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Click here to subscribeMarcus Charles Illions (Lithuanian/American, 1871-1949). Jeweled jumper carousel horse and stand. The horse is of carved wood, painted white with glass jewel accents and glass eyes. Horsehair tail and leather fittings. The horse is depicted with an elaborately fringed bridle and feathered breast collar. Ca. first quarter of the 20th c. Height: 72 in x width: 77 in x depth: 48 in.
Sam Francis (American, 1923-1994). Abstract painting in acrylic on Arches paper, depicting bright swaths of color extending in from the edges of the composition. Signed and dated 1969 along the verso.Sam Francis Foundation Number: SF 69-049Provenance: Andre Emmerlich Gallery, New York, New York, Michael Lord Gallery, Milwaukee, Wisconsin, Flanders Gallery, Minneapolis, Minnesota; Private collection, MinnesotaSam Francis came to be an artist under unlikely circumstances. After serving the Air Force during World War II, Francis was injured during flight test maneuvers and subsequently hospitalized. It was while he was recovering that he first began to paint. Francis went on to graduate from the University of California, Berkeley in 1950 with a degree in art and began his European travels. His first stop was Paris, where he studied Monet's "Water Lilies" and developed a relationship with the Matisse family and artists such as Al Held, Joan Mitchell, and Jean-Paul Riopelle. He went on to develop and maintain studios in Bern, Paris, Tokyo, Mexico City, New York and Northern and Southern California. Sam Francis was considered a revolutionary master of color, space, and light. His works call to various art movements - New York Abstract Expressionism, Impressionism, Art Informel, and color field painting. They are characterized by bright, vibrant splashes of color against a luminous white background. Francis took great interest in the creative process, but his understanding of the relationship between color and light set him apart from contemporaries such as Jackson Pollock and solidified him as a key player in contemporary art history.Sight; height: 29 3/4 in x width: 22 1/4 in. Framed; height: 38 1/2 in x width: 30 3/4 in.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph titled "Peaks Fantasia," depicting a pavilion with craggy mountain peaks rising out of the mist behind it. Silver gelatin print. Inscribed "Peaks and Pavilion" in ink along the verso. Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography. Provenance: From the collection of William Atkins. William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota. Unframed; height: 8 7/8 in x width: 16 1/4 in. Matted; height: 15 3/8 in x width: 22 1/8 in.
Sam Gilliam (American, b. 1933). Large mixed media artwork on handmade paper titled "Butterfly Days." Acrylic, polypropylene, monoprint and paper collage on handmade paper. The t-shaped composition is filled with overlapping patterns in bold colors, resembling a batik fabric. The paper is highly textured in ridges, the embossing adding a level of dimensionality to the patterns. There are three applied strips of iridescent material along the lower center of the composition; almost invisible at first, integrated into the pattern, they gleam when viewed from an angle. Likely signed and dated along the verso; due to the nature of the mounting, we are unable to view the verso. Provenance: William Weege, Wisconsin, 1986; Private collection, Minnesota Sam Gilliam and William Weege were friends and collaborators, and Gilliam's "Butterfly Days" series was produced at Weege's studio in Wisconsin. Sight; height: 44 in x width: 56 in. Framed; height: 55 in x 65 in.
THOMAS BROMLEY BLACKLOCK (SCOTTISH 1863 - 1903),A RIVER WALK IN SUMMERoil on canvasimage size 34.5cm x 44.5cm, overall size 51cm x 61cm Framed.Note: Tom Blacklock was a Kirkcudbright artist who trained in Edinburgh. He worked mainly in oils but also did pen & ink illustrations. He originally painted landscapes but began to introduce children and fairies in the 1890s. Mentally tortured by a painful spinal condition, he committed suicide by throwing himself into the Clyde near Greenock at the tragically young age of forty. His closest friend and helper in his troubled years was Ewan Geddes RSW (1866-1935). Tom Blacklock's work was much admired by his contemporaries and he enjoyed considerable commercial success. Had his career not been so short, it's very likely he would have gone on to become an even better-known artist. Eighteen of his paintings are held in UK public collections and the popularity of his work was illustrated by the fact that The Royal Scottish Academy accepted his first entry when he was a mere 19 years of age and went on to exhibit no less than 88 more of his paintings over the next 22 years. Tom Blacklock will always be closely associated with Kirkcudbright.
GEORGE SMITH RSA (SCOTTISH 1870 - 1934),THE HARVESTERSoil on canvas, signed and dated 1904-5image size 49cm x 77cm, overall size 73cm x 100cm Framed.Note: A very fine example of George Smith's work. George Smith was born on 2nd February 1870 in Mid Calder, a village formerly in the county of Midlothian. He attended George Watson's Boys College in Edinburgh from October 1882 and his formal training as an artist commenced at The Trustees Academy (Edinburgh) in 1885. At the age of nineteen Smith travelled to Antwerp to train under Verlat at Academie Royale des Beaux-Arts d'Anvers. After returning to Edinburgh he enrolled at the Royal Scottish Academy Life School where his fellow students included Samuel J Peploe and Robert Brough. Smith won the Keith Prize (1894) for the best painting by a student of the Life School at the RSA Annual Exhibition (interestingly beating both Peploe and Brough). George Smith had his first painting accepted for the RSA Annual Exhibition in 1888 when he was only eighteen years of age and probably uniquely had at least one painting accepted every year for the rest of his life. A total of 122 entries were accepted at the Royal Scottish Academy (RSA) until his death on 26th November 1934 and in 1935 a further five were exhibited. He also exhibited 87 paintings at the Royal Glasgow Institute (RGI) between 1892 and 1935. His work was also exhibited at Royal Academy (London), in Liverpool at The Walker Art Gallery, at Manchester and at the Royal Hibernian Academy in Dublin. He also exhibited abroad including at Rome (1911) and at The Munich International Exhibition in 1912. In an issue of "The Studio" in 1908, it stated, "in every important art centre from St Petersburg to Paris his work is favourably known". George Smith's considerable commercial success was probably why his style and subject matter of horses or cattle in association with man in a rural environment changed little during his career.
GREEN HORSE signed lower right Ovissi oil on canvas with gold leaf 64 x 79cm. / 25¼ x 31in. Nasser Ovissi is an American-Iranian painter. Born in Tehran, Iran in 1934, Ovissi first studied Law and Politics before attending Beaux Fine Art in Rome. He has exhibited at the 1959 Paris Bienniale and won a Grand Prize at the 1962 Biennale of Fine Arts of Tehran. His works can be found in the Contemporary Art Museum in Madrid and the National Art Gallery of Greece, Athens.
PORTRAIT SKETCH OF A WOMAN Pen, pencil and watercolour signed l.r. Alexander (Catherine Carrington nee Alexander) 36 x 25cm. / 14 x 10in; together with a page of figure studies and designs variously inscribed (12 laid down on one sheet, 4 verso; and four landscape studies on two sheets, the first signed and inscribed lower right C. Carrington/ nr. Yegen Spain; the second inscribed lower centre very dark right hand tree behind farm/and shadow down side of barn and signed verso centre right C. Carrington (15)
ORIGINAL SAMPLE CURTAIN DESIGNED FOR THE QUEEN MARY 'WEST WIND' textile W99cm. x Drop 163cm. / 39in. x 64¼in. Provenance: from the Collection of Geoffrey & Lady Rosalie Mander of Wightwick Manor, Wolverhampton; John Constable Collection RMS Queen Mary was launched in 1934 and served as a transatlantic liner of the Cunard-White Star line, troop transport and cruise ship. In 1967, she was permanently docked at the port of Long Beach, California, to serve as a hotel and conference centre. She came in at 81,000-tonnes, and as a luxury liner offered first-class passengers fine dining, Turkish baths, and a cinema on weekly crossings between Southampton and New York. Queen Mary also played host to a myriad of celebrity and royal passengers, including the Duke of Windsor and Wallis Simpson, playwright Noel Coward, actress Mae West and US president John F Kennedy. The Cunard Affair In 1935, Cunard White Star Ltd. invited Grant along with other artists to submit designs for the furnishing for the new flagship liner RMS Queen Mary. Grant was commissioned to paint three panels for a lounge as well as suggest colour schemes and designs for the carpets and soft furnishings. After a visit from Benjamin Morris, the American architect of the main public rooms, and Mr Leach who worked for the contractors, the designs were approved, and a contract was agreed. Grant spent the summer in Rome, using the time to concentrate on half size studies of his panels. On returning to England however, he discovered that the English architect overseeing the Queen Mary decoration had cancelled his carpet and soft furnishing designs, and on writing to Mr Leach for an explanation discovered furthermore that the Director had asked for the size of the panels, and the scale of the large female figures, to be reduced. Grant, deeply upset, replied to Leach pointing out that the designs had been submitted for approval more than three months previously. He went on to say: I consider it rather late in the day to criticize my choice of subject... I have been working since the end of May on my designs, given up all other work, and put myself at considerable expense in consequence. Duncan Grant to Mr Leach, 21 September 1935, as quoted in Francis Spalding's biography of Duncan Grant On receiving Grant's letter, Leach and the architect visited his studio, and Grant agreed to modify the size of his figures. In February 1936, Duncan's panels were completed and installed, and, incredibly at this late stage, rejected again by Cunard's Chairman Sir Percy Bates as ill-suited to the purpose of the room and the type of fashionable clientele he hoped to attract royalty, film stars, and business magnates. Although he received payment for the panels, Grant, dumbfounded, demanded their return and compensation for damage to his reputation. Cunard refused his demands but did not reckon on Grant's following or his powerful and loyal friends who immediately leapt to his defence. Letters of protest arrived at Cunard from such important figures as Directors and Trustees of the Tate, the National Gallery, and the V&A. The 'unholy row', as it later became described, even reached Kenneth Clark, the Director of the National Gallery at the time and, a supporter of Grant, was on good terms with the King and promised to rouse His Majesty's interest in the debate. The widespread press coverage pushed Cunard into returning the items and paying compensation to the artist. Despite the support and positive reception of the designs when they were exhibited, Grant's reputation never fully recovered after the publicity surrounding the Cunard affair. It is believed that the curtain came into the ownership of Geoffrey & Lady Rosalie Mander of Wightwick Manor, Wolverhampton, when the rejected designs were returned to Grant and, some sold off piecemeal in the late 1930s.
CITY OF NEW YORK, COMMANDER BYRD'S EXPEDITION signed l.r. Frederick Haagensen, and numbered l.l. 13/75 label to reverse City of New York at Ice barrier, Antarctic. Commander Bryd's expedition, 1929. etching plate size: 320 x 230mm Richard E. Byrd (1888-1957) was an American U.S. naval officer, pioneer aviator and polar explorer. He was best known for his explorations of Antarctica using airplanes and other modern technical resources. Byrd's first Antarctic expedition (1928-1930) set off in October 1928, with Bryd's flagship City of New York . After reaching the Ross Ice Shelf, the largest ice shelf in Antarctica, a substantial and well-supplied base was erected and named Little America. Flights were made from this base over the Antarctic continent. It was during these expedition flights that the Rockefeller Mountains were discovered along with a large tract of hitherto unknown territory beyond the mountains, which were subsequently named Marie Byrd Land, after Byrd's wife. On November 29, 1929, Byrd, as navigator, and three companions made the first flight over the South Pole, flying from Little America to the Pole and back in 19 hours with no mishap. Byrd was afterward promoted to rear admiral for this achievement.
Circle of Michael Dahl (1659-1743), portrait of gentleman said to be Robert, First Walpole, half length, in a brown coat and white stock, oil on canvas, 76cm H x 63cm W unframed. Known as Sir Robert Walpole who was the first prime minister of the United Kingdom, Walpole was in office in 1721-1742.
Sir Muirhead Bone, Night Cityscape (XVII), numbered print. 29cm H x 43cm WSir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War. He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum.
Sir Muirhead Bone, Landscape (LX) numbered print. 29cm H x 43cm WSir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War. He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum.
Sir Muirhead Bone, Waiting in the Marshes (XXXIV), numbered print. 29cm H x 43cm WSir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War. He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum.
Sir Muirhead Bone, Waiting for Battle (VIII), numbered prints. 29cm H x 43cm WSir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War. He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum.
Sir Muirhead Bone, European Cathedral (XIL), numbered prints. 29cm H x 43cm WSir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War. He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum.
Sir Muirhead Bone, Ship Preparation very intricate of the Lines (L), numbered prints. 29cm H x 43cm WSir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War. He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum.
Sir Muirhead Bone, Haystacks landscape “River Somme in Coabi, France” August 1916, numbered prints. 29cm H x 43cm WSir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War. He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum.
Sir Muirhead Bone, Grooming for battle, horses being prepared for battle (LII), numbered print. 29cm H x 43cm WSir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War. He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum.
Sir Muirhead Bone, Derelict Scene (LIV) numbered print. 29cm H x 43cm WSir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War. He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum.
Sir Muirhead Bone, Landscape (II), numbered prints. 29cm H x 43cm WSir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War. He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum.
Sir Muirhead Bone, Demolished Town (XIII), numbered print. 29cm H x 43cm WSir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War. He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum.
Sir Muirhead Bone, Inside Derelict Building (III), numbered print. 29cm H x 43cmSir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War. He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum.
Paula Rego, Portuguese 20th Century, ‘O Vinho’*. Limited edition colour lithograph, signed and numbered 49/100. , 23x18ins. *Inspired by a short story by the Portuguese novelist João de Melo. This is the largest of prints produced by Rego for Enitharmon publications and the first in colour. Condition: Fine.
A wooden Silber and Flemming box back dolls house, German late 19th century, on a green painted base with red brick and sand stone façade (restored), steps leading to panelled front door with portico, eight glazed windows and balcony to first floor with painted pierced metal front, front opens in one wing to three rooms on three levels with replaced wall papers and a selection of modern dolls house furniture including various wooden furniture, red upholstered suite, bath stand, ceramic Jack Russell and more, 27” (68cm) high, 13” (33cm) wide, 11 ½” (29cm) deep.
Two Early bees wax shoulder head dolls, English circa 1850, the first with painted features and brown hair-style, on a cloth body with wax lower arms and legs and painted black button up boots, wearing original cream muslin dress and underclothes, 7” (18cm) tall, condition: good, together with similar doll, lacks hair, small repair to left upper arm and lower legs a little discoloured, (2 items).
A fine walnut Dolls House, English 1820s/30s, the front and sides with brick shape etching, decorative columns and finial to each side, central arched dummy front door with two panels, door knob and glazing above, flanked by two glazed arched windows, elegant bay window to first floor with sweeping canopy, window bars and ledges, two oblong windows to top floor, flat roof with protruding cornice and shaped back. Front opens in one wing to three rooms on three levels containing a good selection of mostly modern doll house furniture, ornaments and dolls, kitchen includes wooden dresser, table and chairs, benches, cupboard and spinning wheel, various copper cooking pots, blue and white ceramics, general kitchenalia and cook and kitchen maid modern dolls, parlour with ornate gilt metal marble top table and gilt surround mirror by John J Hodgson, other pieces include Regency style settee and chairs, harp chess table, cased model boat and miniature replica of the dolls house and more, four modern dolls, bedroom with chest of drawers and side table by Dennis Jenvey other pieces include four-poster bed, crib, rocking horse writing desk, ornaments and more, antique shoulder head lady doll and three all bisque fixed neck children (one with damaged foot another chipped), house on a shaped wooded stand (not original to house), house 37 ½” (95cm) high, 19 ¾” (50cm) wide, 16 ½” (42cm) deep. Please note: For viewing, shipping and collection of this lot please contact Leigh Gotch at C&T Auctioneers direct.
Very rare and early pair of exquisite silk and leather Dolls Shoes, late 17th early 18th century, the shaped dark green silk shoes with yellow silk trim and woven metallic thread decoration to sides and front, framing stitched thread pattern, the tongue with stitched silver thread flower emblem, the shoes lined in kid leather and having sharply pointed toes and stitched leather squared heel and soles, 6cm long, condition: shoes are in perfect condition but the silk and thread is discoloured and dusty. Comment: Early miniature shoes from the late 17th early 18th century are extremely rare and we believe these may be the first to be offered for sale at auction.
Two Early bees wax shoulder head dolls, English circa 1850, the first with painted features, bead eyes and short brown hair-style, on a cloth body with wax lower arms, 9” (23cm) tall, condition: good, together with a similar bees wax shoulder head with blonde curly hair and a cloth body with wax lower arms and legs, head does not fit body, (2 items).
SPACE EXPLORATION; a 1961 first day cover inscribed 'Dear Neil, Thank you for your letter, best wishes' and bearing the signatures of Neil Armstrong, Michael Collins and Buzz Aldrin.We have not authenticated these signatures, please satisfy yourself as to the veracity of the item prior to bidding.
WRENN RAILWAYS; OO/HO gauge railway items to include a black W2225 LMS 2-8-0 Loco 8188 and tender, a W2227 4-6-2 City of Stoke-on-Trent LMS black 6254, both boxed, also a W5050 Fish Van North Sea Fish, boxed and five Wrenn Super Detail Coaches to include W6000 Pullman Car Brake Second, W6001 Pullman Car Second Class (x2) and W6002 Pullman Car First Class (x2) (8).
CHRISTOPHER REEVE; two black and white promotional photographs for the film 'Monsignor' from 1982, the first bearing the signatures of Christopher Reeve and Genevieve Bugold, the second signed by Christopher Reeve both front and back, along with two other signatures to the reverse (2).We have not authenticated these signatures, please satisfy yourself as to the veracity of the item prior to bidding.
Four stamp albums to include Quick Chance Illustrated Stamp Album with various world stamps, mostly mid-20th century, a green note book stamp album, mostly franked mid-20th century and modern world stamps, a red Stanley Gibbons album with modern 20th century world stamps and a blue Stanley Gibbons album od mid-20th century and modern franked world stamps, also various envelopes with loose world stamps and first day covers.
Five first day cover albums from 1970s to 1990s, an album containing first day covers from the Great Britain Artists collection 2004 and various loose stamps, a 'Snowman' coin first day cover and a further part filled stamp album, with British stamps from 1970s onwards also a small quantity of loose stamps (2).
A quantity of maritime ephemera to include various prints of ships, information sheets regarding the Suez Canal, further ferries, a menu form the Canadian national railways, Cunard Line Queen Elizabeth , postcards, a Cunard White Star Race Card, First Class State Room 'Wanted on Voyage' luggage labels, further Cunard information, list of passengers from Queen Elizabeth July 1966,, the New Zealand Shipping Company Ltd, Cunard White Star passenger list from 1951 and 1946, Cunard menus for the Queen Elizabeth May 1953, Cunard Line Historic St Lawrence River Route to and from Europe, Union-Castle Line, Athlone Castle August 1951 with various autographs to the back, and various other examples etc.
VARIOUS SPORTS; an 'Honorary Company of Edinburgh Golfers' first day cover, bearing the signatures of various sports stars including Jackie Stewart, Harry Carpenter and Severiano Ballesteros.We have not authenticated these signatures, please satisfy yourself as to the veracity of the item prior to bidding.
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