A gentleman”s suit in 18th century style possibly fancy dress by Pedro Rodriguez comprising: tailcoat and breeches the cream silk coat embroidered in gilt threads and faux-turquoise beads and lined in gold lame the cream silk breeches trimmed with gold lame at the knee and lined in silk crepe the coat 105cm from collar to hem 43cm across the shoulders Provenance: By repute given to the late father of the present vendor by an ex-King of Yugoslavia possibly Peter Karadjordjevic II (ruled 1934-45) who lived in Thorpe Surrey Spain and Denver Colorado until his death in 1970. The vendor”s father was a solicitor in France from the 1950s until the 1990s.. Pedro Rodriguez was Balenciaga”s main competitor in Spain throughout his career. It is conceiveable that this garment was made for the Marques de Cuevas fancy dress ball held in Madrid in the 1950s or the18th century ball held by the Bestegui in September 1951. The former Queen of Yugoslavia was a client of Pedro Rodriguez.. Pedro Rodríguez (1895-1990) opened his first haute couture house in Barcelona in 1917. Throughout his career he maintained his own style whist following the changes in fashion was was particularly noted for his evening dresses.
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A Pair of amethyst stone & silver mounted cufflink's, cased;A triple strand paste pearl necklace; A 9ct yard-o-lead propelling pencil in case; A rolled gold propelling pencil; two further silver propelling pencils; two Netherlands '40 Jarr' 1945-1985 commemorative coins; also a 'Royal Military Academy- athletic sports- first prize bronze medal', awarded to 'C.D.King' for the 100 yards in 1878, with original retailers fitted case from 'Wyon of London'.(8)
MUSIC MEMORABILIA. Two original Gig contracts, one for Gary Farr & The t-Bones to play the Riki tik Club Staines signed by Tony Secunda Manager of The Move & Marc Bolan) & The Mark Leeman Five to play The Matrix Ballroom Coventry 29/4/66 Signed by Kenneth Pitt (David Bowie's first Manager) both EX
MUSIC MEMORABILIA. Mix collection to include Rolling Stone tour programme Europe 1976, 2 Stones books, Pop Weekly Mag No 42 plus 3 souvenir programmes, Count Basie concert tour 1957 Ex and third tour of Great Britain 1959 Ex, Duke Ellington tour of Great Britain 1958 Ex, Lionel Hampton First tour of Great Britain 1956 EX.
Spy & Other Vanity Fair Prints in matching glazed frames, inc. Easy Execution, The Abbey, Emotional Music, Men of the Day No. 43, Royal English Opera, Forever & Forever, Thomas Beecham, Eduard Strauss, R. A. M., The Pinafore, Othello, Queen's Hall, The English Tenor, Wagnerian Opera, Sarasate, Dan Godfrey, First Violin, The Last of a Classic School, Kubelik, The Music of the Future & English Music (21 in total)
Britains lead soldiers: British regiments 6 Gordon highlanders 7245, first lifeguards (modern, new box), two Fort Henry guard goat mascot and handler 40193, Jefferson Davis 00275, ringmaster & billboard 8666, two equestriennes 8671, two GI joe 17217 action sets, and 4 whimsiclay cats, boxed (q)
A quantity of First Day Covers; various stock books with mainly GB post 1930 some Commonwealth; a box of loose stamps; an all world album; A Mulraedy envelope PM Romsey May 5th 1841; an envelope from Princess Augusta to HRH Sophia Matilda; 1d red Maltese cross; four envelopes for Post Office Jubilee July 1890; and other first day covers (qty)
W. SCOTT JENNINGS (American b. 1952)Canyon Walls 1996Oil on canvasboard8in. x 10in.Signed lower rightScott Jennings is a nationally known plein-air painter of Western landscapes. This picture was the first in a series of paintings done in Canyon de Chelly Arizona in November of 1996.Provenance: Acquired from the artist through Mountain Trails Galleries Sedona AZ
CHAUNCEY FOSTER RYDER (American 1868-1949)Oak Tree on the HillOil on canvas12in. x 16in.Signed lower leftA leading artist in the first half of the 20th century Chauncey Foster Ryder's paintings such as Oak Tree on the Hill reflect both Impressionist and Tonalist influences. After studying and exhibiting in Paris Ryder established studios in New York and New Hampshire and was also a prominent member of the Old Lyme Art Colony from 1910-11. He actively exhibited in New York where he was also a member of the National Academy.Provenance: Altermann Galleries Dallas TXacquired from the above by the present owner
ERNEST ALBERT (American 1857-1946)The BrookOil on board12in. x 16in.Signed lower rightA successful theatrical designer and muralist Ernest Albert is also known for his scenic paintings of the Northeast. He was active in many art circles and became the founder and first president of the Allied Artists of America. In the early 1900s Albert began to focus on painting executing many works in Maine and Old Lyme Connecticut. With its impressionistic brushwork and subtle blending of light and color The Brook is an excellent example of Albert's winter landscapes.Provenance: Salmagundi Club New YorkEstate of Elizabeth Salcher San Antonio TXRainone Galleries Arlington TXacquired from the above by the present owner
JOHN FREDERICK HERRING SR. (British 1795-1865)Welcome RestOil on canvas34in. x 43.5in.Signed lower centerA primarily self-taught British artist John Frederick Herring became a renowned sporting painter. He began his career as a coach painter studied briefly under Abraham Cooper and earned fame and prosperity for his portraits of champion racehorses. Herring exhibited at the Royal Academy British Institution and the Society of British Artists. This painting has a distinguished provenance as it was acquired in the first half of the 20th century by a prominent West Texas businessman who owned a thoroughbred farm in Lexington Kentucky. The painting has since been passed down through the family for two generations.Provenance: Estate of Royce G. Martin 1954by descent to present owner
ALBERT BIERSTADT (American 1830-1902)MatterhornOil on paper laid on board21in. x 17.5in.Initialed lower left: ABAn American artist of German birth Albert Bierstadt was one of the most significant and popular landscape painters in the United States during the second half of the 19th century. He was influenced by both European art and the Hudson River School and ultimately created a new landscape style characterized by evocative monumental vistas. Bierstadt was mainly self-taught and spent some years as a drawing instructor before traveling and studying in Germany Switzerland and Italy from 1853 to 1857. In 1858 he entered the New York art circle submitting a painting of Lake Lucerne to the annual exhibition at the National Academy of Design. In 1859 Bierstadt made his first trip across the American West after which he established a studio in New York and began producing the distinctive monumental western landscape paintings for which he is best known.Following his marriage in 1866 Bierstadt traveled to Europe with his wife Rosalie and made many sketches in Switzerland. Richard Trump who wrote a 1963 dissertation on Bierstadt's life and work records a letter from the artist's wife in 1867: "I am now sitting on a side hill from what place splendid views are obtained of the opposite chain of mountains. Albert is perched nearby on his sketching stool making an oil study of the Jungfrau. He has almost 50 splendid studies." (from a letter in the archives of the Museum of Fine Arts Boston). This excellent oil study of the Matterhorn relates to Bierstadt's painting of the same subject in the Dallas Museum of Art.This painting has been authenticated by Alexander Acevedo of the Alexander Gallery in New York.Provenance: Private Collection NYRoughton Galleries Dallas TXacquired from the above by the present ownerReference: Richard S. Trump Life and Works of Albert Bierstadt diss. (Ohio State University Columbus 1963)
WILLIAM GOLLINGS (American 1878-1932)Firing From the Treeline 1912Oil on canvas24in. x 36in.Signed and dated lower rightCelebrated for his paintings of Old West scenes William Gollings was born in an Idaho mining camp and worked on ranches as a young man. His drawings of these experiences earned Gollings a scholarship to the Chicago Academy of Fine Arts where he was formally trained as a painter. He established a studio in Sheridan Wyoming where he painted his hallmark western scenes while also continuing to work as a part-time ranch hand.This masterpiece - the largest and best ever offered publicly - was particularly prized by its first owner and noted Texas author historian and collector James Thomas DeShields who's great novel Border Wars of Texas recounted many Indian engagements. DeShields acquired the painting - completed in 1912 the same year DeShields' novel was published - directly from the artist. The theme of the painting would have appealed to DeShields' sense of Texas lore: cowboys in the shoot-out of their lives with Indians on the western plains arrows flying through the air the cowboys returning fire with their six-shooters and Winchesters. The painting was featured in a 1930 article on the famous author and must have told in great visual detail the story he wrote.This painting is in the original frame which has been regilded. It is signed and also features Gollings' distinct signature pony-track symbol.Provenance: Acquired from the artist by James Thomas DeShields 1861-1948 Dallas TXby descent to his daughter Melba Adelaide DeShields WarnerEstate of Melba Adelaide DeShields Warneracquired through Valley House Gallery Dallas TX by Robert L. Parsons Fine Art Taos NMacquired from the above by the present ownerExhibited: Thomas Nygard Bozeman MT (label on reverse)Published: Ann Bradshaw "Panorama of Texas History in a Unique Dallas Art Collection" The Times-Herald May 11 1930
LONE WOLF (American 1882-1970)Grand Canyon 1917Oil on canvas8in. x 10in.Signed lower rightAn American Indian raised on the Blackfoot reservation in Montana Lone Wolf is famous for his western-themed paintings in the style of Remington and Russell. In his youth he was discovered by Thomas Moran who encouraged the boy's talent. He formally studied in California and Chicago before traveling and painting across the Southwest. This painting dates to 1917 the year of Lone Wolf's first exhibition in New York which was a critical and commercial success. Throughout his career Lone Wolf continued to explore western themes in his art.Provenance: Rainone Galleries Arlington TXacquired from the above by the present owner
FRITZ WILLIS (American d. 1979)Untitled c.1965Oil on canvas mounted on board20in. x 27in.Signed center rightFritz Willis modernized the pin-up with his first published work for Esquire in 1946. His wife Pat served as the model for many of his paintings. Willis also worked for the "slicks" for such magazines as Collier's Redbook The Saturday Evening Post and had a fifteen-year run of "Artist Sketchbook" calendars for Brown & Bigelow. His art instruction books for Walter Foster publishers have instructed many beginning painters on the art of the pin-up
ARTHUR DOVE (American 1880-1946)Continuity 1939Tempera and encaustic on canvas6in. x 8in.Signed lower center: DoveTitled Continuity on exhibition label attached to stretcher.Arthur Dove a pioneer in American art was one of the most important painters of the early twentieth century. He was a principal member of Alfred Stieglitz' group including Georgia O'Keeffe Marsden Hartley Charles Sheeler Paul Strand and John Marin who helped define American modernism and paved the way for Abstract Expressionism a style many believe is the first truly American art influencing European trends (rather than the traditional standard in which American artists are influenced by the styles and innovations of Europe) and establishing New York as the viable center of the art world that it remains to this day. Dove worked his way to abstraction around the same time as Kandinsky's Blue Rider group by distilling forms from nature to their basic elements. While O'Keeffe and the photographers sought abstraction through cropping and magnifying details of nature Dove took the American tradition of landscape established by the Hudson River School and flattened it into patterns colors and forms. O'Keeffe who with Stieglitz shared a close friendship with Dove was a great collector of his work.This work was executed in 1939 and shown at Stieglitz' gallery An American Place in 1940. In early 1939 Dove had suffered a major heart attack and was acutely aware of his tenuous health. Works from this period tend to be calmer more sublte paintings often done in the more deliberate medium of wax emulsion. The title Continuity may refer to Dove's life as well as the smooth flow of forms and colors. In place of his previous jagged lines and tightly centered compositions forms tend to be more evenly placed across the surface with colors flatly integrated into the plane. These later paintings echo Matisse's late works which evolved into flat forms of color and presaged the compositions of early Abstract Expressionists Arshile Gorky and Mark Rothko.Provenance: Alfred Stieglitz New York.Angeline Lindberg New York.Helen James Fane San Diego;Sold by her Estate Sotheby Parke Bernet New York 28 October 1976 no. 174 to Dr. William Hayden Paris Texas from whom it was acquired by the present owner.Exhibited: An American Place (Alfred Stieglitz) New York "Arthur G. Dove Exhibition of Oils and Temperas" 10 April - 7 May 1940 no. 19.Literature: Ann Lee Morgan Arthur Dove: Life and Work with a Catalogue Raisonné (1984) p. 259 no. 39.1 in which the work is dated to 1939 based on artist's correspondence
JOZEF BAKOS (American 1891-1977)HomesteadOil on canvas20in. x 24in.Signed upper leftA leading figure in the Santa Fe Art Colony Jozef Bakos was an American modernist painter of Polish descent who grew up in Buffalo and studied at the Albright Art Gallery. After settling in Santa Fe in 1920 he founded "Los Cinco Pintores" (Five Painters) with Fremont Ellis Walter Mruk Willard Nash and Will Shuster. It was the first artist group in New Mexico devoted to modernism.Provenance: Estate of the ArtistGerald Peters Gallery Santa Fe NMacquired from the above by the present ownerExhibited: Birchfield Center Buffalo NY "Jozef Bakos" November 1985-January 1986Museum of Fine Arts Museum of New Mexico Santa Fe NM "Jozef Bakos: An Early Modernist"
OSCAR EDMUND BERNINGHAUS (American 1874-1952)Winter Evening (Taos) c. 1918Oil on canvas25in. x 30in.Signed lower right : O.E. BERNINGHAUSThis quiet painting of the horses huddled together outside the warm tavern on a cold snowy night shows Berninghaus' mastery of the western nocturne a genre first brought to prominence by Frederic Remington and continued by Berninghaus' contemporary Frank Tenney Johnson. While Remington utilized a greenish palatte and Johnson cast his scenes in blue tones Berninghaus may have created the perfect nighttime painting with contrasting warm and cool grays that lend to the sense of cold reality that the cowboys endured. This large-scale painting is a rare fine example in the artist's oeuvre of the nocturne genre in addition to being a superb example of Berninghaus' talent for rendering horses in the rural settings of New Mexico.This painting by one of the founders of the Taos Art Society occupies an important place in the artist's oeuvre. The painting comes directly from the Berninghaus family of Taos. There is a letter of authentication signed by the artist's granddaughter Barbara Brenner that accompanies the lot. The present work is being offered for public sale for the first time.Provenance: Berninghaus Family Taos NM; Fenn Galleries Santa Fe NMExhibited: Parsons Fine Art Taos NM (referred to as Moonlight Taos)
ANCIENT COINS, Greek, Sicily, Syracuse, Corinthian Stater, first period of the reign of Agathocles, c.317-310 BC, helmeted head of Athena right, decorated with a griffin, rev SSO. Pegasus right, trisceles below, 8.41g, 3h (SNG Cop 750-751). Good very fine/extremely fine with iridescent toning.
ANCIENT COINS, Greek, Sicily, Syracuse, Tetradrachm, first period of the reign of Agathocles, c.317-310 BC, head of Arethusa-Artemis left, NK below, three dolphins around, rev SS and monogram in exergue, quadriga left, trisceles above, 17.15g, 3h (SNG Cop 754). Nice patina, nice style, about very fine.
ANCIENT COINS, Greek, Macedonia, Macedonian Kingdom, Alexander III, the Great, Tetrobol 3.37g, Susa 311-305 BC, head of Heracles right, rev , Zeus enthroned left, holding eagle, wreath and horned horse’s head in left field, TI below throne (Price 3869); together with Seleucids Hemidrachm and Drachms (3) of Antiochus I, II or III. First very fine, others fine to very fine, first scarce. (5)
ANCIENT COINS, Greek, Parthia, Mithradates I (c.171-138 BC), Drachm, bust left in bashlyk headdress, rev -, archer seated right on omphalos, 4.0g (Sellwood 9.1; BMC given to Arsaces 3-5); Drachm of Vologases VI (c.AD 208-228), head left, rev archer seated (Sellwood 88.18). Both very fine, first at one time cleaned. (2)
NUMISMATIC BOOKS, War Medals and Decorations, Risk, James, The History of the Order of the Bath and its Insignia, Spink, London, 1972, wrapper, soiled; Poulson, N, The White Ribbon, A Medallic Record of British Polar Exploration, St Albans, 1968; Steward, WA and Stanley, P, The ABC of War Medals and Decorations, London 1918, rebound in black buckram; Taprell Dorling H, Ribbons and Medals, (first published 1916), London 1974, wrapper. (4)
![BRITISH TRADE TOKENS, 18th Century, Warwickshire, Birmingham, Kempson's Pennies (2), 1796 (DH 6, 20), T W[yon], Penny, 1796,](http://lot-images.atgmedia.com/SR/1806/2672415/2490-2-1806_468x382.jpg)
BRITISH TRADE TOKENS, 18th Century, Warwickshire, Birmingham, Kempson's Pennies (2), 1796 (DH 6, 20), T W[yon], Penny, 1796, ivy covered obelisk (DH 25), Westwood's Farthing/Half-Halfpenny, 1792, General Elliot, rev fleur-de-lis (DH 479). Extremely fine or better, DH6 and DH20 lustrous, DH25 a little scratched on obverse, last scarce, first rare. (4)
BRITISH TRADE TOKENS, 18th Century, Wales, Anglesey, Skidmore's Farthing, 1788 (DH 452); Monmouthshire, Abergavenny, James Powell, Halfpenny, 1795 (DH 1), Monmouth, James Powell, Halfpenny, 1795 (DH 3). The first extremely fine, the others very fine or better, reverse of DH Mon. 3 a little scratched. (3)
BRITISH TRADE TOKENS, 18th Century, Wales, Glamorganshire, Swansea, John Voss, Halfpenny 1796, obv castle, rev key; North Wales, Farthing 1793, on a small flan (DH 4, 26a). First extremely fine, nice chocolate brown, in ICG holder graded PR64, the second very fine, in ICG holder graded AU58. (2) John Voss, draper
BRITISH TRADE TOKENS, 18th Century, Scotland, Angusshire, Dundee, I M and Co, Farthing (DH 39); Inverness-shire, Inverness, Mackintosh, Inglis and Wilson, Halfpennies (2), 1795 (both DH 3, one a bronzed proof); Lanarkshire, Glasgow, Cubie and Paterson, Farthing (DH 24), R Thallon, Farthing (DH Lothian 126), John Whyte, Farthing (BWS 7480, rare); Linlithgowshire, Bathgate, John Finlay, Farthing (DH 1, rare); Renfrewshire, Paisley, J Coats and Son, Farthing (DH 4). The first, second, third and sixth extremely fine or better; the seventh pitted and cleaned, otherwise all the others very fine or better, two as mentioned are rare. (8)
BRITISH TRADE TOKENS, 18th Century, Scotland, Lothian, Edinburgh, Thomson, Farthings (2) (DH 130, 131), Farthings (4), for general circulation (DH Lothian 142, Not Local 3, 4, 7). The third good fine, the second extremely fine for issue and rare thus, the others very fine to extremely fine, the first and third rare. (6)
BRITISH TRADE TOKENS, 19th Century, Hampshire, Portsmouth, Shilling, crescent and star, rev ISLE OF WIGHT (DH 34); Romsey, William Lintott & Sons, Shilling, arms, rev ships at sea (DH 41); Southampton, William Lomer & Son, Shilling, arms, rev ship at sea (DH 42). First two about very fine, first rare, the last fine and very rare. (3)
BRITISH TRADE TOKENS, 19th Century, Norfolk, Newcastle upon Tyne, John Robertson, Shilling, 1811 (Dal 11), Sixpence, 1811 (Dal 14), John Davidson, Farthing (BWS 3810), John Elliott, Farthings (3), 1814 (W 889, 890), undated (W 891), Thomas Pattinson, Farthing (BWS 3830); Co Durham, Gateshead, John Harrop, Farthings (2), 1814 (W 742, one a reverse brockage); South Shields, Francis Robinson, Farthing, 1814 (W 1075). The first two good very fine or better, toned; W890, W891 and BWS3830 fine or better; the others extremely fine or better, W1075 weakly struck as usual but rarely seen this good, W890 and W891 rare. (10)
BRITISH TRADE TOKENS, 19th Century, Yorkshire, Hull, Rudston and Preston, Eighteenpence (2), 1811, first with six berries in the right wreath and four berries in the left wreath on the obverse; Sixpence 1811, arms in wreath (DH 12, 16, 17). First about very fine, toned, others fine to good fine, first very rare. (3)
BRITISH TRADE TOKENS, Tickets and Passes, Drury Lane Theatre Tickets (3), Copper Ticket 1671, obv THEATRE ROYAL, bust of Charles II left, rev VPPER GALLERIE 1671 (D&W 194); Brass Ticket 1888, obv GREAT DRURY LANE DRAMA, two ships of the Armada and a rowing boat on the high seas, rev THE ARMADA, legend AUGUSTUS HARRIS COMPANY around; Modern Paper Ticket, Theatre Royal, late 20th century, “January 19 Upper Circle £16.50 A38”. Second pierced, good fine, first fine and rare, last a item of nostalgia. (3)
BRITISH TRADE TOKENS, Tickets and Passes, Drury Lane Theatre Tickets (2), Copper Ticket 1671, obv THEATRE ROYAL, bust of Charles II left, rev VPPER GALLERIE 1671; Farthing, 1674 illustrating the same bust of Charles II used on the token (D&W 194; M 7). First very fine and rare, the second good fine. (2)
BRITISH TRADE TOKENS, Tickets and Passes, Engraved Pieces, Charles II, Crowns (2), third bust, 1672V, QVARTO, 1676V, OCTAVO (S 3358), obv engraved scrolled initials, first EK, second NCB; George III, Sixpence, 1787, obv engraved for a marriage, Thos. Gulliver – Phoebe Quinton – TG to PQ – 1788. Fine. (3)
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