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Click here to subscribeA Rolex Oyster Perpetual Datejust 18ct gold lady`s bracelet wristwatch, the signed white dial with gilt hands, centre seconds, gilt Roman numerals and a date-of-the-month aperture, the Oyster bracelet with bark textured central links between plain links to the sides, with the original guarantee dated `24 Aug 1991`, Rolex Datejust booklet, Rolex booklet, seal, plastic label, red wallet, handkerchief, case and box.
A Julia Donnelly for Siddy Langley glass vase, dated 1987, of gently ovoid shape with pink splashes and orange streaks against a white ground in a clear body, together with a small group of glass including two handkerchief vases and a large blue glass bottle vase with black wirework cage exterior.
Two embroideries depicting Egyptian figures, a silk embroidered souvenir from France, a commemorative Elizabeth II Coronation handkerchief, a Buckingham Palace concert programme dated 12th May 1875, two napkins for the Silver Jubilee 1935 and the Coronation of George VI 1937 and a commemorative card depicting George V and his wife and various other fabrics, embroideries, beadwork, and a Japanese silk printed with the image of a lady in a frame.
A late 19th century German papier mache snuff box painted to the lid with a boy and hound, Bristol paper work needle case and an Indian needle case, three Georgian silk work roundels, miser`s purse, Queen Victoria Diamond Jubilee commemorative handkerchief, seven waistcoat buttons, two enamel buttons, wool and steel work band and a George III insurance assessment for the Sun Fire Office regarding a fire at Loddon in Norfolk.
A Poole pottery vase, of classic form, decorated with floral sprigs, height 15 cm; a Poole pottery ashtray; a Poole pottery square dish; a pair of green Langley wall pockets, of shield form, decorated with gulls; a Royal Doulton green wall pocket, of urn form, decorated with linear pattern; a Beswick `Mr Benjamin Bunny`; a Beswick `Foxy Whiskered Gentleman`; a Royal Albert `Peter and the Red Pocket Handkerchief`; a Royal Albert `Mrs Tiggy Winkle`; a pottery cat, (11).
* KUSTODIEV, BORIS 1878-1927 Merchant`s Wife , signed and dated 1923. Oil on canvas, 97.5 by 77 cm. "Provenance: Private collection, 1924-1998.Anonymous Sale; The Russian Sale, Sotheby’s London, 19 February 1998, Lot 90. Private collection.Authenticity certificate from the expert V. Petrov.Exhibited: The Russian Art Exhibition, Grand Central Palace, New York, 1924, No. 421 (label on the reverse).Literature: Die Dame, No. 19, June 1924, p. 11, illustrated.Exhibition catalogue, The Russian Art Exhibition, New York, 1924, No. 421, listed.V. Voinov, B.M. Kustodiev, Leningrad, Gosudarstvennoe izdatel’stvo, 1925, p. 87, listed.M. Etkind, Boris Kustodiev, Moscow, Sovetskii khudozhnik, 1982, p. 232, No. 645, listed.Russian merchants’ wives are without doubt among the most memorable and recognisable images in Boris Kustodiev’s oeuvre. Painted in 1923, the present work was conceived as a kind of continuation and development of the celebrated 1915 work of the same name, which now occupies pride of place in the Russian Museum. The subject is recognisable, as is the protagonist’s pose — as if in a state of suspended animation before the viewer — and even the details: a shawl over her shoulder and handkerchief in her hand. However, what we have before us is not merely the artist’s retrospective attempt to outdo himself at a successful subject. His pictures of merchants’ wives of the early 1920s, painted at a time of tumultuous and dramatic events in Russia, play a far more symbolic role and are of far greater significance than would at first appear. Imbued with nostalgia for the dignified patriarchal society that was by then gone for ever, these portraits of archetypes became a kind of symbol of early 20th-century Russia.Of course, Kustodiev’s romantic view of his homeland, based on an aesthetic fondness for the past and a poetizing of its images, is interwoven with elements of stylisation, as were the images of his old World of Art comrades. Kustodiev’s languid, contented merchants’ wives are as different from their real-life prototypes as Somov’s saucy marchionesses. Boris Kustodiev’s bright, festive, carefree, big-hearted peasant Rus became for him a kind of dream of Russia, as she had at no time, in no place existed but as she unwittingly appeared when looking back from the bleak, cold-hearted Petrograd of the 1920s. For this very reason the best-known merchants’ wives works were done during the Civil War and the destruction that followed when the Kustodiev family, like many others in Russia, were forced to sell their belongings and queue for bread. The hunt for a ripe watermelon in that half-starved city, for the famous Merchant’s Wife Drinking Tea, was a real feat for the artist’s wife Yulia Yevstafievna.The artist had long dreamed of creating a universalised image of Russian beauty, for in the 1910s none of his contemporaries had set themselves such a task. When Kustodiev found his ideal of female beauty he was already an established and recognised artist, and he invested all of his creative genius and the searing power of bright, full-blooded colours into these merchants’ wives. Once seen, you cannot forget these magnificent, corpulent women, their figures towering majestically over a Volga townscape, which fades into the background, eclipsed by their ripe beauty.Yet, at the same time Kustodiev’s beauty is only a fruit of the imagination, a splendid mirage appearing before a European, a World of Art member, along with the legends of the city of Kitezh and the firebird’s feather, from the exotic life of the deep provinces. It is no accident that the ladies who modelled for the sketches of practically all Kustodiev’s merchants’ wives were members of the intelligentsia. One of the models for the Merchants’ Wives of 1912 was the European-educated Natalia Zelenskaya, whom Kustodiev had met in Switzerland. He used a pencil and sanguine sketch of the young actress Faina Shevchenko, done at a premiere at the Moscow Art Theatre, as the basis for his picture Beauty (1915); for Girl on the Volga (1915) the daughter of a neighbouring landowner, Pazukhin, sat for him; the model for Merchant’s Wife Drinking Tea (1918) was Galina Aderkas, a student at the medical institute, who lived nearby; and, finally, the model for his celebrated Russian Venus (1925-1926) was his own daughter Irina. However, when sketching a real individual for one of his protagonists, Kustodiev would always create the specific character he needed and which was frequently rather different from the original. The Merchant’s Wife of 1923 belongs to this group of splendid female types.It should be noted that all the artist’s paintings of this subject, in their various guises and different formats and sizes, were not conceived as parts of a single, unified series. So it is that each one of them — be it the 1920 Merchant’s Wife Taking a Walk (Russian Academy of Fine Arts Museum) or the 1923 Merchant’s Wife — represents an intrinsically valuable and unique variation on the composition, of which Kustodiev painted many. All, with the exception of the work offered here, are either long settled in museums and private collections or lost without trace. Today Kustodiev’s various merchants’ wives adorn the collections of the Russian Art Museum in Kiev, the National Art Museum of the Republic of Belarus, the Russian Museum, the State Tretyakov Gallery and several other Russian museums, as well as the best private collections. The portrait of collector and painter Isaak Brodsky attests to the popularity of this image. Kustodiev depicted him walking in a Petrograd in the grip of famine and destruction during the terrible years of the Civil War. Lost in thought and with a dreamy expression on his face, the artist carries a Kustodiev Merchant’s Wife under his arm, oblivious to what is going on around him.The Merchant’s Wife of 1923 was already widely-known during the artist’s own lifetime. He showed the work a year after it was painted, at the celebrated Russian Art Exhibition, organised by Igor Grabar and Sergei Vinogradov, which was housed at the Grand Central Palace in New York, before travelling around a good many of the central and southern states. The exhibition opened on 8 March 1924, and many of the paintings sold successfully, including the Merchant’s Wife, which was acquired by a private collector. Soon after the exhibition, the much admired picture of the young and smartly dressed beauty out for a walk, appeared in the pages of the popular German women’s magazine Die Dame. The picture remained out of public view until 1998, when it sold successfully at Sotheby’s. Today, for the first time in many years, it is again offered for sale and presents a rare opportunity for even the most exacting collector of Russian art. This painting is undoubtedly among Kustodiev’s most iconic works."
Ten Royal Albert Beatrix Potter figures, comprising `Ribby and the Patty Pan`, `Peter and the Red Pocket Handkerchief`, `Gentleman Mouse Made a Bow`, `No More Twist`, `Hunca Munca spills the beads`, `Benjamin Wakes Up`, `Peter with Postbag`, `Benjamin Ate a Lettuce Leaf`, `Peter in Bed` and `Peter Ate a Radish`, each with mark BP-6, four boxed.
A Second World War Home Front Brodie Helmet, the shell with original grey paint finish inscribed `W/FG`, dated 1939, lacking liner and chinstrap. A Second World War RAF Silk Escape Map, sheet E, Germany Protectorate, Slovakia, Poland and Hungary (torn). The Royal Observer Corps Club, first sheet `Silhouettes of all British, American and German Aircraft listed for the Third Grade Test of the Royal Observer Corps Club`, date stamped 20th February 1943. Ten Eyeshields Anti-Gas Mark II, in original card packaging, dated 1941. A Collection of Aircraft Related Publications, including, amongst others, `Aircraft of the Fighting Powers`, `Airplane Spotter Volume IV 1943` A Great War Group of Three to Private R.E.Farmer Army Service Corps, 1914/15 Star (M2-132673 Pte.R.E.Farmer A.S.C), British War and Victory Medals, a silver ARP Lapel Badge. Camp Guide for Rank and File Infantry, compiled mainly from Official Regulations and Instructions by a Volunteer Officer. June, 1901, printed and published by M.S.Dodds, Quayside, Newcastle-upon-Tyne, printed on a cotton handkerchief, 48 x 48cm. The Memoirs of Field-Marshal The Viscount Montgomery, signed in ink to frontispiece `Montgomery of Alamain F.M. 1958`, (lot)
A last quarter of the 20th Century 18ct Gold Centre Seconds Calendar Wristwatch, Rolex “Day-Date”, Ref 18238, No W737842, the jewelled automatic movement (unseen) to a signed white circular dial with outside minute track and applied gilt Roman markers, with luminous filled baton hands and sweep centre seconds, with day aperture at 12 and further date aperture at 3, in a brushed and polished case with knurled bezel and screw-down “Oyster” crown and back, and fitted with a President bracelet with deployant clasp numbered 8385/8, and bearing European Convention hallmarks, width 1 ½”, together with its original fitted box of issue and cardboard outer, together with a cotton handkerchief bearing the Rolex Logo and with hand rolled borders, and original guarantee (dated November 1996 – Rolex Watch Co Ltd, Bexley), service papers, instruction booklets and a green stitched leather Rolex Notebook and Cover
* Souvenir Linen Handkerchief. Crystal Palace, Printed in the Machinery Department, c,1851, panoramic image of the Crystal Palace printed in black, with a printed red and black freise depicting the advances in civilization, browned and stained along old folds, 565 x 565 mm, mounted, framed and glazed (1)
A collection of nine Royal Albert Beatrix Potter figures-"Benjamin Wakes Up", "Peter & the Red Pocket Handkerchief", "Johnny Town-Mouse with a bag", "Peter ate a radish", "Mr. McGregor", "Johnny Joiner", "No More Twist", "Babbitty Bumble" and "Mrs. Rabbit Cooking", together with an S. Warne & Co. 1976 Beswick Beatrix Potter figure "Mrs. Rabbit & Bunnies", all bearing brown back stamps (10)
‘To the Admirers of the Noble Game of Cricket’. A large, colourful and striking printed cotton commemorative handkerchief, with the England XI of 1847 after the watercolour by Felix to centre. Wide red border with vignettes of the laws of cricket, a village game and of batsmen illustrating a variety of strokes including Forward, Leg half volley, Home block, The Draw etc. Surmounted by a cricketer riding a flying bat (mammal). Framed 27”x33”. A few tears, wear and marks otherwise in about fair/good condition. Rare
A 19th Century Cream Silk Wedding Bodice, worn by `Isabella Stewart, eldest daughter of Andrew Tod, Esq....to Stephen Mitchell, Esq ...at 14 Lansdown Crescent Glasgow on the 25th June 1878..` (see enclosed newspaper `John O`Groat Journal, Thursday July 4 1878`). The bodice is boned with corset style back fastening, weighted hem with a dressmakers label `Mesdames Loyalt of Gillespie, Glasgow`, three quarter length sleeves with net and lace trimmed detachable cuffs; pair of cream silk shoes with carved mother of pearl buttons to the front; pair of silk stockings, blonde plaited hair braid, and a lace insert handkerchief found tucked inside the bodice, together with length of matching cream silk panels and white cotton muslin embroidered dress remnants
A Circa 1920`s Cream Silk Sleeveless Tennis Dress, with a v neck top and attached ties, pleated skirt, attached silk slip labelled `Harvey Nichols` (with photograph). Accessories include a fine black woven cloche hat with black velvet trims and a feather mount; pair of black kid leather gloves; pair of cream crochet gloves; a black fabric purse on a black and white plastic hinged mount; a pair of black leather heeled mary jane style shoes; black and white printed silk scarf and appliqued handkerchief.
Circa 1920`s Orange Chiffon Printed Long Sleeved Drop Waist Dress, with a tiered skirt, v shaped neck, bow detail to the waist and a cream silk petticoat with embroidered trims; Yellow and Brown Printed Chiffon Sleeveless Full Length Dress, with tiered skirt, fabric tie belt and matching long sleeved bolero type jacket. Accessories include a pair of brown leather heeled mary jane shoes; pair of kid leather gloves and three pairs of brown and cream crochet gloves; brown crepe bag with faux tortoiseshell handle; brown satin evening purse with beaded mount and printed chiffon handkerchief.
Circa 1930`s Bias Cut Blue Ground Crepe Dress and Belt, printed with orange and cream interlinking rings, exaggerated pleats to the long sleeves, false lapels and plated detailing to the bodice; accessories include `The Crown Make` navy cloche hat with a blue deco style glass brooch; pair of navy crochet gloves; navy leather bag with faceted shaped brass hinge; pair of navy suede lace up heeled shoes with cream top stitch detailing; pair of navy kid leather gloves and a printed handkerchief.
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