A 1940's Naval officer's peaked cap with King's crown badge, together with service dress jacket with WWII medal bars. Provenance: Previously belonged to George Eric Ray (Sub. Lt. G E Ray, RNVR) who is now aged 97. He was called up in October 1943 and selected for officer training in the Royal Navy Volunteer Reserve (RNVR) - the Wavy Navy. Further selected for Landing Craft, which came within the realm of Combined Operations, he was despatched to various locations along the west coast of Scotland for training, including Commando Training (because if a landing craft was hit on landing, everyone went forward!). He joined his first craft as First Lieutenant (there being only two officers, the Captain and the 1st Lt. or second-in-command), a tank landing craft LCT952, on the Medina River on the Isle of Wight on D Day + 1 (i.e. 7 June 1944) and then spent the following 12 weeks continually ferrying tanks and their crews from various destinations along the south coast to the Normandy Beaches. After a spell on the River Thames (where landing craft were tethered line abreast directly over the line of Tube Lines under the Thames, so that if a V1 Rocket (Doodlebugs) should land in the river, it would explode on a landing craft and not on the river bed), LCT952 sailed to Belgium in readiness for Operation Infatuate Early in the morning of 1 November 1944, some 15 days before his 20th birthday, and without the promised air cover (because of fog over East Anglia) his flotilla of landing craft successfully landed their units under heavy fire from concrete German gun emplacements.
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Five books consisting of three first editions “ENEMY COAST AHEAD” by Guy Gibson (1946), “THE DAM BUSTERS” by Paul Brickhills (1951) and “BOMBER OFFENSIVE” by Sir Arthur Harris (1947). Two signed book consisting of “AN ERK'S EYE VIEW OF WORLD WAR 2” by Ted Mawdsley (2003) and “GHOSTS OF TARGETS PAST” by Philip Gray (2000).
A French mahogany cased balloon 8-day clock with visible Brochet movement by Samuel Marti et Cie, first quarter of the 20th century and later, some adaptation to the case, chiming the hours on a single bell. 19 cm wide at the base x 35 cm high.Condition report: The enamel dial cracked at 9. Surface scratches to the front and left side, a dent in the base of the left side. The wood plate that secures the metal rear door is a modern replacement. There is a thick cardboard strip around the rear opening. The interior bell is a replacement. The front of the clock is backed by chipboard. Nice looking from a distance, but not a prime example up close. Once wound it does run but only for a short period.
A French Empire marble-topped figured rosewood mirror backed side table, the first quarter of the 19th century, with gilt metal mounts throughout, supported by four plain Doric columns over an inverted breakfront sub base. 165.5 cm wide x 42.5 deep x 96.5 cm highPrivate collectionCondition report: Mirror plates showing some degradation, the mirrors are lacking backboards, I assume the mirrors are old replacementsThe structure is solid and is decorativeThe base has had some bracing pieces of timber incorporated into the underframe that don't look in keeping probably to reinforce the top because of the much thicker marble slab now in place?The slab is a replacement I would expect it to be a thinner white marble top.I can't see any insect damage but it is wholly possible/ likely that some odd flight holes exist but I can't see any.
A pair of George IV rosewood and brass inlaid library bergeres, c1825. By Banting, France & Co. With leaf carved scroll arms on leaf carved turned fore supports terminating in brass castors. 106 cm high x 84 cm wide x 76 cm deep Qty: 2 Frederick William Hervey, 5th Earl of Bristol and subsequently 1st Marquess of Bristol, (1769-1859) for 6 St James`s Square and thence by descent until removed to Ickworth and sold by Frederick William John Augustus Hervey, 7th Marquess of Bristol (1954-1994) and then Lot 132, Sotheby’s 6 July 2011, London Footnote: In his article `Furniture in the East Wing at Ickworth' ( Connoisseur, June 1971) and in his catalogue to `Ickworth and the Herveys' ( Bury St Edmunds), the late Edward Joy has dealt comprehensively with the furniture supplied to the 1st Marquess by Banting, France & Co for Ickworth, Suffolk the family`s country residence and the London residence, 6 St James`s Square and also Lord Bristol`s house at Brighton. The invoices for this outstanding group of late Regency/George IV furniture are in the Hervey papers at the Record Office in Bury St Edmunds. The furniture, now under the ownership of the National Trust can still be seen to a large extent at Ickworth, those items commissioned for St James`s Square being moved there sixty years or so ago. Joy writes in his catalogue introduction ` The firm of Banting was one of the greatest furniture-making firms of the nineteenth century and had royal warrants during the reigns of King George III, George IV, William IV and Queen Victoria'. The earliest title was Banting, France & Co. at the address 22 Pall Mall, whence they supplied furniture as early as 1813 to the Duke of Sussex in Kensington Palace. They appear in the Windsor Castle archives in the George IV accounts, supplying furniture to the King in 1825. They subsequently made furniture of all kinds for the royal residences, including St. James`s Palace, Windsor Castle and Buckingham Palace. At the beginning of Queen Victoria`s reign, the firm moved to 27 St James`s Street which was to remain their permanent address. Their name was variously Thomas and William Banting, Banting & Co. and Banting & Son. The firm gained an honourable mention for their display at the Great Exhibition, London, 1851; their exhibits included a circular marquetry table, a sideboard made from oak grown in Windsor Forest, a satinwood china cabinet, a secrtaire cabinet of kingwood and an oval table of amboyna wood. They also won praise for their exhibits at the Paris Exhibition in1855. The first record of a relationship between the Bristols and the firm comes in 1810 when Messrs France and Banting of St. James`s Street Haymarket ( as originally called) provided warehousing space for Lord Bristol`s picture collection that they had valued by Francis Spurrier. In 1815 Banting and France- the names had reversed by this date- organised the sale of furniture from 6 St James`s Square ( Suffolf County Records Office 914.81/17). Renovation of the Bristol London home continued for at least three years as seen in the household accounts which, though detailing expenditure of carpets, curtains and even new window frames and furniture mentions no suppliers or tradesmen by name ( S.C.R.O 914.88/5-11), but does mention two sofas and two armchairs in rosewood which could be the present lot. The present chairs are identical to chairs and sofas in the library of Ickworth and can be seen illustrated in John Martin Robinson, The Regency Country House from the archives of Country Life, London, 2005, pp.120-121. Bantings` furniture now at Ickworth is of exceptional interest not only because it is the work of a royal cabinet maker but also because it shows high-class English furniture at the very end of the Georgian period. The finest pieces are executed in rosewood and mahogany; the materials used are of superb quality and the craftsmanship is excellent, all of which attributes can be seen in the present lot.Condition report: Reupholstered since purchase in 2011The chairs are generally in good order.The only thing I would mention is the front legs are very slightly loose and just show a little movement when they are flexed.
An Empire-style ormolu mounted mahogany oval center table, possibly Spanish first quarter of the 19th century. The figured top with inset black marble panel the frieze fitted a single drawer and two leathered candle slides to either side, on plain architectural supports decorated with neoclassical ormolu appliques throughout, supported on a concave square base. 121 cm long x 92 cm wide x 72 cm overall height, 59 cm to the underside of the frieze.Lot 2, Sotheby’s Ariane Dandois sale, New York, 25 October 2007.Formerly of the Gucci collection, Milan, Tajan, Paris December 12th, 1995Condition report: The top has some signs of old now secured cracks to the mahoganyThe drawer linings have possibly been replaced or the drawer maybe a later adaptation utilising a section of the original frieze, this is evident from construction and the sharp arris of the drawer sides and signs of work being undertaken in the interior.The bottom boards seem to have been refixed with panel pins.The top shows some fine shrinkage cracks in the ground that transmitted through the veneer. The whole has been coated with a coating of button polishThe ground timber of the base shows extensive but not structural woodworm activity.
Attributed to Nicholas Sageot (1666-1731) an important red Boule and engraved brass contre partie marquetry bureau Mazarin, Louis XIV late 17th early 18th century. Decorated with whimsical scenes in the style of Jean Berain with sphinx and other fantastic creatures, monkies and a colourful figure below a lambrequin canopy inlaid with mother of pearl, stained ivory, hardstone and copper foil. Fitted a central kneehole with three shaped drawers flanked on each side by three bow-fronted pedestal drawers and canted carcass. Supported on similarly inlaid Vitruvian or "S" scroll legs united by shaped under stretchers and gilt turned feet. 148 cm long x 77.5 cm deep x 86 cm overall heightProvenance: Lot 24, Sotheby’s Ariane Dandois sale, New York, 25 October 2007.Footnote: Nicolas Sageot (1666-1731), received Master 1706: He was born in Samaize-les Bains and appears to have become active around 1690 and is first recorded as working in Grande rue du Faubourg-Saint-Antoine in 1698 where, before being accepted by the cabinet-makers guild, he had worked as an ouvrier libre. He married, in 1711, Marie Brigitte Roussel, the daughter of the ébéniste Jacques Roussel and his workshop appeared to prosper until around 1720, when he stopped working and sold his stock. His production seems to have principally consisted of important armoires, commodes and bureaux. He entered into a commercial arrangement with Léonard Prieur, `Marchand Mercier Grossier joaillier Priviligié suivant la Cour', on 26th July 1720. As a result of this, he sold furniture and various materials to him for 16000 livres; the armoires, priced from 400 to 1000 livres were the most expensive pieces (see Grand op. cit.,). Upon the death of his wife, in 1729, the inventory of their workshop records an important stock of brass and tortoiseshell.For similar examples of bureaus attributed to Nicholas Sageot see lot 810, Lempertz, sale 17/05 2019 (sale 1131)Condition report: Please note this lot is 307 The top has some old tortoiseshell repairs in the form of infilled red lead shellac also some signs of old repairs to the tortoiseshell at the borders where small pieces have come away from the ground and have been glued back in position The condition is generally good but shows signs of old polish/ varnish applied to the interior linings of the drawers.All of the drawers are lined in French walnut and the six pedestal and top frieze drawers are veneered on brown oak the two recessed drawers below the central frieze drawer are veneered on a contemporary pine ground. No key is present and the right-hand top drawer is locked shut.To sum up, the desk is in good order both structurally and cosmetically but could do with a revision of some of the old cosmetic restoration to bring up to current standards of conservation but the existing work could be improved with a little workViewing of this collection is available by prior appointmentJRL 24/03/2022
Josef Carl Berthold Püttner, 1821 Plan – 1881 VöslauGemäldepaarVEDUTEN VON VENEDIGÖl auf Leinwand.34,5 x 50 cm und 34,5 x 50,5 cm.Jeweils rechts unten signiert „J.C.B. Püttner“, das erste Gemälde datiert „1873“, das zweite „1874“.Jeweils in vergoldeten Rahmen.Im warmen gelb-orangen Licht der Abendsonne Blick auf den ruhigen Canal Grande, über zwei Gondeln hinweg, auf die Uferprommenade mit dem Dogenpalast und dem in den hohen, fast wolkenlosen hellblauen Himmel ragenden Campanile. Auch auf dem zweiten Gemälde führt der Blick über den Canal Grande, vorbei an einer Gondel, auf die Basilika Santa Maria della Salute im Abendlicht bei leicht gelb-rötlich verfärbtem hohem Himmel. Stimmungsvolle Malerei in harmonischer Farbgebung, in der typischen Manier des Künstlers. Teils kleine Retuschen. Anmerkung:Der Künstler wurde zunächst als Porzellanmaler in Karlsbad ausgebildet ehe er nach Wien umzog. Er unternahm zahlreiche Studienreisen, die dazu führten, dass er sich entschloss Marinemaler zu werden. Ab 1842 stellte er regelmäßig auf den Ausstellungen der Wiener Akademie der bildenden Künste aus. Ab 1861 war er Mitglied des Wiener Künstlerhauses. (1301546) (18)Josef Carl Berthold Püttner,1821 Planá - 1881 Bad VöslauA pair of paintingsVENICE VEDUTE Oil on canvas.34.5 x 50 cm and 34.5 x 50.5 cm.Signed “J.C.B. Püttner” lower right, the first painting dated “1873”, the second “1874”.
Meister von 1518 und Werkstatt DREIFLÜGEL-HAUSALTAR: ANBETUNG DER KÖNIGE Öl auf Holz. Höhe: 101 cm. Breite geöffnet: 138 cm. Breite geschlossen: 69 cm. Erstes Viertel 16. Jahrhundert. Die drei Tafelbilder in original Rahmung, die über dem Mittelbild nach seitlichen Anschweifungen oben halbrund schließt, die Seitenrahmungen entsprechend.Der Maler ist bislang noch nicht namentlich bekannt. Die Bezeichnung ist daher ein Notname für eine Reihe von Werken, die stilistisch so weit übereinstimmen, dass von einer Hand gesprochen werden kann. Dabei ist ein 1518 datiertes Altarbild, die sog. „Antwerpener Retabel“, die für die Lübecker Marienkirche gemalt wurde, der Ausgangspunkt, der diesen Notnamen hat entstehen lassen. Stilvergleiche lassen weitere Werke hier zuordnen. Unter den möglichen Namen, die sich hinter dieser Werkgruppe nennen ließen, wurden auch Jan Mertens, Jan Gossaert oder Jan van Dornicke genannt. Auffallend ist, dass die überwiegende Zahl der hier zugewiesenen Werke sich thematisch ähnlich zeigen. So steht die Anbetung der Könige hier nicht einzeln da. Fast immer wird diesem Thema antike römische Bogenarchitektur oder Ruinenbögen zugeordnet. Auch hier sind sowohl die Hauptszene wie auch die Seitenbilder mit dergleichen Versatzstücken versehen. Das entspricht ganz dem Interesse der Zeit der Renaissance, die nun auch im Norden die Antike zitieren wollte. Ein großer Steinbogen begleitet die Szenerie im Mittelbild: Maria sitzt rechts auf einem antiken Gesims, hält das Kind in den Händen und neigt sich dem bärtigen König entgegen, der ein goldenes Deckelgefäß überbringt. Seine Krone über Turban und das Zepter sind am Boden abgelegt. Im Hintergrund folgt Josef in rotem Umhang dem Geschehen. Links zwei geharnischte Männer, das Gefolge des Königs. Die weiteren beiden Königsgestalten hat der Maler in die beiden Seitenflügel gesetzt. Die Zuordnung der Könige zu ihren Namen ist schwierig, da sich hier die Attribute nicht eindeutig unterscheiden lassen. Der Jüngste, mit afrikanisch dunkler Hautfarbe beherrscht den rechten Flügel. In den oberen Partien jeweils Ausblicke in Landschaften, mit Burganlage, antiken Bögen und Gebäuden. Ochs und Esel sind hier nur sehr marginal am linken Bildrand dargestellt. Bei dem Kopfbildnis am rechten Rand der Mitteltafel könnte es sich um ein Selbstbildnis des Malers handeln. A.R.Literatur: S. van Bellingen, De Meester van 1518, in: De Brabantse Folklore 251 (1986), S. 236-241. Max J. Friedländer, Die Antwerpener Manieristen von 1520, in: Jahrbuch der königlich preußischen Kunstsammlungen 36 (1915), S. 65-91. Max J. Friedländer, Die altniederländische Malerei, Bd. XI, Berlin 1933. (1302045) (11)Master of 1518 and workshopTRIPTYCH: THE ADORATION OF THE MAGIOil on panel.Height: 101 cm. Width opened: 138 cm. Width closed: 69 cm.First quarter of the 16th century.The three panel paintings set in an original frame, with semi-circular arched central panel and corresponding frames either side. Literature: S. van Bellingen, De Meester van 1518, in: De Brabantse Folklore 251 (1986), p. 236-241.Max J. Friedländer, Die Antwerpener Manieristen von 1520, in: Jahrbuch der königlich preußischen Kunstsammlungen 36 (1915), p. 65-91.Max J. Friedländer, Die altniederländische Malerei, vol. XI, Berlin 1933.
Meister der Magdalena von Mansi,erste Hälfte 16. Jahrhundert, UmkreisCHRISTUS ALS SALVATOR MUNDI Öl auf Holz. 56 x 43 cm. In gekehltem teilvergoldetem Rahmen mit Wasserschlag.Frontal blickt uns Christus entgegen, als junger Mann mit langen glatten Haaren und kurzem Vollbart. Ein Chormantel mit vierpassiger, aufwändig gestalteter Chormantelschließe unterfängt sein Haupt und korrespondiert in seiner Vierteiligkeit mit dem Kreuz auf der kristallenen Weltenkugel, und in der kreuzförmigen Überschneidung der Finger der Hand, die zum Segensgestus erhoben ist. Sein Haupt wird von einem goldenen Strahlennimbus umspielt, das in seiner Geradlinigkeit in scharfem Kontrast steht zu den Wolkenformen, welche die Zwickel verunklären und die überirdische Erscheinung Christi unterstreichen.Anmerkung: Ein vergleichbares Gemälde, das dem unseren stark ähnelt und annähernd die gleichen Maße besitzt, wurde am 19. September 2015 bei Koller, Zürich, unter Lot 3015 als Meister der Magdalena Mansi angeboten. Wie einige andere ähnliche Salvator Mundi-Gemälde auch, die unter diesem Namen liefen, wurde hier seitens des RKD in Den Haag eine Korrektur vorgenommen, das den Künstler als Südliche Niederlande der ersten Hälfte des 16. Jahrhunderts definiert. Als Vorbild mag ein Gemälde von Quinten Massijs gedient haben, wie es im Koninklijk Museum vorr Schone Kunsten in Antwerpen unter der Nummer 241 verwahrt wird. (1300553) (13)Master of Mary Magdalene of Mansi,first half of the 16th century, circle of CHRIST AS SALVATOR MUNDI Oil on panel.56 x 43 cm.
Frans Pourbus d. Ä.,1545 Brügge - 1581 Antwerpen, zug.CHRISTUS AM KREUZ MIT ENGELN (EIGENTLICH „ENGEL SAMMELN DAS BLUT CHRISTI AM KREUZ“)Öl auf Holz (leicht vertikal gewölbt).66 x 51,7 cm.Das Gemälde ist in ikonografischer Hinsicht von großer Seltenheit. Gezeigt wird Christus am Kreuz, der tote Körper matt-hell beleuchtet, das blassblaue Lendentuch unterstreicht noch den Eindruck der Körperkälte. Drei Engel, einer davon kniet am Kreuzstamm, die beiden weiteren sind schwebend dargestellt, sind dabei, das Blut Christi aus den Wundmalen in goldenen Bechern aufzufangen. Diese Vorstellung hat bekanntlich auch zur Gralsidee beigetragen. Das Motiv kann allerdings auch im Zusammenhang mit dem unterschiedlichen liturgischen Gebrauch von Wein beim kirchlichen Abendmahl zwischen Katholiken und Protestanten verstanden werden. Die Unwirklichkeit der Szenerie vor tiefdunklem Hintergrund, der sich bei genauerer Betrachtung als schwarzes Tuch erweist, wird durch die gewitterartige Beleuchtung noch unterstrichen. Zwei große Kerzenstöcke mit brennenden Kerzen seitlich am Boden aufgestellt, betonen zudem den Trauercharakter, während Schädel und ein Knochen am Boden einerseits den „Schädel Adams“ bedeuten, andererseits den Begriff „Schädelstätte“ für den Kalvarienberg illustrieren soll. Dass der Maler für seine Palette kräftiger Farben bekannt ist, zeigt sich auch hier deutlich. Dennoch gelingt es ihm, wie hier im Bild, die grundsätzlichen Grundfarben Grün-Rot-Blau und Gold in feinen Abstufungen wie Rosa und Hellblau an entsprechenden Stellen zu differenzieren. Seine kurze Italienreise 1566 hatte immerhin einen Einfluss auf den Stil des Meisters. Deutlich ist hier der Manierismus zu erkennen, vor allem in der Drehung der Engelsfigur rechts. Ein Gemälde mit identischer Darstellung befindet sich im Depot der Bayerischen Staatsgemäldesammlungen – Alte Pinakothek München. Die Bildmaße sind nahezu identisch (dort 66,2 x 51,5 cm.), das Bild wird dort ins Jahr 1563 gesetzt (Inv.Nr. 2115). Die Unterschiede in der Darstellung sind marginal. Das in der Alten Pinakothek befindliche Bild gelangte aus der Kurfürstlichen Galerie bereits im frühen 19. Jahrhundert dorthin. Bei dem vorliegenden Bild darf also angenommen werden, dass es sich wohl um eine Wiederholung des Bildmotives von der Hand des Meisters handelt, eine Beteiligung eines Werkstattgehilfen ist in solchen Fällen nicht ganz auszuschließen. Auch bleibt weiterhin offen, welches der beiden Bilder zuerst entstanden. A.R.Literatur:Vgl. Paul Wescher, Pourbus, Frans d. Ä., in: Allgemeines Lexikon der Bildenden Künstler von der Antike bis zur Gegenwart, Bd. 27, Piermaria-Ramsdell, Leipzig 1933, S. 314-315. (1300421)Frans Pourbus the Elder,1545 Bruges - 1581 Antwerp, attributedCRUCIFIXION OF CHRIST WITH ANGELS (ACTUALLY: “ANGELS COLLECTING THE BLOOD OF CHRIST AT THE CROSS”) Oil on panel (vertically slightly warped).66 x 51.7 cm.The painting‘s Mannerist style is evident, especially in the twisting of the angel figure on the right. A painting with an identical depiction is held in the depot of the Bayerische Staatsgemäldesammlungen – Alte Pinakothek in Munich. The dimensions are almost identical (there 66.2 x 51.5 cm.), and the painting in the Alte Pinakothek is dated to 1563 (inventory no. 2115). There are only marginal differences in the representation. The painting came to the Alte Pinakothek from the Kurfürstliche Galerie in the early 19th century. In the case of the present painting, it can thus be assumed that it is probably a repetition of the motif by the master‘s own hand, but the involvement of a workshop assistant cannot be completely ruled out. It also remains unclear which of the two paintings was created first.Literature:cf. Paul Wescher, Pourbus, Frans d. Ä., in: Allgemeines Lexikon der Bildenden Künstler von der Antike bis zur Gegenwart, vol. 27, Piermaria-Ramsdell, Leipzig 1933, p. 314-315.
Frankfurter Schule der ersten Hälfte des 17. JahrhundertsSTILLLEBEN MIT GLAS, ZITRONE, BLUMENVASE UND KREBS Öl auf Leinwand. 61 x 76 cm. In dekorativem vergoldetem Rahmen.In einem bräunlichen Innenraum ein Tisch mit ockerfarbener Decke, darauf zu finden: ein mit Weißwein gefülltes, schlankes, filigranes, venezianisches Glas, eine aufgeschnittene Zitrone über der ein gelber Falter fliegt, eine runde Silberplatte mit zwei roten Krebsen, daneben ein Besteck und schließlich eine große weiße, teils bemalte Keramikkanne mit zarten rötlichen, rosafarbenen und weißen Blumen. Gegenstände und Lebensmittel werden teils paarweise präsentiert: zwei Zitronenhälften, zwei Flusskrebse, sowie Messer und Gabel, die, wie in einem vorgetäuschten Duell, die Schwerter kreuzen. Hier dominiert das Zusammentreffen von zwei Behältern an der Spitze der Komposition, die alles entgegengesetzt. Das fängt schon beim Material an: fein geblasenes Kristall gegenüber robuster Keramik, ihre Form, schlank oder gedrungen, aber auch ihre Verwendung, ein Glas und ein Krug. Zur Transparenz der ersten, die einen Weißwein mit goldenen Reflexen offenbart, steht die glasige Undurchsichtigkeit der zweiten gegenüber, einer improvisierten Vase, in der ein Rosenstrauß verwelkt und seine Blütenblätter einzeln auf das Tischtuch fallen. Hier konkurriert das Kostbare mit dem Bescheidenen, das Raffinierte mit dem Rustikalen, das Barocke mit der Einfachheit. Die Symbolik soll den Betrachter an die Vergänglichkeit der irdischen Güter erinnern. Luxus und Nüchternheit sind hier gleichwertig. Die Zeit vergeht, nimmt alles mit, was ihr im Weg steht, korrodiert und verblasst. Das einzige Lebenszeichen in diesem Stillleben ist der flatternde Schmetterling, dessen existenzielle Vergänglichkeit noch kürzer ist, als die des Blumenstraußes. Qualitätvolle Malerei in zurückhaltender Farbgebung. (†)Provenienz: Anonymer Verkauf, Sotheby's, New York, 7. April 1989, Lot 77 (als französische Schule des 17. Jahrhunderts). David Koetser, Zürich, 1989-90, Katalog Nr. 22 (als J. van Winghen). Anonymer Verkauf, Ader Picard Tajan, Paris, 5. Dezember 1990, Lot 30 (als J. van Winghen). Bei diesem Verkauf vom jetzigen Besitzer erworben. Privatsammlung aus Doubs. Anmerkung: Zu Beginn des 17. Jahrhunderts entwickelte sich in Frankfurt am Main und Umgebung eine raffinierte Schule der Stilllebenmalerei, an deren Spitze der Maler Georg Flegel (1566-1638) stand. Der aus Mähren stammende Schüler des flämischen Malers Lucas Van Valckenborch (1535-1597), gehörte zu einer kleinen Gruppe von Malern, die dieses aus Flandern und den Niederlanden importierte Genre mit besonderer Raffinesse entwickelten. Seine Mitstreiter und Kollegen waren Daniel Soreau (um 1560-1619) und Pieter Binoit (1590-1632); ersterer war der Sohn einer protestantischen Familie aus Tournai, die in Köln Zuflucht suchte vor der religiösen Verfolgung in Wallonien. Zusammen mit anderen Künstlern lehrte er in der Stadt Hanau und zog Schüler an, wie Binoît, ebenfalls wallonischer Herkunft und dazu bestimmt, einer der Meister in diesem Bereich zu werden sowie auch der Elsässer Sébastien Stoskopff (1597-1657). In allen von ihnen sind flämische und niederländische Einflüsse zu erkennen, und diese spiegeln sich in der hier vorliegenden Komposition wider. (13013313) (10)School of Frankfurt, first half of the 17th centurySTILL LIFE WITH GLASS, LEMON, FLOWER VASE AND CRABOil on canvas.61 x 76 cm. (†)Provenance:Anonymous sale, Sotheby's, New York, 7 April 1989, lot 77 (as French School, 17th century).David Koetser, Zürich, 1989-90, cat. no. 22 (as J. van Winghen).Anonymous sale, Ader Picard Tajan, Paris, 5 December 1990, lot 30 (as J. van Winghen).Acquired by current owners at the above sale.Private collection from Doubs.
Francesco Bertos, 1678 Venedig – 1741 ebenda, zug.EIN PAAR MIT ZWEI NACKTEN TANZENDEN JÜNGLINGEN UND ZWEI MÄDCHENHöhe der Figuren: 43 und 47 cm.Gesamthöhe inkl. Sockel: ca. 60 cm. Sockelbreite: 28 cm.Sockeltiefe: 21,5 cm. Italien, erste Hälfte 18. Jahrhundert, um 1720.Paarweise verbunden jeweils ein Knabe und ein Mädchen in tanzender Haltung, die Gesichter einander zugewandt, die Arme in unterschiedlicher Haltung. Einheitlich fein gegossen, nach Entwurf von hoher bildhauerischer Qualität, sowie im Detail nachgearbeitet. Einheitlich dunkle Lackpatina, sowie auf gleichförmigen grün-grau gesprenkelten Granitsockeln, in klassischer Quaderform mit feinem obenziehendem Hohlkehlenprofil.Anmerkung 1: Obwohl Bertos auch in Marmor arbeitete, waren seine Kompositionen eher für Bronze geeignet, da die Reißfestigkeit des Metalls ein größeres Experimentieren mit der skulpturalen Form erlaubt. Sein Schaffen war beträchtlich, und Beispiele seiner Arbeiten sind in Sammlungen in ganz Europa, bspw. im Museo del Prado in Madrid, oder im Victoria and Albert Museum in London, und in den Vereinigten Staaten im J. Paul Getty Museum in Malibu und im Metropolitan Museum of Art in New York, erhalten. Anmerkung 2: Eine vergleichbare Bronzegruppe von Francesco Bertos befindet sich in der National Gallery of Victoria in Melbourne, und zeigt ebenfalls tanzende Jünglinge und Mädchen. Literatur: Charles Avery, The Triumph of Motion: Francesco Bertos (1678-1741) and the Art of Sculpture, Turin 2008, Katalognummer 211, 212, 213. (13018110) (11)Francesco Bertos,1678 Venice – 1741 ibid., attributedA PAIR OF TWO YOUTHS AND MAIDENS DANCINGHeight of figures: 43 and 47 cm.Total height incl. base: ca. 60 cm.Width of base: 28 cm.Depth of base: 21.5 cm.Italy, first half of the 18th century, ca. 1720.Literature: Charles Avery, The Triumph of Motion: Francesco Bertos (1678-1741) and the Art of Sculpture, Turin 2008, Katalognummer 211, 212, 213.
Hebe FigurHöhe: 137 cm. Italien.Sie ist so ruhig - die Falten ihres Kleides sind fast gefaltet wie die Kannelierung einer antiken Säule. Thorvaldsen schuf zwei Versionen von Hebe, diese Statue aus dem Jahr 1806 und eine zweite Statue aus dem Jahr 1816, die mit der ersten fast identisch ist, bei der aber die Brust vollständig vom Kleid der Göttin bedeckt ist. Dem ersten Typus folgend hat der Bildhauer hier gearbeitet und wenn wir Thorvaldsens Meisterwerk im Thorvaldsen Museum (Inv.Nr. A875) zum Vergleich heranziehen, wird schnell klar, dass die Schale mit dem Arm bei der hier angebotenen Skulptur fehlt und auch weitere kleinere Stellen verlustig sind. Besch.Anmerkung: Hebe ist die Göttin der Jugend. In der klassischen Mythologie war es ihre Aufgabe, den anderen griechischen Göttern den Trank der Unsterblichkeit einzuschenken. Die Tropfen, mit deren Verwaltung und Verteilung sie betraut wurde, sind also sehr kostbar, und sie ist ganz offensichtlich sehr konzentriert auf diese Aufgabe. Dem Mythos zufolge unterlief ihr trotzdem einmal ein Malheur, als sie das Getränk verschüttete und verstoßen wurde. (1301794) (13)A carved figure of HebeHeight: 137 cm.Italy.The carved figure of Hebe is depicted statically with the folds of her dress almost pleated like the fluting of an ancient column. Thorvaldsen produced two versions of Hebe, this figure dating to 1806 and a second in 1816, which is almost identical to the first but with the breast completely covered by the goddess‘ dress. The artist took inspiration from the first version here and if we compare Thorvaldsen‘s masterpiece in the Thorvaldsen Museum (inv. no. A875), it quickly becomes apparent that the bowl with the arm and other minor parts are missing from the sculpture on offer for sale in this lot. Damaged.
Francesco Laurana, um 1430 – um 1500, zug. PORTRAIT EINES HERREN Höhe: 43 cm. Breite: 27,5 cm. Tiefe: 21,5 cm.In Carrara-Marmor gearbeitet. Laurana war gebürtiger Kroate, jedoch vorwiegend in Italien tätig, wo er 1455 in Neapel erstmals in Erscheinung trat. Er war später von 1467-1472 in Sizilien tätig, wo er sich auf Portraitbüsten spezialisierte. Das hier angebotene Exemplar ist wahrscheinlich eine solche, diesem Künstler zuzuschreibende Portraitbüste.Literatur: Vgl. Hanno-Walter Kruft, Francesco Laurana. Ein Bildhauer der Frührenaissance, München 1995. (1290471) (13)Francesco Laurana, ca. 1430 – ca. 1500, attributedPORTRAIT OF A GENTLEMANHeight: 43 cm. Width: 27.5 cm. Depth: 21.5 cm.Carrara marble. Laurana originated from Croatia, but was mainly active in Italy, where he is first recorded in Naples in 1455. He later worked in Sicily between 1467 and 1472, where he specialized in portrait busts. The example on offer for sale in this lot is probably such a portrait bust, attributed to this artist.Literature:cf. Hanno-Walter Kruft, Francesco Laurana. Ein Bildhauer der Frührenaissance, Munich 1995.
Bronzestatuette eines „Wilden Mannes“Höhe: 21 cm. Gesamthöhe mit Sockel: 25 cm. Erste Hälfte 16. Jahrhundert.Herkules mit erhobener Keule im Fellhaar, sog. „Wilder Mann“, Fabelfigur der Heraldik. Wie für den Figurentypus üblich, mit stark behaartem Körper. Im Kontrapost stehend, der rechte Arm erhoben, in der Hand eine große Keule, die linke Hand vorgestellt, die Faust gelocht zur ehemaligen Einbringung eines weiteren attributiven Gegenstands. Bronze, Vollguss nach Modell des Paulus Vischer (um 1498-1531). Die formgleiche Figur, allerdings in leicht abweichender Ausführung, findet sich im Bode Museum Berlin (Inventar 8403, erworben 1929). Die dortige Figur unterscheidet sich darin, dass eine Keule fehlt und das Haupthaar weniger große Lockennoppen aufweist.Anmerkung: Eine beinahe identische Bronzestatuette eines „Wilden“, Höhe 20,5 cm, wurde zunächst der Werkstatt Paul Vischers (1498-1531), Nürnberg, zugeschrieben und bei Sotheby Parke Bernet & Co., London, am 22.6.1978 unter Losnummer 324 versteigert. Siehe Farbabbildung im Auktionskatalog.Dieselbe Bronze, abgebildet und beschrieben im Ausstellungskatalog „Gothic and Renaissance Art in Nuremberg 1300-1550“ (München 1986), Nummer 191, hier als „Workshop of Peter Vischer the Elder, ‚Wild Man‘, About 1510-15“ aufgeführt. Der Katalog weist an dieser Stelle auf weitere Versionen der Bronzeskulptur hin, die auf demselben oder ähnlichen Modell beruhen und sich im Victoria & Albert Museum, London, in den Staatlichen Museen Preußischer Kulturbesitz, Berlin-Dahlem, sowie im Museo Nazionale del Bargello, Florenz (Carrand Collection) befinden sollen. Literatur: Vgl. The Robert von Hirsch Collection. Volume Two. Works of Art which will be sold at auction by Sotheby‘s Parke Bernet & Co., London, 22.6.1978, Losnummer 324. Vgl. Gothic and Renaissance Art in Nuremberg 1300-1550, The Metropolitan Museum of Art, New York, Germanisches Nationalmuseum, Nürnberg, München 1986, S. 392-393, Nr. 191 „Workshop of Peter Vischer the Elder, ’Wild Man‘, About 1510-15“, mit Farbabb. (1291247) (11)Bronze sculpture of a “wild man”Height: 21 cm.Total height inc. base: 25 cm.First half of the 16th centuryAs is typical for this type of figure, the wild man is shown with a very hairy body. Bronze, solid casting after a model by Paulus Vischer (ca. 1498-1531). A figure of the same shape but in slightly different execution is held at the Bode Museum in Berlin (inventory no. 8403, purchased in 1929). The Bode sculpture differs in as much as it lacks a club and the head hair shows smaller curls.Notes: An almost identical bronze statuette of a “Wild Man“, height 20.5 cm, was initially attributed to the workshop of Paul Vischer (1498-1531), Nuremberg, and was auctioned at Sotheby Parke Bernet & Co., London, on June 22, 1978 under lot number 324. See color illustration in the auction catalogue. The same bronze illustrated and described in the exhibition catalog “Gothic and Renaissance Art in Nuremberg 1300-1550“ (Munich 1986), number 191, here as “Workshop of Peter Vischer the Elder, ’Wild Man‘, About 1510-15“. At this point, the catalog refers to other versions of the bronze sculpture that are based on the same or a similar model and are located in the Victoria & Albert Museum, London, in the Staatliche Museen Preußischer Kulturbesitz, Berlin-Dahlem, and in the Museo Nazionale del Bargello, Florence (Carrand Collection).Literature: cf. The Robert von Hirsch Collection. Volume Two. Works of Art which will be sold at auction by Sotheby’s Parke Bernet & Co., London, 22.6.1978, lot number 324. cf. Gothic and Renaissance Art in Nuremberg 1300-1550, The Metropolitan Museum of Art, New York, Germanisches Nationalmuseum, Nuremberg, Munich 1986, pp. 392-393, no. 191 „Workshop of Peter Vischer the Elder, ‚Wild Man‘, About 1510-15“, with col. ill..
Bronzefigur „Venus“Höhe: 56 cm. Gesamthöhe mit zugehörigem vergoldetem Rundsockel: 59 cm. Frankreich, Ende 18. Jahrhundert.Bronze, braunschwarz patiniert. Nach Vorbild der antiken Marmorfigur des ersten vorchristlichen Jahrhunderts, bekannt geworden als „Venus de Medici“ (Uffizien, Florenz), wiederum nach der von Praxiteles geschaffenen „Aphrodite von Knidos“. Die hier präsentierte, fein gearbeitete Bronzefigur folgt dem Marmorvorbild, allerdings lässt sich die Auffassung der Zeit des 18. Jahrhunderts erkennen, mit schlankerer, der Eleganz der Zeit verpflichteten Körperlichkeit. Die Figur wurde schon im 17. Jahrhundert und danach vielfach nachgebildet. Die dunkle Lackpatina, aber auch die elegante Standhaltung im Kontrapost lässt auf eine Arbeit einer französischen Werkstatt des 18. Jahrhunderts schließen. A. R. (12918148) (11)Bronze figure „Venus“Height: 56 cm.Total height with matching round gilt base: 59 cm.France, end of the 18th century.Bronze, with blackish-brown patina. Modelled on the antique marble sculpture of the first century BC, known as “Venus de Medici” (Uffizi, Florence) and in turn modelled after “Aphrodite of Knidos” created by Praxiteles.
Allosaurus Jimmadseni (Dinosaurier)Maße inkl. Sockel: 200 x 458 x 80 cm. Gewicht: 200 kg. Washakie County/ Wyoming, USA, Oberjura, 148-154 Millionen Jahre alt.Dramatisch aufgerichtet, als ob er sich aus seinem irdischen Gefängnis befreien würde, bestimmt dieser Allosaurus den Raum mit seiner geheimnisvollen bedrohlichen Präsenz als Dinosaurier. Der Allosaurus (griechisch für andersartige Echse) war eines der wildesten Raubtiere der Jurazeit und konnte eine Größe erreichen, die mit der des Tyrannosaurus Rex vergleichbar war. Er gehörte zur Unterordnung der Theropoda: zweibeinige, fleischfressende Dinosaurier, die mehr als 150 Millionen Jahre lang die Erde beherrschten. Dieser Allosaurus mittleren Alters, der in einem paläontologischen Labor restauriert wurde, war zwischen 22 und 28 Jahre alt und ist zu bemerkenswerten 65% vollständig. Erg. (†)Anmerkung: Die Erstbeschreibung erfolgte 1877 durch Othniel Charles Marsh, welcher der Gattung ihren Namen gab, da die Anatomie der Wirbelknochen zu den bereits bekannten Dinosaurierwirbeln differierte. Literatur: Gregory S. Paul, Genus Allosaurus, in: Gregory S. Paul, Predatory Dinosaurs of the World. A complete illustrated Guide, New York 1988, S. 307 - 313. Paul J. Bybee, Andrew H. Lee, Ellen-Thérèse Lamm, Sizing the Jurassic theropod dinosaur Allosaurus. Assessing growth strategy and evolution of ontogenetic scaling of limbs, in: Journal of Morphology. Bd. 267, Nr. 3, 2006, S. 347 - 359. (13021011) (13)Allosaurus Jimmadseni (dinosaur)Dimensions incl. base: 200 x 458 x 80 cm. Weight: 200 kg.Washakie County/ Wyoming, USA, Late Jurassic, 148-154 million years old. Raised dramatically as if breaking free from its earthly prison, this Allosaurus commands the space with its mysterious menacing dinosaur presence. The Allosaurus (Greek for different lizard) was one of the ferocious predators of the Jurassic period and could grow as big as a Tyrannosaurus Rex. It belonged to the subgroup of theropods: two-legged, carnivorous dinosaurs that ruled the earth for more than 150 million years. This middle-aged Allosaurus, restored in a paleontological laboratory, was between 22 and 28 years old and is a remarkable 65% complete. Mended. (†)Notes:This was first described in 1877 by Othniel Charles Marsh, who named the species because the anatomy of the dorsal vertebrae differed from other already known dinosaur vertebrae.Literature:Gregory S. Paul, Genus Allosaurus, in: Gregory S. Paul: Predatory Dinosaurs of the World. A complete illustrated Guide. Simon & Schuster, New York 1988, pp. 307 - 313.Paul J. Bybee, Andrew H. Lee, Ellen-Thérèse Lamm, Sizing the Jurassic theropod dinosaur Allosaurus: Assessing growth strategy and evolution of ontogenetic scaling of limbs, in: Journal of Morphology, vol. 267, no. 3, 2006, pp. 347 - 359.
Apollo 17 mission Nasa code AS17-146-2229Astronaut Harrison Schmitt during EVA20 x 25 cm. Starting price: € 1.000He became the first member of NASA‘s Astronaut Group 4 to fly in space. It was the was the first group chosen for their academic qualifications: a Ph.D. or an M.D. in engineering or the natural sciences was a prerequisite for selection. NASA then provided the necessary pilot training. (13021527) (10)
Apollo 16 mission Nasa code AS16-114-18423Astronaut Charles Duke photographed collecting lunar samples at Station 120 x 25 cm. Starting price: € 800This is the first Apollo 16 EVA at the Descartes landing site. This picture, looking eastward, was taken by Astronaut John W. Young, commander. Duke is standing at the rim of Plum crater, which is 40 meters in diameter and 10 meters deep. The parked Lunar Roving Vehicle can be seen in the left background. (13021536) (10)
Apollo 12 mission Nasa code AS12-47-6988Astronaut Charles Conrad stands at Modular Equipment Stowage Assemble20 x 25 cm.Starting price: € 1.000This photograph was taken on the first Apollo 12 extravehicular activity (EVA-1) on the lunar surface. The erectable S-band antenna is already deployed at right. The carrier for the Apollo Lunar Hand Tools (ALHT) is near Conrad. (13021545) (10)
Voyager I Nasa code S79-27548Jupiter20 x 25 cm.Starting price: € 800Voyager I took this photo of Jupiter and its Great Red Spot from 20 million miles away in 1979. The first information on the physical, atmospheric and geological processes occurring on the planet was thus revealed. The first close-up image of the planet‘s atmosphere was taken, the temperature of the clouds was measured, the movement of winds in the bands and zones observed, lightning was detected in the dark hemisphere, and the velocity of the matter that constitutes the Great Red Spot was measured, revealing its anticyclonic nature. (13021544) (10)
WW2 RAF Collection of 15 Signed First Day Covers With Stamps and Postmarks. Signatures include Flt Lt D Swaffer, Flt Lt J McLaren, Captain D Hill, Flt Lt I Dugmore, Flt Lt D H Bendall, N J Walsh, Francis J Field, Parachutist J R Nicholls, Flt Sgt A B Watkin, Flt Lt Reeves, Flt Lt Webb, Captain Giovanni Abrate, Peter Rogers Flt Sgt D Clements, Brigadier Gon Kuebart, Fg Off K Breadmore and C Williams. All Covers Have Official Stamps and Postmarks. Fantastic Collection. May Yield Good Value. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Navy Collection of 38 Signed Naval First Day Covers in Folder. Signatures include Capt JS Stevens, R Greenland, J Griffin, PT Williamson, S Watson, P Bullimore, Commander Paul Chapman, Leslie Howard, Lt Cdr N Williams, Captain Sir A St Clair Ford, Eric Arthur Clark, J Davies, N Westwood and many many more. Some Fantastic Signatures some may be rare. All Covers come With Stamps and Postmarks. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
World War II Signed FDC Titled The Flying Bomb Site At Flixecourt. Signed by Squadron Leader J. Les Munro CNZM DSQ QSO DFC. Post Mark 16th December 09. Wing Commander Cheshires First Action with 617 Dambuster Squadron. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Dambuster World War II Fl Sgt KW (Ken) Brown signed The Dambusters 617 Squadron Royal Air Force 44th Anniversary of the Dams Raid FDC PM Dambusters Memorial Woodhall Spa Lincs 17 May 1987. Kenneth William Brown was born on 20 August 1920 in Moose Jaw, Saskatchewan, Canada. He enlisted in the RCAF in 1941 and was selected for pilot training. He was recommended for fighters but after arriving in England, he was posted to a bomber training unit in Kinloss. There he crewed up with navigator Dudley Heal, bomb aimer Stefan Oancia, wireless operator Herbert Hewstone and gunner Grant McDonald, all of whom would stay with him for much of the rest of his career. Their first active posting was however to Coastal Command, flying Whitleys out of RAF St Eval on Channel patrols. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Jon Lake. Lancaster Squadrons 1944 45. A WW2 Paperback First Edition book, Signed by Lancaster Pilots: Dennis Field, Stan Selfe, Ken Handley, Don Street, Geoff Gilbert, Steve Yates, Thomas Fox, Jack Watson, Frank Leatherdale, Bob Knights, Cecil Chandler and Ken Grantham. Printed by Bookbuilders of Hong Kong. Spine in 96 pages with colour and B/W images/photos/Illustrations. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Jon Lake. Lancaster Squadrons 1942 43. A WW2 Paperback First Edition book, Signed by Lancaster Pilots Dennis Field, Stan Selfe, Ken Handley, Don Street, Geoff Gilbert, Steve Yates, Thomas Fox, Jack Watson, Frank Leatherdale, Bob Knights, Cecil Chandler and Ken Grantham. Printed by Book builders of Hong Kong. Spine in 96 pages with colour and B/W images/photos/Illustrations. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
WW2 Sir Arthur Harris Personally Signed Hardback Book Titled Bomber Offensive. Arthur Harris Signed on a RAF Fylingdales RAFM SC37 Flown First Day Cover. Also Signed by one other on the cover. Fantastic signature. 288 pages. Spine and Dust Jacket in . Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
John Nicol. After the Flood. What The Dambusters Did Next. A WW2 First Edition hardback book. Printed by Clays LTD of St Ives. Spine and dust jacket in near perfect order. Multi signed by 617 sqn Pilots: Reg Spencer, Bernard Mahey, Benny Goodman, John Bell, Frank Tilley, G Johnson, Charles Avery, Colin Cole and others. 336 pages. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
WW2 RAF Collection of 41 Unsigned FDCs All Contain Postmarks and Stamps, Mostly Flown Covers. To name a few covers 75th anniversary First Flight Avro Lancaster Cover. Great Britain Our Islands History FDC. RAF Leeming FDC. 617 Squadron Commemorative Cover. D H Mosquito 4 40th anniv of Pathfinders FDC. Commemorating 617 Squadron FDC. Avro Lincoln FDC. The Royal Flying Corps FDC. Wing Commander Robert Stanford Tuck FDC. RAF Coltishall FDC. Air Commodore Sir Frank Whittle FDC. No1 Squadron RAF FDC. First Transatlantic flight FDC. Stalag Lift III The Wooden Horse FDC. EE Canberra FDC. Fantastic Collection. May Yield Good Value. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
World War II Robert Stanford Tuck signed own personal flown FDC PM Opening of the Battle of Britain museum Hendon 28 Nov 1978 British Forces Postal Services 1623. Wing Commander Robert Roland Stanford Tuck, DSO, DFC and Two Bars, AFC (1 July 1916 - 5 May 1987) was a British fighter pilot, flying ace and test pilot. Tuck joined the Royal Air Force (RAF) in 1935 and first engaged in combat during the Battle of France, over Dunkirk, claiming his first victories. In September 1940 he was promoted to squadron leader and commanded a Hawker Hurricane squadron. In 1941-1942, Tuck participated in fighter sweeps over northern France. On 28 January 1942, he was hit by anti-aircraft fire, was forced to land in France, and was taken prisoner. At the time of his capture, Tuck had claimed 29 enemy aircraft destroyed, two shared destroyed, six probably destroyed, six damaged and one shared damaged. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Wartime Sweetheart Dame Vera Lynn Signed 60th Anniversary Victory Europe Benhams Cachet Cover. 827 of 2500 Certified Covers Issued. 5 First Class British Stamps with End of WW2 Postmark. Great Signature. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
RAF Complete Collection of 70 RAF Squadron Cover Series Flown First Day Covers in RAF Folder. This Collection is unsigned. Fantastic Collection. Sought after. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Harry Kernoff RHA (1900-1974)Tralee Mountains from KillarneyOil on board, 64 x 94cm (25 x 37”)Signed; inscribed with title, artist’s name and address in the artist’s hand, versoExhibited: Dublin, Royal Hibernian Academy, Annual Exhibition 1944, Catalogue No. 76.Born in London to Russian Jewish and Spanish parents, Harry Kernoff moved to Dublin at the age of fourteen and made it his home for life. Kernoff spent his days as an apprentice in his father’s furniture business, taking night classes at the Dublin Metropolitan School of Art under Sean Keating, and becoming the first night student to win the Taylor Art Scholarship in 1923. He first exhibited at the Royal Hibernian Academy just three years later, and continued to do so until the year of his death, becoming a full member of the academy in 1935. In that same year he held the first of three solo shows at the Victor Waddington Galleries (the others being in 1937 and 1940). International attention came in 1939 when he represented Ireland at the New York World’s Fair. The present work from 1944, Tralee Mountains from Killarney, is one of many paintings depicting scenes in Kerry and in particular around Killarney. This extensive view across Lough Leane towards the Slieve Mish mountains with its seventeen peaks conveys a calm, benign nature, the stylised cumulus clouds more akin to John Luke’s than Paul Henry’s. There is a strong structured design in Kernoff’s composition with the vast expanse of the lake providing an aquamarine backdrop to the exotic red-flowering trees which suggests an Orientalist influence. The tiny fishing boat with its two fishers reaffirms the enormity of the Kerry landscape and the relative insignificance of man. The composition is topped by an exquisite band of pale blue-hewed mountains, the far shore, with its light green fields and darker afforestation, enjoys a canopy of fluffy clouds running in symmetrical bands and conveys a ‘pet Kerry day’.
Frank McKelvey RHA RUA (1895-1974)Children Playing by a RiverOil on canvas, 50 x 68cm (19¾ x 26¾'')SignedProvenance: Sale, these rooms, April 1st 2015, lot no.35; private collection.Born in Belfast, son of a painter and decorator McKelvey was a most prolific painter, producing numerous river and coastal views from Donegal, Connemara and Antrim, along with many farmyard scenes. Significantly, the Exhibition of Irish Art in Brussels, held in 1930, included no fewer than three of his paintings, a measure of his stature. In 1937, he had his first one-man show in Dublin at the Victor Waddington Galleries and his work was also shown in New York prior to World War II.Compared with those of Craig and other contemporaries, McKelvey's landscapes are less romantic, less concerned with mood and feeling than with describing the essential visual effect of a scene, although, after the mid-1950s, his work becomes more atmospheric. John Hewitt suggests that 'in landscape his work his harked back to an older tradition than Craig, to quieter colour, to a kind of Constable-impression. It is most effective in its rendering of evening light over level estuary plains, out of a lowering sky, or coming in from the sea with water flooding across the sands.'From a younger generation than Craig, by 1925, McKelvey had reached the same level of recognition and became, with the latter and William Conor, one of Ulster's most prominent painters. Furthermore, his West of Ireland views, together with those of Lamb and Craig, dominated the field of landscape painting between the wars and, perhaps more than any other, approximated to a genuine Irish School.
Colin Middleton RHA RUA MBE (1910-1983)Castle Park, Bangor Oil on canvas, 61 x 61cm (24 x 24'')Signed with monogram; also signed, inscribed and dated 1979 versoProvenance: Sale, these rooms, 1/4/2015, lot 6; private collection.This late work is one of the surprisingly small number of paintings by Colin Middleton that record a specific location in Bangor, the town where he lived for the last decade of his life (a blue plaque at 6 Victoria Road was unveiled in his honour in 2005). Middleton had first moved to Bangor for a shorter period in 1953 and had painted at least two canvases of Castle Park at that time; the turbulent and expressionist style of these works, typical of the early 1950s, is quite different to this later painting, where the more formally organised and architectural arrangement creates a mood of tranquillity.It is notable, however, that both paintings do share such a vibrant palette. In the present work, this is used in a less obviously expressive manner than in the 1950s and short and controlled strokes of high-toned colour are integrated into more subdued passages to imbue the scene with a subtle sense of luminosity. The presence of figures is unusual in Middleton's post-1960 landscapes but the mother and child are reminiscent of his 1955 painting, 'November Evening, Bangor Pier'. They are very much in harmony with the woodland, introducing solid passages of colour that make connections around the canvas, mirroring the shape of the tree to their right and occupying the triangle between the diagonal path and the higher level of land.The painting seems to convey a clear note of nostalgia; Bangor would have carried strong associations for Middleton of his own young family growing up in the 1950s and Castle Park appears to have been a place he enjoyed. This particular view must have been painted close to North Down Museum where, most appropriately, an exhibition of Middleton's paintings of Bangor was held in 2013.Dickon Hall
Frederick E. McWilliam HRUA RA (1909 - 1992)Study for 'Princess Macha of the Golden Hair of the House of UlsterResin, 19.5 x 29 x 49cm high (7¾ x 11½ x 19¼'')Raised on black marble base, 23 x 17 x 4cm (9 x 6¾ x 1½'')Provenance: With James Wray Gallery, Belfast, where purchased by the current owner.In 1957 F. E. McWilliam was commissioned to make a bronze sculpture of Princess Macha to stand outside Britain's first National Health Hospital, situated at Altnagelvin a few miles outside Derry, which was opened to the public in February 1960.The details of the subject, the Celtic goddess Macha, were stipulated by the Northern Ireland Hospital's Authority. Macha was reputed to have founded the first hospital in Ireland at Eamhain Mhacha in 300BC. A dove, a symbol of St Colmcille who built Derry's first infirmary at his monastery in the 6th century, sits on one of her hands and of course also symbolises Peace. At first the piece caused a public outcry but it later became a talisman for the hospital, greatly loved by patients, visitors and staff alike. The hospital was designed by the architect Eugene Rosenberg who was later to become a close friend and patron of McWilliam.McWilliam produced numerous studies and maquettes in preparation for the full size version and the present lot is one such resin maquette.
Daniel O'Neill (1920-1974)Girl with a flowerOil on board, 50 x 40cm (19.6 x 15.7")SignedProvenance: Purchased from the Victor Waddington Galleries, Dublin, by the mother of the current owner, c.1950sFemale portraiture is a common theme in Daniel O'Neill's work, often depicting these figures with similar attributes, large brown eyes, sallow skin, and dark hair, features which are thought to have derived from his first wife Eileen. In the present work, the figure dominates the picture frame, with all of the emphasis placed on her strikingly beautiful face and long jet-black hair.There is the sense that the landscape behind her is a backdrop rather than a scene in which she is set. She poses for the artist with her hands drawn together, holding a pink rose against her chest. O'Neill does not offer us much in the way of narrative content - who the figure is or where she is located. This work marries with other portrait scenes by O'Neill, often described as 'Spanish Women,' with characteristically continental features. His travels in Europe certainly sparked interest in Spanish culture and he depicted a quintessential figure of Spain The Matador in a work from 1949. However, in these portraits of female figures there is a sense that the women personify the general rather than the specific, as Arthur Armstrong remarked of O'Neill that he 'loved the society of beautiful women.' (Arthur Armstrong, 'Martello, RHA Special Issue' 1991, as quoted in Daniel O'Neill Romanticism & Friends, Karen Reihill, p. 74).Girl with a Flower is presented against a darkening evening sky, her blue dress mirroring the tones behind her. His deft use of colour, varying from dark green to lighter blue tones, especially around the head of the figure, allows him to subtly separate her from the background, as if she is emerging from it. His handling of the paint, the quick impastoed brushstrokes of her dress are in direct contrast to the smooth and almost flawless character of her skin. By positioning her in profile he accentuates her sharp jawlines and elongated neck, a style reminiscent of portraiture from the Romantic period.Niamh Corcoran, February 2022
Edwin Hayes RHA RI ROI (1819-1904)Dalkey SoundOil on canvas, 26 x 35cm (10¼ x 13¾'')SignedEdwin Hayes was born in Bristol in 1820 but brought up in Dublin where his father ran the Bristol and Glasgow Hotel in Marlborough Street. He studied at the Dublin Society’s Schools and from the very first his ambition was to be a marine painter. His experiences as a pleasure sailor on the Irish Sea and also as a hand on a trans-Atlantic vessel stood him in good stead in his future art, as Walter Strickland noted his experiences enabled him in his pictures to delineate the sea and shipping with a sincerity and truth born of experience. Hayes first exhibited at the Royal Hibernian Academy in 1842 and continued to exhibit there until his death in 1904, showing hundreds of paintings over that period. He remained in Dublin for ten years before moving to London. He also exhibited at the Royal Academy of Arts, British Institution, Society of British Artists and the Royal Institute of Painters in Watercolours, becoming a full member of the latter in 1863.A hugely prolific but accomplished artist, Hayes painted the shores and harbours of the Irish and British coasts, and his visits to the coasts of France, Spain and Italy yielded him many subjects, but his views around the east coast of Ireland are particularly acclaimed. The present work depicts a variety of sailing vessels in Dalkey Sound in quite challenging seas. Dalkey Sound is the stretch of water between Dalkey Island and the coast at Dalkey which is on the southern point of the entrance to Dublin Bay and just a couple of miles southeast of Dun Laoghaire Harbour. Hayes has managed to capture the drama of the storm ravaged seas, the churning surf and the ships endeavouring to get to safety. The contrast between the rain filled clouds and grey seas to the east and the brightening skies to the west coupled with the light being caught in the wind-filled sails of the fishing boat is masterful and conveys to the viewer the impending end of the storm. We still however remain concerned for the safety of the fishermen in their all-weather attire on the deck struggling to keep control and get to the safety of Coliemore or Bullock Harbour.
James Arthur O'Connor (1792-1841)Wooded Defile with Figures and Distant Cattle Oil on canvas, 63 x 75cm (24¾ x 29½'')Signed and dated 1827Provenance: Collection of Dr. R.R Woods, Merrion Square, DublinExhibited: Dublin, Municipal Gallery of Modern Art, O'Connor Centenary Exhibition, 1941, Catalogue No. 35When, in Pride and Prejudice [1813] Jane Austen has Elizabeth Bennett exclaim ‘What are men to rocks and mountains?’ Austen, though offering us a humorous view of Romanticism, is nonetheless highlighting the beauty and power of landscape and its effect on us. For T.E. Hulme, the root of all Romanticism is when the individual feels within ‘an infinite reservoir of possibility’ and especially when the open, untamed landscape, the great outdoors, works wonders on both mind and imagination. James Arthur O’Connor belongs to the great Romantic movement, a movement that celebrates - in literature, music and especially in painting - creativity and a deep involvement with what Wordsworth calls ‘the goings on of earth and sky’. O’Connor was born, at 9 Exchequer St Dublin, in 1792. Shelley was born that same year. In 1792 Constable was sixteen, Turner was seventeen. Wordsworth and Beethoven were both twenty-two, and though not all of them knew each other, being contemporaries, their work reflected and expressed the spirit of the age in which they lived.O’Connor’s father, an engraver and printmaker, died when O’Connor was sixteen, his mother died before O’Connor’s twenty-first birthday. By 1809, O’Connor, then twenty-seven, began to exhibit with success at the Dublin Society. He most likely had been taught by his father but was also self-taught and his early work featured frequently commissioned landscapes of the west of Ireland including View of Lough Derg with Portumna Castle in the Background, The Grounds, Ballinrobe House, View of Westport with Croagh Patrick, Mangerton Killarney.In 1822, O’Connor, experiencing financial difficulties and hoping to improve his lot and help his orphaned sisters, moved to London with his wife Anastasia. He lived at Upper Marylebone Road, travelled widely in Britain and France, exhibited regularly at the Royal Academy, the British Institute and the Royal Society of British Artists. Exiled future French King Louis Philippe bought several of O’Connor’s work but O’Connor beset by conmen and dealers, who behaved dishonourably, deprived him of earnings that were rightly his.When he moved to Hampstead he lived close to where John Constable, an important influence, lived. In 1826 O’Connor spent a year in Brussels. In 1832 he lived in Paris for nine months and then spent six months in Southern Germany where the Saar and Moselle valleys inspired some of his best work. When O’Connor was forty-three, one of his Irish landscapes was acquired by the Musée des Beaux-Arts Thomas-Henry, Normandy, on its foundation in 1835, but during the 1830s O’Connor’s eyesight deteriorated and his career went into decline. O’Connor died poor in London aged forty-nine and was buried at St Luke’s Church, Chelsea. Prince Albert and the RA initiated a subscription to assist his widow. His obituary in the Dublin Monthly Magazine spoke of O’Connor as ‘a spirit of exceeding mildness; manly, ardent, unobtrusive and sincere; generous in proclaiming contemporary merit, and unskilled and reluctant to put forth his own’.His skill, imagination and brilliant compositional talents are evident in this exceptional work painted when he was thirty-five years old, Wooded Defile, Figures and Distant Cattle [1827]. Defile, here, means ‘a steep-sided narrow gorge or passage (originally one requiring troops to march in single file)’ and the dramatic, steep, rocky cliff-like landscape to the left and the rising ground to the right create a pathway along which four figures are travelling. These four figures, three men and a woman, carry with them and contain their own stories. In the foreground the two figures, a man and a woman, lit from behind, are given prominence. The tall-hatted man in rust-coloured jacket with walking stick and a dog on a lead, seems to have paused to look back at his companion. The woman in red dress, blue-green shawl and carrying a receptacle - a small cage perhaps? - as if in response to the man before her, stands her ground. Farther along the path, the man with his back to us carrying a basket and stick walks on slowly; the blue cloth in his basket a little bright detail, the side of his face brightly lit. A fourth figure in dark clothes and white shirt walks towards us leading a young cow. Each one prompts in the viewer a narrative of our own making. In this painting from 1827 we are invited to ask, who are they? where are they going? what are they like? And against the distant trees the ‘distant cattle’ of the title – important enough to get a mention.There are beautiful details here: in O’Connor’s handling of trees, rocks, shrubs but the triumph is in his capturing the way light falls through the defile and that beautifully bright golden-blue sky. Light, shade, perspective all make this a radiant and stunning work.Constable who died in 1837, just three years before O’Connor, said that ‘A gentleman’s park is my aversion. It is not beauty because it is not nature.’ Here, O’Connor celebrates the untamed, natural beautiful landscape, a landscape imbued with a Romantic sensibility where rocks and mountains dominate in every sense. Niall MacMonagle, February 2022
Roderic O'Conor (1860-1940)Marine, au Clair de LuneOil on canvas laid down on board, 73 x 92cm (28¾ x 36¼'')Stamped 'atelier O'CONOR' twice on the reverse and once on the stretcherProvenance: Hotel Drouot, Paris, Vente O’Conor, 7 February 1956; Musée de Petit Palais, Geneva; Sale, Sotheby’s London The Irish Sale, 22nd May 1997, lot 256; Private Collection, IrelandExhibited : Geneva, Petit Palais, Peintures Britanniques du XXe siecle, 1980; Geneva, Petit Palais, Post-Impressionnisme (1880 - 1910), 1/7/80 - 30/9/80; Osaka, and other venues in Japan, Trésors du Petit Palais, Geneve, 1983, no.65; Musée de Pont Aven, Roderic O’Conor 1860-1940, 1984 no.29; London, Barbican Art Gallery, and toured to Belfast, Dublin and Manchester, Roderic O’Conor 1860-1940, 1985, no.31Literature : L’aube du XXe siecle, vol.1: De Renoir a Chagall, Petit Palais, Geneva, 1968, p.41;Julian Campbell, The Irish Impressionists: Irish Artists in France and Belgium 1850 - 1914, National Gallery of Ireland exhibition catalogue, 1984, p.99;Jonathan Benington, Roderic O’Conor, Irish Academic Press, Dublin 1992, pp.83-84,199.€ 150,000 - 200,000Roderic O’Conor had been living and working in Pont-Aven, Brittany for nearly three years when he met Gauguin in 1894, recently returned from his first trip to Tahiti. A friendship formed, and it is clear from Gauguin’s letters that he was expecting the Irishman to accompany him on his return to the South Seas. Although O’Conor declined, the relationship had a far-reaching affect on his life and his art: “… Gauguin’s strength of character and convincing style of talk made a deep impression on the young, or youngish, Irishman…” (Clive Bell, Old Friends, 1956, p. 166).Further to Gauguin’s final departure from France in 1895, O’Conor embarked on a group of nocturnes inspired by the scenery around Le Pouldu on the southern coast of Brittany, and the riverside town of Pont-Aven, 25 kilometres inland. The theme first emerged in an etching, Full Moon on the Coast, and was then developed in several moonlit seascapes painted in gouache, as well as a handful of oil paintings including The Bull and the Moon and A Moonlit Breton Landscape (Benington 1992, p. 199, nos. 81 and 84). These artworks stood apart from O’Conor’s earlier Breton landscapes on account of their greater reliance on the imagination, as if conceived from memory rather than direct observation.In Marine au Clair de Lune we see a clifftop house with a light shining in its windows, overlooking a sailing ship caught in the reflected path of the full moon, a glowing orb half hidden by a cloud at the top of the composition. The close juxtaposition of land and sea, safety and uncertainty, may be a recollection of the house at St Julien, a hamlet of Le Pouldu situated at the mouth of the Laita river, where O’Conor had stayed with his friend Armand Seguin in 1893 and, two years later, the two of them watched as Gauguin spontaneously composed an etching. Writing to Seguin four years later, O’Conor revealed that he had plans for a picture of St Julien, perhaps identifiable with the present work. One of its most striking features is the way its dreamlike quality has been given substance through technical innovation: O’Conor has applied his colours very thickly, making extensive use of the palette knife in order to obtain a richly textured surface. The granular effect of this build-up of pigment is particularly suited to capturing the glimmer of light on the water surrounding the two-masted vessel. Like most of his other moonlit pictures, the present work was most probably begun during the years 1895-98 when O’Conor was living in comparative isolation at Rochefort-en-terre, a hilltop village in the heart of rural Brittany. Unable, or unwilling, to accompany Gauguin to Papeete, he may have chosen this location because it was less visited by artists and tourists than Pont-Aven, more authentically Breton in its preservation of time-honoured religious and cultural practices. Here he had the space and freedom to experiment with new ideas, notably Gauguin’s dictum that the remembered image was a more effective embodiment of ideas and emotions than the observed one. By relying to a greater extent on his memory and imagination, O’Conor arrived at a range of themes that were uniquely personal to him. The mystery of a work such as Marine au Clair de Lune lifts it onto a Symbolist plane, recalling O’Conor’s association with writers such as Alfred Jarry, Léon-Paul Fargue and Charles Morice. And like Wordsworth who defined poetry as emotion recollected in tranquillity, here O’Conor seems to evoke the experiences that had meant the most to him just a few years earlier – moonlit walks, the proximity of the sea and windswept cliffs, the stimulating company of fellow artists, and a warm house to return to at the end of the day. Jonathan Benington, February 2022
Colin Middleton RHA RUA (1910 - 1983)Kelly's Coal Boat, Belfast LoughOil on canvas, 50.5 x 60.5cm (20 x 24")SignedProvenance: Christie's, Scotland, 27th October 1989, Lot 353 (as A Cargo Ship at Sea)Colin Middleton’s father, Charles Collins Middleton, was a keen and skilful amateur painter who had a passion for boats and John Hewitt records Middleton’s early memories of ‘those Sunday mornings when Charles carried him down to the Belfast Docks to wander along the quays scrutinising the array of vessels and boarding those where he was friendly with the ships’ masters’.It was in 1941, following the harrowing events of the Blitz of Belfast that spring and eight years after his father’s death, that Middleton’s interest in this subject matter seems to have been re-awakened. Although his earlier work had been dominated by abstraction and surrealism, and the latter had been particularly effective in shaping his response to the war and also to the death in 1939 of his first wife, Maye, a more reflective mood emerged in a series of Belfast street scenes that Middleton began in 1940. In these, he seems to have looked at the city around him and its inhabitants with a new sense of kinship and empathy.It is interesting to speculate whether the paintings of Belfast Docks and its working boats were a conscious reminder of his father. The gently impressionistic manner of painting, with short broken brushstrokes placed carefully onto primed canvas occasionally left bare, and the muted palette that typified this group of works, is demonstrated in the present painting. A number of these Belfast landscapes and seascapes were included in Middleton’s 1941 solo exhibition at Belfast Museum and Art Gallery and it is possible that this is the painting Barges that was shown there.Dickon Hall
Patrick Swift (1927-1983)Green Wood, c.1958Oil on canvas, 56 x 70cm (22 x 27½'')Exhibited: IMMA & Ulster Museum No. 31 as 'Trees'Patrick Swift trained as an artist at the National College of Art in the late 1940s, while working for the Dublin Gas Company. His work was included in the Irish Exhibition of Living Art (IELA) in 1950 and periodically thereafter through the 1950s; he had his first solo exhibition at the Victor Waddington Galleries, Dublin, in 1952. In these early years of his career, he was interested in portraiture; the influence of Lucian Freud - who shared Swift's studio when he visited Dublin during these years - was noted by early viewers. Like Freud, Swift was also interested in plant forms and foliage. Increasingly, in fact, as the decade went by, they came to interest him more than the human figure. Yet he continued to observe these natural subjects with the same forensically psychological gaze he had applied to his portraits. At the IELA in 1956 he exhibited two such studies of foliage; the Irish Times reviewer Tony Gray commended them for what he described as 'the intensity of their scrutiny.'Green Wood (c.1958) is an interesting example of Swift's treatment of foliage from this time. The forest scene is dominated by two trees whose angular, clearly-delineated trunks give way to what seems to be an impossible profusion of interlocking branches, creating a delicate canopy of tendrils and leaves, a pattern of bright whimsical elements set against the darker muted green of the surrounding woods in the background. The forest floor is a carpet of carefully detailed wild grasses, illuminated in the centre of the canvas but giving way to a darker green at the extremities of the composition. The effect is of a controlled, stylised, expressionistic, maybe even slightly surreal scene, retaining some of the same muted, tenebrous qualities as Swift's other work of the period.Nathan O'Donnell, February 2022
Rory Breslin (b.1963)Artemision Horse StudyBronze, 71cm high x 74cm long x 28cm wide (28 x 29 x 11")Edition 3/3This sculpture is a study of the horse's head in one of the most popular and important displays in the National Archaeological Museum in Athens, the bronze Horse and Jockey Group. The group was found in a shipwreck off Cape Artemision, in North Euboea, which was discovered in 1926. The first parts of the equestrian statue were recovered in 1928, with more pieces found in 1936 and possibly 1937. The statue was reassembled, and after restoration went on display at the Museum in 1972.The Horse and Jockey Group is special in being one of the few original large-scale bronzes securely dated to the Hellenistic period. It is approximately lifesize in scale and consists of a horse in mid- gallop, on which is seated a youthful jockey, who looks back over his shoulder. The Horse and Jockey group is unusual in combining an athletic sculpture with an animal. The unknown sculptor of this masterpiece has captured the excitement and vitality of a horserace in mid-action. Some scholars have previously dated the group from the late fourth century B.C. to the first century B.C. The statues have been attributed previously to various sculptors, including Kalamis, Lysippos and the Pergamene school.
Banksy (British 1974-), 'Clown Skateboards Test Press (Ukrainian Charity 1/1)', 2022, a complete set of 3 blue and yellow screen-printed skateboard decks, a unique charity variant produced to raise funds for the Ukrainian crisis using the original 2000 acetates, Decks: 80.5 x 20cm each (3)ARRCharity Lot: All proceeds will be going directly to The BRC Ukraine Crisis Appeal.Note from the Publishers:We are putting up a special one-of-one version of our Test Press Series designed by Banksy for Clown Skateboards, produced in the colours of the Ukrainian flag. All proceeds will be going directly to The BRC Ukraine Crisis Appeal.You can read the full origin story here but suffice it to say we were only ever going to produce 100 sets of that series. However, there was a small matter of how we responded (as millions all over the world have) to the resulting humanitarian crisis springing from Putin’s war on Ukraine. We had made a promise to our Test Press Family that we would retire the acetates after the run but we couldn’t just stand by and watch this man-made disaster unfold, so we put it to a vote. We contacted all buyers and the majority responded. They were in for “one last job”.90% were in favour and there were some who didn't agree with it (a few of whom gave well-argued responses); but that's why we asked the question in the first place. Should the results have been reversed, we wouldn't be doing the run.What we would say is that while we are fully aware of the hypocrisy in certain quarters of the western media, this is not a reaction to war in our backyard.This is a humanitarian reaction to a very real and present concern.Here's to peace.Jeff and VikasClown SkateboardsNotes to Editors:Clown IN ACTIONClown InstaBritish Red CrossBRC Insta
William H Bartlett (British, 1858-1932)Returning from the Fair, Co. Galway 'To the periodical Markets, held on the mainland, the inhabitants of the outlying islands are often obliged (owing to the smallness of the boats) to tow their cattle after them.'signed and dated 'WHBARTLETT 1888' (lower right)oil on canvas87.5 x 142cm (34 1/2 x 55 7/8in).Footnotes:ProvenancePrivate collection, South Africa.ExhibitedLondon, Grosvenor Gallery, 1888, no. 21.LiteratureHenry Blackburn, Grosvenor Notes, 1888, 1888, p. 10.The Daily Telegraph, 'The Grosvenor Gallery - Second and Concluding Notice', 2 May 1888, p. 5.Ida Hector, Cheltenham Examiner, 'The Grosvenor Gallery', 2 May 1888, p. 2.Truth, 'The Grosvenor Gallery', 3 May 1888, p. 18.The Graphic, 'The Grosvenor Gallery', 5 May 1888, p. 11.The Athenaeum, 'The Grosvenor Gallery – Second and Concluding Notice', 19 May 1888, p. 638.WH Bartlett, 'Coast Life in Connemara', The Art Journal, 1894, p. 248, illustrated.In the nineteenth century a drama was frequently enacted in the west of Ireland. Having acquired their livestock at local fairs, smallholders, who tenanted land measured in terms of 'a cow's grass', would ferry their cattle to offshore island pastures.1 This perilous task of transporting their purchases across deep treacherous sounds enabled their mainland soil to revive after a hard winter, and while one or two sheep or a young calf might be accommodated in a wooden curragh, or Galway hooker, neither was large enough to take several cattle. These animals had, effectively, to be towed to their new homes, their heads held firmly above the water level as in William Henry Bartlett's Returning from the Fair, Co. Galway. The authenticity of his painting is such that the heave of the long oars breaking the silver-grey waters can almost be felt. Bartlett's first encounter with the west of Ireland came when he accompanied the American painter, Howard Helmick, probably in the summer of 1878.2 So captivated was he, that after spending a winter in Munich, a further session at the atelier Julian, a season at Grez-sur-Loing, and visits to Venice and St Ives, Bartlett returned to Connemara around 1886 to paint The Last Brief Voyage (sold in these rooms, 10 July 2013, lot 115) for the Royal Academy of the following year. This sombre subject, based on an actual burial, sat within an almost lifelong commitment to the hard life endured by peasant farmers of the west. Attending the local fairs where sheep and cattle were exchanged, and witnessing vigils at wayside shrines, 'marked a mile-stone in my artistic life' he later wrote.3Arriving in Roundstone in county Galway, with its majestic backdrop of the Twelve Bens, he recalled that 'my first sight of the beaches nearby made an unforgettable impression'.4 He was instantly charmed by the 'luminous opalescent grey sky' and the 'sea of the tenderest translucent green' – all effects that are seen in the present work.5 Some critics who reviewed the painting when it appeared in the Grosvenor Gallery in 1888, thought this must have been a scene in Scotland, but the light of Connemara was unmistakable. It was left to The Graphic to point out that the occupants were Irish and that the picture was 'firmly painted and effective'. This was translated as 'dash and vigour' in The Daily Telegraph, while The Athenaeum found this 'a capital subject', the treatment of the sea being 'somewhat rough' and 'the designing of the figures...excellent'.The mistaken identity of people and place is, however, not insignificant. So pervasive was the imagery associated with the Irishman and his domain, that the rugged beauties of the Connemara went largely unrecognized. Faced in a prestigious exhibition, surrounded by cognoscenti and London's bourgeoisie, most Grosvenor Gallery visitors would only have the sketchiest idea of life in the estuary at Roundstone or on Galway's offshore islands. The heroism of Synge's Aran Islanders, Yeats's Man from Aranmore, 1905, and Orpen's Nude Pattern, The Holy Well, 1916 (both National Gallery of Ireland) was yet to come. Bartlett noted how superstition led to suspicion when he tried to find models or observe scenes like these. And were it not for the 'entrancing beauty' of the 'strands of pearly white sand' and 'exquisitely delicate green of the sea combined with the lovely blue of the Connemara mountains', he may have returned permanently to the crowded Venetian calli or the val-de-Seine and been less of a painter. Indeed, such was the significance of the present imagery that he looked for it elsewhere in works such as A Breezy Crossing, 1983 (Cartwright Hall, Bradford City Art Galleries and Museums). Crossing the Seine at Caudebec with your flock was however an adventure of different order and while similar scenes could be witnessed in Donegal when Bartlett went there in the early years of the new century, Returning from the Fair, Co Galway, was the classic canvas from which others derived. 1WH Bartlett, 'From and Island in the West', The Art Journal, 1908, p. 258.2The contrast between Helmick's more traditional Wilkie-esque depictions of Irish life and Bartlett's modern, heroic men and women of the west is noteworthy.3William Henry Bartlett, Impressions and Adventures of an Artist, n.d. [c.1920] (unpublished typescript, Private Collection), pp. 55-6.4Ibid.5 WH Bartlett, 'The West Coast of Ireland', in Charles Holme, ed., Sketching Grounds, 1909 (Studio Special Number), p. 120.We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Sir Alfred James Munnings, PRA, RWS (British, 1878-1959)Calcot Park signed 'A. J. MUNNINGS' (lower left)oil on canvas50.5 x 61.5cm (19 7/8 x 24 1/4in).Footnotes:ProvenanceCollection of Robert Younger, Baron Blanesburgh (1861–1946).By descent to the present owner.Private collection, UK.It is likely that that the present lot was either no. 13 (In Calcot Park) or no. 15 (June Afternoon Calcot Park) exhibited in 1919 at James Connell & Sons, London, Exhibition of Paintings by A.J. Munnings.Although Sir Alfred Munnings is better known for his equestrian paintings, his first love was painting landscapes en plein air. This is not surprising because the artist grew up in East Anglia, the base of the renowned plein air Norwich Art School of landscape painting. As an impressionable teenager before the turn of the last century, one of Munnings's earliest mentors was James Reeve, expert and significant collector of Norwich School artists (eventually the foundation of the Norwich Castle Museums collection of John Sell Cotman's paintings). Additionally, Munnings was a staunch admirer of the landscape paintings of John Constable. Consequently, through his life he sought out Nature's bounty, creating wonderous works of art from simple landscape scenes.The present work is a rich tapestry of textures of tree foliage and blooms. Horse chestnut trees display their conical, pinkish-white blossoms in June which Munnings has articulated with a flurry of vertical strokes amid impressionistic sweeps of green. With more summary execution, other species of trees are depicted as if shimmering in a slight breeze. To add further interest the wooden slates of the fencing and remaining tree stumps flanking the main chestnut tree, echo the verticality of the chestnut flower clusters. Although Munnings has never specified using artistic symbolism in his works, 19th century symbolism used in Constable's time and known to Munnings, can be identified in the new life of Spring buds as a contrast with the decaying demise of the tree. Calcot Park, a large estate, but a golf course since 1926, where Munnings, having failed to enlist as a soldier because of total blindness in one eye, worked as a 'strapper' in 1917. Munnings's job was to check the horses for diseases and parasites, before they were deployed. His friend and fellow artist, Cecil Aldin, was in charge of the Remounts Depot, checking thousands of horses for the war effort on the Continent.This work will be included in Lorian Peralta-Ramos's forthcoming book Tradition and Modernity and the Works of Sir Alfred Munnings to be published by the National Sporting Library and Museum in Middleburg Virginia.We are grateful to Lorian Peralta-Ramos for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Ramón Tusquets y Maignon (Spanish, 1838-1904)Le Opere, Campiña Romana signed, inscribed and dated 'R Tusquets/Roma 1871.' (lower right)oil on canvas129.5 x 259cm (51 x 102in).Footnotes:ProvenanceEduardo de Carandolet Donado y Castaños, Marqués de Portugalete and Duque de Bailén, Madrid, acquired at, or soon after, the Exposición Nacional de Bellas Artes, Madrid, 1871.Señor Don Gustavo Baüer, Madrid, by at least 1898.Domingos Demarchi, Rio de Janeiro, Brazil and thence by decent to his great grandchildren, the present owners.ExhibitedMadrid, Exposición Nacional de Bellas Artes, 1871, no. 543, where it was awarded a second-class medal.London, Guildhall, Corporation of London Art Gallery, Exhibition of the works by the Prominent painters of Spain, 1901, as The Roman Campagna (Peasants working in the Field), listed as property of Señor Don Gustavo Baüer (exhibition label attached to the reverse).LiteraturePeregrin García Cadena, La Ilustracion de Madrid, vol. 43, p. 292, showing a full-page illustration and p. 334: 'Mr. Tusquets is the one who has surprised this time an episode of that naturalness in the middle of a Roman countryside. Who has not admired that well-ordered composition, that movement so perfectly understood, that impeccable harmony of tone and light, that intelligence of perspective, that general character of truth and naturalness that the photograph of the painting seems to produce? The grouping of the figures, the grandiose effect of the dark light, the delicate accord of the tones and the colours, the refined touch; everything is beautiful in Mr. Tusquets' painting, everything is well expressed, well arranged and executed to perfection.'Manuel Cañete, La Ilustracion Española y Americana, 1871, vol. XXX, p. 524 showing a full-page illustration of the work and vol. XXXVI, p. 614: 'Don Ramon Tusquets, a native of Barcelona, is well placed in the pavilion of Catalan painters. A single painting by him has been shown at the exhibition, but it is worth many, Le Opere Campiña Romana (number 543) is, indeed, a piece of great merit, which none of the other exhibits exceed in quality. It is bewildering therefore the way of distributing the prizes has deprived Tusquets of a first-class medal. Nobody deserved it more, neither for the way of imagining his work, nor for the way of drawing and executing it. The painting of the Roman peasants tilling the land is a new confirmation of the theory so many times demonstrated in practise that the simple representation of nature is enough to produce a beautiful artistic creation, without the need to turn painting into an interpretation of philosophical concepts or abstractions of any genre. What simplicity, what truth, what light, what admirable local colour in the statuesque form of the figures and in the harsh aspect of the landscape! How well understood is the aerial perspective and the gradation of colours. How much harmony in the canvas of Tusquets! There, everything lives with the life of reality and with that of art.'Anon, Correspondencia de Bellas Artes – Raimundo Tusquets, Rome, 24 October 1874, in Revista Europea, no. 38, 1874, p. 93: 'At the Exhibition of 1871 we again saw the appearance of Tusquets' signature in the painting Los Campesinos Romanos. The artist has made a giant step. Nothing so beautiful, nothing so pleasing as that delicious painting, in which one does not know what to admire more - the naturalness and simplicity with which the subject matter was developed or the accuracy of the attitude and expression of the figures; or the correctness or the drawing; or the appropriateness and freshness of the colour; of the diaphanous light and soft atmosphere that bathes it; or the harmony of the whole. That painting was one of the best in that exhibition, and in front of it was constantly seen a group of admirers almost as numerous as the ones that were attracted by La Lucrecia, by Rosales; Santa Clara by Domingo; the Tres de Mayo by Palmaroli, or the Muerte de Seneca by Dominguez.The admirable instinct that leads our people to contemplate the works of art, stopping always in front of the best, without realizing the reason for this, meant that the Tusquets painting had admirers, not just among intelligent people who appreciate and rationalise in detail what the merits and the defects that a painting may have, but among the popular classes that are guided by instinct and appreciate the impression they receive. Nevertheless neither could appreciate that painting well enough because to appreciate it in all its truth, it was necessary to know the country where it was created; it was necessary to have seen these peasants of Roman agriculture engaged in their work; it was necessary to have contemplated these fields with their dark colour, these humid and unhealthy lands; it was necessary have seen this white, soft, pearly light of Roman dawns, a special light that is very different from ours. Everything was captured in that painting with an exactitude, breathtakingly and charmingly beautiful; this could not be gauged by someone in Spain who did not know this country in detail, and yet the picture was admired by all, and Tusquets got an enviable triumph that further strengthened his reputation as an artist. Not even the humorous critic who caused so much hurt to many of the works presented in that exhibition, not speaking of the good qualities of the pictures, but ruthlessly siting any defect, found nothing in the Tusquets that would fuel his scathing jokes. No, I spoke wrong; something occurred in a detail in the background, and precisely in a detail that gave extraordinary truth to the whole, and which the critic had missed seeing to know little of the customs of the Roman peasants.'Alfred George Temple, Modern Spanish Painting, being a review of some of the chief painters and paintings of the Spanish school since the time of Goya, 1898, pp. 48-9: '[Tusquets'] landscapes are very distinctive in character; one of his best examples, rich in colour and firm in delineation, being The Roman Campagna, a large work in the collection of Señor Bauer, in Madrid. Many medals and other distinctions have been awarded to him.'Cien años de pintura en España y Portugal (1830-1930), 1993, p. 72, noting that the work was 'awarded a second-class medal and was acquired by the Marqués de Portugalete.'Photographed by the French photographer Jean Laurent (1816-86), of which there is an example in the Biblioteca Nacional de España, Madrid.Ramón Tusquets' magnificent oil Le Opere, Campiña Romana was painted in Rome, about six years after he had left his Spanish homeland in circa 1865 to live and work in Italy. Keen to maintain his native connections, Tusquets often sent his work to the Spanish exhibitions, of which this was one. It was shown in 1871 at the Exposición Nacional de Bellas Artes, Madrid, where it was awarded a second-class medal. The critics and public alike were unanimous in praising this tour de force for its beauty, harmony, light, colour and naturalism. As some of the reviews noted, Tusquets' achievement drew both on his native artistic heritage and on his more recent understanding of Italian cultur... This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
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