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Lot 437
ivory, raised on oval onyx bases, carved signature to each F. PREISS, 18.2cm and 17.2cm highFootnote: Literature: Catley, B. Art Deco and other Figures ACC 2003, p.280 where similar examples are illustratedNote: Please be aware that this lot contains material that may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 438
cold painted bronze, carved and painted ivory, onyx, etched to rear of plinth F. PREISS19cm wide, 16.5cm highFootnote: Literature: Catley, B. Art Deco and other Figures ACC 2003, p.283 where a similar example is illustratedNote: Please be aware that this lot contains material that may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 433
cold painted bronze, carved and painted ivory, onyx, inscribed F. PREISS, impressed to bronze PK33.8cm wide, 58.5cm high (overall), 52cm high (figure and plinth), 37cm high (figure only)Footnote: Literature: Catley, B. Art Deco and other Figures, Woodbridge 2003, p.289Alberto Shayo, A. Ferdinand Preiss, Art Deco Sculptor, the fire and the flame, Woodbridge 2005, p.105 where the smaller version of this model is illustratedNote: At the beginning of the 20th Century the German Ferdinand Preiss established a company with Arthur Kassler known as Preiss-Kassler and until his death in 1943 he continued to design sculptures. Regarded as one of the most important Art Deco sculptors, he is acclaimed for his popular mixed media (chryselephantine) figures which were affordable to the middle class and appropriately sized for the home. His works were usually based on classical and mythical subjects, such as The Archer, circa 1925, which appears to represent Diana the huntress from Roman mythology. Amongst his other favoured subjects were idealised children, women at leisure sunbathing or holding parasols, or figures involved in sporting endeavours such as ice-skating, playing tennis, football or golf, or even javelin throwing. Preiss' Archer was executed in two sizes, the present lot representing one of only a few known examples of the rare larger variant.Note: Please be aware that this lot contains material that may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 352
watercolour on silk and with ivory sticks, capped with silvered metal, inscribed, signed and dated THE ISLAND OF THE FAY/ PHOEBE A. TRAQUAIR/ 1889, set within card box32.5cm x 60cm (open)Footnote: Note: In the late 1880s the Irish-born Phoebe Anna Traquair was involved in a range of crafts in addition to painting her second Edinburgh mural cycle at the Song School, St Mary’s Episcopal Cathedral (1888-92). In addition, she was working on embroideries and beginning to engage in both commercial book illustration and finely illuminating modern British poetry, notably Alfred Lord Tennyson’s In Memoriam.Among her more everyday domestic crafts was fan painting. She first practised it at home in Dublin, winning a medal at the age of fourteen. A few years later, as a student attending the Royal Dublin Society’s art school, a second fan was awarded a Queen’s Medal in the school’s submission to South Kensington’s National Competition. Two later fans are known. The first, dated 1888, was likely made for her personal use as it subsequently passed to her daughter and granddaughter and thence to the V&A in the mid-1970s. Given the title The Sleeping Beauty, it was painted with a scene of a sleeping girl watched by Cupid.Traquair painted this fan the following year. Its subject, The Land of the Fay, was taken from Celtic lore, and gave her the opportunity to explore non-classical imagery. A boat is being steered to Tir Na Nog, the ‘land of the young’. The waters are peopled by mermaids and fish. In design it is unique, although in 1905 she would enamel a stunning mermaid necklace (also in the V&A), and her delight in patterning the swirling waters would soon find reinterpretation in The Souls of the Blest, the second panel (1889-91) of her embroidered draught screen The Salvation of Mankind (c.1886-93 (Edinburgh Museums and Galleries, City Art Centre), and later in her ceiling decoration The Six Days of Creation (1896) in the South Chapel of the Mansfield Place Church (Mansfield Traquair Centre).With thanks to Elizabeth Cumming for her footnote for this lotNote: Please be aware that this lot contains material that may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 443
cold painted bronze, carved and painted ivory, apparently unmarked42cm highFootnote: Literature: Catley, B. Art Deco and other Figures ACC 2003, p.307 where a similar example is illustratedNote: Please be aware that this lot contains material that may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
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239691 item(s)/page