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JOHN ANSTER FITZGERALD (BRITISH 1832-1906)SNOWY MISCHIEFwatercolour and bodycolour 34.5 x 27cm (13½ x 10½ in.)Provenance:The artist's family and by descentBy the 1850's Fitzgerald ushered in a new phase in fairy painting. `He removed the theatrical overtones of the subject, which had been predominant in the 1840's, opting instead to show the fairies in a rustic setting, co-existing with other woodland creatures.' (I. Zaczek, Fairy Art , 2005, p.50). The animals often appear very static which may show a debt to taxidermy and the work of the photographer J. D. Llewelyn (1810-1862) who created imaginary tableau of stuffed animals in a natural setting. The fairies are sometimes seen as benign creatures who are at-one with the animals, while others show conflict, or in this case a certain amount of teasing with snowballs and twigs. Like The Enchanted Forrest (Circa 1860) the present picture is set on the edges of fairyland. The dog has come to the edge of the natural world where the fairies' dwell behind a bramble patch. The spire of a church and a cluster of cottages can be seen in the distance, symbolising the encroachment of human activity on fairyland.Condition Report: The artist has painted this onto a sheet which he has laid onto a board. There is some water staining and discolouration along the edge and this is visible in the photograph. Generally the pigments and surface appears to be in excellent original condition and the colours are strong. Condition Report Disclaimer
IVAN FEDOROVICH CHOULTSÉ (RUSSIAN 1877-1932)RAYONS DU MATIN, SNOW SCENEOil on panelSigned and dated 192153 x 65cm (20¾ x 25½ in.)Provenance:Burlington Paintings, LondonIvan Fedorovich Choultsé was born in Saint Petersburg into a family of German origin (Schultze) who had lived in Russia since the seventeenth century. Originally an electrical engineer until the age of thirty, he showed his first essays to the famous painter and member of the Russian Academy of Fine Arts, Constantin Jakovlevich Kryzhitsky (1858-1911), who then invited Choultsé to study art. In 1910 they travelled to Spitzbergen together, where Choultsé was captured by the Arctic landscapes. By 1916 he had already become a renown artist, with Carl Fabergé and members of the Tsar family acquiring his works. During the Revolutionary Years Choultsé was forced to leave Russia and travelled across Europe, painting views of Southern France, Northern Italy and particularly of the Swiss Alps. These often set the scene for his most sought after winter landscapes, which have an almost magic realist quality due to his specific handling of light. Nowadays, his radiant depictions of water and snow are particularly collected in the United States and Canada (Hillwood Museum in Washington D.C., Indianapolis Museum of Art, Montreal Museum of Fine Arts), ever since his works were exhibited in New York in the early 1930's. Condition Report: The canvas appears cleaned and the colours are fresh. UV light reveals very minor scattered retouching. The surface impasto also fluoresces under UV, but we believe this is the artist's technique rather than signs of retouching. One small area of paint loss measuring approx. 1 cm lower left. Condition Report Disclaimer
AUGUSTUS VINCENT TACK (AMERICAN 1870-1949)THREE SISTERS SEATED IN A LOGGIA WITH A GARDEN BEYONDOil on canvas114 x 129cm (44¾ x 50¾ in.)In a Whistler type frameProvenance:Messum's Fine Art, LondonElibank House, Taplow- a Grade II Listed Queen Anne houseExhibited:Pennsylvania Academy of Fine Arts: Sixty-Fourth Annual Exhibition, 1895-1896Augustus Vincent Tack was a painter of portraits, religious murals and, latterly, of abstractions recalling the work of Georgia O' Keefe and Clyfford Still. Born in Pittsburgh, he received the highest rating and a place of honour at the Society of American Artists in 1889. Following a training with John La Farge, he travelled to France in the early 1890's, which led to a brief flirtation with a more impressionist technique than is more usually to be found in his realist portraiture. While the present painting perhaps owes something to the free brushwork of the painters he may have encountered during his visit, the composition itself sits firmly within the Anglo-American tradition of the conversation piece. His later career followed two widely divergent courses. Starting in the 1920s he painted fifteen murals for various Catholic churches and several government buildings in the United States and Canada. His landscape work, in the meantime, took on increasingly mystical overtones. Following the Second World War these increasingly abstract works were much sought after and collected particularly by Duncan Phillips, housed in the Phillips Collection, Washington D. C. Please note added line to provenance: Elibank House, Taplow- a Grade II Listed Queen Anne houseCondition Report: The canvas is unlined and on it's original stretcher which is providing good support. There are some very minor spots of paint loss in background areas and abrasions to the edges. The paint surface is quite thin on the left hand girls hair. Under UV light there is a small spot of retouching (approx 2 x 2 cm) near the edge of the rug (lower right). It has a layer of surface dirt and some uneven and discoloured varnish. There are some minor chips and abrasions to the frame. Condition Report Disclaimer
FILM STAR AUTOGRAPHS, a collection of genuine and facsimile signatures and photographs from some of the most famous Hollywood stars of the 1940's onwards including Bing Crosby, Bob Hope, Stewart Granger, Dorothy Lamour, Tyrone Power, Olivia de Havilland, James Cagney, Lana Turner, Peggy Ryan, Anne Crawford, Deanna Durbin, Phylis Calvert and Vera Lynn many of the signed photographs come with the original envelopes sent from the celebrities home or studio, later signed photographs include George Baker, and Peter Andre. The lot also includes a leather bound, brass clasped bible dated 1860
A 1930's large oak canteen containing a set of silver plated Hanovarian Rat-Tail pattern cutlery for 12 by Finnigans Ltd Manchester, the knives with ivory handles.The silver plate cutlery is all in used tarnished condition but the plating on each piece is still good with no base metal showing. One of the ivory dinner knife handles has three circular slices. The carving knife has been heavily sharpened. The canteen has wear to the varnish and with various cup and plate ring marks. Two teaspoons missing.***This lot is made from or contains ivory.We may not be able to ship this to you.Please check the rules in your country before placing a bid.***
A 1930's part canteen of silver plated cutlery set for six by Harrods Ltd, the knives with ivory handles and stainless steel blades, with ivory retail label, the canteen walnut veneered, width of canteen 41cm.One dessert fork is a replacement. The plate is in good condition. The pattern is Hanoverian***This lot is made from or contains ivory.We may not be able to ship this to you.Please check the rules in your country before placing a bid.***
§ Ronald William Fordham Searle CBE, RDI (British 1920-2011) The Killsigned 'Ronald Searle' (lower right); numbered 51/99lithograph, printed by Michel Cassé, Paris, published Edition R S, Paris, bearing publisher's and printer's blindstamp50 x 65cmNot examined out of the frame. Surface appears toned overall, with a slight deepening of colour at the outermost edges. There is a dogear crease at the lower left hand corner, colours are possibly slightly faded, otherwise in good condition.
§ Thomas S. Harrison (British, born 1982) Hoot, 2008, a pewter cast owl, highlighted with gold leaf, moulded signature, title and date to the reverse34cm highProvenance:Lorem Ipsum, London, where purchased by the present owner in 2008Property of a London collector Exhibited:London, Lorem Ipsum, Where did you go?, 11 - 27 January 2008right claw broken
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892386 item(s)/page