission for Dutch nobility or a high-ranking VOC official serving in the Dutch East Indies.
Capital Punishment. An unusual Victorian glass tumbler, c1850, the underside engraved with gallows and hanged man, engraved hops and barley border, 10cm h and a set of five English glass rummers, c1830-50, similarly engraved with hops and barley, the conical bowl above bladed knop on rudimentary knopped stem (6) Good condition
A Tang dynasty Chinese pottery painted lady (618-906 AD), 25cm high/Provenance: Capital Gallery Hong Kong, Olympia Fine Art and Antiques Fair 2001/see illustration CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
A PAIR OF ARTS AND CRAFTS HAMMERED SILVER AND WOOD SQUARE CANDLESTICKS BY A.E. JONES (ALBERT EDWARD JONES)BIRMINGHAM 1914The fixed circular scones with drip pans, on carved columns, on spreading square bases, 20cm (8in) highCondition Report: General overall condition of the silver good with minor nicks and surface scratching commensurate with age and use. Marks and decoration clear, makers a bit rubbed, wood to one fine, half the capital of the other missing.Condition Report Disclaimer
A WILLIAM IV SILVER OCTOFOIL CHAMBER CANDLESTICK BY ROBERT HENNELL ILONDON 29TH MAY TO 20TH JUNE 1837A conical extinguisher fitting into the tongue-capped C-scroll handle, a detachable octofoil sconce, a cylindrical capital and engraved with a worn crest, 15cm (6in) diameter, 287g (9.2 oz)Condition Report: Nicks and scratching to silver commensurate with age and use, worn crest, no dents or repairs, marks clear on all threeCondition Report Disclaimer
Thai school, mid-twentieth century."Buddha".Lacquered wood, gilded and with mirror glass applications.Measurements: 180 x 90 x 28 cm (sculpture); 13,5 x 37 x 37 cm (wooden base).Buddha statue of Mandalay style, period dated between 1853 and 1948, initiated with the transfer of the capital from Amarapura to Mandalay and ending with the independence of the United Kingdom. Buddha images from this period are youthful, sweet-faced and dressed in rich robes carefully folded, embroidered and often decorated with mirrored stones and crystals. Sculptures before this time throughout Southeast Asia tended to depict monastic habits in a much more schematic manner. In the Mandalay period greater realism emerges in the features of the Buddha and his attire. The style of the faces is oval with long pointed noses, full lips and almond-shaped eyes defined by arched eyebrows. The facial expression is serene with narrowed eyes, concentrated in meditation and a soft smile on the lips. The hair hugs the head in tight curls and covers a broad, two-dimensional unisha or bulge on the head, representing the knowledge and wisdom the Buddha attained after being enlightened; the unisha sometimes takes the form of a flame indicating enlightenment. The long ears signify the wealth he had during his life as a prince and the curly hair represents the nobility he possesses.Images of the standing Buddha are often shown in the Varada mudra, a sacred gesture of blessing. It is a very characteristic iconographic representation of Buddhist sculpture in a standing position in Burma. It symbolizes the blessing of the Buddha with a significance of offering, charity and compassion. The Varada Mudra is an important iconic gesture, showing the Buddha's hand with the fingers pointing downward and with the palm turned slightly away from the body. The turned palm indicates that the figure is bestowing his blessing on the viewer. The left hand may perform a different mudra, although it may also appear in this same mudra by lightly gathering the mantle.The representation shows several lakshana, iconographic symbols that identify Buddhas and bodhisattvas. The first we see is the hair that in tight curls wraps a wide unisha staggered at two heights, symbol of meditation, of concentrated spiritual life and wisdom. We also see the marked eyebrows, a point from which emanates the light of wisdom that illuminates all beings. The eyelids are a symbol of spiritual concentration and purity because of their similarity to the petals of the lotus, and complete a serene face with a sketched smile, symbol of the balance and serenity of a perfect being. The elongated earlobes allude to the large earrings worn by members of the upper classes in India contemporary to Gautama Siddartha and represent the concepts of greatness, nobility and wisdom. Another lakshana present here are the folds in the neck, symbolizing happiness.He is dressed in wide pleated robes richly ornamented with inlaid borders of polychrome crystals and mirror. The uttarasanga wraps around the torso like a cape covering the arms and chest and falls in wide pleats on both sides of the body and the sanghati flows in numerous pleats from the left shoulder. The complex system of folds of the vestments stands out, which together with the inlaid ornamentation underlines the magnificence of the Buddha. He wears on his head a wide diadem adorned with floral decoration.
Ca. 600–400 BC. Scythian / Hellenistic. A well preserved short iron sword of the akinakes type (Greek '????????') with a pointed bevelled blade, bow-shaped guard, rectangular grip, and openwork pommel; custom-made stand included. The sword has been profesionally restored and conserved.The akinakes, a short straight sword, became very well known to fifth-century BC Greeks, who recognised it as 'the Persian sword' (Herodotus 7.54.2), and collected them as part of their war booty (Herodotus 9.80.2) — inventories show that a good number of akikanes swords were dedicated on the Athenian Acropolis as a votive offering to Athena (Miller 1997, 47). Akinakes swords can be identified on the reliefs at Persepolis, the capital of the Achaemenid Empire, where men in Persian dress can be seen wearing it thrust through the knot of their robes. Akinakes were also used by the Medes, Scythians, the Caspii, and later by the Greeks themselves. Akinakes were made most commonly of iron, but some examples survive in gold, which Herodotus (8.120) tells us were a standard royal gift: Xerxes, for instance, gave a gold akinakes to the Hellespont along with a gold phiale and a bowl (Herodotus 7.54.2). To find out more about akinakes swords, see Miller, M. C. (1997). Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge: Cambridge University Press, 46–48. Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections. Size: L:490mm / W:80mm ; 420g
Ca. 600–400 BC. Scythian / Hellenistic. A well preserved short iron sword of the akinakes type (Greek '????????') with a pointed bevelled blade, bow-shaped guard with lateral flanges, rectangular grip, and flat pommel; custom-made stand included. The sword has been profesionally restored and conserved. The akinakes, a short straight sword, became very well known to fifth-century BC Greeks, who recognised it as 'the Persian sword' (Herodotus 7.54.2), and collected them as part of their war booty (Herodotus 9.80.2) — inventories show that a good number of akikanes swords were dedicated on the Athenian Acropolis as a votive offering to Athena (Miller 1997, 47). Akinakes swords can be identified on the reliefs at Persepolis, the capital of the Achaemenid Empire, where men in Persian dress can be seen wearing it thrust through the knot of their robes. Akinakes were also used by the Medes, Scythians, the Caspii, and later by the Greeks themselves. Akinakes were made most commonly of iron, but some examples survive in gold, which Herodotus (8.120) tells us were a standard royal gift: Xerxes, for instance, gave a gold akinakes to the Hellespont along with a gold phiale and a bowl (Herodotus 7.54.2). To find out more about akinakes swords, see Miller, M. C. (1997). Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge: Cambridge University Press, 46–48. Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections. Size: L:498mm / W:57mm ; 410g
Ca. 600–400 BC. Scythian / Hellenistic. A well preserved short iron sword of the akinakes type (Greek ????????') with a pointed blade, bow-shaped guard, rectangular grip, and a crescent moon-shaped pommel; custom-made stand included. The sword has been profesionally restored and conserved. The akinakes, a short straight sword, became very well known to fifth-century BC Greeks, who recognised it as 'the Persian sword' (Herodotus 7.54.2), and collected them as part of their war booty (Herodotus 9.80.2) – inventories show that a good number of akikanes swords were dedicated on the Athenian Acropolis as a votive offering to Athena (Miller 1997, 47). Akinakes swords can be identified on the reliefs at Persepolis, the capital of the Achaemenid Empire, where men in Persian dress can be seen wearing it thrust through the knot of their robes. Akinakes were also used by the Medes, Scythians, the Caspii, and later by the Greeks themselves. Akinakes were made most commonly of iron, but some examples survive in gold, which Herodotus (8.120) tells us were a standard royal gift: Xerxes, for instance, gave a gold akinakes to the Hellespont along with a gold phiale and a bowl (Herodotus 7.54.2). To find out more about akinakes swords, see Miller, M. C. (1997). Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge: Cambridge University Press, 46–48. Provenance: Private Oxfordshire collection; Formerly acquired on the European art market from pre-2000 collections. Size: L:444mm / W:60mm ; 460g
Ca. 618–907. Tang Dynasty. A beautifully modelled terracotta male attendant standing on a flat base. The figure is shown with head turned in a responsive gesture; one hand is at his chest with a finger pointing to his left whilst the other arm lies along the body, the hand within the long red sleeve decorated with white flowers. A long light-blue tunic tied a the waist by a dark belt is worn over light blue pantaloons. Pointed shoes complete the attire. He has a finely modelled face with rosy cheeks and traces of red paint on the lips, whilst his cloth cap is black and fastened underneath the chin. In China, the custom of producing ceramic tomb sculptures reached its pinnacle during the Tang dynasty, one of the most peaceful, prosperous, cosmopolitan eras in China’s history. The Tang capital of Chang’an (present-day Xi’an, Shaanxi province) attracted numerous foreign traders, pilgrims, and goods, as the famed overland trade route known as the Silk Road terminated in this city. Large sets of ceramic sculptures representing the horses, camels, and foreign merchants that frequented northern China have been recovered from burials. Tang ceramic funerary retinues were especially elaborate, featuring fierce armoured guards, proud court attendants such as this item, and aristocratic equestrians engaged in leisurely pursuits—all serving to demonstrate the high status of the tomb occupant. For more general information on the Tang Dynasty, see Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200–750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:510mm / W:180mm ; 2.8kg
Ca. 600–400 BC. Scythian / Hellenistic. A well preserved short iron sword of the akinakes type (Greek ????????') with a pointed bevelled blade, flat guard, rectangular grip, and circular pommel; custom-made stand included. The sword has been profesionally restored and conserved. The akinakes, a short straight sword, became very well known to fifth-century BC Greeks, who recognised it as 'the Persian sword' (Herodotus 7.54.2), and collected them as part of their war booty (Herodotus 9.80.2) – inventories show that a good number of akikanes swords were dedicated on the Athenian Acropolis as a votive offering to Athena (Miller 1997, 47). Akinakes swords can be identified on the reliefs at Persepolis, the capital of the Achaemenid Empire, where men in Persian dress can be seen wearing it thrust through the knot of their robes. Akinakes were also used by the Medes, Scythians, the Caspii, and later by the Greeks themselves. Akinakes were made most commonly of iron, but some examples survive in gold, which Herodotus (8.120) tells us were a standard royal gift: Xerxes, for instance, gave a gold akinakes to the Hellespont along with a gold phiale and a bowl (Herodotus 7.54.2). To find out more about akinakes swords, see Miller, M. C. (1997). Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge: Cambridge University Press, 46–48. Provenance: Private Oxfordshire collection; Formerly acquired on the European art market from pre-2000 collections. Size: L:475mm / W:72mm ; 305g
Ca. 600–400 BC. Scythian / Hellenistic. A well preserved short iron sword of the akinakes type (Greek ????????') with a pointed bevelled blade, flat guard, rectangular grip, and circular pommel; custom-made stand included. The item has been professionally restored and conserved. The akinakes, a short straight sword, became very well known to fifth-century BC Greeks, who recognised it as 'the Persian sword' (Herodotus 7.54.2), and collected them as part of their war booty (Herodotus 9.80.2) – inventories show that a good number of akikanes swords were dedicated on the Athenian Acropolis as a votive offering to Athena (Miller 1997, 47). Akinakes swords can be identified on the reliefs at Persepolis, the capital of the Achaemenid Empire, where men in Persian dress can be seen wearing it thrust through the knot of their robes. Akinakes were also used by the Medes, Scythians, the Caspii, and later by the Greeks themselves. Akinakes were made most commonly of iron, but some examples survive in gold, which Herodotus (8.120) tells us were a standard royal gift: Xerxes, for instance, gave a gold akinakes to the Hellespont along with a gold phiale and a bowl (Herodotus 7.54.2). To find out more about akinakes swords, see Miller, M. C. (1997). Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge: Cambridge University Press, 46–48. Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections. Size: L:525mm / W:70mm ; 355g
A Breitling Bentley GMT British Racing Green stainless steel gentleman's wristwatch, ref. A47362, circa 2011, circular black dial with three sub chronograph dials for a 30-Minute Counter, Chronograph, and 12-Hour Counter, calendar aperture at 6 o'clock, Second Time Zone (GMT) inner bezel with world capital city names, produced in a limited edition of 1000, this example is number 24, serial 2516277, 48mm case, on original branded green rubber '210S' strap with stainless steel adjustable deployment clasp, with branded black leather presentation case, various original paperwork, sales tag, and branded outer box.Notes: in good working condition, winds and hands set well, keeps time across 1hr test, all functions appear to work well, however Batemans cannot guarantee its continued operation.
An Elizabeth II Royal Mint commemorative silver proof five coin set, 'the UK Silver Celebration Set 2010, comprising Five Pounds 'Restoration of the Monarchy', Two Pounds 'Florence Nightingale', two One Pound coins 'Capital Cities: London and Belfast', and a 50p 'Girlguiding UK - Centenary', limited edition 1420/2500, with certificate, in black wooden presentation case, and outer box.
Estate of Dave Prowse - Star Wars - a collection of 501st Legion and other cosplay group patches. Includes Central California Garrison, Legion Command, Jeremy Bulloch Boba Fett patch, Capital City Garrison, Vader's Fist, Celebration IV Invasion, and others. All personally given to Prowse at various events and appearances.
Aegirine Granite, From Top of Rockall, with Geological Survey Letter,Specimen of Aegirine Granite from the top of Rockall with an original letter from the Geological Survey and Museum, dater September 1960, to Professor S. I. Tomkeieff Footnotes Rockall is an uninhabitable granite islet situated in the North Atlantic Ocean. The United Kingdom claims that Rockall lies within its exclusive economic zone and is part of its territory, but this claim is not recognised by its neighbours. Professor Sergei Ivanovich Tomkeieff FRSE FGS (1892–1968) was a 20th-century Lithuanian geologist and petrologist. He was born on 20 October 1892 in Vilna the capital of Lithuania. He came to Britain either during or just after the First World War and began lecturing in Geology at Anderson College in Newcastle-upon-Tyne in 1920. In 1948 he was elected a Fellow of the Royal Society of Edinburgh. His proposers were Arthur Holmes, James Ernest Richey, Sir Edward Battersby Bailey, Heslop Harrison, George Walter Tyrrell, John Weir, and H. B. Donald. In 1957 he became Professor of Petrology at the Anderson College. He was Author of many books including; The Tholeite Dyke at Cowgate (1953); Coals, Bitumens and other Related Fossil Carbonaceous Substances (1954); Isle of Arran (1961); The Economic Geology of Quarried Materials (1969) Dictionary of Petrology (1983) (posthumous). He was awarded the Geological Society's Lyell Medal in 1966. He died on 27 October 1968 in Newcastle aged 76
Collection of Five Cassiterite Orthoclase, Wheal CotesClassic Carlsbad crystal specimen of Cassiterite after Orthoclase from the Wheal Coates Mine, St. Agnes, Cornwall from the 1828 find, with labels, from the Tomkieff CollectionFootnote: Professor Sergei Ivanovich Tomkeieff FRSE FGS (1892 - 1968) was a 20th-century Lithuanian geologist and petrologist. He was born on 20 October 1892 in Vilna the capital of Lithuania. He came to Britain either during or just after the First World War and began lecturing in Geology at Anderson College in Newcastle-upon-Tyne in 1920.In 1948 he was elected a Fellow of the Royal Society of Edinburgh. His proposers were Arthur Holmes, James Ernest Richey, Sir Edward Battersby Bailey, Heslop Harrison, George Walter Tyrrell, John Weir, and H. B. Donald. In 1957 he became Professor of Petrology at Anderson College. He was author of many books including; The Tholeite Dyke at Cowgate (1953); Coals, Bitumens and other Related Fossil Carbonaceous Substances (1954); Isle of Arran (1961); The Economic Geology of Quarried Materials (1969) Dictionary of Petrology (1983) (posthumous).He was awarded the Geological Society's Lyell Medal in 1966. He died on 27 October 1968 in Newcastle aged 76
30+ Railway and Bus related books. Publishers include; Ian Allan, Strathwood, Capital Transport, London Transport, etc. Titles include; Bristol Lodekka, European Narrow Gauge Steam, Southdown, Southern Vectis, The Tram Book, British Lorries, British Railway Locomotives, Scottish Steam Days Remembered, The First Tube, Bristosh Railways Rule Book 1950, Country Walks, etc. Together with 70+ issues of the London Transport Magazine from the 1960s (The Internal Industry Magazine). GC-VGC. £30-50
the child Christ standing with both arms extending, one holding an orb to represent the world in his left hand, his right hand raised in blessing, on a giltwood and gesso baseFigure 42cm high; 49cm high overallProvenance: Private collection AberdeenshireNote: Goa came under Portuguese rule in 1510,and subsequently became an eastern trading capital of the Portuguese empire and the seat of Christian imperialism, whose influence stretched from the Cape of Good Hope to the Sea of Japan. The Portuguese found a well-established infrastructure for ivory carving, with experienced artists and workshops. This explains the resulting hybrid of sculptures drawing from European iconography and traditional Indian stylistic conventions. Christ is depicted here in a variation of the Salvator Mundi image tradition: instead of the adult Christ he is depicted as a child, with the right hand raised in the typical gesture of benediction and left holding an orb, known as globus cruciger. This depiction of the infant Christ started appearing in the early 16th century, notably in the Infant Christ of Mechelen, and has gained popularity in Spain as the ‘Niño de la bola’ or child with a ball. Famous depictions go backto the artists Juan Martínez Montañés and Jerónimo Hernández de Estrada.Despite its vigorous modeling, the figurewas probably meant to be dressed in a luxurious garment, which would have been supplied by the faithful owner in acts of devotion. While the iconography is clearly of European origin, the style is undoubtedly Goan. The hair is carved in tight, regular coils, and the face with its round cheeks, big eyes and small mouth with remnants of polychromatic paint point to its Indian roots.Footnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside Great Britain, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Civil Aviation Timetables. A collection of American timetables: Pennsylvania Airlines (8), 1 January 1933 to 1936; Pennsylvania Central Airline (28), 1 November 1936 to 1 September 1944; Pennsylvania Central Airline (7), 10 December 1944 to 5 July 1946; Capital Airlines (21), 1 June 1947 to 31 May 1968Qty: (64)
ROBERT COMBAS (Lyon, 1957).Untitled, 1992, from the Suite Olympic Centennial.Lithograph on 270 grams Vélin d'Arches paper, copy 58/250.Signed, dated and numbered in pencil.Measurements: 90 x 63 cm.French painter and sculptor, Robert Combas was trained at the School of Fine Arts in the city of Sete, in southeastern France, and held his first solo exhibition in 1980. He is considered the co-founding father of free figuration, a movement that began in Paris in 1980 as a reaction to the minimalism and conceptual art that were becoming established in the French capital at the time. Free figuration, "a painting that does not deny its primitive instincts or its desire for culture" according to Combas himself, has its roots in Fauvism and expressionism and establishes a connecting thread with the neo-expressionist movement and graffiti art. Therefore, Combas' works become a critique of society in general, through an intense style, based on the use of powerful, vivid and passionate colors that leave no inch of the canvas free, outlining in black the figures he depicts.The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The chosen artists are defined by diverse movements and pictorial currents, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov who concentrates on the human figure, intensely expressive and treated with forceful forms and intense colors that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.
"JOSE FIN", JOSÉ VILATÓ RUIZ (Barcelona, 1916 - Paris, 1969)."Composition à la poire" 1949.Oil on canvas.Relined.Signed in the lower right corner: "J.Fin Atelier".Provenance: family of the artist and Sala Dalmau Gallery, Barcelona.Included in the Catalogue of the exhibition "J.Fin" in Sala Dalmau, 2008.Measurements: 68 x 83,5 cm; 85 x 100 cm (frame).This abstract painting by Jose Fin was made by the artist (one of the most singular figures of the so-called Spanish School of Paris) shortly after his liberation from the Argelés concentration camp. It was through the mediation of his uncle Pablo Picasso that Fin, alias José Vilató Ruiz, managed to escape. He then settled in Paris, and would share his studio withArchipenko, Chagall, Foujita, Max Jacob and Modigliani, among others. It was the mythical Le Ruche, a pavilion for Bordeaux wines converted into a meeting place and workshop for the most representative post-war artists. The Parisian stage would be for Fin his most fruitful period: if the first stage (Barcelona) had been characterized by its figurative but anti-academic freshness, in Paris he entered into a dark abstraction without concessions. The painting we are dealing with here bears witness to the expressive power of an artist who was ahead of many of his contemporaries, his imagination and experimental zeal being spurred on by the precariousness in which he lived, which led him to work with newspaper and extra-artistic supports (an "artista povera" a decade before the emergence of "arte povera"). We are before a composition with a post-cubist background but from which emanates a subjugating force that elevates it beyond any influence or legacy. For the path that José Fin took throughout his life was always alien to militancy and avant-garde.Son of the neuropsychiatrist Juan Vilató and Lola Ruiz, Pablo Picasso's sister, Fin was initiated in art in the family home. He trained at the School of Fine Arts of Sant Jordi in Barcelona, and participated for the first time in a group exhibition in the early date of 1932. In 1934 he resided in Mahón, Menorca, where he painted a series of works that he later exhibited in Barcelona. Mobilized, he fought in the war, and in 1939 he went to France. He returned the following year, when he became friends with Manolo Hugué. In 1943 he exhibited in Barcelona, in the Reig Galleries, with his brother Javier, A. Fabra and R. Rogent, in an exhibition that was considered the first artistic revulsive of the postwar period in Barcelona. With a grant from the French government, he settled in Paris in 1946. In the French capital, together with his brother, he frequented the Kahnweiler circle, with friends such as Matisse, Miró, Braque, Lam Leiris, Giacometti, Domínguez, Bores, Viñes, Eulard, Cocteau and, above all, his uncle Picasso. He also held several solo exhibitions during the fifties and sixties, in Paris, Saint Raphael, Barcelona, Bern, Madrid and Mallorca. He also worked in sculpture and mural painting, the latter discipline in which his works for the church of Coscojuela de Sobrarbe (1944) and the CSF factory in Paris (1960) stand out. In 1971 a posthumous anthological exhibition was dedicated to him in Barcelona. The Sala Dalmau in Barcelona held in 2008 the exhibition "Els anys de la Ruche 1946-49", focused on the years that J.Fín spent in the emblematic building of La Ruche in Paris.
CELSO LAGAR ARROYO (Ciudad Rodrigo, León, 1891 - Seville, 1966)."Female nude".Oil on canvas.Signed in the upper right corner.Attached certificate issued by the Lagar Archive.Measurements: 68 x 50 cm; 78 x 60 cm (frame).Celso Lagar offers us in this canvas a female nude captured from life. For it he uses an energetic language that seeks above all to capture the volumetry and the geometric game, although he maintains descriptive details that avoid the loss of realism. The woman shows the viewer practically her entire naked body, since only the lower part of her legs remains outside the perimeter of the support.Celso Lagar began his training in the field of sculpture with Miguel Blay in Madrid. His teacher advised him to travel to Paris to complete his studies and, after spending a year in Barcelona, he traveled to the French capital for the first time in 1911. Lagar's career, both personally and artistically, can be divided into four distinct stages, marked by the two World Wars. The first of these periods is that of apprenticeship, in Madrid, Barcelona and Paris, in contact with artists such as Amadeo Modigliani. This stage comes to an end when he is forced to leave Paris at the outbreak of the Great War. He settled in Barcelona but held several exhibitions in the French capital, which served as a letter of introduction upon his return to the city after the war, in 1919. By then Lagar is already a consolidated artist, and settles definitively in Paris. He regularly exhibited in the best Parisian galleries (Berthe Weil, Percier, Zborowski, Barreiro, Brouant, Druet), his style reached its personal maturity and he devoted himself fully to painting, leaving sculpture behind. He developed a painting focused on very specific themes: still lifes, Spanish themes, landscapes and circus scenes. After the period of avant-garde influences (cubist, fauvist, etc.), Lagar reached his own style, marked by the influences of Goya and Picasso. Gradually his palette cools down, but his favorite themes remain the same, and his recognition by the public and critics increases. The beginning of World War II marked the end of Lagar's golden age. He emigrated to the French Pyrenees, and his return to the recently liberated city of Paris did not have the repercussions he had hoped for, as the collecting public demanded new contents and modes. After his wife fell ill in 1956, Lagar fell into a deep depression and was admitted to a psychiatric center. He definitively stopped painting and in 1964 he returned to Spain, spending his last years at his sister's house in Seville. Lagar is represented in the Museum of Contemporary Art in Madrid, the Museum of Art Nouveau and Art Deco Casa Lis, the Patio Herreriano in Valladolid, the Petit Palais in Geneva, the Fine Arts of La Rochelle, Castres and Honfleur (France) and in prestigious collections such as Crane Kallman (London), the Zborowski (Paris) or the Mapfre (Madrid).
PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). "Bacchanale", ca. 1959. Color etching and aquatint on BFK Rives paper, copy 15/300. Signed and justified by hand. Published by Crommenlynck of Paris. A note on the back specifies the use of 15 colors including 5 different whites. Measurements: 46.4 x 55.9 cm (print); 53 x 76 cm (paper); 89.5 x 97.5 cm (frame).. The bacchanals were a theme very cultivated by Picasso, from his interest in classical mythology, through which he filtered his most intimate vision of life, desire and melancholy. Creator of Cubism together with Braque, Picasso was a turning point in the history of art. He began his studies in 1895, at the School of Fine Arts in Barcelona, and only two years later he had his first individual exhibition, at the café "Els Quatre Gats". After several short stays in Paris, Picasso settled definitively in the French capital in 1904. The definitive international recognition will come in 1939, as a result of the retrospective that the MOMA in New York dedicates to him. During the following decades, anthological exhibitions will be dedicated to him all over the world, in Rome, Milan, Paris, Cologne and New York, among many other cities. He is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.
MARÍA GUTIÉRREZ BLANCHARD (Santander 1881 - Paris 1932)."Woman's head", 1932.Oil on canvas.Work reproduced in the catalog raisonné of the artist, p. 660- 661 nº 309.Signed in the lower left corner (MB). Signed and dated on the back.Measurements: 60 x 50 cm; 62 x 52 cm (frame).In this portrait made in the last year of the artist's life, the author presents us with a work in which she unites and harmonizes all the plastic experiences that were part of her artistic trajectory. For this reason Blanchard conceives a portrait of cubist heritage, an influence that can be seen in the chromatic range based on ochers and grays, and in the treatment of the background, which seems to pounce on the figure, totally reducing the spatiality. However, Blanchard does not abandon realism, but forms a portrait of recognizable forms, heir to the portrait tradition and also brings a mature vision, typical of his last stage, defined through the use of a broad, fast and vibrant brushstroke, thus obtaining a work that stands out for its expressionist aesthetic.María Gutierrez Blanchard, usually known by her mother's surname, trained as a painter in Madrid, where she moved in 1903. Here she studied under the guidance of the painters Emilio Sala and Álvarez de Sotomayor. In 1909 she obtained a scholarship from the Diputación de Santander to study in Paris. In the French capital he received classes from Anglada Camarasa and Kees van Dongen, freeing him from his academic training and introducing him fully into the world of avant-garde art. In 1914 he returned to Madrid and began to attend Ramón Gómez de la Serna's gatherings at the Pombo café, participating in the controversial exhibition "Pintores íntegros". After devoting himself temporarily to teaching in Salamanca, in 1916 he returned definitively to Paris. From that year until 1920 he developed a cubist stage in which figurative references never disappeared. He was part of the Parisian cubist group and became friends with some of its members, such as Juan Gris, Lipchitz and André Lhote. In the 1920s he exhibited in exhibitions organized in Paris and Belgium. Among the works of his first stage stands out "The Communicant", presented with great success at the Salon des Indépendants in 1921. Between 1920 and 1932 he returned to a type of figurative painting, although cubist from the compositional point of view, in which the light treatment generates cottony textures. In Spain there have been two anthologies dedicated to the painter, one at the Biosca Gallery in Madrid (1962) and the other at the former Spanish Museum of Contemporary Art (1982). Maria Blanchard was both a great painter and a theoretician, since she organized gatherings in her Paris apartment, where different artists, including Juan Gris, discussed painting and the new trends that were taking place at the time.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, 1992.Lithograph on 270 grams Vélin d'Arches paper, copy 58/250.Signed and justified in pencil.Measurements: 90 x 63 cm.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris when he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. In the French capital he held his first sculpture exhibition in 1950. In 1951 he returned definitively to San Sebastian, and made his first work in iron, the material with which he would work for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation of the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts of London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections around the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofia in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
A French bronze figure of a classical maiden, 19th century, possibly depicting Cleopatra, crisply cast with dark brown patination, in recumbent, contemplative pose with her head resting upon one hand, the other arm upon a ruined capital from a classical column, 17in. (43cm.) long, unsigned, on marble base 20 x 8in. (50.8 x 20.3cm.). * Condition: Good condition with no damage. A little wear to patination to lower front edges of casting.
David K Stone (Oregon, 1922 - 2001) "Surrender of Bataan and Death March" Signed lower right. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Republic of the Marshall Islands 29c Surrender at Bataan/Death March 1942 stamp issued April 9, 1992. By December 24, 1941, more than 60,000 Japanese troops were positioned near the Philippine capital of Manila. U.S. Gen. Douglas MacArthur withdrew his combined American and Filipino forces to the Bataan Peninsula and settled in for a siege. Ill with malaria and dysentery, the soldiers grew steadily weaker on their diet of dog, iguana, roots and berries. Ordered to Australia in March of 1942, MacArthur passed command to Gen. Jonathan Wainwright. On April 8, Wainwright and a small force withdrew to Corregidor. The following day, the 35,000 men left on Bataan surrendered and six days later were forced to trek 60 miles for transport to prison compounds. At least 10,000 men died on the Bataan Death March, victims of heat, starvation, heinous torture and execution. Image Size: 25 x 15.5 in. Overall Size: 27 x 24 in. Unframed. (B13719)
Original antique advertising poster for Lottery with a capital of 1,600,000 francs Authorized by Ministerial Decree of May 19, 1900 For the benefit of the Relief Fund of the Association of Dramatic Artists / Loterie au capital de 1600000 francs Autorisee par Arrete Ministeriel du 19 mai 1900 Au profit de la Caisse de Secours de l'Association des Artistes Dramatiques - featuring an illustration of a statue holding up a winged wheel, with Melpomene the Muse of Tragedy and Thalia the Muse of Comedy theatrical masks on her skirt, set over gradual orange and yellow background. Printed by Chardin, Paris. Good condition, staining, creasing in margins, tears in margin, paper losses in margin, backed on linen. Country of issue: France, designer: Pal, size (cm): 158x110, year of printing: 1900.
A 19th century clear glass oil lamp, in the form of a Corinthian column, with a hobnail cut reservoir, brass capital and Messengers patent, having a floral etched glass shade, 73cm high overallCondition report: Overall condition appears to be ok and it is heavy and well made. Dirty and the base is heavily worn with age. There are some slight imperfections you can see and feel with your nail, but no chips, repairs or damage. The brass is dull. Screws together well and is clearly stamped. Shade has tiny chips around the base where it fits the aperture.
dating: 19th Century provenance: Japan, Beautiful smooth, octagonal, 13 mm cal. barrel, with foresight and rear sight, decorated with floral motifs on the entire length, partially decorated with copper, capital nozzle; iron pan with brass pan cover; brass lock. Full wooden stock with brass mounts. Small missing parts. Complete with brass-tipped wooden ramrod. length 136 cm.
London Buses in the 1950s by Ken Glazier Hardback Book 1989 First Edition published by Capital Transport Publishing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine shipping on all lots from 4.99 in UK, 6.99 Europe and 8.99 ROW. We can ship a 20kg box in UK for 12 pounds.
A collection of snuff or patch boxes including a Bilston type enamel box decorated with “Two nesting birds”, inscribed “Efteem The Giver”, 5.5 cm wide, another depicting “Figure fishing by water's edge”, 4.5 cm wide (very damaged), another inscribed “Have Communion with Few, Be Familiar with One, Deal Justly with All, Speak Evil of None”, 4.2 cm wide (very damaged) and a Sèvres oval patch box bearing crossed “Ls” and capital “R” to base, 5 cm wide
Abbott (George). Views of the Forts of Bhurtpoore & Weire, 1st edition, London: Engelmann, Graf, Coindet & Co. for J.M. Richardson, 1827, lithograph title, dedication (to General Combermere), letterpress explanatory leaf, subscribers list and 11 uncoloured lithograph plates on india paper by Lynch, MacKenzie, Templeton, Harding and Gauet after Abbott, occasional light marginal tears, soiling and stains, disbound, oblong folio, sheet size 33.2 x 48 cmQty: (1)Footnote: Uncommon. Not in Abbey Travel. The views are of the Forts of Bhurtpore (modern day Bharatpur), capital of the Kingdom of Jat, and Weire after the siege of the fortress by British troops, commanded by Lord Combermere in 1825-26.
Facius (Georg Sigmund & Johann Gottlieb). The Cow Herd. Engraved from a most Capital Picture as large as life, being the Chef D'Ouvre of P. Potter..., John & Josiah Boydell, August 1st 1798, uncoloured mixed-method engraving after Paulus Potter, occasional marginal repaired closed tears, but not affecting the image, 500 x 640 mmQty: (1)
Lyson (Daniel). The Environs of London: being an historical account of the towns, villages, and hamlets, within Twelve Miles of that Capital, 5 volumes, London: T. Cadell Jun. & W. Davies, 1796-1800, engraved titles, engraved maps and numerous plates (some folding, including few plates with original hand-colouring), folding pedigrees, occasional scattered spotting, bookplate of Lady Evelyn to upper pastedowns, contemporary calf, gilt decorated spines with contrasting morocco title labels, 4toQty: (5)Footnote: A handsome set. The volumes cover the counties of Surrey, Middlesex, Hertfordshire & Kent.
JOSÉ BLANCO CORIS (Málaga, 1862 - 1946).Untitled.Oil on canvas glued to board.Signed in the lower right corner.Measurements: 79 x 58 cm; 92 x 72 cm (frame).Painter, writer and professor at the School of Arts and Crafts of Madrid, José Blanco Coris always showed a deep interest in Japanese and East Asian art, and in fact wrote an important "Manual of Decorative Art" (Madrid, 1916-21) in which he dedicated chapters to the arts of China and Japan. Blanco Coris was trained in his native Malaga, in the School of Fine Arts of the city, where he had Bernando Ferrándiz as his main teacher. He began his career making great history paintings in the nineteenth-century style, such as the "Presentation of Cardinal Cisneros to Isabella the Catholic" of 1881. Also around this time he delved into the themes of gentle realism, reaping a special success with "Children in a Boat" (1883), which won him the gold medal at the International Exhibition in Boston. Already at the beginning of the new century, Blanco Coris will evolve towards a less sweetened costumbrismo, at the same time that he begins to cultivate the still life. In the twenties he presented works of these genres at the National Exhibitions of Fine Arts and the Salones de Otoño. Although he was permeable to the advances of impressionism, in the twentieth century he was especially critical of the avant-garde, always remaining outside them. At the same time he developed a notable teaching career, which he began after failing to obtain a post as a pensioner in Rome in 1888. He entered the School of Fine Arts in Malaga as an assistant in 1891, to later become a temporary professor (1893). He finally obtained the position of full professor at the School of Arts and Crafts in Madrid in 1902, developing since then his career in the Spanish capital. Today José Blanco Coris is represented in the Museum of Malaga and in various private collections.
EUGÈNE BOUDIN (France, 1824 - 1898)."Dordrecht, La Meuse; Study of an Estuary," 1875.Watercolor and graphite on laid paper.Attached photo certificate of authenticity issued by Manuel Schmit in 2016. Registration number in the Manuel Schmit Fine art archive: B-A.7562.The work will be included in the forthcoming Catalogue Raisonné of Eugène Boudin's works on paper.Signed, dated and located in the lower area.Provenance: Andre Seligmann, New York.Measurements: 22 x 33.5 cm; 39.5 x 50.5 cm (frame).In this work, which is conceived as a sketch, the author captures a view of the city of Dordrech, located in the Low Countries. Boudin captures in the foreground the presence of the canal and in the distance a city that stands out for the presence of windmills, a recurring theme in Impressionist painting, of which Boudin was an admired master. It is worth noting that Boudin made several visits to the city of Dordrech, in which he immortalized urban scenes and seascapes, which were always of his predilection. The 1884 visit was especially prolific, as he made numerous views of the city. The work has a photo certificate of authenticity issued by Manuel Schmit, a scholar who made a catalog raisonné of the artist.Eugène Boudin was one of the first landscape painters of the French school to paint directly in the open air, a plein air, before the Impressionists popularized this practice. He specialized in marine and harbor and coastal views, although on occasion he was also interested in green inland landscapes with animals, such as the cows grazing serenely in this beautiful panorama. He worked both in oil and pastel. His pastel sketches, synthetic and expressive, were widely praised by Baudelaire, and earned him the nickname "king of the skies" from Corot. The son of a dock worker, he began working on steamships as a child, always near the sea, something that would mark his work. However, in 1835 he moved with his family to Le Havre, where his father opened a frame store in which works by Constant Troyon and Jean-François Millet were exhibited. Knowledge of these painters, and also of Isabey and Couture, encouraged the young Boudin in his pictorial vocation. At the age of twenty-two he abandoned his work in commerce to devote himself fully to painting, and the following year he began a journey that would take him to Paris and Flanders. In 1850 he obtained a scholarship that allowed him to settle in the French capital, a city from which he would travel frequently to Normandy and Brittany in search of new coastal landscapes. In Boudin's work, from these early years of his career, a profound influence of the masters of Dutch Baroque landscape painting can be seen. In 1859 he made his debut at the Paris Salon, and in those years he met a very young Monet, whom he influenced to leave caricature and devote himself to landscape painting. From then on, both artists would be united by a great friendship, and in fact they would exhibit together in the first Impressionist exhibition (1874). Already fully established as an artist, in the 1870s Boudin made numerous trips, first to Belgium, the Netherlands and the south of France, and already in the 1890s he would travel regularly to Venice. He continued to exhibit his work at the Parisian Salons, and was awarded a third medal in 1881. He was also awarded a gold medal at the Paris Universal Exposition of 1889, and in 1892 he was made a knight of the French Legion of Honor. Towards the end of his life Boudin returned to the south of France, finally dying in 1898 in his native Deauville. His works are now in the Musée d'Orsay in Paris, the Hermitage in St. Petersburg, the Metropolitan in New York, the Art Institute of Chicago, the National Gallery in London, the Ashmolean Museum in Oxford, the Thyssen-Bornemisza in Madrid, etc.
IGNACIO ZULOAGA Y ZABALETA (Eibar, Guipuzcoa, 1870 - Madrid, 1945)."Female portrait.Charcoal on paper.Signed and dedicated to Teresina Boronat, dancer from Barcelona, in the lower left corner.Measurements: 50 x 44 cm; 83 x 77 cm (frame).Teresina Boronat was a successful Spanish dancer who settled in Paris. In 1927, she set up her studio in the district of Montmartre, a very busy environment for the Spanish artistic avant-garde exiled in Paris during the dictatorship of Primo de Rivera. Names like Ignacio Zuloaga, who staged some of the dances of his company, Pablo Gargallo or Pere Pruna resonated in an environment full of changes and artistic novelties.Son of the notable damascene artist Plácido Zuloaga, and nephew of Daniel Zuloaga, one of the most outstanding Spanish ceramists of his time, Ignacio Zuloaga worked as a child in his father's workshop, where he had his first contact with drawing and engraving. He later began studying engineering, but abandoned his studies to devote himself to painting. He acquired his artistic training at the Prado Museum, copying Ribera, Goya, Velázquez and El Greco, of whom he would be one of the first propagators. In 1887 he presented a painting at the National Exhibition in Madrid, entitled "A priest praying in an old room". After a first trip to Rome in 1889, where he imbibed the Renaissance masters, Zuloaga went to Paris, where he met French artists such as M. Dethomas and Rodin, with whom he became great friends. He also met Miguel Utrillo and Santiago Rusiñol, and with the latter he traveled again to Italy. In Paris he came to practice pointillism and impressionism, and participated in some group exhibitions at the gallery Le Bar de Boutteville, frequented by the symbolists. However, the search for his own roots took him to Andalusia, where he spent some time between 1894 and 1897. In the latter year, in Segovia, he painted "My uncle and my cousins", a painting that he presented at the Paris Salon and which was acquired by the French State. In 1898 he married and settled in Madrid, although he made frequent trips to the French capital. The following year he presented his "Family Portrait" at the Paris Salon, which was also acquired by the French Government. From 1903 onwards he took part in international exhibitions and his fame grew. Between 1906 and 1913 he worked in Segovia, attracted by the austerity of the Castilian landscape and the quiet and humble dignity of its inhabitants, influenced by the ideology of the Generation of '98. In 1908 he was invited to present an exhibition in New York. At the outbreak of World War I he returned to the Basque Country and lived in a 12th century monastery in Zumaya (Guipúzcoa), later converted into a museum, where he installed his rich collection of works of art, including paintings by El Greco and Goya. Such was his admiration for the Aragonese master that he even bought his birthplace in Fuendetodos. Likewise, in 1926 he acquired the castle of Pedraza (Segovia), also converted into a museum. Ignacio Zuloaga is today considered, together with Gutiérrez Solana, the continuator of the tradition of Spanish painting throughout the 20th century. He is currently represented in prominent museums such as the Prado (works attached to the Museo Nacional Centro de Arte Reina Sofía), as well as in others around the world such as the Orsay, the Rodin and the National de Versailles in Paris, the Hermitage in St. Petersburg, the Metropolitan in New York, the Thyssen-Bornemisza in Madrid, among others.
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."View of the snowy Sacré Coeur Basilica".Oil on cardboard.Signed in the lower left corner.Measurements: 63 x 48,5 cm; 84 x 69,5 cm (frame).The Parisian district of Montmartre deeply inspired the young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso. On this occasion, Elisée Maclet gives us a snowy view of the emblematic Sacré Coeur Basilica, one of the most repeated enclaves by the artists of the time, thanks to its location at the top of the Montmartre hill. In it, the painter captures the underlying essence of one of the most magical places in the French capital, through a daring technique and a totally harmonious and matching color palette.Élisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the turn of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work.
[TEXAS - EARLY NEWSPAPERS]. Gaceta Del Gobierno Supremo del Estado de Coahuila y Tejas. [Leona Vicario or Monclova:] Imprento del Gobierno del Estado, a cargo del C. Sisto Gonzalez, [1832 or early 1833?].Broadside (309 x 210 mm). Woodcut vignette of an eagle holding a shield at head. (Horizontal crease, small marginal inkspot.) Provenance: Darrel Brown (sold Heritage, December 2007). RARE PROSPECTUS FOR AN EARLY TEXAS NEWSPAPERGaceta was first printed on Friday, 11 January 1833 and was published through 1835. Though the printing schedule changed often, copies were initially issued every Monday and Friday, and readers could get copies for "un peso cada mes, para la capital, y diez reales para afuera franco de porte" [one peso each month, for the capital, and ten reals for outside carriage-free]. The prospectus cites a need for a newspaper in the region that would keep readers well-informed about both local and national news. Gaceta was well-read, but its popularity was challenged by Diario del Gobierno, a government publication which was released at about the same time. Copies of Gaceta are known in only two institutional collections: the Saltillo Archives, and the Texas State Library. VERY RARE: According to online records, this is the only copy of this prospectus to appear on the market at auction. Not in Charno; not in Streeter. CHECK STREETER. Property from the Collection of Dr. Brant MittlerFor condition inquiries please contact lesliewinter@hindmanauctions.com
SACRO BOSCO, Johannes de (fl. ca 1230-1240). Sphaera mundi, cum commento Wenceslai Fabri de Budweiss. Leipzig: Wolfgang Stockel, 1499.Small 4to (208 x 139 mm). Collation: A-C6 D4 E-G6 H4 I6 . 49 leaves (of 50, lacking I6, blank). 39 lines. Types: 160, title and headings; 81, text (leaded); 73, commentary. Capital spaces, with capitals, initial strokes and underlines supplied in red. Woodcut printer's device at end hand-colored in red and green, 28 woodcuts in-text, a few hand-colored in outline in red, one full-page. (Some browning or staining.) Later vellum (some minor soiling). Provenance: Diagram on title-page and marginal notes and diagrams throughout in a contemporary hand; Jois Henrici (17th-century inscription on title)A close reprint of Landsberg's edition of ca 1497, the first to be published with commentary by Wenzel Faber von Budweis (1455-1518), an astronomer, astrologer and theologian from Bohemia. Sacro Bosco's Sphaera Mundi, in which he sets out the basic principles of spherical astronomy, was widely commented upon, corrected and republished across Europe. First written in about 1220, the Sphaera Mundi is "a small work based on Ptolemy and his Arabic commentators antedating the De sphaera of Grosseteste. It was quite generally adopted as the fundamental astronomy text, for often it was so clear that it needed little or no explanation. It was first used at the University of Paris and from the middle of the thirteenth century it was taught in all the schools of Europe. In the sixteenth century it gained the attention of mathematicians, including Clavius. As late as the seventeenth century it was used as a basic astronomy text" (DSB XII, p. 61).RARE: according to online records, only one copy of this edition has sold at auction in the last 50 years; ISTC traces only 12 copies at institutions worldwide. BMC III 655; Goff J420; GW M14592; HC 14123; not in BSB-Ink. Selections from the Property of Dr. Eugene Vigil, Antiquariat BotanicumFor condition inquiries please contact lesliewinter@hindmanauctions.com
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