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Click here to subscribeA George II mahogany or red walnut games table, the shaped rectangular top with a green baize playing surface and square card recesses above a plain frieze raised upon front leaf carved cabriole legs, claw and ball feet, rear legs of tapering cylindrical form with padded feet, restored back leg 74 x 91 x 45 closed
* KONCHALOVSKY, PETR (1876-1956) Still Life with Lilacs, Blue Cup and Two Books , signed and dated 1949, also further signed, dated and numbered ""1527"" on the reverse. Oil on canvas, 153.5 by 200 cm. Provenance: Previously at the Hotel Leningradskaya, Moscow. Russian Pictures, Sotheby?s London, 20 November 2002, lot 92. Acquired at the above sale by the present owner. Important private collection, Europe. Literature: Konchalovsky. Khudozhestvennoe nasledie, Moscow, Iskusstvo, 1964, p. 152, listed as ?zhi 1237?. Pyotr Konchalovsky?s famous ?Lilacs? may be called the artist?s visiting card of the 1930s to 1950s and the high point of Soviet still life. For thirty years Konchalovsky painted lilac blossom every spring, and each time, as with musical suites that form a cycle, the work he produced would be in a similar major key, but totally individual. The artist himself used to say ?I never do anything a second time ? every colour needs to be painted afresh on each occasion?. And in fact the same ingredients ? bunches of lavender-coloured, white, pink and lilac blossom, a wicker basket, earthenware jug, and wooden cottage table ? would give birth to a different picture every time. They might be large flamboyant paintings for a grand entrance (Lilacs in a Basket (Heroic), Lilacs in Wickerwork); or modest, cottagey and lyrical compositions with bouquets in glass jars and wooden buckets (Window, Lilacs in a Bucket on the Floor); or spangled lilac blossom on the living bough that seems to burst through a wide-open window (Lilac Bush, Lilac in a Window). In Konchalovsky?s painting it is hard to accord precedence to any one iconographic line as opposed to another. It is beyond doubt, though, that the tradition of grand still life compositions involving many objects, to which Still Life with Lilacs, Blue Cup and Two Books offered here at auction belongs, became for the artist the embodiment in Soviet painting of the line of succession in world art that springs from the flower paintings of the 17th-century Dutch Old Masters. Lilacs, as his constant if not his main subject, entered Konchalovsky?s life in 1932 when he acquired the dacha at Bugry to which his family would repair every year from Moscow for the summer months. At the front of the house there were established flowerbeds and all manner of lilac bushes growing. Konchalovsky took to gardening with an enthusiasm for breeding new varieties of lilac and from then on painting their blooms became one of his favourite occupations. Konchalovsky found that in ?flowers there is everything that exists in nature, only in more refined and complex forms, and you should get to know every flower ? especially with lilac or a bunch of wild flowers ? like some thicket in the woods, till you pick up the logic of its structure and discover the laws behind configurations that appear at first to be accidental...? Thanks to a long time pursuing this kind of exercise, Konchalovsky achieved an astonishingly lifelike quality in the bouquets he painted. He painted flowers so that they seemed to preserve not only their freshness of colour, but the very scent they have in nature. The appearance on the art market of Still Life with Lilacs, Blue Cup and Two Books is an exceptional event, for this is not simply the majestic two-metre canvas that for many years adorned one of the foremost Soviet interiors in that tall building on Kalanchovskaya Square, the famous Hotel Leningradskaya. It is also of showpiece quality and a magnificent example of the art of the 20th century?s leading Russian classic painter.
* KONCHALOVSKY, PETR (1876-1956) Still Life with Lilacs, Blue Cup and Two Books , signed and dated 1949, also further signed, dated and numbered ""1527"" on the reverse. Oil on canvas, 153.5 by 200 cm. Provenance: Previously at the Hotel Leningradskaya, Moscow. Russian Pictures, Sotheby’s London, 20 November 2002, lot 92. Acquired at the above sale by the present owner. Important private collection, Europe. Literature: Konchalovsky. Khudozhestvennoe nasledie, Moscow, Iskusstvo, 1964, p. 152, listed as “zhi 1237”. Pyotr Konchalovsky’s famous “Lilacs” may be called the artist’s visiting card of the 1930s to 1950s and the high point of Soviet still life. For thirty years Konchalovsky painted lilac blossom every spring, and each time, as with musical suites that form a cycle, the work he produced would be in a similar major key, but totally individual. The artist himself used to say “I never do anything a second time – every colour needs to be painted afresh on each occasion”. And in fact the same ingredients – bunches of lavender-coloured, white, pink and lilac blossom, a wicker basket, earthenware jug, and wooden cottage table – would give birth to a different picture every time. They might be large flamboyant paintings for a grand entrance (Lilacs in a Basket (Heroic), Lilacs in Wickerwork); or modest, cottagey and lyrical compositions with bouquets in glass jars and wooden buckets (Window, Lilacs in a Bucket on the Floor); or spangled lilac blossom on the living bough that seems to burst through a wide-open window (Lilac Bush, Lilac in a Window). In Konchalovsky’s painting it is hard to accord precedence to any one iconographic line as opposed to another. It is beyond doubt, though, that the tradition of grand still life compositions involving many objects, to which Still Life with Lilacs, Blue Cup and Two Books offered here at auction belongs, became for the artist the embodiment in Soviet painting of the line of succession in world art that springs from the flower paintings of the 17th-century Dutch Old Masters. Lilacs, as his constant if not his main subject, entered Konchalovsky’s life in 1932 when he acquired the dacha at Bugry to which his family would repair every year from Moscow for the summer months. At the front of the house there were established flowerbeds and all manner of lilac bushes growing. Konchalovsky took to gardening with an enthusiasm for breeding new varieties of lilac and from then on painting their blooms became one of his favourite occupations. Konchalovsky found that in “flowers there is everything that exists in nature, only in more refined and complex forms, and you should get to know every flower – especially with lilac or a bunch of wild flowers – like some thicket in the woods, till you pick up the logic of its structure and discover the laws behind configurations that appear at first to be accidental...” Thanks to a long time pursuing this kind of exercise, Konchalovsky achieved an astonishingly lifelike quality in the bouquets he painted. He painted flowers so that they seemed to preserve not only their freshness of colour, but the very scent they have in nature. The appearance on the art market of Still Life with Lilacs, Blue Cup and Two Books is an exceptional event, for this is not simply the majestic two-metre canvas that for many years adorned one of the foremost Soviet interiors in that tall building on Kalanchovskaya Square, the famous Hotel Leningradskaya. It is also of showpiece quality and a magnificent example of the art of the 20th century’s leading Russian classic painter.
Good quality Edwardian neoclassical revival satinwood demi-lune card table with fine quality marquetry and pen work inlay, with fan-shape paterae, husks, ribbons and floral festoons within a similarly decorated hardwood crossbanded border, the frieze decorated with further festoons and ribbons, on square taper legs decorated with husks, terminating on spade feet, 93cm wide
(x) Cape of Good HopePostal Stationery1898 1d. carmine card with views of Cape Town printed in sepia on reverse (4), comprising Table Mountain used to England, View of Claremont (2, one unused and one used to Hungary) and Queen's Hotel, Sea Point used to Holland with address crossed through; a couple with small faults though a scarce group Subject to 5% tax on Hammer Price in addition to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.
A Victorian burr walnut foldover card table, the half veneered swivelling top with rounded corners and moulded edge, opening to reveal a green baize lined playing surface, supported on four columns with leaf-carved bulbs, raised on four hipped and scroll carved legs, moving on castors. 75.5cm by 92cm by 45cm (closed)
A Victorian burr walnut foldover card table, the half veneered swivelling top with rounded corners and moulded edge, opening to reveal a green baize lined playing surface, supported on four columns with leaf-carved bulbs, raised on four hipped and scroll carved legs, moving on castors. 75.5cm by 92cm by 45cm (closed)
Thirteen vignettes, Robert Lee and Robert Tyndall, pen and ink and watercolour, for illustrations in Book 14, Noddy and the Bumpy-Dog, titles as follows: "Katie Kangaroo came jumping up" (on board), for p. 9 (13 x 18.2cm); "Noddy fell down again, and bumped his head against the table" (on card), for p. 38 (top) (10 x 15.8cm); "Oh please don`t begin licking me again!" (on board), for p. 36 (bottom) (7.2 x 8.4cm); "All right you can stay" (on card), for p. 38 (bottom) (7.1 x 6.6cm); "He even jumped up into Noddy`s Chair and sat there" (on board), for p. 28 (7.9 x 10.1cm); "`Don`t do that!` said Noddy" (on board), for p. 36 (top) (7.1 x 10cm); "Noddy held on to Bumpy to stop him following her", part illustration for p. 49 (6.1 x 11.2cm); "Oh dear - what could you do with a dog like that?" (on card), for p. 47 (9.5 x 14.5cm), with piece out of one side; "`Goodbye Dog!` cried Miss Rabbit as the car drove off. `Take care of that paw!`" (on card), for p. 18 (11 x 9.5cm); "Goodness - what a way to get along!" (on card), for p. 10 (15.8 x 18.7cm); "Bumpy leapt down and ran to Big-Ears" (on card), for p. 59 (8.4 x 7.2cm); "Come along, Bumpy - and don`t you dare to knock me over!" (on card), for p. 60 (10.3 x 7.1cm); and "Bumpy you must run behind the car this time, carrying the goblin" (on paper), for p. 54 (15.8 x 18cm). (13)
Thirteen vignettes, Robert Lee and Robert Tyndall, pen and ink and watercolour, for illustrations in Book 14, Noddy and the Bumpy-Dog, titles as follows: "Katie Kangaroo came jumping up" (on board), for p. 9 (13 x 18.2cm); "Noddy fell down again, and bumped his head against the table" (on card), for p. 38 (top) (10 x 15.8cm); "Oh please don`t begin licking me again!" (on board), for p. 36 (bottom) (7.2 x 8.4cm); "All right you can stay" (on card), for p. 38 (bottom) (7.1 x 6.6cm); "He even jumped up into Noddy`s Chair and sat there" (on board), for p. 28 (7.9 x 10.1cm); "`Don`t do that!` said Noddy" (on board), for p. 36 (top) (7.1 x 10cm); "Noddy held on to Bumpy to stop him following her", part illustration for p. 49 (6.1 x 11.2cm); "Oh dear - what could you do with a dog like that?" (on card), for p. 47 (9.5 x 14.5cm), with piece out of one side; "`Goodbye Dog!` cried Miss Rabbit as the car drove off. `Take care of that paw!`" (on card), for p. 18 (11 x 9.5cm); "Goodness - what a way to get along!" (on card), for p. 10 (15.8 x 18.7cm); "Bumpy leapt down and ran to Big-Ears" (on card), for p. 59 (8.4 x 7.2cm); "Come along, Bumpy - and don`t you dare to knock me over!" (on card), for p. 60 (10.3 x 7.1cm); and "Bumpy you must run behind the car this time, carrying the goblin" (on paper), for p. 54 (15.8 x 18cm). (13)
A Victorian walnut and burr walnut folding card table, second half 19th century, the demi-lune top inset with green baise above plain frieze, quadruple pillar supports, platform base, four outswept legs each with greek key and acanthus carving terminating in acanthus feet and white porcelain castors 75cm high, 92cm wide, 45cm deep
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