Italian school; XVIII century. "Nymphs offering doves on the altar of Venus". Oil on canvas. Re-colored. Presents repainting and damage to the frame. Measurements. 51 x 61 cm; 67 x 77 cm (frame). In this oil painting on canvas the painter presents a theme taken from ancient Greco-Latin mythology, starring a group of nymphs who are heading towards an altar on which they deposit various offerings. The scene takes place in a landscape environment that is inscribed within a pictorial frame of oval format. The natural scenery develops in depth on the left side, opening to a mountainous background bluish in the distance, illuminated by a twilight sky. While the right side is closed to the viewer, due to the altar dedicated to the goddess Venus, which is described by the representation of the golden sculpture. This sculpture takes the form of a nude woman who covers herself púdicamente, accompanied by a boy with a bow, in allusion to cupid, the son of Venus. The representation of the "Venus púdicas" was born in classical times, and represented the figure of the goddess Venus or Aphrodite, surprised at the moment of coming out of the bath. With this excuse, the Greek artists managed to represent the nude female figure, a theme that was introduced in Greek statuary at the end of the classical period and with certain misgivings, unlike the nude male figure, represented with total naturalness since the archaic period. Formally, this work is dominated by the influence of the Roman-Bolognese classicism of the Carracci and their followers, one of the two great currents of the Italian Baroque, together with Caravaggio's naturalism. Thus, the figures are monumental, with idealized faces and serene and balanced gestures, in an idealized representation based on classical canons. Also the rhetoric of the gestures, theatrical and eloquent, clearly baroque, is typical of the Italian classicism of the XVII century. It is also worth mentioning the importance of the chromatic aspect, very thoughtful, intoned and balanced, centered on basic ranges around red, ochre and blue. Also the way of composing the scene, with a circular rhythm and closed on one side while opening to landscape on the other, is typical of this school of baroque classicism. However, despite the dominance of the classic, a certain influence of naturalism can be noticed, especially in the lighting aspect. Thus, although the light is natural, it is directed, focused on the main scene and leaving the rest in semi-darkness, thus differentiating the different planes of space and focusing the viewer's attention on the scene.
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Dutch school; second half of the 17th century."Banquet".Oil on canvas. Relined.Presents repainting and restorations.It has a frame of the early twentieth century, following models of the seventeenth century.Measurements: 50 x 63 cm; 74 x 86,5 cm (frame).In this work a costumbrista scene is represented, starring a great multitude of characters, whose majority seem to belong to the high society, judging by the situation and their elegant clothes, eating in a sumptuous interior, adorned with sculptures, and accompanied by several servants. The scene is clearly described, within the naturalistic and narrative language of the Dutch Baroque, and in fact anecdotal elements appear in the first terms, the boy playing with the dog, or the large copper cauldron located in the lower right area, elements that seek to create an illusionism and confusion between the real and the pretended space. At the compositional level, the rigor and classicism of the structure stands out, closed on one side and open to the landscape on the other, with an important presence of architecture and a three-dimensional construction of space reinforced by the wise use of light. This type of hedonistic scenes, which reflect with an almost documentary spirit (although without neglecting the decorative aspect) the daily life of the time, are themselves a genre born in the seventeenth century in the Netherlands, which enjoyed a great development thanks to the good reception it received from the bourgeois public, who liked to see themselves portrayed. Beyond this representation, the scene also invites allegorical reflection, since the author proposes in the same scene different actions that allude directly to the senses, such as sight, taste and touch. This interest in such representation is very reminiscent of the works of the five senses by the painter Rubens and Brueghel, which today are in the Prado Museum and which, as in this particular case, show a composition that stands out for the abundance and precise detail of all the elements that make up the scene.This type of representations closely linked to the genre gabinet d'amateur, which originated in Flanders, may have developed for two reasons. Firstly, the development of the devotio moderna and the influence of Holland with regard to the political emancipation of religion, as well as the economic prosperity of the liberal bourgeoisie. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and material, the sensitivity to the seemingly insignificant, made the Flemish artist commune with the reality of everyday life, without seeking any ideal alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect and masterful technique and a conceptual subtlety in the lyrical treatment of light.
Italian school; circa 1700. "Madonna with Bambino". Oil on canvas. It presents faults on the pictorial layer and old repainting. Preserves inscription on the back about origin. Measures: 88 x 68 cm. The Virgin holds her son, who leans upright on his legs, forcing his mother to protect him with her arms. Both look at the spectator conscious of their relevance and preponderance in the Christian religion, and at the same time transmitting a warm, tender and intimate image. Despite the simplicity of the scene, whose composition is based on classical canons, the lack of superfluous elements, and the monumentalization of the figures, the author introduces a deep symbolism. This is reflected through the virgin's dress with a blue skirt, alluding to the universality of religion and a red tunic that refers to the passion of Christ, so that the artist reveals in the same image, both the early years of Jesus' life, as well as an inevitable destiny. The author uses a direct focus of light, which falls on the face of the two protagonists, and that extends as a halo for the rest of the scene, leaving the outer perimeter in a slight half-light. The Virgin and Child or Madonna, a title that generally denotes a visual representation of the Virgin Mary and her son Jesus, is one of the most famous motifs in the history of painting. The artistic representation of these figures, an ancient devotional practice originally derived from biblical beliefs, has become a central theme in the canon of art history. Given its longevity, it is not surprising that this tradition has evolved over time, resulting in a wealth of works ranging from divine icons to contemporary representations. According to Christian tradition, Mary, a Jewish woman from Nazareth, was chosen by God to give birth to her only son, Jesus. The Bible emphasizes the fact that Mary was a virgin, impregnated not by her betrothed, Joseph, but by the Holy Spirit-a phenomenon that, according to the Gospel according to Luke, surprised Mary herself. Thus, Mary agreed to give birth to and raise Jesus. Together, this pair are among the most revered figures in Christianity, so their presence in art makes perfect sense.
French or Italian school of the early eighteenth century. "Landscape with figures". Oil on canvas. Re-framed. With frame of the 19th century. Size: 54 x 73 cm; 77 x 93 cm (frame). One of the most radical aspects of Romantic painting was the attempt to replace the large canvases of historical or religious theme by the landscape. They intended the pure landscape, almost without figures or totally devoid of them, to attain the heroic significance of history painting. They were based on the idea that human feeling and nature should be complementary, one reflected in the other. That is, the landscape should arouse emotion and transmit ideas. Thus, landscape painters like the author of this canvas tried to express their feelings through the landscape, instead of imitating it. The romantic landscape had two main aspects: the dramatic, with turbulent and fantastic views, and the naturalistic, which emphasized images of a peaceful and serene nature. This second conception is the one we see embodied in this work; the painter tries to communicate a religious reverence for the landscape, nature in plenitude, free from the industrial elements of modern life, although enriched by the presence of a traditional house over the waterfall, perfectly integrated into the landscape. In fact, the author's use of light here conveys a warm, dreamlike atmosphere that invites the viewer to meditate and contemplate himself in the landscape.
Granada School of the second half of the seventeenth century. "Virgin and Child". Oil on canvas. Size: 100 x 76 cm; 120 x 96 cm (frame). The painter offers us a scene of very long tradition in the Christian West, the Virgin Mary seated, looking at the Child Jesus resting on a bed. The artist concentrates exclusively on the two characters, obviating the background that he paints in a neutral and dark tonality on which stand out the figures of mother and son, strongly illuminated by a frontal light, outside the composition. The Virgin and Child are placed in front of the viewer. The artist manages, especially, to transmit the naturalness of the gesture of the child, who adopts a placid and calm posture. Since the end of the Middle Ages, artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between them, this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterizes much of the artistic production.
Italian school of the first half of the seventeenth century. School of "CORREGGIO" Antonio Allegri (Italy, 1494 - 1534). "Madonna and child with St. Jerome and Mary Magdalene". Oil on canvas. Re-tinted. With faults in the paint and repainting. Size: 207 x 137 cm; 209.5 x 141 cm (frame). This work faithfully reproduces the homonymous canvas realized by Correggio around 1530, today conserved in the Museo Nazionale of Parma. Faithful to the Italian's mannerist style, it is a tremendously complete and interesting composition, the fruit of his mature period. The treatment of the faces shows the admiration that Correggio felt for Leonardo Da Vinci, as well as the grandiloquence that accompanied him throughout his artistic career. Other aspects, such as the warm light that bathes the entire scene, the naturalness of the figures or the softness of their clothing, complete the contextualization of this work in Correggio's school. In this work Correggio represents the story narrated in the "Golden Legend" of Santiago de la Voragine, according to which Catherine had in a dream the vision of the Virgin with the Child in her arms, who refused to take her as his wife because she was not beautiful enough. She interpreted the dream and withdrew to the desert to learn the precepts of the Christian faith with a hermit, being baptized. In a new dream, Jesus accepted her beauty and made her his heavenly bride by placing a ring on her finger. This is the moment chosen by Correggio in his work, incorporating into the scene St. Sebastian, who contemplates from the background. It is precisely the figure of the saint that serves as a link with the background, where his martyrdom is represented; the saint appears tied to a tree, receiving the arrows of the Roman soldiers. The Italian master thus emphasizes the narrative. The characters, on the other hand, show the characteristic sweetness of Correggio's style, and their gestures are highlighted by the use of powerful lighting, which creates chiaroscuro effects derived from Leonardo's influence. The smile of the saint and the tender gaze of the Child towards the finger of the saint, two key points of the composition, are also noteworthy. Of special importance is also the delicate chromatic work, enhanced by an atmospheric effect that refers to the Venetian school.
Venetian school, PAOLO VERONESE circle (Verona, 1528 - Venice, 1588); XVII century. "Christ in the Garden of Olives". Oil on canvas. Antique re-coloring. Presents restorations. Size: 97 x 62 cm; 122 x 88 cm (frame). The painter represents Jesus in the Garden of Olives at the moment when the angel comforts him, while his disciples Peter, John and James sleep beside him (Matthew: ch. 26 v. 37; Mark: ch. 14 v. 33). The Gospels narrate that, distressed by a strange sadness, Jesus went to pray on the Mount of Olives, where the apostles followed him. Once there, Jesus withdraws to one side to pray, the moment of the crucifixion becoming present to him. Thus, this episode initiates the bloody Passion in the soul of Christ. The apostles fall into a deep sleep, and an angel appears to Jesus to comfort him. In fact, this episode alludes to the greatest temptation of Jesus' life, the last of all: knowing his destiny, he can either flee from his enemies or continue to fulfill his divine mission, risking his life. In the work Jesus seems to be asleep, while the angel supports him and directs his gaze to the sky towards a ray of Light, which represents God, and which illuminates a scene that takes place in the darkness of the night. The landscape can hardly be seen, which is filled by the monumental figures of the protagonists, just a sparse vegetation and a column of composite order can be seen, which seems to flank a vain, which is covered by the limits of the work. Aesthetically, the work is related to the Venetian school, which is described thanks to its elegance and opulence. Characteristics of a booming city, with a great trade linked to a strategic geographical location, gateway to the east. Venice became a school that delved into both Western and Eastern traditions, resulting in a vaporous aesthetic, with loose brushstrokes, in many cases almost abstract, based on color, with a great presence of architecture, shown from a magnificent point of view.
Follower of GUIDO RENI (Calvenzano di Vergato, Bologna, 1575 - Bologna, 1642). "Madonna of the Annunciation". Oil on canvas. It preserves the original canvas. It presents restorations. Size: 66 x 55,5 cm; 77 x 66 cm (frame). Judging by the formal and stylistic characteristics, the present work has been carried out by a painter of the Guido Reni circle, undisputed master of the Roman-Bolognese classicism together with Albani and Domenichino. Thus, we are faced with the representation of the Virgin Mary in her dedication as Dolorosa, portrayed on a neutral background, with a powerful diagonal spotlight illuminating the figure. Formally, Mary is presented bust-length, raising her gaze towards the source of the light, in ecstasy and with a subtle and elegant gesture. The undisputed master of Roman-Bolognese classicism along with Albani and Domenichino, Guido Reni was undoubtedly the best of the three. Closely linked to the Carracci family and to the city of Bologna, they all had a similar trajectory. They trained in Bologna with Denys Calvaert, and then moved on to the Accademia degli Incamminati, directed by Ludovico Carraci. In 1600 Reni arrived in Rome, where he worked with Annibale Carracci in the Farnese Gallery. His best period begins in these years; in 1609, at Annibale's death, Reni remains as the head of the classicist school. In the city he will be protected by Scipione Borghese, the future Pope Paul V, for whom the painter will realize one of his most important works, "La Aurora" (Palazzo Rospigliosi). It shows something that will always be characteristic of Reni's style, his admiration for ancient sculpture. Starting from the classical statues, he develops an ideal of beauty and perfection that will be much admired by the following painters. In 1614 he returned to Bologna for good. Reni's style evolves in a clear direction, more and more sculptural and cold, more and more fully classicist. His mature work will be characterized by a cold palette, with silvery reflections. Finally, from the 1930s, his style became sketchy, with an unfinished appearance and a tendency towards monochrome, of great interest from a technical as well as a formal point of view.Guido Reni is currently represented in the most important art galleries around the world, including the Prado Museum, the Hermitage, the Louvre, the Metropolitan in New York and the National Gallery in London, among many others.
Majorcan table. Charles III. Spain, mid eighteenth century.Rosewood, lemongrass and fruit woods.Measurements: 77 x 103 x 73 cm.Majorcan table in rosewood from the Carlos III period and rococo style, as evidenced by the arched cabriole legs joined with crosspieces of molded and sinuous profiles, combining curve and countercurve in its design. The rhythmic sinuosity is prolonged and intensified in the skirt, cut in subtle meanders. A beautiful marquetry work in fruit wood decorates the waist, the drawers and the top, based on stylized intertwined vegetal bouquets. The elegant piece of furniture has a light design. It consists of three drawers.In 18th century Spain there was a great evolution, from an ordinary piece of furniture around 1700 within a conservative panorama, to a splendid piece of furniture, of great quality and artistic personality, in the middle of the century. The change took place with Charles III (queen between 1759 and 1788), in view of the need to furnish the new palace. The level of demand, of quality, in the furniture increases a lot. With Charles III we will see the last stage of Rococo furniture, a furniture that, unlike what happens in the rest of Europe, takes Italy and not France as a reference.
Armchair with ottoman. Denmark, 1960s.In black leather and steel.Measurements: 97 x 80 x 80 cm (armchair); 36 x 70 x 45 cm (ottoman).Set of armchair and ottoman with steel base, clean and functional, with backrest and seats entirely upholstered in black leather, which contrasts expressively with the light tone of the structure. With a wide and cozy format, it combines the classic style of the quilted upholstery and the structure of the steel legs, merging the functional and the singular in the right measure, as it is a design that economizes the forms but does not renounce to the aesthetics.
Attic lekito or lekhitos. Greece, 5th century BC.Polychrome terracotta.Measurements: 18 cm (height).Jar made in a reddish clay decorated with bands of simple geometric motifs, arranged in dark color on a light background. The lecito was a vessel used to store the perfumed oil destined to the care of the body, although it was also very frequent as funerary vessel. It is characterized by its elongated shape, narrow neck and wide mouth, which both limits the flow of oil and facilitates its application.
Three Roman skylights, 2nd-3rd century AD.In terracotta.Measurements: 2,5 x 7,5 x 6 cm; 3 x 10,5 x 5,6 and 2,5 x 7,5 x 5,5 cm.Set of three Roman lanterns made in terracotta, with periform body that includes the mouth of the wick. One of them preserves the handle. The word lucerna comes from the Greek "lukno". Its basic function was to give light, but it was also used as a votive and funerary element. The first skylights were made by hand, then by lathe, and from the 3rd century B.C. by mold. The mold consisted of two dies, one for the upper part and one for the lower part. The mold manufacturing technique consisted of pressing the clay into the dies and then joining the two parts together.
Pair of skylights, 1st-2nd century AD.Terracotta.Measurements: 10 x 7 x 2 cm and 9 x 6 x 2,5 cm.One of the skylights contains the disk decorated with an equestrian figure, while the other one has a winged figure. The word lucerna comes from the Greek "lukno". Its basic function was to provide light, but it was also used as a votive and funerary element. The first skylights were made by hand, then by lathe, and from the 3rd century B.C. by mold. The mold consisted of two dies, one for the upper part and one for the lower part. The mold manufacturing technique consisted of pressing the clay into the dies and then joining the two parts together.
Roman Lucerne, 2nd-3rd century AD.Bronze.Measurements: 4 x 11,5 x 6 cm.Roman Lucerne entirely made in bronze, emulating the head and the bulls of a horn. The word lucerna comes from the Greek "lukno". Its basic function was to give light, but it was also used as a votive and funerary element. The first skylights were made by hand, then by lathe, and from the 3rd century B.C. onwards by mold. The mold consisted of two dies, one for the upper part and one for the lower part. The mold manufacturing technique consisted of pressing the clay into the dies and then joining the two parts together.
Roman Lucerne, 2nd-3rd century AD.Bronze.Measurements: 5 x 9,5 x 4 cm.Roman Lucerne entirely made in bronze, representing the head and the bulls of a horn. The word lucerna comes from the Greek "lukno". Its basic function was to give light, but it was also used as a votive and funerary element. The first skylights were made by hand, then by lathe, and from the 3rd century B.C. onwards by mold. The mold consisted of two dies, one for the upper part and one for the lower part. The mold manufacturing technique consisted of pressing the clay into the dies and then joining the two parts together.
Three Roman skylights, 2nd-3rd century AD.In terracotta.Measurements: 3 x 8,5 x 7 cm; 4 x 11 x 7,5 cm and 2 x 9,5 x 6 cm.Set of three Roman lanterns made in terracotta, with periform body that includes the mouth of the wick. One of them preserves the handle. The word lucerna comes from the Greek "lukno". Its basic function was to give light, but it was also used as a votive and funerary element. The first skylights were made by hand, then by lathe, and from the 3rd century B.C. by mold. The mold consisted of two dies, one for the upper part and one for the lower part. The mold manufacturing technique consisted of pressing the clay into the dies and then joining the two parts together.
Freddie Mills 15x11 approx mounted signature piece includes signed album page and a fantastic black and white photo of the former Light Heavyweight champion of the World. Frederick Percival Mills, 26 June 1919 - 25 July 1965, was an English boxer, and the world light heavyweight champion from 1948 to 1950. Mills was 5 feet 10+1?2 inches, 179 cm, tall and did not have a sophisticated boxing style; he relied on two-fisted aggression, relentless pressure, and the ability to take punishment to carry him through, and in more cases than not these attributes were sufficient. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
A Group of Music Laser Disk, titles include, David Bowie, Ziggy Stardust and the Spiders from Mars, Pink Floyd at Pompeii, Neil Young & Crazy Horse Rust Never Sleeps, Paul Simon in Concert, The Grateful Dead, Soft Cell's Non-Stop Exotic Video Show, Bad Manners, The Tubes Video, Eurythmics Sweer Dreams, A Night with Lou Reed, Third World Prisoner in the Street, The Stranglers 77-82, ABBA The Movie, Roxy Music, The High Road, A Hot Night with Donna Summer, Dolly in London, and Joni Mitchell Shadow and Light, other titles, 26 in total not viewed
A Bolex H16 Reflex Cine Camera, serial no 1804405, motor working, body G-VG, some deterioration to eye cup, with Som Berthiot Pan-Cinor 17.5-70mm f/2.4 lens, barrel G, light wear, elements G, some dust, minus viewfinder, with caps & hood, a Kern Paillard 100mm f/3.3 lens, barrel G, light wear, elements G, some dust, with caps & hood, in case, a Kern Paillard 25mm f/1.4 lens, barrel G, light wear, elements G-VG, light dust, a Kern Paillard 16mm f/ 1.8 lens, barrel G, light wear, elements G-VG, light dust, both with caps, a Bolex filter set, a Bolex H16-H8 guide booklet, camera manual, depth of field tables, service pamphlet, in Bolex case
A group of costume jewellery and miscellaneous items, including a pair of faux pearl earrings in tested 9 ct, a Parker '51' fountain pen, black case marked Made In England, with a stainless steel cap, 13.5cm including cap, a selection of silver jewellery including brooches, a necklace, earrings and a par of cufflinks, four compacts and eight pill pots, a Rotary wristwatch, and a selection of costume jewellery including earrings, cufflinks and tie pinsCondition Report: 9 ct gross weight 1.98 gramssilver gross weight 72.31Parker pen Light scratches to case and and capEwbank's do not guarantee the working order or accuracy of any lots sold
Paul Birkbeck 1939-2019, figure by a lake with another on an island, 35 x 52 cms, not signed,ABOUT PAUL BIRKBECK; an appreciation, written by one of his daughters and published in the Guardian following his death."My father, Paul Birkbeck, who has died aged 80, was an artist and illustrator whose work is familiar to those of a certain generation brought up on BBC childrens TV programmes such as Crystal Tipps and Alistair, Play School and Jackanory. His distinctive style and keen eye for detail ensured that he became one of the BBCs most-used artists through the 1970s and 80s.Born in Woolwich, south-east London, Paul attended Brighton College and Epsom School ofArt. After completing his national service, he also became the banjo player for the Dedicated Men Jugband, who signed to Pye Records in 1965. The bands single, Boodle Am Shake, did not trouble the charts but Paul soon began designing sleeves for Decca Records.In 1965 working with BBC childrens TV he became a prolific illustrator for its programmes. For Jackanory he illustrated 14 stories, including A Dog So Small (read by Judi Dench) and Peter Pan, (some in this sale), as well as the BBC Sunday afternoon Bible stories series In the Beginning.His work for Jackanory continued for many years. He created the memorable opening titles for The Vikings in 1980, presented by Magnus Magnusson, and the iconic Miss Marple series, starring Joan Hickson. Paul also drew the backgrounds for the ground-breaking TV series Jane, starring Glynis Barber, which mixed cartoon backgrounds with live actors and was based on the 1940s comic strip of the same name. (some in this sale).In 1991, as well as supplying illustrations, he was in front of the camera playing himself each week in the BBCs six-part childrens TV history programme Now Then, an educational show that cleverly brought our ancestors to life.Paul taught illustration at Leicester Polytechnic, Epsom College and the Royal College of Art, but continued to work in TV, including delivering the titles for the Stanley Baxter Show on Channel 4. He branched out into book illustration with Salman Rushdies 1990 childrens fairy tale Haroun and the Sea of Stories, for which his lavish pictures were much lauded, not least by Rushdie. My father spent the latter part of his life on personal commissions. His work appeared at the Keith Chapman Gallery, London, in Royal Academy summer shows and Sunday Times watercolour exhibitions between 2003 and 2008, and in the Mall Galleries Discerning Eye exhibitions.PROVENANCE The artworks in this sale have been consigned by his family.NOTES: The pictures in this sale were prepared in various mediums often used by the artist and often in conjunction with one another, including, pen and ink, crayon, water-colour, gouache, pastel, and oil and acrylic paints on card or on paper. The auctioneers acknowledge the help of his family in cataloguing this collection, and where-ever known each picture has been listed under its broadcast designation. but the vendors do not guarantee that all attributions in this respect are correct. The family do however guarantee that the pictures, both signed and unsigned are the work of Paul Birkbeck. . All sizes are approximate. Condition Report: Good condition overall, with areas of light wear and some spotting
Collection of ephemera on the director John Boorman, relating to film executives, actors etc, as well as proofs of Boorman's scripts, mainly on films from the latter part of his directing career in the 1980s (including unrealised projects). Includes the script 'Glasnot or Animal Behaviour' by Boorman, and a proof copy of his autobiography, 'Money into Light' (1 box)Please note that the lot does not include copyright to any of the items contained.
William Woollett (1735-1785). Cicero at his Villa. Etching and engraving after Richard Wilson. Published 1778 by W. Woollett. Light central staining and signs of handling. 44 x 56cm. Together with another by Michael Angelo Rooker Temple of Peace. Engraving after Richard Wilson, published 1776 by John Boydell. Plate size 18 x 26cm. (2)
For The British Council, Gawain and the Green Knight (JRR Tolkein), ill, Paul Birkbeck 1939-2019, Gawain showing the green belt to King Arthur and Queen Guinevere, 27 x 37 cms. not signed, 1984ABOUT PAUL BIRKBECK; an appreciation, written by one of his daughters and published in the Guardian following his death."My father, Paul Birkbeck, who has died aged 80, was an artist and illustrator whose work is familiar to those of a certain generation brought up on BBC childrens TV programmes such as Crystal Tipps and Alistair, Play School and Jackanory. His distinctive style and keen eye for detail ensured that he became one of the BBCs most-used artists through the 1970s and 80s.Born in Woolwich, south-east London, Paul attended Brighton College and Epsom School ofArt. After completing his national service, he also became the banjo player for the Dedicated Men Jugband, who signed to Pye Records in 1965. The bands single, Boodle Am Shake, did not trouble the charts but Paul soon began designing sleeves for Decca Records.In 1965 working with BBC childrens TV he became a prolific illustrator for its programmes. For Jackanory he illustrated 14 stories, including A Dog So Small (read by Judi Dench) and Peter Pan, (some in this sale), as well as the BBC Sunday afternoon Bible stories series In the Beginning.His work for Jackanory continued for many years. He created the memorable opening titles for The Vikings in 1980, presented by Magnus Magnusson, and the iconic Miss Marple series, starring Joan Hickson. Paul also drew the backgrounds for the ground-breaking TV series Jane, starring Glynis Barber, which mixed cartoon backgrounds with live actors and was based on the 1940s comic strip of the same name. (some in this sale).In 1991, as well as supplying illustrations, he was in front of the camera playing himself each week in the BBCs six-part childrens TV history programme Now Then, an educational show that cleverly brought our ancestors to life.Paul taught illustration at Leicester Polytechnic, Epsom College and the Royal College of Art, but continued to work in TV, including delivering the titles for the Stanley Baxter Show on Channel 4. He branched out into book illustration with Salman Rushdies 1990 childrens fairy tale Haroun and the Sea of Stories, for which his lavish pictures were much lauded, not least by Rushdie. My father spent the latter part of his life on personal commissions. His work appeared at the Keith Chapman Gallery, London, in Royal Academy summer shows and Sunday Times watercolour exhibitions between 2003 and 2008, and in the Mall Galleries Discerning Eye exhibitions.PROVENANCE The artworks in this sale have been consigned by his family.NOTES: The pictures in this sale were prepared in various mediums often used by the artist and often in conjunction with one another, including, pen and ink, crayon, water-colour, gouache, pastel, and oil and acrylic paints on card or on paper. The auctioneers acknowledge the help of his family in cataloguing this collection, and where-ever known each picture has been listed under its broadcast designation. but the vendors do not guarantee that all attributions in this respect are correct. The family do however guarantee that the pictures, both signed and unsigned are the work of Paul Birkbeck. . All sizes are approximate. Condition Report: generally very good condition, with some light creasing and spotting to reverse
Two pearl strands and pearl earrings, peach, white and pink cultured pearl strand, with a gold plated silver clasp,strung with knots between, pearl diameter 11 X 10 mm, strand length 46 cm , with a graduated light pink pearl strand, with a 9 ct gold clasp, strand length 46 cm, with a pair of pearl earrings, with a paste stone, earring measurements 12.6 X 8 mm, with post and butterfly fitting, in silver, in a boxCondition Report: Pearls display good lustreEarrings suitable for pierced earsClasps work well
Plasterwork arch. Nasrid culture, Hispano-Muslim, 14th century.Plaster.Measurements: 92 x 74 x 6 cm.Nasrid plasterwork arch. It is made up of the decorative elements characteristic of Nasrid art: epigraphic texts, geometrical loops and ataurique (highly synthesized vegetal and floral elements). The three elements are intertwined in an openwork design in the form of a cresting, supported by a slightly pointed or pointed arch, which is also decorated with synthetic vegetal fretwork. One of the most recognized techniques of Nasrid architecture is plasterwork, the best examples of which can be found in the palaces of the Alhambra. The basic ingredient of plasterwork is gypsum in two variations: used for direct carving or white gypsum for casting. Substances such as salts or animal glues were added to the mortars to slow down the setting process, allowing direct carving. In the Nasrid period, casting with molds was introduced, using a local, orange-colored clay as a release agent, a very characteristic technical feature of Nasrid plasterwork. Once the different plasterwork panels were attached to the wall by means of mortars and nails. The entire facing was covered with a layer of white primer, thus hiding joints and remains of the release agent and unifying the whole. Nasrid masons had a tendency to play with light and color effects in their designs. Some surfaces were left white, while others were profusely polychromed using pigments of great quality and variety. Nasrid plasterwork is present in most of the Alhambra Palace, covering walls, arches, domes and ceilings with intricate decorations and rich colors.
Doctor Who Interest. ( 2 ) Items In Total. Comprises 1/ Doctor Who - Spin and Fly Tardis, Highlights are Authentic Sound and Light, Designer for 3.75 Scale Figures, Take off and Landing light and Sound FX, Sprint Loaded Doors. 2/ Doctor Who Tardis Projection Alarm Clock, Features Project the Time on your Ceiling, Lights and Sounds, Please See Photos.
Photography Interest - Large Quantity of Photographic Equipment, including: Multiblitz 'Trooper' Mini Spotlight Studio 202, Logan 3-Step Oval/Circle mat cutter, Portaflash Studio Lighting System, Tokina VL-2010 Flash Light Adaptor, Starblitz 1000 Auto Macro-Lite, pack Bronica Polaroid Land Film, Epsom Picture Mate Photo Cartridge T557, Nikon SA-21 Strip Film Adapter, Cepo Mounting Press 8002, and Minolta Macro Stand AB III.
Ladies Burberry Watch. The Watch has the Classic Leather Design Strap, The Length Is Approx 9 Inches long. Comes with Full Packaging - Includes the Burberry Light Colour Gold Outer Box and Inner Box, Tags, & Full Instructions Booklet. Tags Still Attached. Watch Strap Colour - Cream, Silver / Light Grey. The Face Features Sapphire Crystals and Still has the Protected Cover on. It Also Has The Price Tag - Bought for the Amount of 650.00 Euros. Swiss Made No 14047, No BU10200. Fabulous / New Condition Both Watch and Boxes etc. Superior Quality Throughout. Please See Photos.
Masonic Interest - A Rare Early 19th Century Masonic Sunderland Lustre Jug, two black transfer printed panels depicting Masonic symbols and text 'And God Said Let There Be Light & There Was Light' and 'Let the Brotherly Love Continue', the border with names of the zodiac. Various symbols and number spaces. Height 3.75''.
A good retro vintage mid 20th Century green and white metal exterior free standing lamp light having a UFO shade top raised upon a single stem support. Measures approx; 109cm tall. A collection of 20th Century circa 1970's and 1980's retro vintage industrial porcelain enamel UFO saucer pendant ceiling light shades in varying tones on green with white inners. Largest measures approx; 31cm diameter.
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