We found 534325 price guide item(s) matching your search
There are 534325 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
534325 item(s)/page
Lot 241
‡Roger Marcel Limouse (French 1894-1990) Still life Signed, also signed and dated 1945 verso Oil on canvas 85 x 73.5cm; 33½ x 29in Provenance: Crane Kalman Gallery, April 1969 ++Light bloom, one small patch of minor lifting, a little minor paint separation, would be enhanced by a light clean
Lot 15
* FALK, ROBERT (1886-1958) Boy with a Cap, Sitting on a Chair, double-sided composition with two oil paintings Fisherman Smoking and Wild Flowers on the reverse. Oil on canvas, 122.5 by 75 cm. Boy with a Cap, Sitting on a Chair executed c. 1910–1911. Fisherman Smoking executed in 1938. Wild Flowers executed in 1945. Provenance: Private collection, Europe. Fisherman Smoking: Previously in the collection of Professor N. Gershovich, Leningrad, until 1988. Authenticity certificate from the expert Yu. Didenko. Exhibited: Fisherman Smoking: Robert Fal’k, Tsentral’nyi dom rabotnikov iskusstv, Moscow, Autumn 1939. Literature: Fisherman Smoking: Exhibition catalogue, Robert Fal’k, Moscow, 1939, No. 142, listed as Rybak iz Simeiza. Krym. Yu. Didenko, compiler of Polnyi katalog zhivopisnykh proizvedenii R.R. Fal’ka// D. Sarabianov, Yu. Didenko, Zhivopis` Roberta Fal`ka. Polnyi katalog proizvedenii, Moscow, Elizium, 2006, p. 656, No. 952, listed. Boy with a Cap, Sitting on a Chair and Wild Flowers will be included in the forthcoming supplement to the catalogue raisonné of the artist’s work being prepared by Yu. Didenko and D. Sarabianov. Robert Falk’s sensational canvas Boy with a Cap, Sitting on a Chair dates from 1910–1911 and the time of the first exhibition by the Jack of Diamonds group, of which Falk was a founding member. The work belongs to a series of portraits of children that Falk created between 1908 and 1911. These number several depictions of children in armchairs and sitting on chairs: Goga (1908), Little Girl in an Armchair (1909), Portrait of a Girl (1909), Girl in a Chair (1909) etc. To judge by a number of stylistic criteria, Boy with a Cap may be dated to the artist’s early Jack of Diamonds period. The portrait undoubtedly contains features of Primitivism, a style to which Falk was drawn for a short while in the years 1910–1911: the black outline round the figure, the generalised modelling of forms, and a certain flattening of the silhouette. The work that most resembles this painting is the 1911 portrait Boy in Blue against a Green Background. Many similarities can be discerned: the subject itself – a barefoot child, the sculptural rendering of the soles of the feet, the way both boys’ hands are placed on their knee, and the outlining of the figure. It is interesting that Boy in Blue is also painted on the other side of a later work and is of a similar size (92.5 by 82 cm) to Boy with a Cap, which is larger than his other canvasses of children. There is a clearly discernible tone in this painting, and this is typical of Falk’s work at the start of the 1910s. The predominant blue-grey in this case is thematically connected with the whitewashed wall and the towel hanging on it, interwoven as it is with other tones (pink, lilac, green and ochre) whose interaction creates a subtle surface vibrancy of hue. Boy with a Cap also marks Falk’s first testing of the principle he had developed as early as 1912–1913 of complex structuring of the painted surface through interplay between the shadows cast by a figure and the unique aura around it, but also the responding interplay of highlights and reflections on the surface of the figure. Double-sided oil paintings were characteristic of Falk’s creative process from the 1900s. When he needed a clean canvas he often showed no sympathy for a previous work and turned canvasses over to paint on the blank side. The upper part of the reverse side of Boy with a Cap is the portrait Fisherman Smoking. This work was created in 1938, after Falk’s return to Russia from Paris, during a trip to Alupka with his friend and pupil A.B. Yumashev, aviator and Hero of the Soviet Union. The portrait is painted in an easy, loose, almost sketchy manner in the smoky colours typical of Falk’s Parisian work, based on the most subtly nuanced grey, pale blue, lilac and light-ochre tones. For a long time this work was in the collection of the famous Leningrad collector Professor N.G. Gershovich and his family. It is also known to have been exhibited in 1939 at Falk’s one-man exhibition in Moscow. Lastly, the lower part of the reverse side is the still life Wild Flowers. This work dates to Falk’s late period (the 1940s and 1950s), which was the time of his greatest artistic achievements. The canvas was painted in the village of Sofrino near Zagorsk, not far from Moscow, at the dacha of Falk’s female pupil A.M. Tsuzmer, where he spent the summer of 1945 with his wife, Angelina Shchekin-Krotova, who gathered flowers in the surrounding fields and knew how to arrange bouquets for her husband’s still lifes. Later she recalled: “For Falk it was no simple matter to gather a bunch of flowers and paint it. He needed some particular idea that perhaps even he did not fully understand. He was looking for music in colour, an essential tonality”. We are grateful to Yulia Didenko, art historian and author of the catalogue raisonné on the artist, for providing additional catalogue information.
Lot 16
*§ LARIONOV, MIKHAIL (1881-1964) Still Life with Flowers, signed, also further signed on the reverse. Tempera on canvas, 92 by 65 cm. Provenance: Leonard Clayton Gallery, New York, before 1977 (label on the stretcher). Authenticity of the work has been confirmed by the experts A. Kiseleva and Yu. Rybakova. Exhibited: Art Russe, Ancien et Moderne, Palais des Beaux-Arts, Brussels, May–June 1928, No. 782 or 783 (label on the stretcher). Literature: Exhibition catalogue, Art Russe, Ancien et Moderne, Brussels, Palais des Beaux-Arts, 1928, p. 76, No. 782 or 783, listed. Mikhail Larionov’s Still Life with Flowers from the 1920s is one of the most poetic compositions of his Parisian period. Here, as in other works of this time, the artist moves away from the physical quality of his still lifes from the previous decade. Bright colours are replaced by a spare, almost monochrome palette and all the diversity of the objective world is reduced to a set of three or four choice constituents, used with striking aesthetic impact. Most of his still life compositions from this time are a restrained brown, yellow or pale blue, featuring time and again the lineaments of a simple wooden table, the white of a napkin, a glass goblet, and a twig in bloom in a transparent jug. The eye is drawn especially to the nude that hovers above the table, in picturesquely narrowed perspective. This nude is one of Larionov’s gouaches, placed within the still life as a joint backdrop with the striped wallpaper familiar from so much of the artist’s work from these years. The device of a picture within a picture, where the artist’s own work is used as essential background detail and constitutes a figurative entity integrated with the overall composition, became a trademark feature of his still lifes of the 1920s. In these paintings Larionov reproduces his large works on paper, with their laconic lines, as objects actually present in the still life, whereas by contrast the real things – jug, glass, table – become almost ethereal, taking on incorporeal forms rendered in a diaphanous and fragile texture. According to a vivid description by G. Pospelov, who dedicated an entire section of his book on Larionov to these works, “the draughtsmanship – light as air – reinforces the impression of a tracery of bare twigs reaching upward from the translucent jug”. The elegiac mood of this exquisite monochrome painting and the technical virtuosity of the delicate, almost ephemeral, touch of the brush place Still Life with Flowers on a par with such expressive compositions as Still Life with Standing Figure and Still Life with Twigs in a Glass Jug from the collection of the State Tretyakov Gallery.
Lot 18
* VINOGRADOV, SERGEI (1869-1938) The Mamontovs` Estate, signed and indistinctly dated "1…". Oil on canvas, 76.5 by 99.5 cm. Executed in the 1910s. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity has also been confirmed by the expert I. Geraschenko. Literature: N. Lapidus, Sergei Vinogradov, Moscow, Zolotoi vek, 2010, pl. 96, illustrated; pp. 474 and 484, listed. Sergei Vinogradov, brilliant painter and illustrious exponent of Russian Impressionism, is represented in this catalogue by The Mamontovs’ Estate. This work from the 1910s typically reflects all the principles of the artist’s style and his determination to convey the effects of colour and light, a determination shared with other representatives of the Union of Russian Artists, especially Turzhansky, Zhukovsky and Yuon. Vinogradov mainly painted en plein air. His pictures are literally drenched in sunshine; the air in them is transparent, creating an illusion of naturalness in all elements of the landscape. The rays of sunlight seem to be moving, but realism is achieved without the tawdry detail typical of the Academic style. Vinogradov is not at all concerned with the picturesque elements of landscape, but is drawn by sincere affection for the simple, odd corners of the native landscape that the Russian heart holds dear – their natural, organic appearance and unpretentiousness. The artist’s Russian period is marked out by special warmth and lyricism, and this is felt both in the euphoric mood of his pictures and in his gentle handling of paint, which avoids sharp, abrupt accents. The warm colours that predominate in his work, like the happy juxtaposition of shades in his palette, are so recognisable that they unerringly identify the hand of the artist. The Mamontovs’ Estate is one of Sergei Vinogradov’s undisputed masterpieces, serving as an artistic calling card, which set the highest benchmark for the whole Russian landscape school of the first quarter of the 20th century.
Lot 19
* KUZNETSOV, PAVEL (1878-1968) Eastern City. Bukhara, signed, also further signed, inscribed "Moskou" and in Cyrillic "V Bukhare" and dated 1912. Oil on canvas, 103 by 80 cm. Provenance: Acquired directly from the artists’s studio by Tatiana Kozyreva in 1956. Private collection, Europe. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity has also been confirmed by the expert I. Geraschenko. Exhibited: Mir iskusstva, Moscow, 1915. Mir iskusstva, Moscow, 1917. Vystavka kartin khudozhnikov Pavla Kuznetsova i Eleny Bebutovoi, Russian Academy of Artistic Sciences, Moscow, May 1923. Peredvizhnaya vystavka sovetskogo iskusstva v Yaponii, Harbin, Tokyo, Aomori, 1926–1927. Pavel Varfolomeevich Kuznetsov. 75 let so dnya rozhdeniya. 55 let tvorcheskoi deyatel’nosti, Central House of Art Workers, Moscow, April 1956. Pavel Varfolomeevich Kuznetsov, Moscow, 1964. Pavel Kuznetsov. K stoletiyu so dnya rozhdeniya, Moscow, 1978. Literature: Exhibition catalogue, Mir iskusstva, Moscow, 1915, p. 11, No. 147, listed as V Bukhare. Exhibition catalogue, Mir iskusstva, Moscow, 1917, p. 7, No. 97, listed as V Bukhare. Katalog vystavki kartin khudozhnikov Pavla Kuznetsova i Eleny Bebutovoy, Moscow, 1923, p. 5, No. 53, listed as V Bukhare. Exhibition catalogue, Peredvizhnaya vystavka sovetskogo iskusstva v Yaponii, Harbin, Tokyo, Aomori, 1926–1927. Exhibition catalogue, Pavel Varfolomeevich Kuznetsov. 75 let so dnya rozhdeniya. 55 let tvorcheskoy deyatel’nosti, Moscow, Sovetskii khudozhnik, 1956, p. 12, listed as V Bukhare under works from 1912. Exhibition catalogue, Pavel Varfolomeevich Kuznetsov, Moscow, 1964, p. 14, listed as Bukhara under works from 1912. M. Alpatov, Pavel Kuznetsov, Moscow, Izobrazitel’noe iskusstvo, 1969, illustrated; p. 113, No. 19, listed as Bukhara, incorrectly dated 1911. L. Budkova, D. Sarabianov, Pavel Kuznetsov, Moscow, Sovetskii khudozhnik, 1975, pl. 44, illustrated; p. 332, No. 225, listed as Vostochnyi gorod. Bukhara under works from 1915–1916. A. Rusakova, Pavel Kuznetsov, Leningrad, Iskusstvo, 1977, p. 123, illustrated; p. 281, listed as Vostochnyi gorod, incorrectly dated 1913–1914; pp. 125–126, mentioned in the text. Exhibition catalogue, Pavel Kuznetsov. K stoletiyu so dnya rozhdeniya, Moscow, Sovetskii khudozhnik, 1978, illustrated and listed as Vostochnyi gorod. Bukhara under works from 1915–1916. Related literature: For the reproduction of the present lot as a postcard, see E. Butorina, Pavel Kuznetsov. Komplekt otkrytok, Leningrad, 1970. Eastern City. Bukhara is one of the principal and best-known masterpieces of Pavel Kuznetsov’s Central Asian series. Kuznetsov spent several years in the East before the First World War, travelling first across the steppes of Kirghizia and then visiting Central Asia in 1912–1913. “Wishing to continue the theme of the East, which has an affinity for me,” he wrote in his notes, “I decided to delve deeper into Asia: Tashkent, Samarkand and Bukhara. For two consecutive summers I reflected the landscapes and life of this region in my works. The colouration of everything I saw there, so unfamiliar to us Russians, inspired me with new emotions and a new approach to painting, which sprang from the reality around me.” Bukhara, the most harmonious of the works in Kuznetsov’s Central Asian cycle, offers a certain quintessence of the eastern city. Alongside the best of the steppe pictures from 1911–1912, it represents the summit of Kuznetsov’s creative achievement. Motifs from other Bukhara works reappear in the picture recast, abstracted and purified to a full clarity and simplicity of primary forms. In Bukhara we find the clearest manifestation of the search for new structural solutions in harmony with the time, a search which is also present, in a milder, veiled form, in Kuznetsov’s other Bukhara works. The artist’s “course towards Derain and Picasso” (in the apt phrase of the art critic, Abram Efros) led Kuznetsov in this picture to a tangible geometrization of forms. And yet Cubism as a world view or even as an intellectual analysis of visible structures remained alien to the artist. While accepting many features of Gauguin’s synthetism, Braque’s decorative qualities, and some of Derain’s painting techniques, Kuznetsov remained sensitive to other important artistic trends of the Russian avant-garde – the influence of the old iconographic tradition and a passion for different variants of Oriental art. Kuznetsov, in his Bukhara works, limited cubist treatment to those phenomena, which seemed to him to come to meet a type of geometrisation that was more visual than methodological – the architecture of the buildings made from stone or pressed earth, and the jagged outcrops of the mountains around Bukhara. This selectiveness, with which objects are chosen or not chosen for cubist treatment within a single picture, produces a vibrant duality, lending an inner tension to the composition. This duality is present in Bukhara, where only the background of the picture fragments into stereometric protoforms. Kuznetsov on the one hand analytically decomposes inanimate objects in the image, but on the other hand achieves their organic unity and easy mergence with nature. He looks at objects sometimes from above and sometimes from below, and compacts the space of the picture without sacrificing its architectonic quality. Rectangular planes intersect and are deformed, volumes are fragmented, broken lines reach upwards in a repeating, rhythmic drawing pattern. The buildings, rising ledge by ledge, are akin to the icon representation of hills in Novgorod wall paintings. The colouration of the background is in an unexpected relationship with its complex constructivist treatment – a range of light yellow, pinkish-orange, ochre tones, subtly tinged with the crimson, blue, and glowing red surfaces of the buildings. In this portrait of Bukhara, which the artist loved above all eastern cities, Kuznetsov brought together his principal impressions of the region, achieving a composite unity of mountains, buildings clinging together, solitary trees, a shred of sky and the women with peacocks, united by the rhythmic organization of the picture as a whole and the colour harmony of golden-yellow and sky-blue tones. All of these elements make Bukhara into one of the most valuable and important examples of the artist’s work. In the 1970s Budkova and Sarabianov suggested that the picture, from the collection of Tatiana Kozyreva, was in fact painted in 1915 when the artist was revisiting his memories of Central Asia, synthesising what he had discovered there and on his wanderings on the Kirghiz steppes.
Lot 20
* KUZNETSOV, PAVEL (1878-1968) Still Life on a Grand Piano with a Portrait of E. Bebutova, titled in Cyrillic and numbered "341" on the reverse. Oil on canvas, 99 by 78 cm. Provenance: Collection of the artist’s family. Acquired from the above by the present owner. Authenticity of the work has been confirmed by the expert V. Petrov. Pavel Kuznetsov is one of the finest and most sensitive Russian painters of the first half of the 20th century. The colours in Still Life on a Grand Piano with a Portrait of E. Bebutova are rich and deep and are based on an astonishingly beautiful interplay of cool tones with warmer highlights. Kuznetsov’s efforts to explore and understand colour provided inspiration for several generations of Russian artists. His name was connected with the legendary Blue Rose and Mir iskusstva groups which became symbols of Russian figurative art’s Silver Age. Kuznetsov’s work is often characterised by the masterly way he conveys reflected light to create a special, captivating atmosphere. The narrative of the objects depicted is no accident. The exercise book on the lid of the grand piano containing a score by Scriabin, a composer Kuznetsov loved and revered, the familiar vase that is in much of his work and the reproduction of Portrait of Bebutova on the wall are all indoor trappings from the world of the artist. The whole tenor of the painting is extraordinarily musical. The essence of the mood conveyed in Still Life on a Grand Piano with a Portrait of E. Bebutova defines the general character of the artist’s work: deep and philosophically considered.
Lot 25
* AIVAZOVSKY, IVAN (1817-1900) Survivors, signed twice and dated twice 1876. Oil on canvas, 47.5 by 64 cm. Authenticity of the work has been confirmed by the expert V. Petrov. The present lot has been examined by Gianni Caffiero and Ivan Samarine and has been entered under number CS-1876-010 in their catalogue raisonné of the artist’s work. The Russian painter Ivan Aivazovsky became famous for his paintings of stormy seas and shipwrecks, which are particularly distinguished by the masterfully conveyed beauty and might of the sea. Having achieved widespread recognition by the 1870s, and holding a professorship in the academies of art in Rome, Paris, Amsterdam and St Petersburg, Aivazovsky adhered to the principles of classical composition, with its relatively restrained, realistic palette. He was equally skilful in depicting the raging storm or the calm, placid sea; the shimmer of sun rays reflected on its surface or the ripple created by the rain; the clarity of the deep blue sea or the pristine white foam atop the waves. Aivazovsky’s unique manner of painting the sea and the translucent waves crashing into cliffs, as well as his impressive visual memory, enabled him to depict on his canvasses the various states of nature that he had encountered on his naval voyages. He would often forsake the accuracy of his compositions, recreating the landscapes from memory in a generalised form, adding imaginary genre scenes and striving to convey the effects of light and the states of nature. Aivazovsky completed the present lot, The Survivors, in 1876, when he was experimenting with the subject of dynamic waves, permeated with sunlight. Although the composition of this painting with its turbulent sea and a capsized ship is typical for Aivazovsky, its colouristic centre is peculiar: the focus is on the group of survivors desperately clinging on for their lives. Devoid of dramatic colour effects and rendered in a range of subdued bluegrey tones, the painting directs the viewer’s gaze towards these survivors by picking them out in contrasting yellows and whites.
Lot 40
* YUON, KONSTANTIN (1875-1958) Gates of the Rostov Kremlin, signed. Oil on canvas, 63 by 81 cm. Executed in 1906. Provenance: Collection of I. Isadzhanov, Moscow. Private collection, Europe. Authenticity of the work has been confirmed by the expert Yu. Rybakova. Exhibited:Vystavka kartin K.F. Yuona. K 25-letiyu khudozhestvennoi deyatel’nosti, The State Tretyakov Gallery, Moscow, 1926, No. 7. Sovetskie khudozhniki starshego pokoleniya, Moscow, June 1958 (label on the reverse). Literature: A. Koiranskii, K.F. Yuon, St Petersburg, A. Kogan, 1918, p. 68, listed under works from 1906. Exhibition catalogue, Vystavka kartin K.F. Yuona. K 25-letiyu khudozhestvennoi deyatel’nosti, Moscow, 1926, p. 30, No. 7, listed. N. Tretyakov, K.F. Yuon, Moscow, 1957, p. 103, listed under works from 1906. Yu. Osmolovskii, Konstantin Fedorovich Yuon, Moscow, Sovetskii khudozhnik, 1982, p. 226, listed under works from 1906. The present lot was published as a postcard by the Community of Saint Eugenia before 1926. Konstantin Yuon’s cycle of works dedicated to the ancient Russian town of Rostov the Great dates back to 1903, when a record in his handwriting appeared in the visitors’ book of the Rostov Museum: “Konstantin Yuon, artist from Moscow”. From that time on Rostov was for many years a place of pilgrimage for the artist. He came to work here from 1904 to 1906 and again from 1913 to 1916. The majestic ancient architecture became the subjects of many of Yuon’s Rostov paintings. The majority of these works are now held in the State Tretyakov Gallery and Russian Museum as well as local museums in Omsk, Ryazan and Serpukhov. The outstanding Gates of the Rostov Kremlin, offered here at auction, is well known from books. Painted in 1906, it differs dramatically from Yuon’s other works of this period which are based on the interaction between a genre element in the foreground and a wide panorama of the Kremlin (Fine Day. Rostov the Great, 1906; Spring Evening. Rostov the Great, 1906; Winter. Rostov the Great, 1906). Yuon depicts a bright summer’s day but does not drench the scene in light, instead he makes his sunlit world, and first and foremost the architecture, extremely clear and well-defined in terms of its mass, while at the same time conveying the tremulousness and transparency of the summer atmosphere. The variety of the colour and light effects, the air and sunshine which pervade the picture, the purity of the paints, the colour in the shadows, the lively texture of his free brushwork – all these superlative aspects of Yuon’s technique are present in Gates of the Rostov Kremlin.
Lot 59
* KONCHALOVSKY, PETR (1876-1956) Dynamo Ice Rink, signed, also further signed, numbered "1502" and dated 1948 on the reverse. Oil on canvas, 62.5 by 89.5 cm. Authenticity certificate from the Petr Konchalovsky Foundation. Authenticity has also been confirmed by the experts A. Kiseleva and I. Geraschenko. Literature: Konchalovsky. Khudozhestvennoe nasledie, Moscow, Iskusstvo, 1964, p. 151, listed as “zhi 1210”. M. Neiman, P.P. Konchalovsky, Moscow, Sovetskii khudozhnik, 1967, listed under works from 1948. Petr Konchalovsky’s Dynamo Ice Rink addresses one of his favourite themes in the 1930s and 1940s – Moscow skating rinks. Konchalovsky created a whole series of works depicting winter sports on the ice at Patriarch’s Ponds, not far from his studio (Little House by the Ice, On the Ice), and at Dynamo stadium. Such scenes had been a stock-in-trade of artists for centuries, but they found new life in the work of Soviet artists thanks to the cult of mass sport and healthy leisure pursuits, which arose in the USSR during the 1930s. The invariably upbeat and joyful mood of Konchalovsky’s paintings offers a romanticized vision of contemporary Moscow. The painter strikes a balance between the optimistic depiction of Socialist reality required of every artist at the time, and his own artistic and human credo, while avoiding internal conflict. The associations evoked by Dynamo Ice Rink, have less to do with the capital’s main stadium (Dynamo was the venue for sports parades and all the most prestigious sporting contests of the time), and more to do with yet another corner of the city, beloved of Konchalovsky. The artist does not show the main arena, but the so-called “Little Dynamo” in front of Upper Maslovka street and Petrovsko-Razumovskaya Alley, where the Maslovka artists’ colony was situated. The panoramic composition offers a view onto the ice-covered field, seemingly glowing from within, and across the city at evening, half moon suspended above the silhouettes of houses and warm light twinkling in the windows. The lively and dynamic figures of the skaters, features of the background houses, even the branches of the trees through which the artist looks are painted schematically, without detail. “People whirl around the skating rink like tea leaves in a saucer” (On the Ice, Vasily Lebedev-Kumach) and this combination of chaotic motion in an impressionistically soft landscape with a strong graphic structure provides the overall mood of the canvas. Konchalovsky convincingly transmits the dynamics and the romance of skating by night, but what he most wanted to do in this picture was undoubtedly to convey the light and airy quality of the environment and the colourful spectacle of a frosty winter evening in the city. This is what the picture achieves, creating a truly marvelous Moscow landscape, imbued with the spirit of the time.
Lot 11
BURROW (J.C.) and THOMAS (WILLIAM). "Mongst Mines and Miners, or Underground Scenes by Flash-Light." Part 1 - How the Camera was used. Part 2 - A Description of the Subjects, frontispiece and 26 photo images complete, folding col litho section of Dolcoath Main Lode, orig red cloth rebacked, gilt lettering, 4to 1893 good. (See illustration).
Lot 226
Valentine Green, after Thomas Gainsborough (1727-1788), DAVID GARRICK Mezzotint, published April 2nd 1769 by John Boydell plate mark 62 x 38.5cm; and another, Charles Turner, after Sir Joshua Reynolds (1723-1792), THE PENN FAMILY Mezzotint, published 1819, by C Turner 63 x 43.5cm (2) Provenance: with John Baskett Ltd., London. CONDITION REPORT: Not viewed out of frames. Light foxing.
Lot 273
Charles Alfred Stothard (1786-1821), 'A TOUR THROUGH NORMANDY AND OTHER PARTS OF FRANCE IN 1818, INCLUDING LOCAL HISTORICAL DESCRIPTIONS WITH REMARKS ON THE MANNER AND CHARACTER OF THE PEOPLE' A set of eight, pencil and brown washes each 12.5 x 20.5cm (8) Provenance: with Covent Garden Gallery, London. CONDITION REPORT: Not viewed out of frames. Layed down. Fading. Some with light foxing.
Lot 330
Italian School (17th century), SALOME WITH THE HEAD OF ST. JOHN THE BAPTIST Oil on canvas 34 x 42cm CONDITION REPORT: Craquelure commensurate with age. 4 x 5cm tear and hole above head of St John. Paint loss in this area. Further damage and paint loss to the dress of Salome. Scratch and retouching to her face and hair. Marks from stretcher visible. UV light suggest old repainting and varnishing in areas.
Lot 336
German School (mid 18th century), PORTRAIT OF A BOY , HALF LENGTH, IN A BLUE COAT AND EMBROIDERED WAISTCOAT Oil on canvas 76 x 63cm CONDITION REPORT: Craquelure. Relined. Canvas slightly bowed. UV light shows old retouching - especially to face and hands. Re-touching - reasonably large patches on forehead and his left cheek. Additional images available (upon request).
Lot 347
Manner of Joseph Mallord William Turner, A SEA BATTLE Oil on canvas 85 x 115cm CONDITION REPORT: Six centimetre area of loose paint above left side boats. Further loose paint to sky. Ten centimetre area of loose paint to sea with two centimetre area of paint loss. Areas of paint loss and retouching throughout. UV light suggests old repainting. Relined.
Lot 361
Thomas Whittle (fl.1865-1885), 'NEAR SANDERSTEAD, SURREY' Signed and dated 1880 l.r., also signed, inscribed with title and dated verso, oil on canvas 59 x 39cm CONDITION REPORT: Craquelure. Retouching to trees in left corner. Areas of repainting in sky in top right - light looks like possible repair.
Lot 541
A Regency mahogany bow front chest, with two short and three long drawers, with reeded corners, on paw feet, 113cm wide 56cm deep 92.5cm high CONDITION REPORT: The top has light faded areas and darker marks. Side have scratches and scuffs and a split. Scuffing to veneer at base, most of the brass handles are damaged with loose tops and backs.
Lot 427
Pair Elgin Sterling Weighted Candlesticks, Bell & Candle Snuffer Pair of Elgin Sterling Weighted Three Light Candlesticks, together with a Baldwin & Miller sterling candle snuffer {length 9 inches}, and a Frank Whiting sterling service bell (4) {Total weighable silver 2.7 troy oz; height of candlesticks 6 3/4 inches}
Lot 226
Leica DRP Ernst Leitz Wetzlar Camera No. 351090 with a Summar Ernst Leitz Wetzlar lens No. 389958 in a brown leather camera case, plus an Elmar f=9cm 1:4 Ernst Leitz Wetzlar lens No. 296237 circ 1950, Leica Guide, General Electric light meter, and a small brown leather camera bag, plus a Leitz Rondinax 35
Lot 304
ARR. Charles Oppenheimer RSA RSW (Scottish 1875-1961) ARR Gilt framed oil on board, signed ‘A Galloway trout stream’ 40cm x 32cm Provenance: Purchased in 1955 from T.R. Annan & Sons Ltd., Glasgow label and original receipt to verso Note: Charles Oppenheimer was born in Manchester in 1875 and he studied at Manchester School of Art under Walter Crane. He settled in South West Scotland in his 30s and adopted Kirkcudbright as his home town. Oppenheimer lived and painted there for 53years. He was a keen fisherman and many of his wonderful paintings detailed the effects of light on water. He exhibited regularly at the Royal Scottish Academy in Edinburgh, where he became a full member in 1934
Loading...-
534325 item(s)/page