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Click here to subscribeMulti Signed Book Mosquito Missions RAF and De Havilland Mosquitoes by Martin W Bowman 2012 Hardback Book First Edition with 217 pages Multi Signed by 16 Veterans on the Title page published by Pen & Sword Aviation, good condition. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Royal Albert - A very large quantity of Old Country Roses pattern dinner wares, tea wares and similar, approximately 290 pieces. This collection is not all first quality. [W]NOTE: THIS LOT IS NOT AVAILABLE FOR IN HOUSE SHIPPING, PLEASE CONTACT CLIENT SERVICES FOR A LIST OF SUITABLE COURIERS AND A QUOTE.
Two silver mustard pots with blue glass liners, the first of oval section with pierced scrolling decoration, Birmingham assay 1903, the second of London assay 1932, sponsors mark for William Comyns & Son (Richard Comyns) with a silver mustard spoon, approximately 161 grams / 5.1 ozt excluding liners. [W]
A mixed lot of figures to include Royal Doulton Snowman Collection, Beswick Norman Thelwell, Brambly Hedge and other, largest approximately 13 cm (h). [W].Condition Report: Snowman figures by Royal Doulton are all first quality and comprise # DS5 Snowman Magic (rotating musical piece), no chips, cracks, hairlines, crazing or restoration (musical movement plays and piece rotates), # DS2 The Snowman has a chip to the figures hat, no cracks, hairlines, crazing or restoration (there is an adhesive substance applied to the bottom of the figure as it was presumably attached to the music box for display), # DS17 Cellist Snowman has no chips, cracks, hairlines, crazing or restoration and # DS4 Thank You Snowman has no chips, cracks, hairlines or restoration. Coalport Paddington figure has a hairline crack to the base, no chips or restoration, some crazing and surface dirt. Beswick Thelwell figure has no chips, cracks, hairlines, crazing or restoration, Royal Doulton Brambly Hedge figures appear in good condition, no chips, cracks, hairlines, crazing or restoration.
Collector plates to include four Brambly Hedge Seasons plates, The Snowman, Wind In The Willows and other, eighteen in total. [W]Condition Report: Snowman plates are all first quality and appear in good condition, no chips, cracks, hairlines, crazing or restoration, minimal scratching / surface marks, some slight surface dirt in areas. Brambly Hedge plates are all first quality and appear in good condition, no chips, cracks, hairlines or crazing, some light surface scratching in areas and some surface dirt. Owl and the Pussy-cat plates are first quality and in good condition, no chips, cracks, hairlines, crazing or restoration, some light surface scratching and in need of a good clean. Wind in the Willows plates are all first quality, no chips, cracks, hairlines, crazing or restoration, minimal surface marks, some slight surface dirt.NOTE: THIS LOT IS NOT AVAILABLE FOR IN HOUSE SHIPPING, PLEASE CONTACT CLIENT SERVICES FOR A LIST OF SUITABLE COURIERS AND A QUOTE.
Manufaktur Rodental - A collection of Original M I Hummel figures, predominantly boxed to include Winters Here, Holiday Fun, Spring Dance, First Snow and other, largest approximately 7 cm. [W]Condition Report: Good condition overall, no chips or significant damage, pieces have discolouration and tobacco odour.
A vintage aluminium mechanical money bank and a small soft toy bear. [W]Note: Mechanical cast iron banks were first manufactured in the late 1800's during the industrial revolution. The 'Jolly Banks' or money boxes were a popular item during this period and are also associated with Black Memorabilia. These items are listed on the basis that they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.
A Victorian Gothic revival silver christening mug, by George Angell & Co, London 1858, with embossed and chased decorated panels after Kate Greenaway, 10 x 9cm, stamped to base Charles Nephew & Co . Calcutta, (Active in Calcutta 1848-1870), 5.7oz.There is a dent however please see additional image. There is no personal engraving, but the first additional photograph indicates where there was an old engraving, there is also a little wobble when sitting on a flat surface.
The Twins Drink Milk, by Waltons of Blackpool, supplied by D. Robinson & Co., Blackpool, pat no. 31817/56, slot machine, oak cabinet, 61 x 45 x 67cm, plays 2p. This is the improved version of Walton's original 1930's machine which used real liquid in the bottles and was unreliable, this design uses solid wooden blocks as the "milk" which slide down through the bottom of the bottles to simulate the babies drinking. Players compete to turn the handles as fast as possible causing the babies to "drink their milk" - the first to empty the bottle is declared the winner by means of the arrow indicator swinging to the left or right. Provenance; Watermouth Castle, Ilfracombe, North Devon. Key
Caille Victory Centre Pull mint vendor slot machine, one arm bandit, c.1923. Restored and working on American 5 cent coin, named for the successful conclusion of WWI, the first versions in 1919 were made from cast iron and vended gum, in 1923 aluminium was used and they vended mints, 67 x 37 x 40cm. Pays out, locks, with key.Recently restored and in partial working order, the reels need a little more attention to their adjustment as they sometimes spin and sometimes not.With key.
Yamaha RD250 racing motorcycle - first registered 1975, LRO 854P, engine no. 522-05269 with matching frame number: Formerly the property of the well known sprinter Sheelagh Neil. The bike was in her hands for over forty years, being used in sprints and hill climbs, the best sprint recorded 13.01 seconds over a quarter mile. The bike was last run in 2021 so some light recommissioning will be required, the V5 is still on the database. Sold together with a trailer, some spares and original road parts.
Colonial School. Neogranadine Workshop. Circle of Gonzalo de Carvallo. 17th century."Saint Nicholas of Tolentino"Magnificent sculpture of the friar, in carved, gilded, estofado, and polychromed wood. It is lavishly decorated with marvellous estofado technique with star and vegetation motifs.168 x 62 x 57 cm.We would situate the carving in the important group of sculptors that has been generically termed as "Neogranadine," or from New Granada, which, as we read in the book by Adrián Contreras-Guerrero, serves to "refer to the art produced anywhere in the Royal Audience of Santafé (regarding the 16th and 17th centuries) or in the Viceroyalty of New Granada (if it is from 1717 onwards). The historian proposes replacing both denominations with the adjective "Cundiboyacense" since "it is in this geographical context that the majority of artworks were made. The Altiplano Cundiboyacense (a high plateau in the Colombian Andes), with its two capitals, Bogotá and Tunja, was the area with the highest population density, and therefore, the greatest artistic activity."This school is clearly of Spanish character and contrasts with the mestizo style and more indigenous influences of the sculptural schools of Mexico or Peru.In our opinion, the sculpture is a clear example of the great influence of the Mannerist School of Seville that permeated Neogranadine art. As Contreras-Guerrero again notes, "One of these peninsular artists active in Santafé at the dawn of the 17th century is Gonzalo de Carvallo, who is referred to in several documents as a painter and sculptor simultaneously. The first one dates from 1587 and places him in Tunja where, as a painter, he was receiving the apprentice Juan Recuero for a period of three years. Later, in 1600, he was in Bogotá acting as a guarantor for Juan de la Cerda for a loan of 500 ducats. The only sculpture known to be by him, although he undoubtedly made more, is in the Church of Saint Augustine and depicts Saint Nicholas of Tolentino." Precisely the same saint we have here.Another sculpture that bears similarities to this one is the Saint Anthony from the Neogranadine workshop of the 17th century, kept in the Archdiocesan Museum of Religious Art in Pamplona, Colombia. Nicholas of Tolentino was a 13th century friar, an Italian Catholic priest, mystic, and the first saint of the Order of Saint Augustine to be canonised. He is considered to be a protector of the souls in Purgatory and an intercessor for justice, motherhood, childhood, and health.Dressed in black, typical of the Order of Augustinian Hermits, with a star in the centre of his chest, or a sun, due to one of the events in the saint's life: it is said that a bright star continually followed him in his movements and illuminated his figure.In his left hand, partially broken, he carries a plate on which a partridge rests, reminiscent of one of his many miracles. "When they brought him a plate with cooked partridges, he raised his hand and after making the sign of the cross on the dish, the birds took their form, their feathers grew, and they were revived and stood up." Bibliography consulted: Adrián Contreras-Guerrero. “Escultura en Colombia. Focos productores y circulación de obras (Siglos XVI-XVII)” (Sculpture in Colombia. Production focuses and circulation of works (16th-17th centuries)) Granada, 2019.
Francisco Clapera (Barcelona, 1746 – Mexico, 1810)"Virgin and Child"Oil on copper. Signed: "Fco. Clapera".42 x 32 cmFrancisco Clapera was a Spanish painter who, after graduating from the Royal Academy of San Fernando in Madrid in 1768, spent much of his artistic career in Mexico, where he arrived via Peru during the 1770s. He participated in the founding of the Royal Academy of San Carlos, where he also taught painting. There, under the direction of Jerónimo Antonio Gil (the first director of the Academy), Clapera introduced European artistic techniques such as Contrapposto to Mexican painting. These techniques made "his casta paintings more dynamic than those of his Mexican contemporaries," as noted by Joy Davis in her work "Eighteenth-century dress and fashion in the casta paintings of Francisco Clapera" (2015).However, in 1790, "he resigned from his position as head of painting" at the Academy, as reported by art historian Clara Bargellini, who also states that "he is known to have created the altarpiece of Our Lady of Mercy in the Sacristy of Mexico." These two quotes are taken from the publication “Dos series de pinturas de Francisco Clapera” (1994) (Two series of paintings by Francisco Clapera), in the scientific journal Anales del Instituto de Investigaciones Estéticas, where Bargellini reveals "fifteen paintings of the life of the Virgin and ten half-length figures of apostles [that] are currently in the bishop's office in the building annexed to the cathedral in the city of Durango"; two series bearing Clapera's signature that were previously unknown. According to the Doctor, "despite the Neoclassicism of the language, the artist's dramatic handling of light and shadow is striking."Francisco Clapera is also known for being the author of the only complete series of caste paintings in the United States and one of the few that remain intact in the world. It is dated circa 1775, in Mexico, and consists of sixteen oils on copper, two of which are signed (inv. 2011.428.1-.16).It has been on display at the Denver Museum of Art since 1996 and, as explained in its cataloguing information, "depicts families in domestic settings engaged in private activities, providing a rare glimpse into daily life in 18th-century Mexico. Others depict occupations and serve as a document of life in colonial times. The clothing, activities, and utensils reveal the hybridisation of 18th-century Mexican culture in its blend of European, Asian, and Mexican material culture."The collection was one of the main attractions of the exhibition "ReVision: Art in the Americas," organised by the Denver Art Museum (October 2021 - July 2022) and, in partnership with that museum, exhibited again at the Minneapolis Institute of Art very recently (June - September 2023). Reference bibliography:- Bargellini, Clara. (1994). Dos series de pinturas de Francisco Clapera. “Anales del Instituto de Investigaciones Estéticas” (Nº. 65), 159-178. https://dx.doi.org/10.22201/iie.18703062e.1994.65.1702- Davis, Joy. (2015). “Eighteenth-century Dress and Fashion in the Casta Paintings of Francisco Clapera” [Master's Thesis, Fashion Institute of Technology, State University of New York]. FIT Institutional Repository. https://institutionalrepository.fitnyc.edu/item/326- Minneapolis Institute of Art. (8th June 2023). “The Minneapolis Institute of Art’s Newest Exhibition, in Partnership with the Denver Art Museum, Provides a Poignant Look into the History of Latin America”. https://new.artsmia.org/press/the-minneapolis-institute-of-arts-newest-exhibition-in-partnership-with-the-denver-art-museum-provides-a-poignant-look-into-the-history-of-latin-america- Pierce, Donna. (2015). Descriptive file on “De Mulato, y Española, Morisco”, by Francisco Clapera. Denver Art Museum. https://www.denverartmuseum.org/en/object/2011.428.5
Colonial School. Los Lugo Circle . New Granada. 17th century.'Saint Francis Borgia' Monumental and magnificent carved, gilded and polychromed wooden sculpture with 'estofado' decoration. 182 x 81 x 81 cm. A magnificent sculpture, highly comparable in anatomy and forms to the pair of Jesuit saints (Saint Francis Borgia and Saint Ignatius of Loyola) by Juan Martínez Montañés (1568-1649), created between 1624-1625 for the Church of the Annunciation in Seville, originally the Professed House of the Society of Jesus and currently used as a university chapel. It is evident that the model is that of the sculpture of Saint Francis Borgia, which is not surprising, as the influence of the Seville Master was decisive in the training of the sculptors of New Granada. The figures in the church in Seville wear black, Jesuit cassocks, but they are considered to require extra clothing. However, the cassock on this sculpture is richly decorated with golden scrolls, as befits the 17th century. Nevertheless, the faces and hands are very similar to the sculptures in Seville in their position, depth, anatomy, movements, and foreshortening. We base our attribution on the significant coincidence of artistic traits with the large-scale Saint Ignatius, located on the Altar of the Church of San Ignacio in Tunja, and catalogued as being made by the Los Lugo Circle. The position of the saint is identical, as is the habit. They have the same decoration and sculptural quality in faces and hands. Without a doubt, we can attribute its creation to an artist in Pedro de Lugo's workshop, who could well have been the master himself. In the aforementioned altarpiece, Saint Francis Xavier and Saint Aloysius Gonzaga flank Saint Ignatius of Loyola, who presides over them. As stated by Adrián Contreras-Guerrero, 'thanks to Father Mercado, we know that the three central images of said altarpiece [...], were commissioned in Santafé,' which reaffirms our attribution to the Los Lugo Circle. As indicated by Francisco J. Herrera and Lázaro Gila, 'referring to Pedro de Lugo Albarracín, implies delving into the little-known field of the Neogranadine sculptural workshops of the 17th century, which, judging by the remaining artworks, must have been intensely active artisically, supported by the growing demand of private individuals, clergy, religious orders, cathedrals, and parishes, both in the capital and in surrounding localities. Just as names such as Antonio Acero de la Cruz, Baltasar de Figueroa, and Gregorio Vázquez de Arce are mentioned that express the creative maturity of the Santafé workshop in painting, Pedro de Lugo Albarracín and some others with the same surname (Salvador or Lorenzo) are predominantly cited when referring to the progress that occurred in sculpture during that century in colonial Santafé and other cities such as Tunja.' Both scholars analyse Pedro de Lugo's preference for the figure of Christ at different moments of his Passion, but they also point out that he and his workshop created images of saints and some reliquaries, a fact that is closely related to our figure. They mention, for example, 'two sculptures of the Saint of Assisi, located in the church of the convent of the order in Tunja.' One of them 'has similarities to the homonymous Saint of the altarpiece of Saint Francis Borgia, in the Jesuit temple of Bogotá, also already related to Lugo.' Regarding the origin of the sculptor Pedro de Lugo, we read again in Herrera and Lázaro that, 'taking into account his Andalusian ancestry, his possible birth in Jerez, and the close relations that he and his ancestors would have had with Andalusia, the most suitable place to imagine he had his training is Seville. Well before going to Latin America for the first time, or in a youthful stay, Pedro de Lugo could have trained as a sculptor and caster in the Andalusian capital. Ig is worth noting that the city had an important establishment for the production of artillery, where he would have learnt the techniques of alloying iron, copper, and tin, and even lead and other soft metals.' Pedro and his brothers Alonso and Juan maintained an active workshop of sculpture and casting in different materials in Santafé in the central decades of the 17th century, whose influence extends beyond the capital, reaching various locations, especially Tunja. Regarding the depicted character, Javier Baladrón, Doctor in Art History, explains that 'Saint Francis Borgia (1510-1572) was a Valencian saint who became the third General of the Society of Jesus. One of the best-known episodes of his life, which would become vital in his iconography, is that of the death of Queen Isabel of Portugal, wife of Charles V, in 1539. She was considered to be one of the most beautiful women in the world. This death marked him so much that he always commented that it was the day of his conversion: 'For the empress who died on a day like today. For what the Lord did in me because of her death. For the years that mark my conversion today.' Subsequently, he organised the entourage that escorted the queen's body to the Royal Chapel of Granada. Before it was buried, he observed the disfigured face of the queen, which became one of his most recurring attributes, and he was asked if he swore that it was the queen, to which he replied, 'I have brought the body of Our Lady in strict custody from Toledo to Granada, but I dare not swear that it is herself, whose beauty I so admired.'' Baladrón continues to describe this Saint Francis Borgia: 'a still and meditative figure. He stands upright, with his right leg slightly forward, creating a contrapposto that gives the composition dynamism. This is also contributed to by the opening of the arms in different directions and the turning of the face to contemplate the cross. We do not know if originally the skull could have been in one of the two hands since it is currently held to the ground by a rod. He extends his left arm, making a declamatory gesture with his hand while pointing to the royal skull at his feet; at the same time, he flexes his right arm, bringing the crucifix that he holds in that hand closer to his face. The hands are very delicate, elegant, and realistically accentuated, so that the bones, joints, veins, lines, and even the nails are carefully defined. The head is the most impressive part of the whole, with each of the facial features and the locks that make up his sparse beard and hair perfectly and skilfully delineated. The sculptor has accurately captured the facial features of the saint, so he has managed to make a portrait, which was known through the death mask that was taken of him. He wears the typical Jesuit habit consisting of black cassock and cape, decorated with a dense network of delicate golden vegetation motifs that completely cover both garments, as if with horror vacui. Likewise, both garments are traversed by countless moving and dynamic folds, most of them soft and falling vertically, which break up the surfaces creating a succession of concave and convex surfaces. This is especially visible on the back where we find a succession of rigid tubular folds.' We would like to thank Javier Baladrón, Doctor in Art History, for the formal and iconographic description of the sculpture. Reference bibliography: - Contreras-Guerrero, Adrián. (2019) 'Escultura en Colombia. Focos productores y circulación de obras (siglos XVI-XVIII)”. Universidad de Granada. - Herrera, Francisco Javier y Gila Medina, Lázaro. (2018). “Pedro de Lugo Albarracín y el desarrollo del pleno barroco en la escultura neogranadina del siglo XVII”, capítulo IX en “El triunfo del barroco en la escultura andaluza e hispanoamericana”. (p. 305-365). Universidad de Granada. Spanish Americas.
Attributed to Peter Lely (Soest, Germany 1618 - London 1680)"Portrait of the renowned English composer Henry Purcell (1659 - 1695)"Oil on canvas.42.5 x 31 cm.An important portrait executed during the musician's lifetime, which makes it a highly exceptional piece.The National Portrait Gallery in London has a portrait of Henry Purcell in its collection, attributed to John Closterman or his workshop, circa 1695. (https://www.npg.org.uk/collections/search/portrait/mw05172/Henry-Purcell?LinkID=mp03677&role=sit&rNo=2)In addition to the evident pictorial characteristics typical of the brilliant Lely, the historical context is also interesting to examine: John Blow (1649 - 1708), who was Henry Purcell's teacher, was painted by Peter Lely at the approximate age of 30. It seems logical that Blow turned to the Master Lely to request that he, the best portraitist in England at the time, paint his pupil Purcell, who appears to be about 20 years old in this portrait.Sir Peter Lely was a renowned painter and art collector during the Restoration era in England. He was known for his portraits of court ladies and admirals, specialising in portraying the ladies of high-society as languid and voluptuous women. He began his career as a painter of landscapes and historical compositions but soon realised that portraits were more lucrative and shifted his focus. His skill in this genre earned him recognition and he became the "best painter in England."As well as being a successful painter, he was also a passionate art collector. His collection included works by prominent Venetian painters such as Veronese, Bassano, and Tintoretto, as well as European artists like Van Dyck, Claude Lorrain, Rubens, and other Dutch and Flemish painters. Lely was inspired by the Dutch pictorial style and reflected the spirit and character of its subjects in his works. Throughout his career, Lely emphasized the artificial elegance of his subjects, having them adopt similar poses and eliminating any distinctions between them. His legacy as a painter and collector left a remarkable imprint on the art world.After his death, his collection was sold and it also included artworks by Van Dyck, Claude Lorrain, Rubens, and various Dutch and Flemish landscapists. Lely was the first English painter to have a large studio, and his portraits were imitated by other artists until the mid-18th century.Henry Purcell (Westminster, England, 1659 - 1695) was an important English Baroque composer. He incorporated French and Italian stylistic elements into his music, creating a distinctive English style of Baroque music.He is considered one of the most significant composers of all time. As we read on the LAPhil website by conductor Gustavo Dudamel: "Henry Purcell is, arguably, England’s most famous composer. The son of a court musician, organist of Westminster Abbey at a mere 20 years of age, and the recipient of royal appointments by three different kings, he is considered one of the most original and prodigious composers of his – or any – time.Although he incorporated French and Italian elements into his writing, his compositions would come to define the English Baroque style. Purcell’s relatively short life produced a broad repertoire, including sacred music, theatre music and opera, fantasies and sonatas for keyboard, and vocal and chamber music – much of which endures in popularity and recognition to this day."Provenance: Important Spanish private collection.The painting has always been attributed to the artist Peter Lely (1618 - 1680) through the various generations that inherited it.Reference bibliography: - LA Phil. (n.d.). "Henry Purcell". https://es.laphil.com/musicdb/artists/4339/henry-purcell
Juan de la Corte (Antwerp, circa 1585 - Madrid, 1662)"Garden and Neptune Fountain"Oil on canvas.153 x 251 cm.Born in Antwerp, as documented in his will, and probably trained in Flanders, he primarily developed his career in Spain, especially at the Court in Madrid. Juan de la Corte himself, as reported by the Prado Museum, confesses that he "focused on 'architectures, battles, and countries,' genres in which he was highly valued by his contemporaries." Specifically, the "proliferation of architectural perspectives" is a noteworthy aspect of his work, which can be seen by taking a leisurely look at the painting we have here. Additionally, he excelled in mythological themes, a subject matter uncommon in 17th-century Spain but one that the painter frequently engaged with.On the back, the label of Antonio Trillo's workshop, with the handwritten inscription: "Trillo forrador de Pinturas de S. M. Ce. de Jacometrezo Nº 80", and the remains of the label of the Junta de Incautación y Protección del Patrimonio Artístico (Board for the Seizure and Protection of Artistic Heritage).It is interesting to note that Antonio Trillo Díaz (1808-1853) was part of the painting restoration team at the Prado Museum, then known as the Royal Museum of Paintings, from 1829 onwards, working as a liner and colour grinder. As an interesting article in the Museo del Prado indicates, this initial staff was a hierarchical pyramid made up of three restorers, a liner and colour grinder and an assistant. The team was made up of the painters "José Bueno and Victoriano Gómez, both of whom had been involved in the restoration of the king's paintings from an early date" and had collaborated, before the Museum was founded, with Vicente López Portaña, First Court Painter and later Artistic Director of the Museum. Both painters, together with Pedro Bueno, José Bueno's brother, were the restorers and Manuel Fernández completed the team as an auxiliary assistant painter. The team worked in a newly built restoration room, created, organised and regulated between 1827 and 1829 and "approved by the king on the proposal of Vicente López", according to the Prado. Reference bibliography:- Museo del Prado. (n.d.). "Corte, Juan de la". https://www.museodelprado.es/aprende/enciclopedia/voz/corte-juan-de-la/4236322c-50b0-4cfa-aa66-36a16bb44dda- Ruiz Gómez, Leticia. (n.d.). "Restauración en el Museo del Prado". Museo del Prado. https://www.museodelprado.es/aprende/enciclopedia/voz/restauracion-en-el-museo-del-prado/6aee105c-9c94-4ef8-a726-de393fd7eaea
Spanish School. Gothic. Early 14th century."Seat of Wisdom (Sedes Sapientiae)"Carved, gilded and polychromed wooden sculpture. 101 x 46 x 22 cm.This sculpture is an impressive specimen of the Enthroned Virgin Mary with the Child, also known as a Virgin in Majesty, Seat of Wisdom or Sedes Sapientiae, which is in excellent condition despite the presence of some small volumetric losses in the Virgin Mary's legs or tiny marks caused by a past woodworm infestation. Its state of preservation, the sculptural quality of the piece, and the excellent polychromy mean that it is an artwork of great interest. As is often the case with this type of piece, the sculpture is only carved on the front, so the back, with the exception of part of the head and the crown, has been left uncarved, and even hollowed out to reduce weight.The Latin term Sedes Sapientiae (Seat of Wisdom or Throne of Wisdom) is used to designate the preferred medieval iconography of the Virgin with the Child. The Virgin Mary, the mother of Jesus, is his main support, the "throne" of wisdom. This designation was first used in the 11th and 12th centuries by Peter Damiani and Guibert de Nogent to compare the Virgin Mary to the throne of Solomon. The origin of these representations is Byzantine, with a movement that culminates with the Gregorian Reform (1073), becoming popular from then on in the Western Church. As is common in this type of Gothic representation, the Virgin has been portrayed facing forward, with a rigid body and a general hieratism that gives her an aura of majesty and timelessness. She appears to be seated on a throne without a backrest.The Virgin places her left hand on the left shoulder of her Son - a detail that leads Professor Clara Fernández-Ladreda to refer to this typology of groups of the Virgin with the Child as "Supporting Virgins" - showing a close and affectionate relationship between Mother and Son. In turn, she extends her right arm and keeps her hand with the palm up, holding a fruit between her fingers. It appears to be a pear, which, along with the apple, are the two most common fruits in this type of representation.Mary has a beautiful face that contrasts with the seriousness of her expression. She has large almond-shaped black eyes, with eyelids and lashes highlighted by the polychromy, which has also been used to blush her cheeks and chin. She has a wide, very naturalistic nose with sculpted nostrils, a small closed mouth, and a strong chin and jaw. Her golden hair falls symmetrically on both sides of her face in sinuous strands reaching to her back. Her head is covered by a bluish veil with a gold border cinched around the edges. On top of this, Mary is wears a large crown decorated in its middle band with a succession of rhomboidal gemstones alternately red and green. On her chest, she wears a golden medallion composed of a kind of central cabochon surrounded by others of a similar but smaller size.The Virgin wears a long tunic with a parabolic neckline that covers her entire body, from which only the head, hands, and pointed tips of her shoes escape. It is blue and is intermittently decorated with pairs of horizontal golden stripes delimited by thin, red borders. Above it, she wears a golden mantle with the collar lapels folded. It covers her shoulders, back, abdomen and right leg, also serving as a separation between Mother and Child on the left thigh. The Child Jesus rests on his mother's lap. He is seated on his Mother's left knee, with his legs open and his feet touching the Virgin's other knee. This typology is one of the most widespread iconographic types, which, according to Georg Weise, has its origin in the Virgin of Slavery in the cathedral of Vitoria, dated to the end of the 13th century. Although the effigy of Jesus has also been conceived with noticeable stiffness, this is softened by the detail of keeping one leg bent. He looks at the viewer, to whom he grants his blessing with his right hand, while holding an open book between the fingers of his left hand. He wears a wide white tunic decorated with diamond-shaped motifs inscribed within other red and blue diamonds, colours that are also found on the neckline and sleeves. Above it, he wears a mantle that covers his sword and legs. Jesus maintains a serious and impassive face. Despite this, his large blue eyes give him great expressiveness. He has a short and flattened hairstyle like a cap, and a rounded head.Although its origin cannot be determined, this is undoubtedly a very significant Gothic ensemble created in a workshop in the north of the peninsula dating back to the 14th century, perhaps in the first decades of the same. To its remarkable sculptural quality, we must add the candour that both figures exude and the excellent state of preservation of their delightful polychromy.We would like to thank dr. Javier Baladrón, Doctor of Art History, for the identification and cataloguing of this sculpture.
Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"Our Lady of Mount Carmel and Queen of the Carmelite Order with Child"Oil on canvas. Signed. 104.5 x 78 cm.A beautiful painting of New Spanish art from the delicate, tender, and mystical brush of Miguel Cabrera, who portrays the perfection of porcelain faces and anatomies, garments, movements, realism, and depth like no other, "as if we were present."It depicts the Virgin of Mount Carmel, also known as Star of the Sea, who is also the patroness of sailors, partly due to the proximity of Mount Carmel to the Mediterranean Sea. She is a beacon for ships as she announces safe harbour. She appears dressed as the "almsgiver of Carmel," with a royal crown on her head, holding the Christ Child in her left hand and a scapular in her right hand, a symbol of the yoke of Christ, the yoke that Jesus invites us to bear, but which Mary helps us carry.Miguel Cabrera was one of the most renowned painters in the field of 18th-century New Spanish painting, producing work that the Dallas Museum of Art defines as "legendary: over 309 works have been documented from his large studio."Little is known about his youth; in fact, according to the Andrés Blaisten Museum, it is only through the painter's will in 1768 that we know he was a native of Oaxaca.His first known records are from 1739, the year of his marriage to Ana María Solano, as well as his time in Juan Correa's workshop in the capital of the Viceroyalty.Archbishop Rubio Salinas was a protector of Cabrera, whom he appointed as his court painter. He was also a painter for the Society of Jesus, for whose churches he created numerous works.In 1753, he was appointed lifelong president of the San Carlos Academy.In 1756, Cabrera published "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura" (American Marvels and a Collection of Rare Marvels Observed Following the Rules of the Art of Painting), a narration about the image of the Virgin Guadalupe printed at the press of the Jesuit college of San Ildefonso.His works are preserved in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are housed in the Vatican Museum. Another, created in 1756 for the temple of San Francisco Javier, is preserved in the National Museum of the Viceroyalty.The Dallas Museum of Art houses a Santa Gertrudis La Magna by Miguel Cabrera, and another representation of the saint, also by Cabrera and dated 1768, is part of the collection at the José Luis Bello y Zetina Museum in Puebla, Mexico.Likewise, we should highlight an important series of Casta paintings from 1763, kept in the collection at the Museum of the Americas in Madrid. They depict families, father, mother, and child from various castes and social strata, in situations of everyday life.Reference Bibliography:- Dallas Museum of Art. (s.f.). "Saint Gertrude (Santa Gertrudis)". (2006.37). Https://collections.dma.org/artwork/5328501- Museo Andrés Blaisten. (s.f.). https://museoblaisten.com/Artista/79/Miguel-Cabrera
Attributed to Juan Correa (Mexico City, 1646 - 1716)"The Martyrdom of Saint Catherine"Oil on canvas. 183,5 x 125 cm.In this wonderful painting, we find the characteristics that made Correa a Master, as described by Dr. Ilona Katzew (Curator and Head of the Latin American Art Department at LACMA in Los Angeles). These include his nuances, colour gradation, and vibrant palette, providing a special iridescence that contributes to creating the mystical effect emanating from his paintings.In the collections of the aforementioned museum, there is a painting representing an angel carrying a cypress, and as Professor Katzew indicates in the caption, 'Along with Cristóbal de Villalpando (c. 1649-1714), Juan Correa is considered the principal painter of late 17th-century Mexico. Son of a famous Spanish surgeon and a freed black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque.'"The National Institute of Anthropology and History of Mexico defines him as "one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones."His origins were reflected in his creations, "as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin Mary with a dark complexion," a fact that "would become an unmistakable hallmark in his creations."Highlights among his extensive work include "The Coronation of the Virgin" at the National Museum of the Interventions, one of his masterpieces, and the "Expulsion from Paradise" at the National Museum of the Viceroyalty.Reference bibliography:- Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). "Juan Correa". https://mediateca.inah.gob.mx/repositorio/node/5231- Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). "Juan Correa, pintor novohispano afrodescendiente". https://mediateca.inah.gob.mx/islandora_74/node/5383
Colonial School. Viceroyalty of Peru. 18th century."Saint Martin de Porres"Polychromed alabaster sculpture. On its original plinth.45.5 x 27 x 15.5 cm.An impeccable and tender alabaster sculpture of the first mulatto saint of Latin America. A friar born in the Viceroyalty of Peru (1579-1639) belonging to the order of the Dominicans.Dressed in the white habit of his order, although it has been polychromed in blue on this sculpture, perhaps to give the illusionary effect of tonality to the white alabaster, he carries in his hands his favourite devotions: the Crucified Christ, for whom he gave himself three daily disciplines recalling his sufferings on the Cross, and the heart full of Love with which he humbly dedicated himself to the most destitute.Patron saint of public health workers, who used to tell the sick the phrase: "I cure you, God heals you." These words suggested that he did everything in his power to heal the physical body, while God was the one who actually acted through him and healed the most important thing: the soul.
Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)"Our Lady of Sorrows" and "Saint Francis of Assisi"Pair of oil paintings on copper. The first signed "Michl. Cabrera pinxit", el segundo "Michl. Cabrera en 1761".42 x 56.5 cm each. Miguel Mateo Maldonado y Cabrera was born on February 27, 1695, in Antequera, now Oaxaca City, Mexico. He is considered the foremost exponent of 18th-century New Spanish colonial painting. His parents are unknown and he was the godson of a mixed-race couple. He moved to Mexico City in 1719, where he began his artistic training. Cabrera painted altarpieces in the Jesuit church of Tepotzotlán in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter but also participated in the attempt to found an Academy of Arts in 1753. In 1756, he established himself as an intellectual, not just an artist, as he published a narrative about the image of Our Lady of Guadalupe through the printing press of the Jesuit college of San Ildefonso. In addition to easel painting, Cabrera's production includes altar design, large-scale works, as well as small artworks on copper and nun's shields. The figures in Cabrera's religious painting are of remarkable beauty, a beauty expressed through the ideological assumptions of worship of the time. It is refined art that possesses well-arranged chromatic richness, as well as great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that time, Cabrera had the most personality; the way he typically treated his figures was undoubtedly the basis of his painting style, because he placed models that were not ideal in his paintings, but that corresponded to people whom the artist knew and interacted with, such as when he incorporated portraits of donors or so-called "prelates" in some paintings, as he needed to observe directly and copy from nature. He was appointed court painter of Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe. The image was sent to Pope Benedict XIV, from whom he obtained the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor Juana Inés de la Cruz, housed in the National Museum of History, and that of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.Cabrera's work is present in numerous public and private collections, such as the Pinacoteca de La Profesa, the Andrés Blaisten Collection in Mexico, and the Museum of the Americas in Madrid, which has a series of caste paintings consisting of sixteen paintings, perhaps one of his greatest masterpieces. Provenance:- Private collection Bilbao.
Attributed to Jan Gossart "Mabuse" (Maubeuge, circa 1478 - Antwerp, 1532)"Virgin and Child (Portrait of Anna van Bergen with her son Hendrik)"Oil on panel. 47.5 x 36 cm.Our hypothesis regarding this painting, of which there are a few copies by Gossart's contemporaries and followers, is that it is the original by Mabuse which belonged to the Marqués de Leganés, registered in the inventory of his collection as number 379 ("Another image of Our Lady with the Child in her arms, holding a handheld rosary by Mabuse, measuring just under half a yard in number three hundred and seventy-nine, valued at twelve hundred Reales"). It was documented for the last time in 1655 and not located since then. The information that supports our hypothesis can be found in the doctoral thesis "El Marqués de Leganés y las Artes" by José Juan Pérez Preciado: "The motif of the rosary in the hands of the Virgin was frequently repeated among Flemish artists of the 15th century. Gossaert used it in a devotional work of which several copies are known. According to Karel van Mander, it was a painting created during Gossaert's service at the court of Adolf de Bourgogne, Marquess of Vere and Teerveuren. The artist used portraits of the nobleman's wife and son. According to Friedländer, the main painting under this iconography that the author created is that of the Metropolitan Museum in New York (inv. 17.190.17 T. 45 x 34). Although others are also preserved in the Royal Museum of Brussels (T. 43.7 x 31; inv. 3377), or in the Dresden Gallery. The fate of the painting is unknown, as it had already left the collection in 1711, when it was claimed by the Count of Altamira, the legal heir to the entire collection. It has not been possible to link any known copy to the work owned by Leganés, although the presence of a copy in the K. Kocherthaler collection in Madrid at the beginning of the 20th century is significant, as Friedländer himself attests."As indicated by the typewritten label on the back, with data from the former owner, it states that it was acquired precisely from the Kuno Kocherthaler collection in Madrid. Therefore, our painting is the one mentioned earlier in the thesis by José Juan Pérez Preciado, which was in Madrid at the beginning of the 20th century and could well be the one belonging to the Marqués de Leganés that has not been located to date.The MET in New York, as mentioned by Preciado, has a Virgin and Child similar to this one in its collections a, painted by a follower of Gossart, with collection number: 17.190.17.The Metropolitan, in its description of the work dating from after 1522, suggests that it may be "a replica of the lost original portrait by Gossart of the noble Anna van Bergen posing with her son Hendrik as the Virgin and Child." The note continues, stating that "portraits in which secular people adopt the appearance of sacred figures may seem provocative to modern sensibilities, but they capture the aspirations of their subjects to emulate the ideals of virtue and piety."As we read in the Museo del Prado's entry on Jan Gossaert, "The signed works that are preserved by Jan Gossaert, known as Mabuse, allude to his origin in Maubeuge, in Hainaut - currently in northern France. Although there is no news of where he was trained, it is possible that he received his education in Bruges, in the workshop of Gérard David (doc. 1484-1523), before 1503 when he enrolled in the Guild of Antwerp. In October 1508, he accompanied Philip of Burgundy to Rome, and during his stay in this city, Gossaert drew ancient statues and architectural monuments for him, becoming the first Flemish painter to directly experience Italian art. Upon returning to Flanders, he introduced classical models into his works, which abound in themes from Antiquity and nudes, such as those he painted in 1516 for Philip of Burgundy in the decoration of the castle of Suytburg in Zeeland, in collaboration with Jacopo de Barbari (ca. 1445-ca. 1515). Simultaneously, Gossaert became interested in 15th-century Flemish painting and copied some artworks, including those of Jan van Eyck (doc. 1422-1441), as he did in this panel at the Prado. His debt to tradition is also evident in his interest in translating the qualities of things, an interest that he maintained even in paintings and drawings of religious or mythological subjects in which classical forms are embodied in human types originating from Flanders (González Mozo, A .: El trazo oculto. Dibujos subyacentes en pinturas de los siglos XV y XVI, Museo Nacional del Prado, 2006, pp. 102-113)."Provenance:Former Kuno Kocherthaler Collection, Madrid. Early 20th century.Private collection.Reference bibliography: - Pérez Preciado, José Juan. (2008). "El Marqués de Leganés y las Artes”. [Tesis de doctorado. Universidad Complutense de Madrid]. Docta Complutense.- Museo del Prado. (s.f.). "Gossaert, Jan". https://www.museodelprado.es/coleccion/artista/gossaert-jan/c0969eda-6fea-4a7c-a868-2b919aa9a01f- Metropolitan Museum of Art. (s.f.). "Virgin and Child". https://www.metmuseum.org/art/collection/search/436539
Colonial school. Mexico. 18th century."Gallant scenes"Set of three oil paintings on canvas.82 x 62,5 cm. each.Despite not knowing the exact name of the painter of these three gallant scenes, we can affirm that they were part of a series, which was probably more extensive, and were created in Mexico in the period between 1750 and 1800, as we have located the iconographic reference used by the artist in at least two of these scenes. These are two prints made by François and Jean de Polly in Paris based on originals by Robert François Bonnart and Jacques Courtin in the first half of the 18th century. (Photos attached)Both pieces are characteristic of the Rococo gallantry that was popular at the time, and due to the rapid circulation of prints between France and the New World, they were undoubtedly of interest to Mexican society and considered to be very modern at the time. Furthermore, emphasising their Rococo character, they have an oval format (very much in vogue at the time) with beadwork which has been chosen to enhance their decorative nature, as these paintings were most certainly created for a civilian clientele and intended for a palace interior.In our opinion, it is interesting to highlight two details that differentiate the Mexican paintings from the engravings on which they are based. Firstly, the women portrayed appear less provocative or exuberant, as can be seen from the different neckline of the dress, which is much lower in the case of the French engraving and more modest in the case of the colonial paintings. Secondly, the lady in one of the oval portraits sports the characteristic beauty spot, which we find in various versions of the casta paintings, and which does not appear in the original engraving.
Attributed to Juan Correa (Mexico City, 1646 - 1716)"The Apparition of the Virgin to Saint Peter Nolasco"Oil on canvas. 153 x 97 cm.The iconography of this scene is somewhat special. Usually, we find the Virgin Mary wearing the white habit of Mercy (which she does not wear here) while handing over to Saint Peter Nolasco, dressed as a knight (as in this painting), a white habit of Mercy. In this scene, unusually, it is not a habit that the Virgin is handing over, but a white belt, symbolising chastity.In this wonderful painting, we find the characteristics that made Correa a Master, as described by Dr. Ilona Katzew (Curator and Head of the Latin American Art Department at LACMA in Los Angeles), such as his nuances, colour gradation, and vibrant palette, providing a special iridescence that contributes to creating the mystical effect emanating from his works.In the collections of the aforementioned museum, there is a painting representing an angel carrying a cypress, and as Professor Katzew indicates in the caption, 'Along with Cristóbal de Villalpando (c. 1649-1714)', Juan Correa is considered to be the most important painter of the late 17th century in Mexico. The son of a famous Spanish surgeon and a liberated black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque.The National Institute of Anthropology and History of Mexico defines him as "one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones."His origins were reflected in his paintings, "as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin with a dark complexion," a fact that "would become an unmistakable hallmark in his creations."Highlights among his extensive work include "The Coronation of the Virgin" at the National Museum of the Interventions, one of his masterpieces, and the "Expulsion from Paradise" at the National Museum of the Viceroyalty.Reference bibliography:- Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). "Juan Correa". https://mediateca.inah.gob.mx/repositorio/node/5231- Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). "Juan Correa, pintor novohispano afrodescendiente". https://mediateca.inah.gob.mx/islandora_74/node/5383
Flemish School. First half of the 16th century."Portrait of a Lady"Oil on panel.23 x 17,5 cm.On the back, it shows traces of a red wax seal.The painting was part of the Lázaro Galdeano collection, and is reproduced in the catalogue of said collection: "La colección Lázaro de Madrid" (The Lázaro Collection of Madrid,) published in 1927, page 321.
Two .22 (L.R.) riflesThe first a bolt-magazine rifle by CZ, no. 162959Plain receiver, the stock with pistol-grip and ebonite butt-plate, the barrel threaded for a moderator and with ramp-mounted blade foresight and cover, the receiver fitted with 'scope mounts and an Optima 3-9x40mm telescopic-sightWeight 7lb. 7oz., 14in. stock, 24in. barrel, Czech nitro proofThe second a '702 Plinkster' semi-automatic rifle by Mossberg, no. EHB324768Plain black receiver, push-through safety, synthetic stock with pistolgrip, the barrel threaded for a moderator, the receiver fitted with an Original 'Model 20' 2.5x32mm telescopic-sightWeight 5lb. 3oz., 14½in. stock, 16in. barrel, Birmingham nitro proofThis lot is subject to the following lot symbols: S1S1 Section 1 lots require a valid British Firearms certificate, RFD (Registered Firearms Dealer) Licence or import licence.For further information on this lot please visit Bonhams.com
Collection of Scarce Malt Whiskies from England, Wales and Ireland 4 bottles (all 70 cl) Collection of Scarce Malt Whiskies from England, Wales and Ireland comprising: 1 bottle ‘Cotswolds’ English Single Malt Whisky (46% ABV) (First ever release from Specially Selected First Fill Barrels) 2015 Odyssey Barley Limited Batch of 6200 bottles, 1 bottle Penderyn Single Malt Welsh Whisky (46% ABV) Madeira Cask Finish – in Presentation Carton, 1 bottle Penderyn “Legend” Single Malt Welsh Whisky (41% ABV) – in Presentation Carton, 1 bottle Connemara Single Irish Malt Whiskey (40% ABV) – in Presentation Tube.Qty: 4Wilson55 can help with delivery! Click on the shipping tab for more details.
Ken Nwadiogbu In the Wave Charcoal and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Ken Nwadiogbu (b. 1994, Lagos, Nigeria) is a self-taught multidisciplinary artist, based in Lagos, Nigeria. A trained civil engineer, he soon pivoted to fine art, first embracing hyperrealism and charcoal drawing before expanding his creative horizon to more conceptual works and a wider array of techniques, including acrylic painting, sculpture and installation. His works are inspired by iconic American contemporary art figures such as J.-M. Basquiat, Kehinde Wiley, Toyin Ojih Odutola and Kerry James Marshall. On Ken's large canvases, stories superimpose themselves in multiple layers. Mixing together hyperrealism with contemporary elements, he creates ingenious, politically charged visual illusions that deploy a singular outlook, daring the audience to question their own, for "value lies in the perspective". Defending an art that can be at once smart and fun, he explores grave matters in intense colours and playful cut-outs, addressing altogether black representation and identity, displacement, and socio-political control. Popularly known as KenArt, Ken is credited for introducing the "Contemporealism" movement and was named by Guardian Life as one of the most "Outstanding Personalities" in Nigeria. In 2019, he was awarded the prestigious The Future Awards Africa in recognition of his contributions to the Nigerian arts community. A core focus for him is to inspire and encourage young creatives. He does this through public speaking and mentorship, as well as through his creative companies. He nurtures an art collective called 'Title Deed' and co-found Artists Connect NG, the largest artist gathering in Nigeria, created to foster creativity, collaboration and community. His works have been exhibited in a number of galleries including Omenka Gallery ('Insanity' group show, Lagos, 2016), Retro Africa ('In the making', Abuja, 2018), Bricklane Gallery ('Contemporealism', London, 2019), Bomb Factory Art Foundation ('Journey Mercies', London, 2021) and Thinkspace ('Ubuntu', LA, 2021). His works were showcased at ART X Lagos on several occasions, at 154 London, and Prizm Art Fair, in Miami. He has worked on multiple projects with respected international brands like Martell Cognac, McMillan Publishers, Flight Logistics, and many others. Ken enjoys expanding his perspective -and ours, rarely ever leaving anything to chance, but rather proceeding from a place of joy, and intentional care. He is constantly revitalizing his practice by challenging modes of Black representation. His oeuvres do not just encompass various forms of painting but most recently transcends into photography, sculpture, installation, NFT and video Education MA Painting, Royal College of Art Select Exhibitions/Awards Awards: 2019: The Future Awards Africa Prize for Art Exhibitions: 2022, SCOPE Art Fair Miami, 2020, Prizm International Art Fair Miami, 2020, 1-54 African Art Fair New York, Portrait of a Top boy and Summer exhibition Royal Academy Gallery Representation Retro Africa Gallery and Kristin Hjellegjerde Gallery. Statement about AOAP Submitted Artwork In my artistic endeavours, I explore my personal experiences while also providing a social commentary on the shared experiences of others. For this AOAP project, I have delved into my own encounters in London, using them as a lens to shed light on the collective experiences of African immigrants in the city. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Christabel Blackburn Oh, California Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Millie Foster About London based artist Christabel Blackburn (born London, 1986) is a painter who conjures atmospheric scenes which focus on the interplay between people and spaces. Using a sensitively reduced visual language, Christabel distils the modern world and our interaction with it into quiet, concentrated scenes. Her figures are largely locked in their own universe, traversing streets formed of intersecting flat planes or drinking in art in colour drenched galleries. Her practice exists in a finely tuned space; we believe this world and yet it is removed from our own in its timelessness and absences. Largely gone is the paraphernalia of the twenty first century and what emerges in the space is a sense of order but more importantly psychological suspension. Perhaps these are what our memories or dreams of a sunny day might look like, no sound, rarely any shadows and none of the encumbrances of existing in the world. Women particularly take up space in an interesting way, confidently walking away or engaging with art alone. Education LARA, London, Figurative Painting and Sculpture, 2009-2011 Charles Cecil Studios, Florence, Figurative Drawing, 2008-2009 University of Newcastle Upon Tyne, Newcastle, Classical Studies, 2005-2008 Select Exhibitions/Awards Recent Paintings, Alex Eagle, Soho | current Splash, Ode to Hockney, Sophie Breitmeyer, Notting Hill | Current Art Uk Charity Auction, London | Sept, 2021 Faces || places, Group Exhibition, Nordic Art Agency, Malmö, Sweden | 2020 Pavements, Solo exhibition, Partnership Editions | 2020 Winner, Sky Arts Portrait Artist of the Year | 2020 Shortlisted for The BP Portrait Award | 2020 Recent Paintings, Alex Eagle, Soho | 2019 'Multiples', Bridgeman Editions, Green and Stone, London | 2019 Sky Arts Portrait Artist of the Year | 2017 You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
William Packer Aster Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Katherine Kittoe About William Packer (born 1940) has had a long career as a painter. He first exhibited at the RA in 1963 and has shown his work whenever possible ever since, both in group and solo exhibitions. He was a visiting lecturer for many years at art schools around the country and later an examiner and advisor. He is also a writer and art critic, having been the art critic of the FT for many years. He has written for various other newspapers, journals, and magazines, and has published several books on art and artists. He has served on many exhibition selection panels and institutional boards and committees, including the Crafts Council, the Government Art Collection, the Council for Academic Awards, and Heatherley's Art School. He has also curated a number of exhibitions, including the first British Art Show and a major Elizabeth Blackadder Retrospective. He is married to Clare Packer, who is also an artist, and they live in Brixton. Education Windsor Grammar School, Wimbledon School of Art and Brighton College of Art. Select Exhibitions/Awards Many group exhibitions over the years, notably with the RA on occasion and regularly with the New English Art Club of which he is a member: regular solo shows until lately with the Piers Feetham Gallery, and recently with Kittoe Contemporary. Gallery Representation Kittoe Contemporary Statement about AOAP Submitted Artwork Since the 1990s, most of my work has been still life, though never exclusively so - a small family of familiar pots, jars and cans, and flowers from the garden, however so modest they may be. These are what were immediately and typically to hand. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Laurence de Valmy Sisterhood Acrylics on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Laurence de Valmy combines painting and digital mediums, to bring a new light on our collective imagery and make the viewers ponder on our society including the notion of fame, the place of women or the role of social media. Laurence de Valmy is French American and lives in San Diego, USA. Her work is represented by galleries based in New York, UK and France. She is an active member of Artcan.org, a non-profit artist community. Education Laurence de Valmy studied painting in private studios and art history at the Ecole du Louvre. She holds a Master from the University of Paris, and an MBA from the Institute of Business Administration Aix. SELECT EXHIBITIONS/AWARDS SELECT EXHIBITIONS 2023 Pop Color, Artspace Warehouse, Los Angeles Fall exhibition, Range of Arts, Honfleur, France Pop: Summer exhibition, Azart Gallery, NY ArtCan with love, London Opening exhibition, Amber Galleries, Henley on Thames NFT event at Santa Monica Art Museum (California) 2022 Urban Pop, Bountiful Davis Art Center, UT curated by Todd Marshall Feminist connect, Charles Adam Studio Project, in Lubbock, Texas Explore 01, Kroll x ArtCan, New York Eye of the beholder, 508 King Gallery, London 2021 Connected, Summit Public Art, Summit, NJ, USA Monumental, juried by Sergio Gomez, USA A Thousand Words, The Curator's Salon, juried by Gita Joshi Art on a Postcard, London, curated by Gemma Peppe - Invitational Wish You Were Here, The Postal Museum, London Flower Fever, Sorunda, Sweden, curated by Brandy Kraft Women artists, Kahn Gallery, (London) Through her eyes, Singulart, curated by Rania Elafifi and Marion Sailhen Not so classic Classics, Range of Arts, Honfleur Group Show 3, Shrine Gallery, New York, USA 2020 The Watermill Center: Benefit Auction - Invitational Art on a Postcard, London, curated by Gemma Peppe - Invitational Cosmopolis, Azart Gallery, NYC curated by Latifa Metheny USPS Art Project, Ely Center of Contemporary Art, New Haven, USA To Beirut, Range of Arts, Honfleur, France SolidArty, Sothebys Institute of London curated by Amira Gad and Emily Butler Juried Concepts, CICA Museum, Seoul, South Korea 2019 POST, Michele Mariaud Gallery, NYC curated by Michele Mariaud (Solo show) SOLO Azart Gallery & French Wink, NYC (Solo show) Art on a Postcard, London, curated by Gemma Peppe - Invitational Mana Open House, Mana Decentralized, Jersey City, NJ Lost in Abstraction, Kahn Gallery, London 2018 Art on a Postcard, London, curated by Gemma Peppe - Invitational The BUNTE Art, Museum of Urban and Contemporary Art, Munich, curated by Mon Muellerschoen Let's Connect, Barnes Foundation, Philadelphia Stranger than Fiction, BG Gallery, Santa Monica, curated by Om Bleicher 2017 Dialogue, AZART Gallery, New York, curated by Latifa Metheny Wrap Around 13: Laurence de Valmy, George Horner, Karen Lederer, ARENA at Suite 806, New York, curated by Renée Riccardo 2016 French Reflections, FIAF Montclair, NJ, curated by Marie-Catherine Glaser (Solo show) AWARDS 2023 Finalist of the Trophy of French in the USA by Le Petit Journal 2020 St Petersburg Art Residency #VirtualSPAR 2019 Guest Artist Museum Week, Michele Mariaud Gallery, NYC 2017 Artist Residency Fellowship, Eileen Kaminsky Family Foundation ESKFF, Mana Contemporary, Jersey City, NJ 2016 Fall price, Connection Magazine, NJ 2005 Mention, Prix de l'Ebouillante, Paris, France 2004 First Prize, Watercolor competition BHV, Paris, France Gallery Representation Azart Gallery (NY), Artspace Warehouse (LA), Amber Galleries (UK), Range of Arts (France), Singulart (France) Statement about AOAP Submitted Artwork Art is a continuum and a mirror of our society. In the tradition of art appropriation, I bring my own view to existing artworks, pay a tribute to their authors, and play with the concept of originality. My goals are to bring a new light on our collective imagery and to make the viewers ponder on our current society including the notion of fame, the place of women or the role of media. By painting the positive portrayal of women and girls in modern-day comic books like Pokemon, my ambition is to highlight and amplify an empowering narrative. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Olivia Sterling If it comforts you, then do so 2, 2023 Acrylic and pen on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ell Pennick About In her paintings, Olivia Sterling presents the viewer with scenes of daily life that subtly critique attitudes towards race, class, gender and social status. While her typically closely cropped and vividly coloured canvases - teeming with arms, legs and half-eaten food - may seem playful at first sight, they do in fact tackle subjects that are anything but. Education MA Painting, Royal College Arts BA Fine Art, University of Derby Select Exhibitions/Awards Graduating with an MA in painting from the Royal College of Art, Olivia has exhibited at Guts Gallery (London, 2022), Meyever Riegger (2022) NEVVEN (Gothenburg, 2022), CCA Goldsmiths (London, 2021), Cob Gallery (London, 2021), Galerie Droste (Paris, 2021), Blank Projects (Cape Town, 2020), White Cube (Online, 2020) Sterling lives and works in London, United Kingdom. Gallery Representation Guts Gallery Statement about AOAP Submitted Artwork The series "If it comforts you, then do so" takes its name from the book "The Master and Margarita" spoken by the master. The series shows red wine staining unknown party guests as they slosh about. I wanted to emulate being at a party and the stages or motions of drinking that are often involved. From melancholic to chaotic, as the wine pours, different things are lost and gained. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Keith Milow Cross D/01/23 Iron powder on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Born in London in 1945 Lived in New York 1980-2002 Lived in Amsterdam 2002-2014 Lives in London since 2014 Education Camberwell School of Art, London, 1962-1967 Royal College of Art, London, 1967-1968 Select Exhibitions/Awards AWARDS: 1976 Calousts Gulbenkian Foundation Award 1979 Arts Council of Great Britain, major award 1979 First Prize, Eastern Arts National Exhibition 1983 Edward Albee Foundation Award 2015 Royal Academy Charles Wollaston Award (nominee) 2017 Pollock-Krasner Award SELECTED PUBLIC COLLECTIONS: Arts Council of England, UK, British Museum, London Contemporary Arts Society, London, Scottish National Gallery of Modern Art, Edinburgh, Victoria and Albert Museum, London, Denver Art Museum, Denver, CO Guggenheim Museum, New York, NY, Metropolitan Museum, New York, NY Museum of Modern Art. New York, NY 53 solo exhibitions between 1968-2017. Numerous group exhibitions You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
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