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Click here to subscribeSEVEN NAO FIGURES, girl with cello, height 19cm, girl holding a posy of flowers, 'Walking on Air' No.1343, height 27cm, girl standing feeding Doves, height 27cm (two of the birds reglued), girl wearing a nightgown holding a basket, height 25.5cm, another girl carrying a basket of flowers and 'April Showers' No.1126 (missing parasol) (7)
§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) UNTITLED OG.4422 - 2013Signed and dated 2013, watercolour (Dimensions: 20cm x 28cm (8in x 11in))Provenance : Gimpel Fils , London Note: Biography: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.
§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) UNTITLED OG.3957 - 2012Signed and dated, mixed media (Dimensions: 18cm x 26cm (7in x 10.25in))Provenance: Gimpel Fils , London Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.
§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) CARIB ISLAND NO.2 - 1976Signed, gouache (Dimensions: 56.5cm x 81cm (22.25in x 31.75in))Provenance: Gimpel Fils , London Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.
§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) MAGIC PICTURE NO.1Lithograph, 39/500, signed and numbered in pencil to margin (Dimensions: 57cm x 77cm (22.5in x 30.25in))Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.
§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) BIRD THROUGH THE WALL, NO. 8Signed, inscribed and dated 'March '71' verso to each canvas, oil on canvas across two panels (Dimensions: 152.5cm x 244cm (60in x 96in), total size) (Qty: 2)Provenance: Gimpel & Weitzenhoffer, New York Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his. Bird Through the Wall, No. 8 is a large-scale artwork that unfolds across two canvas panels, just as the artist’s vision and inspiration did. The striking diptych is quintessentially Davie, with strong colour, graphic symbols that recur from other paintings, including the titular bird, and gestural, energetic and dynamic brushwork, where he patterns the paint, and allows it to splodge and drip. There is a clear power and energy at work here, though an exact meaning is difficult to distil.
§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) POET CREATING AN EGG, 9293 - JULY '64Signed, dated and inscribed, watercolour (Dimensions: 55cm x 75cm (21.75in x 29.5in))Provenance : Gimpel Fils , London Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.
JACQUELINE DU PRE/HERBERT DOWNES - MUSIC FOR VIOLA AND CELLO LP - ORIGINAL UK 1ST STEREO EDITION (HMV - CSD 1499). The extremely hard to find original 1963 UK stereo edition of Jacqueline Du Pre with Herbert Downes performing Music for Viola and Cello. The record (CSD 1499, turquoise/gold labels) is in Ex condition with a few light hairline/scuff markings, these strictly surface only and are as stated very light. The sleeve is in VG condition - the front clean with a couple of light creases on the bottom right section, the reverse shows some wear to part of the flipback tabs (top right section slightly peeling, bottom right section lifting lightly) - there is also some minor signs of water damage on the 'lower section' which is slightly 'wavy'.
TANEYEV SERGEI: (1856-1915) Russian Composer & Pianist, the most trusted musician amongst the friends of Pyotr Ilyich Tchiakovsky. A good signed and inscribed folio edition of the sheet music for his Piano Quartet in E Major (Op. 20), published by M. P. Belaieff, Leipzig, 1907. Signed and inscribed by Taneyev in Cyrillic to the head of the title page and dated Moscow, 14th October 1907. Handsomely bound in burgundy with gilt stamped title etc. to the cover and spine. Together with similar bound folio sheet music for the Violin, Viola and Cello parts of the same work (all unsigned). Some very light age wear, otherwise VG, 4 £200-300
JOACHIM JOSEPH: (1831-1907) Hungarian Violinist and Composer. A close collaborator of Johannes Brahms. A good A.L.S., including a musical quotation, `Joseph Joachim´, one page, small 4to, n.p., n.d., to Casorti, in French. The composer has carefully penned a four bar quotation, which he identifies as Bach´s Gavotte, sixth Sonata. An interesting musical content letter, Joachim stating `The musical pieces that I played with cello are included in the sixth sonata of J.S.Bach, the gavotte´. With blank integral leaf. VG £200-300
TWO MEISSEN MUSICAL THEMED FIGURES one of lady playing a cello with a lamb at her feet 15.5cm high, the other of a man playing a mandolin, together with a Naples group of a man and woman, a Meissen female amongst flowers and two other continental figures (6) Condition Report: All figures have breakage's including missing fingers, ends of musical instruments. The figure of a woman amongst flowers was possibly a chamberstick in the past as it has a handle to the back.
Attributed to the Panormo School (Edward Ferdinand Panormo) an English violoncello (cello), circa 1830, cased, with bow. Provenance. This piece is consigned with correspondence dating from 1932 - 1996. August 19th, 1932, a hand written letter addressed to a previous owner, by Louis H Maby, Violin Maker & Dealer, 14 Lower Arcade, Bristol 1, "I have examined the cello you left with me and in my opinion it is a Panormo, youth Panormo (son of Vincent Panormo), London, about 1830". A further typed letter dated 2nd April 1971 by Mr. Robert Raeburn, violin maker, restorer and expert, of The Rectory, Toft, Cambridge, reads "I certify that the Violoncello in the possession of [current vendor] is in my judgement the work of the Panormo family. The instrument is not labelled but can probably be attributed to Edward Ferdinand Panormo of London and Brighton, grandson of Vincenzo Trusiano Panormo. I date it at circa 1830 - 40. It is possible that it is a composite instrement: the back and sides being considerably older than the top and probably the work of Vincenzo Panormo. Descriptiopn: The back in two pieces of 'fiercely' grained maple cut on the slab. The table of medium grained pine. Head and sides of medium 'flamed' maple. The varnish: table of reddish colour. Back and sides of golden-brown. The Violoncello is in a good stage of preservation. I value it at £400". A later hand written letter by J.R Geach, Luthier, 15 Market Square, Bishoip's Castle, Salop, dated July 28th 1987, addressed to the current vendor " Having today examined the viloncello belonging to [current vendor] and having certification dated 1932 and 1971, I am able to say that the instrument, unlabelled, is of the Panormo family or school, and that it dates from the first third of the 19th century. The instrument s in good playing condition but not in a contemporary state of show-room repair. The current price of which such an article changes hands is £4,500" Together with a Halls property receipt dated 1996 and a Sotheby's property report dated 2nd August 1996, detailing an estimate of £3,000 - £5,000.
A Royal Doulton set of nine musical figures, comprising; Cello, HN2331, Harp HN2482, Dulcimer HN2798, French Horn HN2795, Hurdy Gurdy HN2796, Viola D'Amore HN2797, Flute HN2483, Cymbals HN2699, Chitarrone HN2700. Each with a certificate, box and seven plinthsCondition: Violin bow missing. Cymbal detached but present. No obvious signs of damage or restoration to other figures
An 18th century cello, labelled 'Jacobus Stainer in absam prope oe nipontum 1660', in a W. E. Hill & Sons ebonised wood case, the two piece back with central diamond pattern purfling with irregular flame and fine fleck, and similar sides and scroll with replacement neck, the varnish of orange chestnut brown colour, the bridge stamped W. E. Hill & Sons, Length of back 71cm, upper bouts 32cm, middle bouts 22.5cm, lower bouts 41cm wide, Numerous old repairsProvenance - Margherita Tedeschi (d. 1986), a music teacher; thence by family descent. Her brother Guido was a luthier. Possibly Miss R. Backhouse (Blackhouse?) inscribed 'Miss R. Backhouse 1768' on a W. E. Hill & Sons label applied to a brown paper sleeve, presumably for a bow, found inside the case.
Late 19th/early 20th century ebonised pine cello case by W.E. Hill, 120 Bond Street, London, original brass carrying handles, hook catches, hinges and locks, green plush and mahogany fitted interior, with ebonised bow stays, leather strap and two hinged compartments L131cm Condition Report Click here for further images, condition, auction times & delivery costs
CLASSICAL - LPs. Great collection of works with around 94 x LPs with 6 x LP box sets. Performers/works include Jacqueline Du Pre - Elgar Cello Concerto (ASD 655 boxed), Ingrid Haebler - Mozart Piano Concertos (SAL 3545), George Szell - Brahms Piano Concerto No. 1 (SXL 6023 boxed narrow band), Kertesz (SXL 6044 boxed narrow band), Richter (138 076), Ashkenazy (SXL 6058 boxed narrow band), Kyung-Wha Chung - Bruch Violin Concerto (SXL 6573, boxed narrow band 1st issue), Georg Solti, Clifford Curzon, Itzhak Perlman/James Levine (419 184-1), Annie D'Arco, John Ogdon, Roger Fisher, Bernard Haitink, Mstislav Rostropovich, Kathleen Ferrier, and Samson Francois. Condition is often Ex to Ex+.
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