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Click here to subscribeA Minerva Goddess First Series Goddess Mascot, an extremely rare first series type (without P.De.Soete signature, even though it was his piece). It has the unequal length Minerva text specific to the earliest examples. Correct stamp around the neck area, Click Here to view this item on www.i-bidder.com
AFTER CECIL ALDIN "Sam Weller meets his mother in law for the first time", chromolithograph, together with another by the same artist "The Mitre Hotel, Oxford", AFTER CECIL ALDIN "Old Manor House Mote",and "The Golden Cross, Oxford" from the Country Inns Series, each signed in pencil bottom left, and AFTER ARCHIBALD THORBURN "Grouse Drive", framed coloured print
Dora Carrington (1893-1932) Reclinging nude with dove in a mountainous landscape (portrait of Henrietta Bingham) oil on canvas, 25.5 x 30.5cm (10 x 12 in). *** Provenance: Isobel Strachey to her daughter, Charlotte Strachey, first wife of the publisher Anthony Blond (see also lots 30 to 45), by whom it was inherited after her premature death, then exchanged for a painting by Patricia Woods, wife of Blond`s close friend, Dicky Muir, and later acquired from Patricia Woods by the current owner. Exhibited: Dora Carrington retrospective exhibition, Barbican Art Gallery, London, 1995. Accompanied by exhibition label and supporting letter from Patricia Woods. Henrietta Bingham (1901-1968) was born into a newspaper-owning family from Louisville, Kentucky. She came to England in the 1920s when her father, Judge Robert Bingham became U.S. Ambassador to London. Dora Carrington became obsessed with the bi-sexual American, describing her in a letter to one of her other lovers, Gerald Brenan, as having "the face of a Giotto Madonna". Bingham also features in correspondence between Carrington and Lytton Strachey, the latter sympathising with the pain felt by Dora over the affair between Henrietta and the sculptor Stephen Tomlin, who later married Julia Strachey, Lytton`s neice.
Company School View of a Tomb erected to the memory of Etamah Dowlah with 2 others, similar, of a screen of the tomb and a raised dais or sarcophagus, pen and ink with watercolour, 19th century, the first 10 x 17.5cm (4 x 7 in), corner mounted into support with title inscribed in a contemporary hand, the other two 18 x 23cm and 17 x 21cm (7 x 9 in, and 6 3/4 x 8 1/4 in), respectively, all unframed (3)
Robert Purves Flint RWS (1883-1947) Lierre near Antwerp watercolour over pencil, signed and dated `14, lower left, early exhibition label of Aitken Dott & Son of Edinburgh on backboard, 18 x 27.5cm (7 x 10 3/4 in). *** Robert Purves Flint was the younger brother of Sir William Russell Flint RA, and they first travelled to the continent on a painting tour together. Purves Flint then served with the Royal Scots in Flanders during the First World War.
Fernando Gerassi (1899-1974) Seated woman at a window; Mediterranean landscape; Woodland 3 watercolours with pen and ink on paper, the first 2 signed and dated `34, 23.7 x 32cm (9 1/4 x 12 1/2 in), 26.5 by 37cm (10 1/2 x 14 1/4 in), and 26.5 x 37cm (10 1/2 x 14 1/2 in), respectively (3) *** Provenance: Zwemmer Gallery, London.
Sir Peter Francis Bourgeois RA (1756-1811) Cattle and boy by a pollarded willow charcoal and white chalk on dark buff paper, 29 x 22cm (11 1/2 x 8 5/8 in). *** Provenance: ex-collection James Northcote RA. With the Fine Art Society, 1971. Sir Peter Francis Bourgeois, court painter to King George III, and his partner, the dealer Noel Desenfans, were commissioned in 1790 to create a royal art collection for the king of Poland. Following the king`s abdication in 1795, they tried unsuccessfully to sell the collection to the Russian crown and then the British government. Following Bourgeois`s death, he left the collection to Dulwich College, with funds for new building designed by Sir John Soane, thereby creating the Dulwich Picture Gallery, housing England`s first public art collection.
Anthony Vandyke Copley Fielding (1787-1855) Edinburgh from Bruntsfield Links with a larger drawing of Loch Awe, Ben Cruachan and Kilchurn Castle, Argyllshire, and a smaller one of Loch Katrine, each inscribed in pencil, the first two also dated 1823 and 1822, respectively, 8.5 x 17.5cm, 10.5 x 22cm and 5 x 9cm (3 1/3 x 6 7/8 in, 4 1/8 x 8 5/8 in, and 2 x 3 1/2 in) respectively (3)
Jean-Baptiste-Louis Hubert (b.1801) St. Claude (Jura) pencil, heightened with body white, signed, titled and dated, 1846, lower right, 29 x 45 cm (11 1/4 x 17 3/4 in), unframed § Ben Silbert, A View from San Miniato, pencil, signed and dated 1925, lower right, 24 x 32 cm (9 1/2 x 12 1/2 in), unframed (2) Condition report: the first named laid down at corners onto card support, both hinged into mount.
William Fowler (1761-1832) Robert King D.D., Last Abbot of Osney and first Bishop of Oxford the original pencil drawing and the published hand-coloured aquatint of the stained-glass window of Oxford Cathedral, 1808 by the artist, the drawing 54 x 36.5cm (21 1/4 x 14 1/4 in), the aquatint 600 x 400mm (23 1/2 x 15 3/4 in); with Fowler`s coloured engraving of the Tesselled Pavement found at Stonesfield, near Blenheim House, 1803; an engraving by Charles Manning of his monument to Hardinge, and 2 pen and ink architectural drawings by other hands, one drawn in outline with German micro-text, titled Das Monument zu Gransee, dated 1834 (6) *** William Fowler of Winterton, Lincolnshire (1761-1832), was originally an architect and builder who developed an interest in antiquities which he recorded in drawings and self-published prints, becoming something of a celebrity and even being presented to the royal family at Windsor.
Mukul Dey Omkar Baba; Drawing the net, East Bengal scene; On the River Hooghly; portrait of John Anderson 4 etchings, Omkar Baba printed in colours, titled and inscribed a state proof, lower left, dated Sept 21, 1968, lower right, the two scenes signed in pencil lower right, and titled in pencil lower left, the portrait signed and dated July 15th 1937, in pencil lower right, with sitter`s etched signature in the plate, an ink stamp lower right, v.s., all unframed (4) Condition report: The first three with minor handling creases, the portrait hinged into conservation mount.
Herbert Thomas Dicksee A shepherd driving his flock etching with drypoint on vellum paper, signed in pencil lower left, initialled in the plate, also lower left with Printsellers Association blindstamp below, 1901, Frost & Reed, 520 x 660mm. (20 1/2 x 26 in); with a duplicate, and another signed Dicksee print, The Road to the Village, and Parting Ways, this unsigned, all unframed (4). Condition report: The first mentioned with some cockling, the duplicate with thin varnish overall and a few marginal defects at sheet edges, the third plate with a crease through the image, the unsigned plate with marginal browning.
Fritz Eichenberg (1901-1990) Sermon to the Birds; The Temptation of St. Anthony 2 woodcuts, the first printed in colours, 1966, both signed, titled and dated in pencil, numbered variously from the edition of 100, from the `Seven Deadly Sins` portfolio, both on smooth wove paper, with full margins, various sizes
John Thomas Serres (1759-1825) View of the Bay of Naples with the Lanterna del Molo, the Dogana Vecchia, Chiatamone Hill and the Castel dellÕOvo, figures dancing in the foreground on the beach of the Carmine View of the Gulf of Salerno from the Marina di Vietri, with fishermen hauling in their nets A pair, oil on canvas The first signed inscribed and dated J.T. Serres. 1793, Napoli lower left The second signed, inscribed and dated J.T. Serres. 1793, a Vietri nel Golfo di Salerno centre left Each 63.5 x 91.5 cm (25 x 36 in) (2) Please note the revised estimate here
Schoony (British, b.1974) and Chic (Scottish, b.1961) Boy Soldier (metal version), 2010, Aluminium powder and resin, signed and numbered 1/1 in, black ink verso, 1300 x 650 mm (31 1/4 x 25 1/2 in) This work was framed by Chic using teak wood with molten lead rivets. The material was reclaimed from the River Thames from a First World War boat used to defend British waters against German u-boats. Provenance: Produced for Graffik Gallery and exhibited at the Schoony Boy Soldier Exhibition at Blackwall Studios and Graffik. Accompanied by a certificate of authenticity from Graffik Gallery with signatures by Chick and Schoony.
DDS. Eine (British, b.1970) Graffiti, 2006, Spray paint and mixed media on canvas, signed and dated in blue ink verso, 910 x 910 mm (36 x 36 in) Provenance: Santa`s Ghetto, London, 2006, Ben Flynn aka Eine`s work is most recognized by his characteristic typographic font that he uses to write his alphabet letters over shutters and walls around the world. Eine now has a canvas in President Obama`s art collection via a gift from David Cameron on his first state visit. The gift of course has propelled the market value and demand for his work. His most recent show at White Walls Gallery in San Francisco was sold out before opening. Amnesty International has asked Eine to design their 50th anniversary poster, following such artists as Picasso and Miro who supported the charity through their art as well. Eine was also asked to take part in the groundbreaking exhibition of street art ÒArt in the StreetÓ at the Museum of Contemporary Art (MoCA), Los Angeles.
Skullphone (American) Untitled (Green Skull), 2005, Spray paint and acrylic on wood, signed and dated in black ink verso, 810 x 610 mm (32 x 24 in) Provenance: Small Bills Gallery, Los Angeles. Skullphone began producing an image of a black-and-white skull holding a mobile phone on the streets of Los Angeles in 1999 and came up with the image that he describes as a rudimentary self-portrait of himself a year after purchasing his first mobile phone. Like most street artists, Skullphone uses the act of image repetition and recontextualization as his way of branding and promoting his work. Most notably, in 2008 Skullphone appeared on the first digital billboards found throughout Los Angeles.
Pádraig Ó Mathúna ABSTRACT and SLIABH NA MBAN FIONN, COUNTY TIPPERARY, 1977 silver on granite base; (1); oil on board; (1) the first sculpture, signed with initials and dated at the base; the second, signed and dated lower right; with title on reverse 23 by 5cm., 9 by 2in. Provenance:Collection of Monsignor Peter Shields; Thence by descent
Jack Butler Yeats RHA (1871-1957) THE STRAND RACES: THE START AND THE FINISH (A PAIR) hand-coloured Cuala Press prints; (framed uniformly) each signed in the plate lower left; the first inscribed "Irish Grand National:Mulligan`s Brook" in the margin lower left; the second inscribed "Irish Grand National: The Finish" in the margin lower left 13 by 43cm., 5 by 17in.
A diamond tension ring by Niessing, the brilliant cut diamond, approximately 0.12 carats, tension set in a tubular shank, signed Niessing, numbered L106077, stamped `750`, finger size Q. The German jewellery manufacturer Niessing was begun by Herman Niessing in 1873, in the town of Vreden close to the Dutch border. By the 1950s, the firm had became one of the leading manufacturers for wedding rings in Germany, and by the 1970s the firm was experimenting and patenting new forms of jewellery. The tension ring, called the Niessing Spannring, was first created in 1979 by Niessing employee Walter Wittek, and its design was copyrighted in 2001. Niessing`s jewellery production still takes place in Vreden, but the firm has recently opened its own retail boutiques throughout Germany, as well as in China and Japan.
OMAS, Italia 90 limited edition fountain pen, ball point pen and pencil set, 1990, each with facetted green resin barrel and cap, and rolled gold detail, and in their presentation box with outer card packaging and paperwork. Designed to commemorate the World Cup Championships held in Italy, this series is one of the first limited edition pens produced by OMAS.
OMAS, Roma 2000 I II III Millennium limited edition three pen set, VIP editions, 1998, comprising two .925 standard silver and one vermeil fountain pens, each cast in relief with symbols relating to each respective millennium, the first (blind cap unglued) portrays a compass, the amanuensis monks, the castle of Matilde di Canossa, the coronation of Carlo Magni and the Nativity; the second (the vermeil) portrays a knight from the Crusades, Leonardo da Vinci, Columbus` ships, the steam engine, Einstein`s formula for the theory of relativity, and a missile representing space exploration; the third portrays astronomical symbols; each pen with a two colour 18 carat gold nib, piston filler, and in their presentation box with outer card packaging and paperwork. These pens were presented to the attendees of a special dinner, inclusive of the Mayor of Rome, held to launch the collection to the press. The collection was dedicated to the work of Roman sculptor, Gian Lorenzo Bernini (1598-1680), marking the 400th anniversary of his birth. OMAS, through the sale of these pens, funded the restoration of Bernini`s Fontana della Api on the Via Veneto as a part of the City`s preparations for the Millennium celebrations.
OMAS, Jerusalem 3000 limited edition fountain pen, 2/3000, 1996, the .925 standard silver barrel and cap overlay designed as a spiralling openwork band cast in relief with symbols of the City of Jerusalem, the Jaffa Gate, the Zion`s Gate, the Lion`s Gate, the Wailing Wall, the ancient star, and the Seal of Solomon, signed OMAS Extra Italy in the manner Simoni signed his first gold pen in 1925, with purpura crimson resin barrel and cap and 18 carat white gold nib, piston filler
OMAS, Europa limited edition fountain pen, no.75/3500, 1992, the blue vegetal resin barrel of dodecagonal section, with rolled gold cap band engraved with eleven stars, and set on the last facet with a single cut diamond, with two colour 18 carat gold nib, piston filler, in a perspex presentation case with outer card packaging and paperwork. These pens were designed to commemorate the signing of the Maastricht Economical Treaty on 7 February 1992. The twelve stars represent the twelve participating countries. The first twelve pens produced were presented to the Heads of State who signed the Treaty.
A walnut dining room suite, first half 20th century, comprising a serpentine extending dining table, raised on acanthus carved cabriole legs with one additional leaf, 77 x 200 x 95 cm, eight walnut dining chairs including two armchairs, a walnut side cabinet, with quarter veneer doors enclosing two shelves, 124 x 123 x 48 cm, and another similar, 102 x 151 x 51 cm, (11).
Humberail Sealink Hull, New Holland Ferry wooden mounted paper service poster for 1980 (last year of service), 39 1/2" x 25", another wooden mounted Sealink poster for New Holland terminal entitled "Make Dieppe Your First Step Through France", 40" x 25", and another ferry terminal painted wooden sign advising car drivers how to proceed (3)
A 3 1/2" gauge Springbok LNER 8301 4-6-0 class BI mixed traffic locomotive and tender, made to exhibition standard by Robert Hull based on the Thompson antelope class first completed in 1942, engine 29" long, 7" wide and 10 1/4" high, transport boxes for both locomotive and tender and two sections (50" and 48") of display track
Krishna enshrined as Sri Nath Ji, Rajasthan, India, first half of 19th century gouache with gold on paper, the stylised deity depicted in an architectural niche adorned with garlands, jewellery, and lotuses 16.7cm high x 9.5cm wide Some flaking, especially around edges, losses to upper and lower border View on auctionatrium.com
An illustrated folio from a dispersed manuscript of Qazwini`s `Aja`ib al-Makhluqat (The Wonders of Creation), Isfahan, Persia, circa 1650 depicting a hyena (zab`) devouring the innards of a dead man, Persian manuscript on paper, text written in three lines of nasta`liq script in black ink, first word of text (frog) and title above drawing picked out in red, inner margins ruled in red, blue and gold, mounted and framed Provenance: Private collection, England Other folios from the Safavid manuscript were sold at Sotheby`s on 8th/9th October 1979, lots 200-217 and 7th/8th July 1980, lot 205 27.4cm x 16cm (text area) Good apart from slight smudging View on auctionatrium.com
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