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Click here to subscribeFIVE BOXES AND LOOSE CERAMICS, GLASSWARE AND MISCELLANEOUS ITEMS, to include a pale blue glass 1940s vanity set, eight Radio Times dated from late 1970s to early 1980s, a green mincer upcycled into a table lamp, twenty two PlayStation 2 games - Star Wars, Simms, Desert Storm, Chronicles of Narnia, etc, several bone china tea sets, three large modern art glass dishes, jugs, trays, etc (s.d) (many items still have price tags) (5 boxes + loose)
1975 Rover P6 2200When the Rover P6 was launched in 1963 was regarded as a state of the art saloon. It set a new standard of mass production refinement, performance and handling. Now there is good parts and specialists available, the P6 is still capable in modern traffic. HJT 5N is in good condition throughout, finished in Arctic White, with black vinyl roof and black wheels.Needs to be seen to be appreciated.MOT and tax exempt.
Harry Powell for James Powell and Sons, Whitefriars, an Arts and Crafts wine glass, circa 1880, four dimpled wrythen tulip or poppy head form, on plain stem and foot, 12.4cm high Note: examples of this glass are in both the Museum of Modern Art, New York and the Metropolitan Museum of Art, New York
Johns (Jasper).- Castleman (Riva) Technics and Creativity, numerous illustrations, many colour, light marginal toning, endpapers with scattered spotting, original wrappers, some light spotting and surface soiling, with an original offset lithograph multiple "Target 1970" by Jasper Johns on thick card with collage of 3 watercolour pads and paintbrush, a few marks to surface, together in a white plastic clamshell box (some surface soiling), 4to, New York, The Museum of Modern Art, 1971.
Le Pho (Vietnamese/French, 1907-2001). Oil painting on silk mounted to masonite depicting an elegant young woman surrounded by vibrant flowers. Signed along the lower right. Illegibly titled along the upper right corner of the verso. With several indistinct inkstamps to the verso.Le Pho was born in Vietnam in 1907. As a child, he was constantly finding opportunities to make art. As the son of the Viceroy of Tonkin, he had the opportunity to study art at the newly established Ecole des Beaux-Arts in Hanoi under Victor Tardieu (1870-1937), a well-respected French painter. In 1931, he traveled to France with Tardieu, where he studied at the Ecole des Beaux-Arts in Paris on a scholarship. He then traveled to Italy to do research, also visiting the Netherlands and Belgium in his tour of Europe.After returning to Vietnam, Le Pho became a professor at the Ecole des Beaux-Arts in Hanoi. During his professorship, he decided to continue his education by making trips to China to study and make art. While in China, he studied traditional Chinese sculpture, visited museums, and even had the opportunity to paint the Emperor and Empress.In 1937, he was sent to Paris to work on the Indochina Pavilion at the International Exposition of Art and Technology in Modern Life. He stayed in France after the Exposition, where he found great success as an artist. His first solo exhibition was in 1938, and soon after, his work began getting international exposure. His works were widely distributed, particularly in the United States because of an exclusive contract he signed in 1964 with Wally Findlay Galleries, an American company.Despite his expatriate status, Le Pho kept close ties to his homeland. He was active in the Vietnamese community in Paris, and worked with Vietnamese dignitaries and intellectuals to advocate for better treatment of the colonized Vietnamese people. His ties to his homeland are also evident in his subject matter. His paintings featured women and flowers, which he depicted in ways influenced by Vietnamese traditions and aesthetics.Unframed; Height: 18 in x width: 10 1/2 in. Framed; Height: 25 in x width: 17 3/4 in.
Le Pho (Vietnamese/French, 1907-2001). Oil painting on silk mounted to masonite, depicting a pair of women conversing in a flower garden. Signed along the lower right. With several numerical inscriptions to the verso.Le Pho was born in Vietnam in 1907. As a child, he was constantly finding opportunities to make art. As the son of the Viceroy of Tonkin, he had the opportunity to study art at the newly established Ecole des Beaux-Arts in Hanoi under Victor Tardieu (1870-1937), a well-respected French painter. In 1931, he traveled to France with Tardieu, where he studied at the Ecole des Beaux-Arts in Paris on a scholarship. He then traveled to Italy to do research, also visiting the Netherlands and Belgium in his tour of Europe.After returning to Vietnam, Le Pho became a professor at the Ecole des Beaux-Arts in Hanoi. During his professorship, he decided to continue his education by making trips to China to study and make art. While in China, he studied traditional Chinese sculpture, visited museums, and even had the opportunity to paint the Emperor and Empress.In 1937, he was sent to Paris to work on the Indochina Pavilion at the International Exposition of Art and Technology in Modern Life. He stayed in France after the Exposition, where he found great success as an artist. His first solo exhibition was in 1938, and soon after, his work began getting international exposure. His works were widely distributed, particularly in the United States because of an exclusive contract he signed in 1964 with Wally Findlay Galleries, an American company.Despite his expatriate status, Le Pho kept close ties to his homeland. He was active in the Vietnamese community in Paris, and worked with Vietnamese dignitaries and intellectuals to advocate for better treatment of the colonized Vietnamese people. His ties to his homeland are also evident in his subject matter. His paintings featured women and flowers, which he depicted in ways influenced by Vietnamese traditions and aesthetics.Unframed; Height: 21 1/2 in x width: 13 in. Framed; Height: 28 1/4 in x width: 20 in.
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1954.Acrylic on card.Signed and dated in pencil in the lower right corner.Certificate can be issued at the request and expense of the buyer.Measurements: 65 x 38 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes in Madrid, in 1971 at the Museo de Arte Contemporáneo in Madrid, in 1972 at the Lonja in Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1961.Acrylic on cardboardSigned and dated in pencil in the lower right corner.Certificate can be issued at the buyer's request and expense.Measurements: 50 x 32,5 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes in Madrid, in 1971 at the Museo de Arte Contemporáneo in Madrid, in 1972 at the Lonja in Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1961.Oil on cardboardSigned and dated in pencil in the lower right corner.There is damage in the margins.A certificate can be issued at the buyer's request and expense.Measurements: 70 x 34 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1961.Acrylic on card.Signed and dated in pencil in the lower right corner.Certificate can be issued on request and at the buyer's expense.Measurements: 50 x 35 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes in Madrid, in 1971 at the Museo de Arte Contemporáneo in Madrid, in 1972 at the Lonja in Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1954.Acrylic on cardboard.cSigned and dated in pencil in the lower left corner.Certificate can be issued at the request and expense of the buyer.Measurements: 32,5 x 16 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1954.Acrylic on card.Signed and dated in pencil in the lower right corner.Certificate can be issued at the request and expense of the buyer.Measurements: 50 x 14,5 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
LUIS GORDILLO (Seville, 1934)"Four eyes", 1990.Mixed media on canvas.Signed, dated and titled on the back.Size: 35 x 54 cm; 40 x 59 cm (frame).This work was conceived by the artist at a time when, after abandoning the pop style, he decided to contribute to a more abstract language. However, in this piece we can appreciate, slightly, this oscillation of styles that interweave with each other, contributing a totally new and personal aesthetic language. It is worth noting that during the nineties he produced several works in which the eyes played a leading role, thus creating a work that looks at the spectator, an active piece that no longer depends on being observed by the public.Luis Gordillo is one of the leading figures of abstract art in Spain. A contemporary of the Spanish informalists of the 1950s, Gordillo is nevertheless considered the pioneer of one of the most significant trends in Spain in the 1970s, the figuration of Madrid. He initially studied law in his native Seville, but soon abandoned this career to devote himself to painting, enrolling at the School of Fine Arts. In 1958 he travelled to Paris, where he became interested in the work of Jean Fautrier and Jean Dubuffet. During these years he followed an aesthetic path linked to Art Autre and Dau al Set, and held his first exhibition at the Sala de Información y Turismo in Seville (1959). He returned to Paris, and it was then that his painting moved back towards figuration, revealing influences of Francis Bacon and American Pop Art. Thus, in the early 1960s his series of Heads and Motorists was the first non-mimetic incursion by a Spanish artist into international Pop art. During these years, moreover, his work was enriched by his incursions into psychoanalysis. He then temporarily abandoned painting and devoted himself to automatic drawing, exhibiting the fruits of this work in 1971 in Madrid. This exhibition was key for a whole generation of young artists, those who would initiate the new figuration in Madrid. During the seventies Gordillo transferred these automatic line drawings to canvas and filled them with colour. In the eighties and nineties his language continued to evolve, crystallising in a colder painting, both in terms of colour and in his personal detachment from the themes, placing himself halfway between the previous figuration and the new formulas of post-modern abstraction. Of great international prestige, Gordillo has been awarded the Premio Nacional de Artes Plásticas (1981), the Medalla de Oro al Mérito en las Bellas Artes (1996), the Medalla de Oro del Círculo de Bellas Artes de Madrid (2004), the Premio Velázquez de Artes Plásticas (2007) and the Premio Nacional de Grabado (2012). He has also been the subject of important exhibitions, such as the anthological exhibition of his graphic work held at the Calcografía Nacional in 2012. Throughout his career he has had solo exhibitions all over the world, and is currently represented at the Reina Sofía Museum in Madrid, MACBA in Barcelona, the Juan March Foundation, the ARTIUM in Vitoria, the Patio Herreriano Museum in Valladolid, the Gulbenkian Foundation in Lisbon, the Folkwag Museum in Germany, etc.
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Les Revolutions Sceniques du XX Siecles II", 1975.Colour lithograph, H.C. copy.Signed and numbered in pencil.Slight mark in the left margin.Bibliography: Maeght Editeur. Joan Miró Lithographs, vol. V 1972-1975. Maeght Editeur: Paris, 1992. Listed and illustrated as catalogue raisonné no. 1079 on pg. 179 and 181.Size: 30,5 x 24 cm (print); 55,5 x 37,5 cm (paper).Joan Miró trained in Barcelona and made his individual debut in 1918 at the Galeries Dalmau. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective exhibition to him which was to be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale and the Guggenheim Foundation in Venice, the Carnegie Prize for Painting in Venice, the Gold Medals of the Generalitat de Catalunya and of the Fine Arts, and was awarded honorary doctorates by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo. This lithograph shows us the most essentialist Miró in his search for minimal and suggestive forms. Ranges limited to a few colours applied to flat, shiny surfaces combine to evoke the lyrical communion between man and his environment.
FRANCIS BACON (Dublin, 1909- Madrid, 1992)."Les anées 50, Francis Bacon", 1986.Offset poster on paper.Signed and dedicated in pencil by the artist.The frame is damaged.Sizes: 69 x 49 cm; 73 x 53 cm (frame).Poster made for the exhibition of the artist Francis Bacon, in 1986 at the Centre d'art Pompidou. The poster designed by Christian Beneyton has one of Francis Bacon's most iconic images, his painting entitled "Head IV", which was painted by the artist in 1949. It reveals the artist's interest in the paintings of Velázquez, and his particular fixation with the work of Innocent X, which he reinterpreted by adapting it to his personal language of dramatic and exacerbated aesthetics.Born in Dublin, although of English parents, Francis Bacon began painting as a self-taught artist. When he was only 17, in 1927, the Paul Rosemberg gallery opened its doors to the painter. There he became acquainted with the work of Pablo Picasso, an artist he would admire throughout his career. Like Picasso, other painters made an impression on Bacon's work: Velázquez (whose version of Pope Innocent X he painted, producing at least 40 "popes") and Nicolas Poussin, whose "The Massacre of the Innocents", now in the Musée Condé, aroused intense emotion in him. In 1945 he exhibited in London, together with the English artists Henry Moore and Graham Sutherland, his painting Three Studies for Figures at the Foot of a Crucifixion (c. 1944), a triptych which, according to Bacon himself, marked the starting point of his career. By 1945 Bacon had developed his own unmistakable style. In 1949 the Museum of Modern Art in New York (MOMA) bought an impressive work by Bacon entitled Painting 1946. In 1956 he was invited to represent Britain at the Venice Biennale alongside Ben Nicholson and Lucian Freud. With his work, Bacon decided that the subject of his paintings would be both life in death and death in life. He sought to express his vital condition, which was also linked to his self-destructive side. Michel Leiris suggested to him that masochism, sadism and similar manifestations were really just ways of feeling more human. Portraits and self-portraits form an important part of Bacon's paintings, including George Dyer in a Mirror of 1968, a work in which the painter suggests the vulnerability and fragility of the self. Bacon made portraits without poses taken from life, developed from photographs. He portrayed his intimate companions and friends as well as famous people: Peter Lacy, George Dyer and John Edwards, Henrietta Moraes, Isabel Rawsthorne, Muriel Belcher, Lucian Freud, Peter Beard and Michel Leiris, as well as Hitler, Pius XII and Mick Jagger. Some of his works can be seen in the most important art galleries in the world, such as the Tate Britain in London (which has one of the artist's most extensive collections), the MET and the Moma in New York, the Museo Thyssen-Bornemisza and the Museo Reina Sofía.
ROMEO VILLALVA TABUENA (Philippines, 1921- Mexico, 2015)."Untitled.Mixed media on Philippine flag.Signed in the lower margin.Size: 147 x 90 cm.In the two vertical chromatic bands of the Philippine tricolour flag, Romeo Tabuena has represented respectively a peasant woman carrying fruits and a peasant taking a hen with both arms. They are resolved with the schematic outline that characterised his plastic work. It was always the indigenous characters, representatives of the agricultural and livestock work of his country, who were the protagonists of Romeo Tabuena's paintings, and on this occasion his love of the vernacular is given greater meaning by his choice of the national flag as a support.Romeo Villalva began his academic training by studying architecture at the Mapua Institute of Technology in Manila and painting at the University of the Philippines. He then continued his education at the Art Students League in New York and the Académie de la Grande Chaumière in Paris. In 1955, Tabuena settled in Mexico, but retained his Filipino citizenship. During this period he painted the mural Filipiniana at the Philippine Embassy in Washington, D.C. In 1965, he participated in the Eighth São Paulo Art Biennial as an official Filipino artist and as an art commissioner from the Philippines. The Honolulu Museum of Art has his painting Carabao, which is typical of the artist's animal paintings. His major works include: Art Expo in New York City; Solo exhibition at Gallerie Bleue in Manila, Philippines Solo exhibition at the Palacio de Bellas Artes in Mexico City; participation in the VII Bienal de São Paulo as official Filipino artist and Philippine art commissioner, and at the Tere Haas Gallery in Mexico City; Instituto de Bellas Artes in San Miguel de Allende, Mexico; and 10-year retrospective exhibition at the Art Gallery of the Philippines with the publication of illustrative monographs. He also participated in the exhibition El Nigromante at the Mexican Institute of Fine Arts in celebration of 30 years of artistic life in Mexico, and in October 1995, a major exhibition sponsored by the Instituto de Bellas Artes, Centro Cultural Ignacio for his 40 years of residence and dedication to the artistic life of Mexico was held at the Mexican artists' colony in Guanajuato. A similar exhibition in his honour was launched in November 1996 in Mexico in cooperation with the Embassy of the Philippines. Throughout his career he has been awarded several prizes and mentions, among them the Golden Centaur Award of the Accademia Italia, Master of Painting honoris cause of the International Seminar of Modern Art, Bannierre Europeanne des Artes, and Medaglia al Mérito of the International Parliament.
RAFAEL CANOGAR (Toledo, 1935)."Manipulo", 1961.Oil on canvas.Work reproduced in the artist's catalogue raisonné Nº 1961-001, and on the artist's website.Signed in the lower right corner.Size: 60 x 73 cm; 84 x 96 cm (frame).Based on an image of binary tonality, where abstraction becomes aware of the compositional space, Canogar confronts black and white, light and darkness, generating an open debate towards socio-cultural concepts. In this piece, where the artist's hand "manipulates colour" with a spatula, Canogar presents that pictorial deixis that resides in the gesture and the trace, which define a specific moment in his artistic production. A work that comes into contact with currents such as existentialism, and with the political situation of a Spain still under dictatorship.Rafael Canogar trained with the painter Daniel Vázquez Díaz between 1949 and 1954. During these years he worked along the lines of the avant-garde, soon moving towards abstraction. Co-founder of the group "El Paso" in 1957, during the fifties he developed a fully informalist work, which in the sixties became increasingly more narrative and complex figuration. From the 1960s onwards he achieved international recognition as a visiting professor at Milles College in California to teach the art course 1965-66, and as a guest artist at the Tamarind Lithography Workshop in Los Angeles in 1969. Between 1972 and 1974 he was also invited by the D.A.A.D. in Berlin as an artist in residence. During his mature period, from 1975 onwards, Canogar invented a new iconography, his own and personal, which he expressed through the mask, the head, the face, as a representation of man who loses his individuality and becomes a plastic sign. His work was also recognised in Spain, and during the 1980s he was a member of the Advisory Council of the General Directorate of Fine Arts of the Ministry of Culture, of the Board of Trustees of the National Museum of Contemporary Art in Madrid, and a member of the Board of Directors of the National Heritage. Throughout his career, Canogar has held countless solo and group exhibitions. Among the personal exhibitions, several have been retrospectives, including: Museo Nacional de Arte Contemporáneo and Biblioteca Nacional de Madrid, Musée d'Art Moderne de la Villa de Paris, Sonia Heine Foundation in Oslo, Konsthalle de Lund in Sweden, Paris Art Center, Bochum Art Museum in Germany, Istituto di Storia dell'Arte de Parma, Museo de Bellas Artes de Bilbao, Fundación Casa del Cordón de Burgos, Museo de Santa Cruz de Toledo, Museo Reina Sofía in Madrid, etc. Canogar has given workshops and lectures in several European and American countries, and has participated in juries of international prizes and biennials. He has also been awarded various prizes and distinctions, including the Grand Prize at the São Paulo Biennial (1971), the Grand Prize at the Sofia International Painting Triennial (1982), the National Prize for the Plastic Arts in Madrid (1982), etc. He has also been named Chevalier de l'Ordre des Artes et Lettres of France, has received the Encomienda de la Orden de Isabel la Católica, is a numerary member of the Academia de San Fernando and Doctor Honoris Causa by the U.N.E.D. Canogar is currently represented in the most important modern art collections around the world, such as the Museo Reina Sofía, the MoMA in New York, the Neue Nationalgalerie in Berlin, the Carnegie Museum in Pittsburgh, the Museo Rufino Tamayo in Mexico and the Chicago Art Institute, among many others.
ÁNGEL FERRANT VÁZQUEZ (Madrid, 1891 - 1961)."Bather", 1945.Carved wood sculpture in natural colour.Work recorded in the exhibition catalogue: Dallas, Meadows Museum, "Modern Spanish Art. 1915-1957. From the Asociación Colección Arte Contemporáneo", 9 October 2016 - 29 January 2017, pp.Attached is a custom-made wooden box.In good condition.Measurements: 26 x 9 x 4 cm.PROVENANCE:María Soledad Lissarrague Collection (widow of the artist), Madrid.José Luis Lissarrague Leis Collection, Madrid.Private collection (until 2017 Contemporary Art Collection).Private collection, Madrid.EXHIBITIONS:Madrid, Biosca Gallery, "III Salón de los Once", 1946.Madrid, Colegio Mayor Antonio de Nebrija, "IV Art Exhibition", 1956.Madrid, Darro Gallery, "From the Exhibition of Iberian Artists to the A.D.N.L", 1960.Madrid, Neblí Gallery, 1961.Madrid, Palacio de Cristal, "Ángel Ferrant", 1983.Schwabenlandhalle Fellbach, Wilhelm Lehmbruck Museum, Duisburg, "5 Triennale Fellbach 1992: Kleinplastik in México, Spanien, Italien, Deutschland", 1992.Madrid, Barcelona and Palma de Mallorca, Fundación "La Caixa"; Las Palmas de Gran Canaria, Centro Atlántico de Arte Moderno, "Ver a Miró: La irradiación de Miró en el arte español", 1993.Madrid, M.N.C.A.R.R.S.; La Coruña, Museo de Arte Contemporáneo Unión Fenosa and Mallorca, Fundación Pilar y Joan Miró, "Before Informalism: Spanish Art 1940-58 in the Contemporary Art Collection", 1996-98.Zaragoza, Museo Pablo Gargallo, "Ángel Ferrant in the Contemporary Art Collection", 1997-98.Madrid, M.N.C.A.R.S. and Barcelona, Museu d'Art Modern, "Ángel Ferrant", 1999.Madrid, Fundación Caja Madrid; Segovia, Museo de Arte Contemporáneo Esteban Vicente and Madrid, Sala de las Alhajas, "Un bosque en Obras: Vanguardias en la escultura española en madera", 2000.Valladolid, Museo Patio Herreriano, "Permanent Collection: Drawing in Space", 2002.Barcelona, Museo Nacional de Arte de Cataluña, "El mon de l'objecte catalá a la llum del surrealisme", 2007.Valladolid, Museo Patio Herreriano, "Objeto/References: Contemporary Art Collection", 2013.Madrid, Real Academia de Bellas Artes de San Fernando, "Experiencias de la Modernidad: Arte en España, 1916-1956", 2013.Dallas, Meadows Museum, "Modern Spanish Art. 1915-1957. From the Asociación Colección Arte Contemporáneo", 9 October 2016 - 29 January 2017.BIBLIOGRAPHY:E.Llorente, "Arriba", 1949, rep.p.3.A.G.Pericás, "Arte Español 1925-1935: Sala Darro", Acento Cultural, 1960, b/w.rep.p.6 and supplement 7-8.R.Gullón, "Ideas abstractas sobre escultura concreta", Madrid, Papeles de Son Armadans, 1961, pp.40-41.A.G.Pericás, "Acento Cultural", vol.II, 1961, p.18 and supplement 27-30.A.G.Pericás, "La estructura de A.Ferrant", Acento Cultural, 1961, rep.b/w.p.18-20 and supplement 27-30.G.Nieto Gallo, Revista Goya, 1983, col.rep.pp.54-56 and 175-176.Ana Vázquez de Parga, "Ángel Ferrant", 1983, p.147.Ana Vázquez de Parga, "Ángel Ferrant", Madrid, Ministry of Culture, 1983, rep.b/w.p.43, 62 and 147.J.Arnaldo, "La escultura de Ángel Ferrant", La balsa de la Medusa, nº.21, 1992, rep.col.p.59.R.Barilli et al., "5 Triennale Fellbach 1992: Kleinplastikin México, Spanien, Italien, Deutschland", Fellbach, Ed.Cantz, 1992, p.138.Juan Manuel Bonet, et al., "Ver a Miró: La irradiación de Miró en el arte español", Barcelona, Fundación La Caixa, 1993, rep.col.p.140-41."Art in Spain", 1995, rep.col.p.121.Valeriano Bozal, "Antes del informalismo: Arte español 1940-1958 en la Colección Arte Contemporáneo", Madrid, M.N.C.A.R.S., 1996, rep.col.p.51 and 54.J. Arnaldo, C. Bernárdez and O. Fernández, "Ángel Ferrant en la Colección Arte Contemporáneo", Zaragoza, Ayuntamiento de Zaragoza, rep.col.p.37.C.Bernárdez, V.Bozal and V.Torrente, "Before Informalism: Spanish Art 1940-1958 in the Contemporary Art Collection, Mallorca, Fundación Pilar i Joan Miró, 1998, rep.col.p.54.
A quantity of vintage brooches to include a silver and enamelled Art Nouveau style brooch stamped 925, a Butler & Wilson gold tone dragon brooch, Mackintosh inspired brooches and silver examples together with modern costume jewellery to include Diamond Fire, Annie Eyre, Swarovski, Hot Diamonds and othersLocation:
Attributed to ANGELO GAETANO SCIOLARI (Italy, 1927-1994).Ceiling lamp, 1970s.Glass and metal.The piece will be available approximately 15 days after payment has been made.Measurements: 64 x 49 x 49 cm.He was one of the Italian designers renowned for his mid-century modern lamps. Born in the early 20th century, Sciolari, the son of a family of Italian illuminators who had been producing lamps since 1892, began designing for the Italian manufacturer Stilnovo in the 1950s. It was there that he created his most recognisable and celebrated work, a series of multi-light chandeliers made of shiny, matt metal, evoking futuristic visions of the dawning space age, such as our five-light ceiling lamp. Luxurious chandelier creations began to gain prominence and popularity in the United States during the 1970s, a decade in which his style began to look towards an aesthetic inspired by Art Deco and Space Age.Founder and president of the association of Italian lighting manufacturers, Sciolari is today one of the most sought-after names for his collector's pieces, such as the Habitat, Cultura and Futura series.
COOKERY. - Charles Elmé FRANCATELLI. The Modern Cook, a Practical Guide to the Culinary Art in all Its Branches. London: Richard Bentley, 1846. First edition, 8vo (222 x 138mm.) Portrait frontispiece, a variant p.1 also bound-in, 'Bills of Fare' and 14pp. index to rear. (Toning, occasional spotting.) Original blind-stamped brown cloth (sunning to spine, wear to spine ends). Note: Francatelli's first book. - And a further two volumes by Francatelli ('The Royal Confectioner: English and Foreign', 1874, 8vo, and 'The Cook's Guide, and Housekeeper's & Butler's Assistant', 1880, 8vo) (3).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003), QUIETUS (TO MY MOTHER) oil on board, signed, further signed verso, titled and dared 1991 labels verso overall size 145cm x 145cm Unframed. Artist's labels verso. Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), MEDITERRANEAN HARBOUR oil on board, signed image size 58cm x 65cm, overall size 78cm x 86cm Framed and under glass. Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. Recent examples of Sheila Macmillan's paintings in The Scottish Contemporary Art Auctions have included prices of £1700, £1400, £1100, £900, £850 & £800 (all hammer prices) which well illustrates the depth of collector interest in Sheila Macmillan's work.
* FIONNA CARLISLE (SCOTTISH b. 1954), NORTH SEA OIL RIG mixed media, signed and dated 2011 image size 69cm x 66cm, overall size 75cm x 70cm Framed and under glass. Note: Fionna Carlisle is a highly respected Scottish artist, notably commissioned by the House of Commons to paint the portrait of the late Rt Hon Robin Cook MP. Her work also appears in the collections of The Scottish National Gallery of Modern Art, SNPG, Scottish Arts Council, IBM, De Beers, Robert Fleming Holdings Ltd. and numerous others.
Ca. 300-100 BCHellenistic Period A finely rendered Greek Hellenistic gold disc-shaped brooch/pendant, hammered from thin gold, with an agate eye to the centre, along the brooch the front six rows of filigrees move in a wave-like motion. The reverse remains smooth and unworked The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:54mm / W:54mm; 12.25gProvenance: Private London collection of Ancient Art; previously with a London art dealer; acquired from a Japanese collection (1970-2010).
Ca. 200-300 ADA gold ring with a plain band expanding towards an oval bezel inset with carved carnelian intaglio depicting a walking lion on a baseline. For similar lion intaglios see G.M.A. Richter, Catalogue of the engraved gems. Greek, Etruscan and Roman. The Metropolitan Museum of Art, New York, Plate LXI. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elementsSize: D: 15.27mm / US: 4 1/2 / UK: I 1/2; 1.54gProvenance: Formerly in a collection of W. Victor Hruby, 1984.
Ca. 500-700 ADA Byzantine gold ring featuring a discoid bezel joined to a solid round-section hoop, and decorated with a Greek inscription 'OMONOIA', a term that can be translated to 'harmony', 'joined as one' or most charmingly, 'thinking the same thoughts'. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.For similar see:The Metropolitan Museum of Art 18.145.42.Size: D: 13.83mm / US: 2 3/4 / UK: E 1/2; 13.7gProvenance: Formerly in a collection of W. Victor Hruby, 1984.
Ca. 100-300 ADA gold ring comprising a slender hoop with scooped shoulders, supporting raised bezel inset with carnelian intaglio engraved with a Cupid. For similar intaglio see G.M.A. Richter, Catalogue of the engraved gems. Greek, Etruscan and Roman. The Metropolitan Museum of Art, New York, Plate XLII. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elementsSize: D: 18.61mm / US: 8 5/8 / UK: R; 7.79gProvenance: Formerly in a collection of W. Victor Hruby, 1984.
Western Han Dynasty, Ca. 25-220 ADA finely modelled and well-preserved Chinese Western Han Dynasty hollow-moulded terracotta guardian dog, portrayed in a recumbent position . This figure is modelled in a naturalistic manner, with attention given towards the rendering of facial and anatomical features, such as the wide-open eyes, the flattened nose, curled tail and splayed claws. Depicted in the motion of barking, with mouth agape and head slightly tilted upward, revelling pointed fangs. It has been carefully painted after firing, in yellow pigment, with details emphasised in black ochre. For a comparable see: Harvard Art Museum 40.1965. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Report no 30AG08042022.Size: L:380mm / W:450mm ; 5.45kgProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Ca. 600-700 ADA gold disk-shaped pendant with a suspension loop and a flounce border framing a cell set with a garnet stone engraved with a depiction of a cross with flared arms with pellets to each finial. Undecorated reverse. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:16mm / W:14mm ; 2.04gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Ca. 200 ADA gold ovoid pendant setting with a suspension loop enclosing a cameo depicting a bust of Julia Domna, the Roman empress from 193 to 211 as the wife of Emperor Septimius Severus. She is portrayed in her right profile with delicate face details, and her hair is pulled back to a chignon. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:29.5mm / W:17.8mm ; 5.08gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Ca. 400-300 BCA carnelian flat scaraboid set in a gold swivel ring. The scaraboid decorated on the flat side with a deer with head down to graze with striking antlers extending above his head and short natural tail on the reverse. The head is carved to a high standard with oval-shaped eyes, long snout with nostrils. A gentle smile protruding from the deer's mouth The detail to the gem is carved to a high level. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.J. Boardman and C. Wagner, Masterpieces in Miniature: Engraved Gems from Prehistory to the Present, London, 2018. For a comparable swivel ring see: The Walters Art Museum: 42.494. Size: D: 16.10mm / US: 5 1/2 / UK: L 1/2; 3.77gProvenance: Formerly in a collection of W. Victor Hruby, 1984.
Ca. 100-200 ADA beautifully formed D-shaped, a hollow gold ring with garnet intaglio depicting a bust of God Mercury facing left (Greek Hermes - the messenger god and patron of businessmen), carrying a caduceus with both hands in front of him. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elementsSize: D: 16.1mm / US: 5 1/2 / UK: L; 9.31gProvenance: Property of a London gentleman; formerly in a private London collection, acquired on the UK and international art markets before the year 2000.
Ca. 600-700 ADA beautiful gold cross pendant with expanding arms and ribbed suspension loop, inset pale green glass cloisons to the arms and centre. From lower and side arms short-chain dangles with amethyst beads are suspended. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:47mm / W:23mm ; 5.11gProvenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market before 2000.
Ca. 300-100 BCA finely rendered pair of gold earrings, each formed from a twisted circular wire hoop, which tapers towards one end and features a head terminal on the other. One earring displays a human head with abundant, curly hair; the second one - the head of the lion with large eyes and nicely defined mane. For similar earrings with a head of a lion, see The Metropolitan Museum of Art, Accession Number: 74.51.3492. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:20mm / W:15mm ; 4.87 (set of 2)gProvenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1990s.
Ca. 100 BCA pair of substancial gold earrings with large garnet in the shape of a teardrop, below this, the body is modelled as a stylised amphora with long volumtuous handles, the handles have filigree rolling down them, the body is decorated with rolls of ridging design alongside clusters of granules. An extraordinally pair of earrings with fine detail, made by an artisan for the high elite and social classes. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: Set of 2: L:47mm / W:10 - 13mm; 6.7gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Ca. 800-400 BCA finely modelled Archaic Eastern Greek or Achaemenid Empire matching pair of gold pennanular earrings. Each earring features a hinged fastening which would have been originally secured with a pin, now missing. The earrings display a slightly bulging at the centre, which can be found also on Cypriot chevron-shaped earrings, dating around the 6th century BC, antecedents of the boat-shaped variety popular in classical times. For a similar item: The British Museum, item 124059. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: Set of 2: L:25mm / W:27mm; 5.1gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Collenius (Hermannus, 1649/1650-1723 Groningen). Allegory of the Transience of Wordly Affairs, oil on canvas, relined on a modern stretcher, 120 x 98 cm (47 1/4 x 38 1/2 ins), antique-style painted black wood frame, with decorative gilt inner slipQTY: (1)NOTE:Provenance: Baumcotter Gallery, Kensington Church Street, London, 1970's; Kunsthandel Schlichte Bergen, Amsterdam,1985; Private Collection, Shropshire.Literature: Freerk Veldman, Hermannus Collenius 1650-1723 (Zwolle, 1997), p. 98.The present work has been accepted as authentic by Eddy Schavemaker of the RKD (Rijksbureau voor Kunsthistorische Documentatie), in The Hague (email correspondence).Another variant of this composition (signed and measuring 100 x 88 cm) is in the Mesdag Collection, The Hague (catalogue number 59A).Collenius spent most of his career in Groningen, and specialised in portraits, allegorical and mythological subjects. For the City Hall in Groningen the artist was commissioned to paint The Allegory of Good Governance in 1685 (now in the Groninger Museum), and for the Statenzaal in the Raadhuis,The Allegory of Freedom and Religion.In the present work, the young woman in her opulent white silk dress with exposed breast is seen seated holding a casket of jewels while a child holds up a convex mirror to her, and an old man shows her a skull and hourglass; to the left putti play with soap bubbles in front of a group of musical instruments, including a lute, violin, and cello. If the overt symbolism on display regarding the transience of life was not already clear enough, a large folio edition of a Dutch bible also features, open on the first page of Ecclesiastes (the Old Testament book in which the well-known phrases 'eat, drink, and be merry', and 'vanity of vanities; all is vanity', first appear).Of significant interest in this work is the presence of a black maid, or female servant, seen on the right braiding the young woman's hair with pearls, the latter being a traditional attribute of the courtesan. Much has been written in recent decades regarding the significance and interpretation of works of art featuring people of colour in Dutch 17th-century painting. Such figures are most often portrayed as servants, thus enhancing the status of the main figure.
British Medals, Queen Victoria, a modern silver medallic reproduction of the Una and Lion five-pound coin, 1839, the original by William Wyon, bust l., rev. the Queen as Una stands before the British Lion,87mm diameter, approximately 289 grams, together with a base metal Liberty medallion, Medallic Art Co Lincoln college medallion and another
An Art Deco ruby and diamond cluster panel ring, unmarked gold settings with old European and rose-cut diamonds and calibre-cut rubies, principal diamond approx 0.15ct, setting height 19.4mm, size K, 3.5g1 ruby is loose but still present, 2 of the smallest diamonds are replacements with modern round brilliant-cuts and 2 others have small signs of glue around edges, diamonds generally bright and white with a few very minor internal inclusions, settings slightly worn mainly on back of shank and under bridge, unmarked
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