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Lot 24
TWO 18CT GOLD RINGS, the first designed with a ten claw set, oval cut garnet (damaged), scallop surround, tapered shoulders, plain polished band, hallmarked 18ct gold Birmingham, ring size O, together with a circular opal cabochon set ring on a plain polished straight band, hallmarked 18ct gold Chester, ring size M, approximate gross weight 5.1 grams (condition report: the garnet has a large chip to the crown facet, the opal is worn and appears cloudy)
Lot 472
THREE PIECES OF ROYAL DOULTON 'THE SNOWMAN' GIFTWARE AND A COALPORT CHARACTERS FIGURE, comprising a limited edition first edition 'Christmas Friends', no 0353 of 2000, with certificate, a Royal Doulton 'Highland Fling' oval trinket box and Snowman Band mug and 'Playful Snowman' mug, both mugs have chips to the rims (4 + certificate) (Condition report: mugs chipped to rims, the other two in good condition)
Lot 560
FIVE ROYAL DOULTON FIGURINES AND OTHER CERAMIC ITEMS, comprising a Royal Doulton My First Figurine HN3424 with certificate, Kitty HN3876, boxed Bedtime HN1978, boxed Darling HN1319 with painted and printed marks to base (crazing, long crack to back of arm and shoulder), boxed Raymond Briggs The Snowman Money Box DS19, together with a cube shaped money box printed with reproductions of Victorian advertisements and a boxed Portmeirion Sara Miller three tier cake stand (Condition report: as stated, dust, generally good condition) (7 + BOXES)
Lot 60
A 9CT GOLD GARNET RING AND A YELLOW METAL SMOKEY QUARTZ RING, the first ring designed with three oval cut garnets, interspaced with four small circular cut garnets, openwork gallery, to a plain polished band, hallmarked 9ct gold Birmingham, ring size S, approximate gross weight 3.9 grams, together with a yellow metal smokey quartz ring stamped '9ct', ring size L, approximate gross weight 2.1 grams (condition report: the garnets have some slight abrasion to the facet edges, would benefit from a gentle clean, overall condition good)
Lot 63
A 9CT GOLD GEM SET RING AND A YELLOW METAL DIAMOND RING, the first ring of a half eternity design, set with circular cut colourless stones assessed as sapphire, interspaced with circular cut red spinels, to a plain polished band, hallmarked 9ct gold London, ring size N, approximate gross weight 1.2 grams, together with a yellow metal diamond ring, set with a single illusion set diamond, to a tapered plain polished band, stamped '18ct Plat', ring size P, approximate gross weight 1.5 grams
Lot 715
A GROUP OF SIX COALPORT 'GOLDEN AGE' LIMITED EDITION FIGURINES, comprising 'Eugenie, First Night at the Opera', 'Charlotte, A Royal Debut', 'Alexandra at the Ball, 'Beatrice at the Garden party', 'Georgina' and 'Louisa at Ascot', all six limited edition number 6229 of 12500, no boxes and no certificates (6) Condition report: all appear to be in good condition)
Lot 85
TWO MOUNTED COINS, the first an Elizabeth II 5 Dollars 1990 Canada fine gold 1/10 oz Or Pur 9999 coin, the second an Elizabeth II 1990 Australia 15 Dollars 1/10 oz 9999, both in a plain mount with suspension loop, mounts stamped 14k 585, diameters 16mm, approximate total gross weight 7.1 grams
Lot 1306
° Rawlinson, George. The Five Great Monarchies of the Ancient Eastern World....4th edition, 3 vols. 4 folded maps and many wood engraved text illus.; contemp. gilt decorated tree calf, with panelled spines, marbled edges and e/ps. 1879; together with (same author) The Sixth Monarchy (Parthia) and The Seventh (The New Persian Empire). maps and plates; bound uniformly with first item, 1873-76; together with Rawlinson, George. History of Phoenicia. 2 coloured maps (1 folded), 10 engraved plates and num. text illus (some full page); bound uniformly with the others 1889
Lot 1308
° Walpole, Horace. The Letters of Horace Walpole, Earl of Oxford: including numerous letters now first published from the original manuscript 6 vols. 24 engraved portraits; 19th cent. half morocco and marbled boards, gilt decorated and panelled spines, gilt tops and marbled e/ps. 1840; together with the following letter series - uniformly bound with the above; Letters of Horace Walpole....to Sir Horace Mann.....now first published from the original mss....4 vols. 7 engraved portraits 1843-44; The Correspondence of Horace Walpole.... and the Rev. William Mason. Edited, with notes, by the Rev. J. Mitford. 2 vols. 1851; Letters Addressed to the Countess of Ossory... now first printed from the original mss. Edited, with notes, by the Rt. Hon. R. Vernon Smith....2nd edition, 2 vols. 2 portraits and a text engraving 1848.
Lot 1276
Antiquarian. Senefelder, Alois - A Complete Course of Lithography: &c. London: Printed for R. Ackermann, 1819. First English edition. Complete with 14 plates, as per directions to binder list at rear. 342pp. Ex-library with old Whitehaven Library bookplate to end paper, no other obvious library markings or stamps etc. Contemporary binding, worn. A scarce work. (1)
Lot 1224
First Edition. Tolkien, J. R. R. - The Lord of the Rings. London: George Allen & Unwin Ltd. 1954-55. Three volumes. All appear first impressions. Original cloth, worn with some staining/soiling. NO dust wrappers. A few loose pages in volume III. Each with a folding map at rear. (3) Condition Notes: Neat ink signature of former owner to end paper of volume one The loose pages in volume three are 197-204pp, they are not damaged Foxing/spotting present on first and final few leaves of all three books Front inner-hinge of volume one split (webbing exposed)
Lot 785
* ELEANOR CHRISTIE CHATTERLEY,WOMAN OF THE NORTHbronze (cast bronze) sculpture, 167cm tall.Note: Eleanor Munro was born (1929) and educated in Scotland. She studied sculpture at The Glasgow School of Art and Camberwell School of Art. She taught Sculpture at London Marylebone Institute (St John's Wood Sculpture School) from 1970 - 84 and at Blackheath School of Art from 1987 - 93. In 1952 she married the artist Fyfe Christie (1918 - 1975). Some eighteen years after the death of her first husband (1993) Eleanor married the music producer Albert "Jack" Chatterley (died 2016). Eleanor Christie-Chatterley has exhibited her sculptures at numerous venues including Woodlands Art Gallery (London), Blackheath Gallery (London), Old Cattan House Gallery (Norwich), Buckenham Galleries and at Cyril Gerber Fine Art (Glasgow). Her sculptures are in numerous private collections in the UK, the US and in France. Eleanor Christie-Chatterley lives on the west coast of Scotland and is almost certainly Scotland's oldest living sculptor. In The Scottish Contemporary Art Auction of 24th October, "Green Man Walking" by Christie-Chatterley sold for £3800 (hammer) and three small stoneware sculptures sold for hammer prices of £480, £500 & £500.SHIPPING: Aardvark Art Services Ltd have quoted £150 to collect this sculpture and deliver it to most (except the more remote) UK mainland locations (further details on request).
Lot 806
* JOYCE W CAIRNS PRSA HRA HRHA HRWA HRBA RSW MA (RCA) (SCOTTISH b. 1947),FACE IN THE WARDROBEmixed media on board, signed and titled versoimage size 22cm x 21cm, overall size 49cm x 49cm Mounted, framed and under glass.Note: In 2018 Joyce W Cairns was elected the first woman President of The Royal Scottish Academy in its 192 year history. Given the extraordinary talent of many Scottish women artists both past and present, this honour reflects the high esteem of the Royal Academicians who elected her and her status as one of the most important and respected artists of her time. Note 2: Joyce W Cairns was born and brought up in Edinburgh. She studied painting at Grays School of Art, Aberdeen from 1966 -71 and The Royal College of Art, London 1971 -74. She was awarded a Fellowship at Gloucester College of Art and Design 1974-75 returning to London where she did the Art Teacher’s Certificate Course at Goldsmiths College, University of London 1975-76. In 1976 she returned to Aberdeen where she taught Drawing and Painting at Grays School of Art until 2004 when she took early retirement to complete the vast body of work which culminated in ‘War Tourist’. It was exhibited for 3 months in 2006 at Aberdeen Art Gallery, attracting nearly 30,000 visitors. Her work is mainly autobiographical based on past memories intertwined with present experiences, woven around the backcloth of the once fishing village of Footdee at the mouth of Aberdeen harbour where she has lived for the past 33 years. ‘War Tourist’ was based on her Father’s war backed up by extensive research following in his footsteps through Europe and Tunisia. She now paints in Dundee working in a house and garden overlooking the Tay which will add a further dimension to her work but still retains a residence in Footdee. Cairns has won many awards and is featured in many publications and in the wider media. Cairns’ work has been exhibited in serious group exhibitions since 1970, as well as having numerous celebrated solo exhibitions in Scotland, London and Canada. Her work is held in numerous public collections including Aberdeen Art Gallery, GOMA, the British Museum, Graves Art Gallery and Museum, Sheffield, The National War Museum, Edinburgh, The Fleming Collection (London) and the McMaster Museum, Hamilton, Ontario.
Lot 856
* OSCAR MARZAROLI (ITALIAN/SCOTTISH 1933 - 1988),IN THE LOCKER ROOM © copyright Marzaroli familysilver gelatine printoverall size 22cm x 30cm Unframed, mounted to board.Note: tactics being discussed by the late and great Jock Stein CBE the first manager of a British side to win the European Cup, with Celtic in 1967. Several other faces in this photograph will be familiar to those with an interest in Scottish football.
Lot 519
* PAUL REID (SCOTTISH b. 1975), THE STUDY FOR MARSYAS oil on canvas paper, signed, titled label verso image size 44cm x 18.5cm, overall size 59cm x 33cm Framed and under glass. Exhibition label verso: Paul Reid - New Works, 2002, The Scottish Gallery, Edinburgh. Note: Paul Reid is undoubtedly one of the great figurative painters to have emerged out of Scotland in recent years. His personalized interpretations of ancient myths have attracted a growing and enthusiastic audience, with highly successful exhibitions recently held in Edinburgh and Harrogate. A major publication of his work was published by 108 Fine Art in 2006, with an introduction written by His Royal Highness The Prince of Wales and essay by Laura Gascoigne. Paul Reid studied at Duncan Of Jordanstone College Of Art, Dundee from 1994 – 1998. He was awarded a Carnegie Trust Vacation Scholarship and the John Kinross Scholarship. His work is held in numerous public and private collections including JK Rowling and HRH Prince of Wales. In 2002, The New Statesman named him as one of the "Best of New British under the age of 35". In 2004 Paul accompanied HRH The Prince of Wales on a trip to Turkey and Jordan, completing a series of paintings and drawings based on the landscape and people of the areas visited. In 2009 he again accompanied HRH on a visit to Canada. His first public art gallery exhibition was arranged by 108 Fine Art, and toured the UK in late 2007 / 2008. The exhibition charted the development of his work over the previous ten years, with the emphasis on his series of paintings, based on ‘The Minotaur’ and, ‘Circe’. In a review by Iain Gale, “Six of the best painters point the way forward”, in Scotland on Sunday: “Since he burst on to the British art scene three years ago, shaking up received notions of what contemporary art was about, Paul Reid has been gathering a loyal audience with his unique take on the apparently redundant tradition of neo-classical painting. His art is unlike anything else you will see on the contemporary scene. While some others might imitate the old masters, Reid creates his own vocabulary and towers over his rivals through his sheer draughtsmanship and feel for paint. But there is nothing reactionary about this work. Reid is not attempting single-handedly to subvert the current trend for conceptualism, some of which he admits is powerful and valid. Rather he sees himself as part of a bigger picture, using Greek myth as it was originally intended to be used, as a metaphor through which to tap into basic human truths and mysteries.” Paul Reid is represented by The Scottish Gallery and his next solo show there will take place in 2022.
Lot 541
* HANNAH FRANK (SCOTTISH 1908 - 2008),COME LOVELY AND SOOTHING DEATH (1949)lithograph, signed in pencil, titledimage size 36cm 25.5cm, sheet size 44cm x 31cm, overall size 46.5cm x 33cm Framed and under glass.Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare pencil signed lithographs have continued to rise with many current prices being more than four times higher than those achieved less than a decade ago. The UK auction record for a Hannah Frank signed print had been £650 (achieved by McTear's) until the Scottish Contemporary Art Auction of 24th October 2021 when lots 577 & 578 each sold for £820 (hammer). Note: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of prints of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were ever signed by Hannah who found the task of numbering and signing "tiresome". A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).
Lot 550
* CLIFFORD HANLEY (SCOTTISH 1948 - 2021),A GIRL + HER BOOToil on board, signed and dated '89, titled versoimage size 91cm x 100cm, overall size 95.5cm x 104.5cm Framed. Note: Eldest child of Cliff Hanley, author, & Anna Hanley, artist. Attended Hillhead High School then Glasgow School of Art (Diploma, Drawing & Painting). His first (sell out) exhibition was at the age of 15 in the Grosvenor Cafe, Byres Road, Glasgow. On leaving the Art School Clifford worked on various projects including the refurbishment of a Glasgow city centre pub, The Muscular Arms. He was also involved in the music scene, playing lead guitar in a succession of bands culminating in “the Motels” a name which then had to be changed to “Montels” after the intervention of a US band with more money for a lawyer! In 1979 he moved to London to promote the band, sidelining art completely, but in ’84 following a brain aneurysm, he lost the use of his left hand and had to give up playing. He returned to painting, opening a small gallery in a local shop and became immersed in the local art scene. A short-lived marriage saw him move to Bath then singly to Bristol where again he became very involved in local arts festivals and also campaigning for Palestinian rights. It was while quietly handing out leaflets that he was assaulted which led to his 3rd brain injury. He also had associated epilepsy, and the culmination was the loss of some 30 years of memory and in 2015 he was finally admitted to care in a specialist brain injury care unit. Clifford died on 26th July 2021.
Lot 562
* EILEEN LAWRENCE RSA,ASCENTgold leaf and watercolour on paper, signed, titled and dated 1989image size 41cm x 18cm, overall size 63cm x 39cm Mounted, framed and under glass.Handwritten artist's label verso.Note: Eileen Lawrence RSA was born in Leith and studied at Edinburgh College of Art (1963 – 1968). Using a precise and detailed technique like a botanical illustrator, Lawrence produces drawings and watercolours of natural objects, such as feathers and twigs. These items are collected by the artist on visits to the countryside. Lawrence`s intensely detailed studies are a way of meditating on man`s spiritual relationship to nature. Her first solo exhibition was held at the 57 Gallery, Edinburgh, in 1969. Significant early exhibitions included participation in the 1977 Paris Biennale and the seminal touring exhibition, Inscape, organised by the Scottish Arts Council around the same period. In 1978 Lawrence secured her first major solo exhibition, held at the Arnolfini, Bristol. These exhibitions cemented Lawrence’s reputation and acquisitions by the Tate and the National Galleries of Scotland followed. In 1992 the Fruitmarket Gallery, Edinburgh, held a retrospective of Lawrence’s practice and this toured to the Usher Gallery, Lincoln. Since then, major exhibitions have been held at Drumcroon, Wigan; Worcester City Art Gallery; the Pier Arts Centre, Stromness, Orkney; and the Mead Gallery, Warwick.
Lot 563
* ELEANOR CHRISTIE CHATTERLEY,PROUD WOMAN, KNEE RAISEDstonewear sculpture, 27cm tall.Note: Eleanor Munro was born (1929) and educated in Scotland. She studied sculpture at The Glasgow School of Art and Camberwell School of Art. She taught Sculpture at London Marylebone Institute (St John's Wood Sculpture School) from 1970 - 84 and at Blackheath School of Art from 1987 - 93. In 1952 she married the artist Fyfe Christie (1918 - 1975). Some eighteen years after the death of her first husband (1993) Eleanor married the music producer Albert "Jack" Chatterley (died 2016). Eleanor Christie-Chatterley has exhibited her sculptures at numerous venues including Woodlands Art Gallery (London), Blackheath Gallery (London), Old Cattan House Gallery (Norwich), Buckenham Galleries and at Cyril Gerber Fine Art (Glasgow). Her sculptures are in numerous private collections in the UK, the US and in France. Eleanor Christie-Chatterley lives on the west coast of Scotland and is almost certainly Scotland's oldest living sculptor. In The Scottish Contemporary Art Auction of 24th October, "Green Man Walking" by Christie-Chatterley sold for £3800 (hammer) and three small stoneware sculptures sold for hammer prices of £480, £500 & £500.
Lot 566
* MICHAEL SCOTT (SCOTTISH 1946 - 2006),CLOWNSoil on canvas, signed and dated 2005 label versoimage size 91cm x 76cm, overall size 113cm x 98cm Framed. Handwritten label verso. Label verso: The Contemporary Fine Art Gallery, Eton. Note: The inspiration for this painting is said to be from the French Poet Guillaume Apollinaire and his subject of the Harlequin in ‘Acrobats’. Apollinaire famously first coined the term ‘Surrealism’ and, in its most moderated definition, this may be appropriate to the sensibility of Scott’s work”. Apollinaire was a confidant of Picasso and the Spanish master famously took the Harlequin as his subject in the period 1904 and thereafter. In the book by Ray McKenzie and Tom Normand on Michael Scott’s life and work titled ‘Testament’, it is written: “ It was in Ovid that Scott found many of the source tales for his classical subjects and in Apollinaire that he discovered the non-linear, capricious and whimsical aesthetic that informed his oeuvre”. The poem by Apollinaire ‘Acrobats’ is thought to be the inspiration for "Clowns" together with “The Circus 1995 and The Travelling Players 2002”. This lot includes a hardback copy of "Michael Scott, Testament" published in 2010. "Clowns" features as a full page photograph on page 99.Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues.
Lot 601
* MARGARET MELLIS (BRITISH 1914-2009),UNTITLED (8.202)oil on unprimed canvas, titled label versoimage size 12cm x 12cm, overall size 34cm x 32cm Mounted, framed and under glass.Artist's studio stamp verso, bearing the number 8.202Note: Margaret Mellis was born in China to Scottish parents and moved to Britain when she was one year old and shortly after the First World War broke out. She studied at Edinburgh College of Art under the tutelage of S. J. Peploe alongside classmates Wilhelmina Barns-Graham and William Gear, and won a scholarship in 1933 to study in Paris. In 1939, Mellis moved to St Ives with her husband, the writer Adrian Stokes. There, she became a member of the St Ives group of artists and an important figure in the growing modernist movement. It was here that Mellis began to produce collages and constructions of plywood, driftwood and found objects, as well as small abstract paintings. In the 1960s and 1970s she continued experimenting with these constructions and reliefs, working with colour. Mellis left the St Ives area in 1946 after the breakdown of her marriage and subsequent divorce. She later married Francis Davison, also an artist, and became a mentor to the young Damien Hirst.Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues. Provenance is from a Private Scottish Collection.
Lot 608
* JOHN NICHOLSON (SCOTTISH 1921 - 2004),M.V. "SEA PRINCESS"oil on canvas, signed and titledimage size 45cm x 60cm, overall size 54cm x 69cm Framed.Note: John Nicholson was only five when his love affair with ships began. John was fascinated by the workings of a paddle steamer on a day trip to the Isle of Man in 1925 and he was still enjoying sailing on the paddle steamer PS Waverley 78 years later. Drawing was also an interest from a very young age and family holidays on the Clyde in the 1930s provided the subject matter for many of his early paintings. John served in WWII and spent four years as a POW. In the early 1950s he began receiving commissions. Pen and ink drawings appeared in several shipping magazines and from 1984 until 1987, John was commissioned to paint all new vessels to the Cal/Mac fleet. His attention to detail in all his pictures often led to extended correspondence with those wanting a painting of a ship in a particular livery or location. His regular trips to the Isle of Man resulted in a commission from Captain Jack Ronan to paint three Steam Packet ships for him. In 1993 he was commissioned to do a set of paintings of The Isle of Man Steam Packet ships for postage stamps issued by the Isle of Man Post Office. John was a renowned marine artist and his works will remain as a permanent memorial to his abiding interest in all things to do with the sea and, for more than 25 years, he provided the PS Waverley with artwork for their postcards, posters, timetables and advertisements - and all completely free of charge. Early in 1990, the publishers Hart, Maclagan & Will were printing their first book in The Memories of the Clyde series, The Duchess of Fife. They were searching for a suitable front-cover illustration and contact was made with John Nicholson. In 1992 the second title, Steamers of the Clyde, featured all 24 illustrations painted by John Nicholson. In 1994, Liners of the Clyde was published. This book contained illustrations of 24 liners all painted by John with his own authoritative descriptions. He followed this with another work on the steamers of the Clyde and Western Isles with the words provided by himself, Robin Boyd and Iain Quinn. We have only offered two examples of John Nicholson's work in recent years. Both were smaller watercolours (rather than oil paintings) and prices achieved were £200 & £420
Lot 618
* ANNE REDPATH OBE RSA ARA (SCOTTISH 1895 - 1965),FLORAL STILL LIFEoil on board, signedimage size 60cm x 50cm, overall size 71cm x 61cm Framed.Note: Born in Galashiels, the daughter of a tweed designer (she later described how she used flecks of colour in a manner similar to tweed makers: ‘I do with a spot of red or yellow in a harmony of grey, what my father did in his tweed’). In 1913 she studied at Edinburgh College of Art and in 1920 she married James Beattie Michie, an architect with the War Graves Commission in France, where they lived for the next fourteen years. During this time she did little painting, devoting herself to her family (she had three sons). In 1934 she returned to Scotland, living first in Hawick and then from 1949 in Edinburgh (she became gradually estranged from her husband, who worked in London). From the 1950s she attained a distinguished position in the Scottish art world and was awarded various honours. Her main subjects were landscapes and still-lifes, richly coloured and broadly handled in the tradition of the *Scottish Colourists (in her later work there is sometimes a hint of Expressionism). She travelled regularly painting landscapes in, for example, Spain and Portugal. UK Public collections hold one hundred and sixteen examples of Redpath's work.
Lot 619
* ANNE REDPATH OBE RSA ARA LLD ROI RBA (SCOTTISH 1895 - 1965),CABBAGE AND KALEoil on board, signed, titled label versoimage size 51cm x 61cm, overall size 64cm x 74cm Framed. Handwritten artist's label verso.Label verso: Stone Gallery, Newcastle Upon Tyne.Provenance: Sold by Sotheby's, London, 29th August 1995 lot 954.Note: Anne Redpath was born in Galashiels, Scotland, in 1895, the first daughter of a textile designer. She went on to study at the Edinburgh College of Art, where she was described as the most promising student of her year and won a travel scholarship to Italy. Her time in Italy was to have a profound influence on her career. Having spent her early years as an artist immersed in the respectable Calvinist tradition, the opulent sense of the divine in Roman Catholic art proved to be a revelation, with the religious tranquillity of the early Renaissance masters informing her subsequent paintings. In 1920 she moved to France with her husband, an architect, and her art took a back seat as she focused on raising three sons. She did not revisit painting in earnest until she returned to Scotland when the relationship ended in 1934. When she did so, however, it was with renewed vigour. From 1942 onwards, as her confidence in her abilities returned, her palette became more vibrant. She was a central figure in the group of painters known as The Edinburgh School, sometimes described as the heirs to the Scottish Colourists. Redpath was a habitual traveller in her later years, her journeys across Europe becoming the subject of her work; she was well-known for her landscapes, still lifes and pictures of church interiors. Anne Redpath was president of the Scottish Society of Women Artists from 1944-47, working tirelessly to promote the paintings of women who had been ignored by the British establishment. In 1952 she became the first woman artist to be elected to the Royal Scottish Academy as an Academician. UK Public Collections boast 116 examples of Redpath's work including at The National Galleries of Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Hunterian, The Fleming Collection, The Tate, Kelvingrove, The National Trust and at Edinburgh, Aberdeen, Kirkcaldy, Manchester and numerous others.
Lot 627
* CLIFFORD HANLEY (SCOTTISH 1948 - 2021),KNOCKNOK!oil on canvas, signed and dated '86, titled versoimage size 101cm x 96cm, overall size 104cm x 99cm Framed. Note: Eldest child of Cliff Hanley, Author, & Anna Hanley, Artist. Attended Hillhead High School then Glasgow School of Art (Diploma, Drawing & Painting). His first (sell out) exhibition was at the age of 15 in the Grosvenor Cafe, Byres Road, Glasgow. On leaving the Art School Clifford worked on various projects including the refurbishment of Glasgow city Centre pub, The Muscular Arms. He was also involved in the music scene, playing lead guitar in a succession of bands culminating in “the Motels” a name which then had to be changed to “Montels” after the intervention of a US band with more money for a lawyer! In 1979 he moved to London to promote the band, sidelining art completely, but in ’84 following a brain aneurysm he lost the use of his left hand and had to give up playing. He returned to painting, opening a small gallery in a local shop and became immersed in the local art scene. A short lived marriage saw him move to Bath then singly to Bristol where again he became very involved in local arts festivals and also campaigning for Palestinian rights. It was while quietly handing out leaflets that he was assaulted which led to his 3rd brain injury. He also had associated epilepsy, and the culmination was the loss of some 30 years of memory and in 2015 he was finally admitted to care in a specialist brain injury care unit. Clifford died on 26th July 2021.Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues.
Lot 644
* ANTHONY BAYNES (BRITISH 1921 - 2003),PORTRAIT OF A LADYoil on board, titled and attributed label versoimage size 41cm x 36cm, overall size 47cm x 41cm Framed. Note: Anthony Baynes was born in New Zealand. Came to England and studied art at the Slade School of Art. War evacuation meant that the school moved to the Ashmolean in Oxford where Baynes studied under the professorship of Randolphe Schwabe. Fellow students included Kyffin Williams and Bernard Dunstan. Lifelong friends were Allan Gwynne-Jones, then tutor at the school, his wife Rosemary, Eldred Bartlett and Nancy Carline. In 1946 his painting 'The Betrayal' (now in the collection of the UCL Art Museum) won the Mary Richgitz Prize. During the war served in the Royal Navy. After the war taught art at the Badminton School. In 1949 travelled to Greece, became the first art student at the British School of Archaeology. In the fifties lived in Crete. Held one-man show in Athens in 1955 and in London in 1958. An accomplished painter in gouache and oils, producing a number of notably fine portraits. Also a designer of both murals, theatrical sets (briefly for Sadler's Wells in the 1940s). Baynes was a notable designer of dust jackets from the 1950s to the 1970s, working for publishers including John Murray, Capes and Eyre and Spottiswoode. He painted murals at the London Stock Exchange and the Guildhall in Portsmouth in 1959. In the late 1980s and 90s mainly exhibited locally particularly in Oxfordshire and the Cotswolds specialising in portraiture.
Lot 681
ALEX ROSS (AMERICAN b. 1970),BATMAN: KNIGHT OVER GOTHAMlimited edition colour print on canvas, signed and numbered 19/195image size 56cm x 82cmFramed.Note: Nelson Alexander Ross is an American comic book writer and artist known primarily for his painted interiors, covers, and design work. He first became known with the 1994 miniseries Marvels, on which he collaborated with writer Kurt Busiek for Marvel and DC Thomson Comics. Many of his Iconic Limited Edition prints are highly collectable and complete sell outs.
Lot 684
ALEX ROSS (AMERICAN b. 1970),WONDER WOMAN: DEFENDER OF TRUTHlimited edition colour print on paper, signed and numbered 49/120image size 66cm x 96.5cmFramed. Note: Nelson Alexander Ross is an American comic book writer and artist known primarily for his painted interiors, covers, and design work. He first became known with the 1994 miniseries Marvels, on which he collaborated with writer Kurt Busiek for Marvel and DC Thomson Comics. Many of his Iconic Limited Edition prints are highly collectable and complete sell outs. A certificate accompanies this lot.
Lot 719
* PAUL LUCIEN MAZE (ANGLO FRENCH 1887 - 1979),THE COTTAGE GARDENoil on canvas board, signed image size 19cm x 29cm, overall size 28cm x 38cm Framed.Note: Paul Lucien Maze was an Anglo-French painter. He is often known as “The last of the Post Impressionists" and was one of the great artists of his generation. His mediums included oils, watercolours and pastels and his paintings include French maritime scenes, busy New York City scenes and the English countryside. During the First World War, Maze met Winston Churchill in the trenches and their shared love of painting led to a lifelong friendship. Maze became Churchill's artistic mentor, encouraging him to develop his drawing and painting techniques.
Lot 149
SOLOMON BOIM (RUSSIAN 1899-1978)Kolkhoz Cattle ,1936watercolor and gouache on paper 44 x 53 cm (17 1/4 x 20 7/8 in.)signed with initials lower right; signed, titled and dated on verso in pencil PROVENANCECollection of Viktor KholodkovLOT NOTESBoim Solomon Samsonovich was a well-known Soviet artist of Jewish origin, is known mostly for his works in graphic techniques: watercolor, gouache, drawing, engraving, book illustrations and posters ("Agitplakat"). He lived in Ukraine, Leningrad, and Moscow. Studied in VKhUTEMAS from Kupreyanov. From 1926 on Boim participated in hundreds of exhibitions at home and abroad. He exhibited with such prominent artists as N. Altman, S. Chekhonin, G. Klutsis, V. Lebedev, El Lissitzky, K. Malevich, L. Popova, A. Rodchenko, V. Tatlin, P. Filonov, Stenberg Brothers, and V. Stepanova. His favorite subjects included architecture and cityscapes (mostly Leningrad/St. Petersburg and Moscow), nautical themes and the Navy, and Great Patriotic War. Boim's paintings were influenced by Socialist Realism and Russian Impressionism. Boim's works are widely recognized. They may be seen in the former Soviet Union in the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and other major museums.This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.CONDITIONUnframed, the painting appears in good condition. Minor wear and bumping to the perimeter. A crease to the lower right corner. Not inspected under UV light.unframedKindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 152
SOLOMON BOIM (RUSSIAN 1899-1978)Friday Night,1957gouache on paper37 x 50 cm (14 1/2 x 19 5/8 in.)signed with initials lower right; further signed and dated on verso in pencilPROVENANCECollection of Viktor KholodkovLOT NOTESBoim Solomon Samsonovich was a well-known Soviet artist of Jewish origin, is known mostly for his works in graphic techniques: watercolor, gouache, drawing, engraving, book illustrations and posters ("Agitplakat"). He lived in Ukraine, Leningrad, and Moscow. Studied in VKhUTEMAS from Kupreyanov. From 1926 on Boim participated in hundreds of exhibitions at home and abroad. He exhibited with such prominent artists as N. Altman, S. Chekhonin, G. Klutsis, V. Lebedev, El Lissitzky, K. Malevich, L. Popova, A. Rodchenko, V. Tatlin, P. Filonov, Stenberg Brothers, and V. Stepanova. His favorite subjects included architecture and cityscapes (mostly Leningrad/St. Petersburg and Moscow), nautical themes and the Navy, and Great Patriotic War. Boim's paintings were influenced by Socialist Realism and Russian Impressionism. Boim's works are widely recognized. They may be seen in the former Soviet Union in the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and other major museums.This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.CONDITIONUnframed, the painting appears in good condition. Pinholes visible to the corner of each. A large scuff to the right center edge, measuring 12 cm (4 3/4 in.) in length. Not inspected under UV light.unframedKindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 150
SOLOMON BOIM (RUSSIAN 1899-1978)Rostral Column, Leningrad,1952watercolor on paper 31.8 x 43.4 cm (12 1/2 x 17 1/8 in.)signed, dated, and titled on verso in pencilPROVENANCECollection of Viktor KholodkovLOT NOTESBoim Solomon Samsonovich was a well-known Soviet artist of Jewish origin, is known mostly for his works in graphic techniques: watercolor, gouache, drawing, engraving, book illustrations and posters ("Agitplakat"). He lived in Ukraine, Leningrad, and Moscow. Studied in VKhUTEMAS from Kupreyanov. From 1926 on Boim participated in hundreds of exhibitions at home and abroad. He exhibited with such prominent artists as N. Altman, S. Chekhonin, G. Klutsis, V. Lebedev, El Lissitzky, K. Malevich, L. Popova, A. Rodchenko, V. Tatlin, P. Filonov, Stenberg Brothers, and V. Stepanova. His favorite subjects included architecture and cityscapes (mostly Leningrad/St. Petersburg and Moscow), nautical themes and the Navy, and Great Patriotic War. Boim's paintings were influenced by Socialist Realism and Russian Impressionism. Boim's works are widely recognized. They may be seen in the former Soviet Union in the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and other major museums.This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.CONDITIONUnframed, the painting appears in age-appropriate condition. Scattered losses and rubbing visible to the perimeter. Tearing to the perimeter, largest measuring, 1.5 cm (5/8 in.) in length. Not inspected under UV light.unframedKindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 154
EIGHT WORKS BY NIKOLAY SHISHLOVSKIYViews of the Pavilions of the All-Union Agricultural Exhibition of 1939,gouache on paper 26 x 36.5 cm (10 1/4 x 14 3/8 in.) [smallest], 28 x 39 cm cm (11 x 15 3/8 in.) [largest]scattered inscriptions in pencil with a visible export stamp to the recto of onePROVENANCECollection of Viktor KholodkovLOT NOTESThis lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.CONDITIONUnframed, the group appears in age-appropriate condition. Each with surface soiling, wear to the perimeter and hard creases to the corners. Visible scattered tearing visible to several of the perimeters, largest tear measuring 2 cm (3/4 in.). Not inspected under UV light.unframed Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 151
SOLOMON BOIM (RUSSIAN 1899-1978)Winter Palace ,1956watercolor on paper 31 x 43.7 cm (12 1/4 x 17 1/4 in.)signed with initials and dated lower left, signed, dated and titled on verso in pencilPROVENANCECollection of Viktor KholodkovLOT NOTESBoim Solomon Samsonovich was a well-known Soviet artist of Jewish origin, is known mostly for his works in graphic techniques: watercolor, gouache, drawing, engraving, book illustrations and posters ("Agitplakat"). He lived in Ukraine, Leningrad, and Moscow. Studied in VKhUTEMAS from Kupreyanov. From 1926 on Boim participated in hundreds of exhibitions at home and abroad. He exhibited with such prominent artists as N. Altman, S. Chekhonin, G. Klutsis, V. Lebedev, El Lissitzky, K. Malevich, L. Popova, A. Rodchenko, V. Tatlin, P. Filonov, Stenberg Brothers, and V. Stepanova. His favorite subjects included architecture and cityscapes (mostly Leningrad/St. Petersburg and Moscow), nautical themes and the Navy, and Great Patriotic War. Boim's paintings were influenced by Socialist Realism and Russian Impressionism. Boim's works are widely recognized. They may be seen in the former Soviet Union in the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and other major museums.This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.CONDITIONUnframed, the painting appears in age-appropriate condition. Two minor losses, one to the upper left and lower left corners. Not inspected under UV light.unframedKindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 153
SOLOMON BOIM (RUSSIAN 1899-1978)The Pier,1962watercolor and gouache on paper 31 x 48.5 cm (12 1/8 x 19 in.)signed with initials and dated lower right; ruther signed and inscribed on verso in pencil PROVENANCECollection of Viktor KholodkovLOT NOTESBoim Solomon Samsonovich was a well-known Soviet artist of Jewish origin, is known mostly for his works in graphic techniques: watercolor, gouache, drawing, engraving, book illustrations and posters ("Agitplakat"). He lived in Ukraine, Leningrad, and Moscow. Studied in VKhUTEMAS from Kupreyanov. From 1926 on Boim participated in hundreds of exhibitions at home and abroad. He exhibited with such prominent artists as N. Altman, S. Chekhonin, G. Klutsis, V. Lebedev, El Lissitzky, K. Malevich, L. Popova, A. Rodchenko, V. Tatlin, P. Filonov, Stenberg Brothers, and V. Stepanova. His favorite subjects included architecture and cityscapes (mostly Leningrad/St. Petersburg and Moscow), nautical themes and the Navy, and Great Patriotic War. Boim's paintings were influenced by Socialist Realism and Russian Impressionism. Boim's works are widely recognized. They may be seen in the former Soviet Union in the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and other major museums.This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.CONDITIONUnframed but observed in a matte, the painting appears in age-appropriate condition. A horizontal hard crease is visible to the left edge. The paper is laid down at the perimeter by artist tape. Not inspected under UV light.unframedKindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 161
THREE PAINTINGS BY ALEKSANDRA IOSIFOVNA LIGACHYOVA (RUSSIAN 1915-1993)The Industrial Etudes,oil on boardeach 35 x 49 cm (13 3/4 x 19 1/4 in.)PROVENANCECollection of Viktor KholodkovLOT NOTESThis lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.CONDITIONUnframed, the group appears in age-appropriate condition. Each with scattered losses, tears and lifting the perimeter. A large tear visible the lower left corner and center edge of one, largest measuring, 5 cm (2 in.) in length. A hard crease visible the upper right corner of one, resulting in a fine line of craquelure. Pin holes visible to the corners of each.unframedKindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 108
ALEXANDER SAMOKHVALOV (RUSSIAN 1894-1971)Portrait of Sergei Aleksandrovich Rinkevich,oil on canvas87.5 x 100 cm (34 1/2 x 39 3/4 in.)PROVENANCECollection of Sergei RinkevichThence by descent in the family LOT NOTESSold along a signed and notarized letter of provenance from the grandson of Sergei Rinkevich (copy available upon request)When Samokhvalov produced this work in the early 1950s, he was renowned for monumental Socialist Realist history paintings, as well as intimate portraits in interior settings, including the present and Girl in an Interior (sold for $131,000, including buyer's premium, at Shapiro Auctions, December 10, 2016, lot 7). The sitter, Professor Sergei Rinkevich, was an eminent electrical engineer and professor, best known as the purveyor of the electrical drive in the USSR. Dr. Rinkevich marshalled the founding of the world's first university department dedicated to the improvement of the drive, which, under his directorship in the 1920s and 30s, launched the rapid electrification of the Soviet heavy industry and navy.According to the letter provided by the sitter's grandson, Igor Sergeevich Rinkevich, who witnessed the making of the work, Samokhvalov painted the image over several sessions in the family's Leningrad apartment in the early 1950s. (See ref. 1 for a photograph of Igor Rinkevich together with the work). Capturing the likeness of one of the nation's distinguished scientists, Samokhvalov shows Dr. Rinkevich deep in thought, his fingers bookmarking a red volume -- a pose reminiscent of Renaissance and Baroque portraits of scholars, such as Bronzino's Portrait of a Young Man with a Book in the collection of the Metropolitan Museum. With characteristic economy of brushwork, Samokhvalov pictures his subject attentively and at a considerable scale, demonstrating his hand as a leading Soviet portraitist.Alexander Samokhvalov, one of the foremost representatives of the Leningrad school of painting, began his artistic career in 1914 at the Higher Art School at the Imperial Academy of Arts, where he studied under Kuzma Petrov-Vodkin. Unlike many of his peers at the academy and the Mir iskusstva circle, such as Eugene Lanceray, Anna Ostroumova-Lebedeva, or Alexander Osmerkin, in the late 1920s Samokhvalov enthusiastically embraced the development of Socialist Realism for which he is remembered. As in his most recognizable work — Girl in a Football Shirt, awarded the gold medal at the International Art Fair in Paris (which also exhibited Pablo Picasso's Guernica) — his paintings from the 1930s often showcase the first generation of Soviet women as the face of modernity and strength.CONDITIONUnframed, the painting is in age-appropriate condition. Very fine craquelure visible upon close inspection. Flaking resulting from craquelure visible to the left upper edge. Rubbing resulting in scattered losses to the corners and perimeter. Inspection under UV light shows no signs of restoration.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 535
EDNA TACON (AMERICAN-CANADIAN 1905-1980)Tonal Poem,1945oil on canvas102 x 77 cm (40 1/8 x 30 1/4 in.)signed and dated lower leftEXHIBITON Canadian Group Painters, The Art Gallery of Toronto and the Art Association of Montreal, 1945-1946 (label on verso)Canadian National Exhibition, 1947 (label on verso)ESSAYTrained as a violinist traveling to Canada, Europe and New York to perform, it was not until 1929 after marrying her first husband Paul Henry Tacon that Edna started to experiment with painting. Tacon is heavily influenced by Kandinsky studying his theories on abstraction, color and the relationship between the two. Tacon started to intertwine her understanding of music with her abstraction studies, quoting: “many people will say that painting cannot reach the sublime summit that music has attained as an abstract art. But there is an analogy between music and painting when both are nonrepresentational ... It is the ambitious aim of our modern artist to exploit...all the ramifications of such an analogy” (Zemans, Joyce; Burrell, Elizabeth; Hunter, Elizabeth (1988). Kathleen Munn and Edna Taçon: New Perspectives on Modernism in Canada/Nouveau regard sur le modernisme au Canada. The Art Gallery of York University/Éditions du GREF). In Tacon’s early years as an artist she worked with collages, describing her collages as “paper plastics”, which was derived from the writing of Hilla Rebay curator of the Museum of Non-Objective Painting in New York. Tacon in 1941 was awarded a scholarship by a foundation through the Museum of Non-Objective Painting. With this several of her works were exhibited Ten American Non-Objective Painters, in March of 1941. In 1941 was her solo exhibition at New York's Studio 83 and in Toronto at the Eaton’s Fine Arts Galleries. From 1942-1947 she had seven exhibitions primarily between Toronto and New York; of the shows, she was part of a series of group shows which was hosted by the Guggenheim Foundation. This lot is a prime example of Edna Tacon expression and execution of Kandinsky’s theory of the spiritual nature of art. CONDITIONSold in as-is condition. Observed in frame, the painting is in fragile condition with overall craquelure. Inspection under UV light shows scattered retouching to around 10%, primarily to the perimeter.framed dimensions: 116 x 91 cm (45 5/8 x 35 7/8 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 124
1967 Aston Martin DB6 Sports SaloonRegistration no. CVG 244F (not registered with DVLA)Chassis no. DB6/3225/ROffered without reserve•Automatic Transmission•Original colour combination•Long-term AMOC member ownership (1985-2011)•Present ownership since 2011Footnotes:'Stage by stage, as the DB has become dominant in the Aston Martin strain, the successive cars have changed their image. Today the aim is to offer the maximum of luxury and refinement as well as the ultimate in road performance. The minor barbarities of so many great sports cars of the past are no longer acceptable – at least in the hand built models now leaving Newport Pagnell. Obviously such a car as the DB6 is expensive and exclusive but the value matches the price.' – Autocar, 1966. Last-of-the-line models are always sought after by discerning collectors, and few are more highly prized that the final flowering of the glorious 'David Brown' six-cylinder series. The culmination of Aston Martin's long-running line of 'DB' six-cylinder sports saloons and thus considered by many to be the last 'real' Aston, the DB6 had been introduced in 1965, updating the DB5. Although recognisably related to the Touring-styled DB4 of 1958, the DB6 abandoned the Carrozzeria Touring-developed Superleggera tubular body supporting structure of its predecessors in favour of a conventional steel fabrication while retaining the aluminium outer panels. Somewhat confusingly, 'Superleggera' badges continued to be applied by the bodyshop until stocks ran out!Increased rear-seat space was the prime DB6 objective so the wheelbase was now 3¾' longer than before, resulting in an extensive re-style with more-raked windscreen, raised roofline, and reshaped rear quarter windows. Opening front quarter lights made a reappearance but the major change was at the rear where a Kamm-style tail with spoiler improved the aerodynamics, greatly enhancing stability at high speeds. These many dimensional changes were integrated most successfully, the DB6's overall length increasing by only 2'. Indeed, but for the distinctive Kamm tail one might easily mistake it for a DB5. The Tadek Marek-designed six-cylinder engine had been enlarged to 3,995cc for the preceding DB5 and remained unchanged. Power output on triple SU carburettors was 282bhp, rising to 325bhp in Vantage specification, complete with triple Webers. Borg-Warner automatic transmission was offered alongside the standard ZF five-speed gearbox, and for the first time there was optional power-assisted steering.The accompanying (copy) guarantee form shows that '3225/R' was delivered new via Broadway Autos to Grants Plastics Ltd of London W2 and was first registered as 'PMT 321F'. The DB6 was finished in Dubonnet Rosso with black leather interior, and left the Newport Pagnell factory equipped with automatic transmission; power steering; heated rear screen; chrome road wheels; 3-ear hubcaps; and front safety belts. The only other ownership record on file is a copy of the car's most recent V5C showing Mr Michael John Collins (an AMOC member) as registered keeper (from 12th March 1985) and before him a Mr Brian Cook of Glasgow. The current owner purchased the Aston at a UK auction in October 2011, at which time it was stated that it had covered a believed-genuine (but not warranted) 51,997 miles. Furthermore, the car was said to have had various works carried out shortly after its acquisition by Mr Collins (re-spray; new fuel pumps; front shock absorbers replaced; brake discs skimmed; brake callipers overhauled; new jacking points; new non-ferrous brake pipes). The DB6 was also understood to have been kept garaged and to have covered a mere 9,000 miles over the course of the preceding 26 years and, earlier in 2011, had completed a 250-mile round trip.Accompanying documentation consists of copies of the 2011 purchase invoice, aforementioned build details, and now expired V5C. Please note this Lot will attract the reduced import tax of 5% if it is to remain in the UK and, as it has been on static display, will require recommissioning prior to road use.Lot to be sold without reserve.This lot is subject to the following lot symbols: * N* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.N MOTORCYCLESIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (SHIPPIO) to undertake the NOVA and C88 (customs) application if applicable on the Buyer's behalf. A fee of £125 + VAT to do so will be added to the Buyer's invoice.CARSIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (CARS) to undertake the NOVA on the Buyer's behalf. A fee of £250 + VAT to do so will be added to the Buyer's invoice.For further information on this lot please visit Bonhams.com
Lot 133
The ex-London Motor Show1961 Aston Martin Lagonda Rapide SaloonRegistration no. Not UK RegisteredChassis no. LR/105/ROffered without reserve•Retained by the factory as a demonstrator and development car•Known ownership history•Factory-fitted DB6 engine•Automatic transmissionFootnotes:'It has long been my ambition to produce a car which would be equally suitable to drive or to be driven in, great comfort, large luggage carrying capacity yet still be exhilarating to the owner driver and capable of effortless sustained high performance. There is such similarity between modern cars that one is fearful of the day when all will look, and be, alike.' - David Brown on the Lagonda Rapide.Aston Martin revived the famous Lagonda name in 1961 with a luxurious four-door sports saloon – the Rapide – that took its appellation from one of the marque's most exalted models of the late 1930s. It had been David Brown's intention that the Rapide should be the 'most mechanically advanced car available', offering effortless acceleration to 130mph. Beneath the Rapide's Superleggera aluminium coachwork (by Touring of Milan, the carrozzeria responsible for the Aston Martin DB4 sports car) was a lengthened (by 16') DB4 platform-type chassis reconfigured to accept De Dion rear suspension, the adoption of which allowed rear compartment space to be maximised. Powered by a 4.0-litre (236bhp) version of the Aston Martin DB4's twin-cam 'six' that would later power the DB5 and DB6, the Rapide certainly lived up to its name with brisk acceleration and a 130mph-plus top speed. Dual circuit, servo assisted disc brakes restrained this excellent performance, while fittings to the traditional interior included electric windows, picnic tables to the rear, filler cap remote opener, and a radio as standard. The Rapide's price when new was £5,000, some 25% higher than that of the Aston Martin DB4, which itself was not exactly a cheap automobile. A mere 55 units, almost all of which were equipped with Borg Warner three-speed automatic transmission, were built before production ceased in 1964. Today, 47 of the original 55 Rapides are known, 'LR/105/R' being the fifth built. Displayed at the 1961 London Motor Show and kept by the factory as a demonstrator and development car, '105/R' was first registered to Aston Martin Lagonda Ltd (as '92 MY') on 11th October 1961. Its original colour scheme was Dubonnet with fawn leather interior trim. On 10th December 1962 the car was registered to David Brown Tractors Ltd followed by AML Ltd (for the second time) on 7th February 1967. Later that same year the Lagonda was registered to its first private owner, Thomas Crumbie of Leicester. Mr Crumbie was followed by Cavendish Press Ltd of Leicester and then Peter Biggs of Cambridgeshire, who is the previous keeper listed on the accompanying V5C document (please note that, as the car was subsequently exported, an application will need to be made to retain the registration number). Registered to Desmond J Smail Ltd, '105/R' was sold by them to the current vendor in November 2010. Copies of factory paperwork on file record the fact that the engine (originally '400/105') has been changed twice by the factory, the unit currently fitted ('400/1655') being that of a DB6, as is the Borg Warner Type 8 automatic gearbox. Interestingly, the AMOC Register states that '105/R' was treated to a modified front end and changed from a De Dion to a 'beam' rear axle by the factory, and that it is the only example of the proposed Mark 2 series. Its provenance and unusual specification make 'LR/105/R' an extremely interesting and significant example of this rare and wonderful car, which was the personal project of David Brown himself. The Rapide has been on static display for a number of years and will require recommissioning prior to road use. Please also note the Lot will attract the reduced 5% import tariff if it is to remain in the UK.Lot to be sold without reserve.This lot is subject to the following lot symbols: * N* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.N MOTORCYCLESIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (SHIPPIO) to undertake the NOVA and C88 (customs) application if applicable on the Buyer's behalf. A fee of £125 + VAT to do so will be added to the Buyer's invoice.CARSIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (CARS) to undertake the NOVA on the Buyer's behalf. A fee of £250 + VAT to do so will be added to the Buyer's invoice.For further information on this lot please visit Bonhams.com
Lot 125
1965 Aston Martin DB5 4.2-Litre Sports SaloonRegistration no. GPA 655CChassis no. DB5/1845/R•Matching numbers•Only four owners from new•Professionally restored from 'barn find' condition 2014-2018•Concours condition•The most famous of all 'James Bond' Aston MartinsFootnotes:'Racing has played a major part in the development of all Aston Martin engines since Frank Halford designed the original 1.5-litre unit for Bamford & Martin. The 3,995cc 6-cylinder light alloy engine fitted to the DB5 is in all major respects the same as that which powered the 4-litre prototype which ran in the 1962 and 1963 Le Mans 24-Hour races.' – Autocar, 21st May 1965.Aston Martin's post-war evolution had taken a giant step forward in 1958 with the launch of the DB4. Classically proportioned, the Touring-designed body established an instantly recognisable look that would stand the marque in good stead until 1970 and is still being referenced in today's Aston Martins. At its launch in October 1958, the DB4 marked a major turning point for Aston Martin as it was the first car of the David Brown era which neither used a chassis derived from the experimental Atom of 1939 nor an engine co-designed by W O Bentley. Moreover, it was the first Aston Martin to carry Carrozzeria Touring's 'Superleggera' bodywork, in which light alloy panels were fixed to a supporting framework of light-gauge steel tubes. Although styled by Touring, the DB4's gorgeous fastback coachwork was built under license at Newport Pagnell by Aston Martin, which employed some of the finest panel beaters in the industry. The result was a car whose sleek lines were described as 'unmistakably Italian and yet... equally unmistakably Aston Martin'. When the DB4 was introduced, it was Britain's most powerful and fastest production car, and its aerodynamically styled, all-aluminium, Superleggera coachwork looked sensational, establishing a look that would endure for the next dozen years. Touring's Superleggera body construction had been deemed incompatible with the DB2/4-type multi-tubular spaceframe, so engineer Harold Beach drew up an immensely strong platform type chassis for the DB4. The DB2/4's trailing-link independent front suspension gave way to unequal-length wishbones while at the rear the DB4 sported a live axle located by a Watts linkage instead of its predecessor's Panhard rod. The Aston Martin DB4 was also the first of the DB models to employ the entirely new engine designed by Tadek Marek, which had first been seen at Le Mans the previous year in the DBR2. A Polish engineer who had joined the company in 1954, Marek had previously enjoyed a racing career and posts with General Motors and FIAT in Poland. He had designed tanks during WW2 and had arrived at Newport Pagnell from Austin. An all-alloy, twin-overhead-camshaft six like its predecessor, Marek's new 3,670cc engine featured 'square' bore and stroke dimensions of 92mm and developed its maximum power of 240bhp at 5,500rpm. The David Brown gearbox was a new four-speed all-synchromesh unit.Five (unofficially designated) series were built as the model gradually metamorphosed into the DB5. Introduced in July 1963, the Aston Martin DB5 boasted a 4.0-litre engine, this enlarged unit having been seen first in the Lagonda Rapide of 1961. Equipped with three SU carburettors, the '400' engine produced 282bhp at 5,500rpm and was mated to a four-speed/overdrive gearbox, a 'proper' ZF five-speed unit being standardised later. The DB5's distinctive cowled headlamps had first appeared on the DB4GT and the newcomer was the same size as the lengthened, 'Series V' DB4. Outwardly there was little to distinguish the DB5 from the last of the DB4s apart from twin fuel filler caps, though these had already appeared on some cars. Beneath the skin, however, there were numerous improvements including alternator electrics; Girling disc brakes instead of Dunlops; Sundym glass; electric windows; and an oil pressure gauge as standard equipment. From September 1964 the 314bhp, triple-Weber Vantage engine became available and was fitted to a total of 95 cars. The DB5 was also offered in convertible form (the 'Volante' name would not be applied to the soft-top Aston until the DB6's arrival), while independent coachbuilder Harold Radford offered a shooting brake conversion. 1,021 DB5s were manufactured between July 1963 and September 1965, a total that included 123 convertibles and 12 shooting brakes. The DB5 was the first and remains the most famous of all the 'James Bond' Aston Martins, having appeared in no fewer than five movies of the series beginning with Goldfinger in 1964. Equipped with rocket launchers and sundry other gadgets, 007's DB5 was finished in Silver Birch with red interior, in which specification it was later issued by Corgi Toys. This matching-numbers DB5 has had only four owners from new. The Aston spent 32 years off the road before being rescued as a 'barn find' some seven years ago. It was then treated to a body-off, chassis-upwards, full restoration by renowned marque specialist Rikki Cann, which took four years to complete and included rebuilding the engine to 4.2 litres capacity. The restoration cost almost £400,000 and is fully documented by invoices and photographs. Finished in its original exterior colour of Dubonnet Rosso, with Magnolia hide trim, and described by the private vendor as in concours condition throughout, 'GPA 655C' represents a wonderful opportunity to own what for many enthusiasts is the ultimate Aston Martin. For further information on this lot please visit Bonhams.com
Lot 106
1995 Aston Martin Vantage CoupéRegistration no. Not UK RegisteredChassis no. 070109Offered without reserve•Built for the Belgian market•Left-hand drive•Desirable manual transmission•Formerly UK registered •Low mileage recordedFootnotes:'Brutal' was a word used more than once to describe the fastest Aston Martin ever on its introduction in 1992, but as the Vantage had no less than 550bhp available to propel its two tons, the choice can only be judged fair comment. A consummate fast tourer, the Virage left room at the top of the range for an out-and-out sportscar, hence the Vantage. Although the two models appear superficially similar few panels are shared, and beneath the skin the Vantage chassis boasts the kind of extensive re-engineering required to cope with the massive increase in performance. The latter comes courtesy of a blown version of Aston's 5,340cc V8, twin mechanically driven Eaton superchargers being preferred to turbo-charging on the grounds of superior throttle response. Quite apart from its stupendous maximum output, remarkable enough in itself, the engine is monstrously torquey, producing 550lb/ft at 4,000rpm, a figure that makes even the mighty Chrysler Viper V10's 450lb/ft seem puny by way of comparison and the ZF manual gearbox's six-speeds an unnecessary luxury.On test with Autocar magazine, a development Vantage raced to 60mph in a Ferrari 512TR-destroying 4.6 seconds, reaching the 'ton' just 5.5 seconds later. Autocar summed up the Vantage as, 'a real Aston Martin; a big, very beautiful, very fast, albeit expensive GT with so much appeal and purpose behind it that it is more an experience than it is mere transport'.A desirable manual transmission model, left-hand drive chassis number '070109' was built for the Belgian market and originally finished in Rolls-Royce Royal Blue with Parchment leather interior. The car was first registered in the UK (incorrectly as a 'Virage Vantage') on 1st August 2003 and MoT'ed in 2005 at 10,127 miles. The vendor acquired the Vantage from marque specialist Desmond Smail in May 2008, at which time it was stated that it had been owned by 'King Fahd Bin Abdula Aziz' (sic) presumed to be HRH King Fahd bin Abdulaziz Al Saud of Saudi Arabia. The recorded mileage was given as 10,500. The car is fitted with mph speedometer showing 1,148 miles. A copy of the sales invoice is on file and the car also comes with copies of its specification sheet and last (expired) UK V5C Registration Certificate.The Vantage has been on static display for a number of years and will require recommissioning prior to road use. Please also note the Lot will attract 20% import VAT if it is to remain in the UK.Lot to be sold without reserve.This lot is subject to the following lot symbols: Ω NΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.N MOTORCYCLESIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (SHIPPIO) to undertake the NOVA and C88 (customs) application if applicable on the Buyer's behalf. A fee of £125 + VAT to do so will be added to the Buyer's invoice.CARSIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (CARS) to undertake the NOVA on the Buyer's behalf. A fee of £250 + VAT to do so will be added to the Buyer's invoice.For further information on this lot please visit Bonhams.com
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