VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Women of Avignon". 1980.Oil on paper adhered to wood.Signed in the lower margin.Size: 140 x 110 cm.Painter, sculptor, engraver and writer, his training was basically self-taught. At the age of eighteen he had his first individual exhibition in the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition dedicated to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.
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ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005)."Untitled.Mixed media on paper.Signed in the lower left corner.Size: 76 x 57 cm; 101 x 71 cm (frame).In this mixed media painting on paper, Clavé superimposes realities that seem to emerge from an organic background, like spectral faces interspersed with dense brushstrokes and areas that appear to have been resolved by frottage. Thus, organic insinuations are laminated with geometrical configurations. Clavé experiments with a variety of techniques and languages, so that on the same surface, touches of spatula, gesture, expressionism and abstraction dialogue with each other. The result is an arduous dialogue with the Baroque tradition and its play of chiaroscuro. Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop an oeuvre marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He was already enjoying great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In 1952 he made the sets for Charles Vidor's film "Hans Christian Andersen", and was nominated for an Oscar. In 1954 he gave up decorating to devote himself to painting. In the 1960s he painted a tribute to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. Of particular relevance is the theme of the knight with his hand on his chest, a reference that would be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. In the 1980s he dedicated a series of works to Picasso under the title "To Don Pablo". His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the Tokyo International Biennial in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.
JULIAN SCHNABEL (Brooklyn, New York, 1951)."Olympic".Photograph with intervention.Signed and dated.Julian Schnabel originally made this work to form part of one of the 10 advertising posters painted by artists representing the Barcelona brand during the 1992 Olympics. However, it was censored by the Barcelona 92 Olympic Organising Committee, which considered it inappropriate due to its high degree of eroticism. It is therefore an unpublished work that represents a small part of the cultural legacy that the Olympics gave us.Size: 83 x 66 cm; 108 x 90 cm (frame).One of the parts of the project sponsored by Telefónica for the promotion of the Olympics was the creation of 58 advertising posters. This project, the most ambitious in the history of the Games, was grouped into four areas or collections: official Olympic posters, photographic sports posters, designers' posters and painters' posters. In the latter, in collaboration with Daniel Giralt Miracle, 10 artists were proposed to publicise the Barcelona brand, including this work by Schnabel. However, the high degree of eroticism emanating from the composition led COOB'92 to censor it.With a practice close to expressionism, Schnabel's technique encourages objet trouvé and processes based on chance, on numerous occasions approaching sculpture and exploring new fields such as architecture and furniture. An award-winning film director (three of his films, "Basquiat", "Before Night Falls" and "The Diving Bell and the Butterfly" have won him awards at Cannes as best director, and he has been decorated or nominated at the Golden Globes, the BAFTAs, the César and the Venice International Film Festival), Julian Schnabel made his artistic breakthrough with his "plate paintings", fragments of plates, assembled and polychromed, which he created after contemplating Gaudí's mosaics in Barcelona's Park Güell. His boldness, his energetic conception of art and the novelty of his techniques and decorations made him a transgressive figure in the art world, not exempt from controversy and eccentricity. His work currently forms part of the collections of several museums around the world, including the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Museum of Contemporary Art (MOCA), Los Angeles, the Museo Nacional Centro de Arte Reina Sofia in Madrid and the Centre Georges Pompidou in Paris, among many others, as well as important private collections.
HERNANDO VIÑES SOTO (Paris, 1904 - 1993)."The artist in her studio".Oil on canvas.Signed in the lower right corner.Size: 73 x 92 cm; 93 x 112 cm (frame).In this work the author rescues a very recurrent theme in the history of art, which deals with the relationship between the model and the artist. In this case we are presented with a model who is also an artist, as she stands on the barely sketched canvas with the painter's palette in her hands. Aesthetically, the work is heir to Cubism, but the artist configures the different planes on the basis of fields of colour which give volume and shape the space.Born into an upper-class bourgeois family, Hernando Viñes Soto was introduced into the Parisian artistic circle by his uncle, the pianist and composer Ricardo Viñes. During the First World War he settled in Madrid, returning to Paris in 1918. There Pablo Picasso, a friend of his uncle's, after seeing his first drawings, advised him to continue along the same path and to perfect his knowledge as a self-taught artist. Viñes followed Picasso's advice, first entering the Academy of Sacred Art in Paris, where he was a disciple of Maurice Denis and Georges Desvallieres, and then, in 1922, completing his training with André Lothe and Gino Severini. The following year he participated as a decorator in Manuel de Falla's "El retablo de Maese Pedro" and exhibited for the first time at the Salon d'Automne. That same year, 1923, he came into contact, through his friend Manuel Ángeles Ortiz, with the circle of young Spanish artists living in Paris: Francisco Bores, Luis Buñuel, Joaquín Peinado, Francisco García Lorca, Pancho Cossío, Rafael Alberti, Ismael de la Serna, etc. At the age of twenty he decided to devote himself fully to painting, and immediately obtained the support of two important critics, Tériade and Zervos, the latter being the director of "Cahiers d'Art". From then on he exhibited regularly at the Percier and Max Berger galleries in Paris. After the Second World War a very difficult period began for the painter, in which, despite numerous group and solo exhibitions, he did not achieve the notoriety that his brilliant beginnings had promised. It was not until 1965 and the major retrospective devoted to him by the Madrid Museum of Modern Art that he was finally recognised as one of the most brilliant painters of his generation. From that moment on, exhibitions followed one after the other in leading galleries all over Spain, such as Théo (Madrid and Valencia), Dalmau (Barcelona) and Ruiz (Santander). At the beginning of the 1980s, important retrospective exhibitions were held at the Casa de España in Paris, the Fine Arts Museum in Santander and the Bonnat Museum in Bayonne. In 1988 he was awarded the Gold Medal of Arts and Letters by King Juan Carlos I. At the same time, his international fame grew as a result of exhibitions held in Germany, Denmark, the United States, Czechoslovakia, England and Japan. Far from schools and any hint of boastfulness, Viñes's work continued its path in France, and museums all over the world began to acquire his works. He is currently represented in the Reina Sofía Museum in Madrid, the Georges Pompidou Centre in Paris, the Museums of Albi, Castres and Saint-Ouen in France, the Fine Arts Museums of Tel-Aviv, Buenos Aires and Prague, the Patio Herreriano Contemporary Art Museum in Valladolid and the ARTIUM in Vitoria, among many others.
Riviere (Lazare, Nicholas Culpeper & Abdiah Cole). The Practice of Physick, in two volums, very much enlarged. Wherein is plainly set forth, the nature, cause, differences, and several sorts of signs: together with the cure of all diseases in the body of man. In twenty and four books. Viz. 1. Of the diseases of the head. ... 24. A physical dictionary : written in Latin, and in English / by Lazarus Riverius, counsellor and physitian to the King, &c. Nicholas Culpeper, physitian and astrologer. Abdiah Cole, doctor of physick, and W. R., 4 parts in one, London: Peter Cole, 1658, lacking the engraved frontispiece, one longitudinal title, signatures 2R1-4 (pp. 309-316), 3E2-3 (pp. 399-402) & 3G2-3 (pp. 415-418) in first part, lacking K1 (pp. 49-50), K4 (pp. 55-56), Z3 (pp. 257-258) & 3B3 (pp. 417) and part 3 title, first title laid down and repaired, a few other leaves with small repairs, some leaves shaved affecting headlines, pagination, a few lines of text at foot and signatures, a few small wormtracks and burnholes, occasional soiling and light toning, early annotations to front blank, later half calf, folio (Wing R1559A), together with [Markham, Gervaise]. The English House-Wife. Containing the inward and outward vertues which ought to be in a compleate woman...A worke generally approued, and now the fourth time much augmented, purged and made most profitable and necessary for all men, and the generall good of this Kingdome, London: Nicholas Okes for John Harison, 1631, title with woodcut printer's device, lacking A1 blank, leaves I6 & K2 replaced with modern text and laid down, M4-5 replaced with modern blank leaves, blank leaves bound after final leaf, title shaved at foot affecting last line of imprint, a few damp stains and burnholes, later half calf, a little rubbed, small 4to, (STC 17353), plus [Heresbach, Conrad]. [The Whole Art and Trade of Husbandry. Contained in foure bookes... enlarged by Barnaby Goodge, London: printed by T.S. for Richard More, 1614], main text printed in black letter, woodcut initials, lacking title (replaced with modern manuscript leaf), occasional light soiling and stains, later calf-backed boards, small 4to (STC 132)QTY: (3)NOTE:Wing R1559A; ESTC R218027 (Practice of Physick). Sold with all faults not subject to return.
Stukeley (William). Itinerarium Curiosum. Or, an Account of the Antiquitys and remarkable Curiositys in nature or art, observ'd in travels thro Great Britiain, 1st edition, London: Printed for the author, 1724, engraved frontispiece, 70 engraved plates (of 100), a few folding, armorial bookplate of 'Lucius Henry Hibbins of Gray's Inne' to front blank, inscribed to title and front blank 'Mary Sershall's book Oct 4 1783' with extensive further marginal annotations in the same ink, reverse calf pasted to front pastedown with red morocco presentation label lettered in gilt 'The gift of the author ye ingenious Dr WM Stukeley', occasional scattered spotting, a few leaves with marginal repairs (some touching text), a few quires faintly damp-stained, modern marbled boards, red morocco title label lettered in gilt, folioQTY: (1)NOTE:ESTC T99861. Provenance: Presentation copy from the author to the barrister Lucius Henry Hibbins (armorial bookplate); Mary Sershall (inscriptions to title and front blank).
Frazer (James George). The Golden Bough, 12 volumes, London: Macmillan and Co, 1914-17, frontispiece to 'The Magic Art' volume 1, half-titles, endpapers renewed, modern green half morocco gilt, 8vo, together with Symonds (John Addington). The Memoirs of Count Carlo Gozzi, 2 volumes, London: John C. Nimmo, 1890, portrait frontispiece to volume 1, plates throughout (some hand-coloured), modern green half morocco gilt, top edge gilt, 8vo, plus Benson (Arthur Christopher). The Letters of Queen Victoria, 3 volumes, London: John Murray, 1907, frontispieces to each, 4 folding genealogies to rear of volume 3, armorial bookplates of 'Joicey' to front pastedowns, lightly spotted, contemporary navy blue half morocco gilt, top edge gilt, 8voQTY: (17)
A late 19th Century engraved printing plate depicting a seated girl reading by window within an Art Nouveau style framework in the style of McIntosh, 22.5 cm x 16.5 cm CONDITION REPORTS Possibly circa 1900 but we do not believe this to be a modern repro. Has pitting to the surfaces front and back and some discolouration / patination. General wear and tear conducive with age and use - see images for further detail.Provenance - vendor was given it in 1972.
A collectors' lot to include an oak letter organiser with pen guide, a Bakelite ashtray, a modern unicorn candle snuffer, three Worcester ware Chinese-style lacquered metal trays, length of longest 41.5cm, a large porcelain Art Deco style tray, decorated in the onion pattern, 45 x 33cm, a carved wooden tray, three small penknives including one with mother of pearl body, a magnifying glass and a vintage pen (13).
Books – approx. 120 antiquarian, modern first editions, academic imprints, local interest, and others, including Davies (The Rev. D.P.), A New Historical and Descriptive View of Derbyshire, Belper: S. Mason, 1811, lacking fold-out map, illustrated with plates, 20th century brown leather gilt over marbled boards, 8vo, (1); further Derbyshire interest; Lawrence Durrell’s Avignon Quintet, first editions, London: Faber 1974-1985, pictorial dustjackets over cloth, 8vo, (5); Irish Murdoch first editions; art history and architecture, including the Renaissance, orangeries, follies, others; The Gardens of Pompeii and Herculaneum; Lewis Napier on 18th century Georgian politics; Diaries of Robert Fulke Greville, 1930, 8vo, (1); Barbellion’s Journals, (3); poetry and literature; philosophy; travel, Bruce Chatwin; antiquarianism and history; bibliography; etc., maps; mostly hardbacks, various sizes; etc., [approx. 120]
A collection of early 20th century and later Chinese and Japanese works of art, comprising a pair of cloisonne vases, both with some damage 18.5cm high, a crackled glazed ginger jar (without the cover), decorated with fighting figures, marked to the underside 11.5cm high, a porcelain blue and white vase 15.5cm high and a modern blue and white ginger jar and cover 16cm high AF (5)
INGEBORG LUNDIN (Sweden, 1921-1992) for ORREFORS. Sweden, ca. 1960Translucent blown glass.Signed on the reverse base Orrefors D. 3877/231.Wear due to use and the passage of time.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 36.5 cm (height); 18 cm (diameter).Swedish Orrefors glassware vase, circular in shape with carved geometric decoration. Designed in the 1960s by Ingeborg Lundin. Lundin studied at the Stockholm School of Art, where she also worked as a drawing teacher. She was employed at the Orrefors glassworks in 1947 as a designer, where she worked with both utilitarian and art glass.She was awarded the Lunning Prize in 1954 and a gold medal at the Milan Triennale in 1957, which brought her international fame. Lundin is represented, among others, in the National Museum in Stockholm and the Röhsska Museum.The Swedish glassworks Orrefors owes its name to the village of Småland where it was founded, a place of craft and industrial production since the 18th century. In the 20th century, the name Orrefors would become synonymous with good Swedish glass. In 1897, the merchant Johan August Samuelson bought the village's complex of smithies and sawmills and introduced glass production the following year, initially producing everyday household and medical glassware, such as bottles and jars. When Consul Johan Ekman became the new owner of Orrefors in 1913, he appointed Albert Ahlin to run the glassworks facilities. Ahlin initiated a new era in Swedish glass production when he acquired the Sandvik glassworks under the Orrefors umbrella and brought in skilled craftsmen and designers to develop new collections. In 1914, Orrefors began to manufacture glass. Soon after, master glassmakers Simon Gate and Edward Hald joined the company to design new designs and shapes, focusing on engraving and overlay techniques. They also began experimenting with the innovative Graal technique, developed at Orrefors by master glassblower Knut Bergqvist. In 1917, Gate and Hald introduced figurative engraved patterns. Orrefors' reputation for excellence spread internationally in the mid-1920s; first as a result of Orrefors' presentation at the Gothenburg Exhibition in 1923, and then through participation in the historic Exposition Internationale des Arts Décoratifs in Paris in 1925, where Orrefors and the artists themselves were awarded the Grand Prix. In 1928, the designer-artist Vicke Lindstrand joined Orrefors and introduced a more sculptural and modernist aesthetic. Following Orrefors and Lindstrand's success at the 1930 Stockholm Exhibition, the company became increasingly associated with simple, subtle forms in the post-war period. In 1946, Orrefors hired architect-designer Carl Fagerlund to expand its glass lighting offering. Over the years, Orrefors designers developed a number of new glass manufacturing techniques. Vicke Lindstrand and Edvin Öhrström introduced Ariel in the 1930s, while in the 1940s Sven Palmqvist introduced the Kraka and Ravenna techniques. Nils Landberg's slender Tulpan (1957) and Ingeborg Lundin's delicate Äpplet (1955) - both icons of mid-century modern Swedish design - were created using the Fuga technique. The 1960s are associated with Gunnar Cyrén's Pop glass, and since the 1970s, designers such as Olle Alberius, Eva Englund, Lars Hellsten, Anne Nilsson, Erika Lagerbielke and Helen Krantz have contributed to Orrefors' rich heritage.
Jugendstil Cup. Germany, ca. 1910.Blown glass.Provenance: Private collection, Spain between 1970-1990.Measurements: 19.5 cm (height); 7.5 cm (largest diameter).Jugendstil period glass, in translucent blown glass and with a greenish tone on the base. Hand-fired enamelled with vegetal decorations and borders in different colours and gilding.Depending on the country, it was known as Art Nouveau (Belgium and France), Jugendstil (Germany and Nordic countries), Sezession (Austria), Modern Style (United Kingdom), Nieuwe Kunst (Netherlands), Liberty or Floreale (Italy) and Modernismo (Spain).All refer to the intention to create a new, young, free and modern art. Generally, the forms are wavy, sinuous and colourful, usually inspired by natural forms. The pieces are generally larger and more decorative than practical.
SIX BOXES OF GLASSWARE, CERAMICS AND HOUSEHOLD ORNAMENTS to include Leonardo Collection cottages, Aynsley 'Cottage Garden' pattern trinket box, diameter 26cm, ginger jar, heart shaped trinket box, a Wade Golden Jubilee goblet, height 9.5cm, a Meissner Limoges porcelain dinette miniature soup tureen (glued finial), a Spode 'Sida & Acacia' Stafford Flowers celebration cake stand, a Wedgwood 'Sarah' pattern mantle clock, height 12cm, a Coalport 'Paradise' pattern pin dish, Coalport teacup, an Empoli style teal covered jar, height 34cm, a Carlton Ware Art Deco style dish - 1236 2 AG9/4875 4232, a St. Michael china 9185 Art Deco style tea set, a Midwinter Fashion Shape 9-63 gilt edged dish, a modern mantle clock, a boxed set of six fish knives and forks, a Hammersley HAM13698 pattern covered sugar bowl, a set of six 1970s Ravenshead bark texture aperitif glasses, a cut crystal sugar sifter, one Babycham glass, a set of six French Riems glass sundae dishes, a set of glass dessert dishes, with two serving bowls with a fruit decal, vase, decanter, etc (s.d) (6 boxes)
FIVE BOXES OF METALWARE, FRAMED PRINTS AND ORNAMENTS, to include a hand beaten stainless steel dish from the L.R.I school of industrial art Borrowdale, diameter 13cm, a set of Piquot ware, stainless steel teapot, coffee pot, milk jug, sugar bowl, a set of carved oak bellows, length 14cm (working), a mantle clock, height 30cm (no key), a copper quart jug, a pair of brass candle sticks, a set of 1940s brass Post Office scales (with weights), twelve framed pictures, a leather cased set of backgammon, playing cards, a large Indian design brass dish, tray and coffee pot, a modern graduation cap and gown with a pale blue hood, a pair of Mirador binoculars 10 x 42, a full Motor Fuel Ration book, a pack of twelve pictorial postcards of the Royal Mint, four picture postcards of Sark, a cloisonne covered pot, pewter tankard, etc (s.d) (4 boxes + loose)
A GROUP OF SIX TABLE LAMPS AND VASES, comprising three metal figural lamps, one figure is named 'Brise du Soir' Evening Breeze, height 52cm to top of brass fitting, one lamp is named 'l'Agriculture' a female farm worker, height 47cm, the other lamp is a French figurine of a woman in reeds, height 50cm, a pair of blue and cream ceramic lamps on a wooden base decorated with a Japanese mountain dwelling, height 49cm, together with five matching wheat coloured shades, height 31cm, a large blue ceramic umbrella stand, height 60cm, a modern 'oil lamp' style table lamp with cranberry coloured glass shade and reservoir on a brass base and fittings, height 53cm to top of chimney, a pair of Blush Ivory moon shaped vases, backstamp RW Rudolstadt 5977 83, height 29cm, an Art Nouveau style Blush Ivory vase, back stamp Alexandra Porcelain works Turn - Austria 5953, height 20cm, an Ivory Blush vase back stamp W&R Austria 1226, height 30cm, a tall pair of Ivory Blush jugs, back stamp 5086-31, height 42cm, a Fadecol studio pottery urn shaped pot and matching candlesticks in a green granite effect with gold impressed detail, height 27cm, candlesticks 23cm, (21) (Condition report: all appear in fair condition, lamps not tested)
FIVE CLOCKS, comprising a square Art Deco Little Boy Blue wall clock with ceramic dial marked 'Foreign', a wooden cased Smiths mantel clock of trefoil form, with Arabic numerals, a Whitehall Quartz clock and two modern desk/alarm clocks (5) (Condition report: clocks appear in good condition, mechanisms unchecked)
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper, signed and dated '79 image size 54cm x 75cm, overall size 75cm x 95cm Mounted, framed and under glass. Provenance: The Corrymella Scott Gallery. Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper, signed and dated '90 image size 74cm x 54cm, overall size 93cm x 71cm Mounted, framed and under glass. Provenance: The Corrymella Scott Gallery. Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
* WILL MACLEAN MBE RSA RGI RSE HON D.LITT (SCOTTISH b.1941), THE DEPARTURE coloured etching on paper, titled label verso image size 49cm x 62cm, overall size 55cm x 69cm Mounted, framed and under glass. Handwritten label verso. Note: Will Maclean RSA, Professor of Painting in the University of Dundee, is one of the outstanding Scottish artists of his generation. He was born in Inverness where his father, a former sailor, was harbour master, and he spent his childhood between Inverness and Skye. His art is rooted in his knowledge of the Highlands, the Highland people and their history and in his own early associations with sailors and the sea. These things make it relevant and immediately accessible, yet it remains uncompromisingly modern in its forms and in its concerns.
(Geb. 1939 in Wattenscheid. Seit 2007/07 ansässig in Neufelden/Österreich)Ohne TitelRunde, flach gemuldete Schale aus Edelstahl mit darüber hängendem Pendel (Lot) für eine skulpturale Rauminstallation, 1971. Im Zentrum von Rinkes künstlerischem Interesse steht der Wesenskern der Welt mit seinen physikalischen Prinzipien und Naturkräften der Elemente. Hierzu gehören, wie es in dieser Zeit vor Augen geführt wird, auch Zeit und Raum, Körper und Schwerkraft, die Prozesse von Handlung und Bewegung. Rinke studierte 1957 - 1960 an der Folkwang-Schule in Essen, 1965 wandte sich Rinke von der Malerei ab, um sich vornehmlich konzeptuellen und skulpturalen Arbeiten, Installationen und Performances zu widmen. 1974 - 2004 war Rinke Professor für Bildhauerei an der Kunstakademie in Düsseldorf. 1972 und 1977 nahm Rinke an der Biennale in Venedig sowie an der documenta in Kassel teil, 1973 stellte er im Museum of Modern Art (MoMA) in New York aus. Für den Deutschen Bundestag in Berlin schuf er die monumentale Innenhof-Skulptur "Sonnenstrahl mit Birkenhain". Altersspuren. 200 cm. Lit.: Kat. "Sammlung Ulbricht", Bonn, Graz u. Düsseldorf, 1982/83, Nr. 184, S. 112 (mit weiterer Lit.), Abb. S. 77.Die Arbeit war ab 1974 für längere Zeit Leihgabe im Kunstmuseum Düsseldorf.Provenienz: Sammlung Ulbricht/Nachlass Dr. Günter Ulbricht (1926 - 1992).Stainless steel sculpture with pendulum (plummet), 1971. Traces of age.
SANDMAN: MASTER OF DREAMS #1 - (1989 - DC) - KEY Modern Book - Pre-Vertigo - First appearance of Morpheus + appearance by Wesley Dodds, the original Golden Age-era Sandman + A Netflix TV series is due for imminent release - Neil Gaiman story, Dave McKean cover with Sam Kieth interior art - Flat/Unfolded - a photographic condition report is available on request
SANDMAN: MASTER OF DREAMS #2 & 3 (2 in Lot) - (1989 - DC) - KEY Modern Title - John Constantine, Cain, Abel, Mildred and Mordred appearances + A Netflix TV series is due for imminent release - Neil Gaiman story, Dave McKean cover with Sam Kieth, Mike Dringenberg interior art - Flat/Unfolded - a photographic condition report is available on request
ART DECO FIGURAL TABLE LAMP,modelled with porcelain figure of a dancer in front of a circular frosted glass shade, ebonised base, wired for electricity, 31cm highThe head has been off and obviously reattached; small flaw to glaze of front foot, further general wear and dirt; some flea bites and marks to shade, rubbing to base, has not been tested, will need to be rewired to modern standards
SHIHO: A FINE BRONZE OF A HAREBy Watanabe Shiho (born 1894-1972), signed ShihoJapan, Tokyo, first half of 20th centuryVery finely and naturalistically cast as a seated hare raising one paw. Note the sparse hairwork rendered with fine incision work. Signed underneath SHIHO.HEIGHT 19.3 cmWEIGHT 5,070 gCondition: Excellent condition with typical associated wear, some light surface scratches.Provenance: English private collection, purchased at Christie’s London on 22nd April 2008, lot 646.Watanabe Shiho (1894-1972) studied metal casting under Oshima Joun at the Tokyo School of Fine Arts (now the Tokyo University of Fine Arts and Music), where he later also became a professor. Prior to the Pacific War, he exhibited frequently at the government-sponsored Teiten and Shin-Bunten exhibitions. His work is in the collections of the Tokyo Prefectural Museum of Modern Art.The present hare bears an uncanny resemblance to the famous painting of a hare by Albrecht Dürer (1471-1528).
Ɏ TENMIN: AN IVORY AND METAL KAGAMIBUTA WITH RAKANBy Asama Tenmin, signed Tenmin 天民Japan, Tokyo, late 19th centuryThe disc very finely worked in high relief with a pensive Rakan with long eyebrows and a bushy beard, the eyes inlaid with gold. The ivory bowl superbly polished, with a central himotoshi, the cord attachment to the back of the disc.DIAMETER 4 cmCondition: Excellent condition.Provenance: Ex-collection Ted Wrangham, collection no. 2279 (according to label). Edward A. ‘Ted’ Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book ‘The Index of Inro Artists’ (1995) is considered one of the most important English-language studies on Japanese lacquer ever published. Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0234).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
KOKEI: A RARE WOOD NETSUKE OF A GOAT AND YOUNG ON A ROCKBy Kokei, signed Kokei 虎溪Japan, Kuwana, Ise province, first half of 19th century, Edo period (1615-1868)Finely and dynamically carved as a young goat clambering on top of a craggy rock, its mother climbing up to meet it. Note the finely carved shaggy fur. The wood slightly worn and bearing a good patina. Himotoshi cleverly incorporated into the design, through the rock underneath, and signed KOKEI.LENGTH 3.5 cmCondition: Good condition with associated surface wear, tiny chip to one ear of the young goatProvenance: Ex-collection Ted Wrangham. Edward A. ‘Ted’ Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book ‘The Index of Inro Artists’ (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.Auction comparison:Kokei is best known for his netsuke of goats, however the addition of a cub is rather rare. For a netsuke of a goat by Kokei, see Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 143 (sold for 5,625 GBP).
A Collection of Assorted 925 and Costume Dress Rings, including large Art Deco style oval panel ring, of pierced design with marcasite set highlights, a large oval polished hardstone panel ring, an oval cameo ring, 925 gilt, Russian style wedding band ring, half eternity style band, modern dress rings etc.
HARRY HERMON: HELLERISM SECOND SIGHT MYSTERY SUPERNATURAL VISION OR SECOND-SIGHT WHAT IS IT A MYSTERY A COMPLETE MANUAL FOR TEACHING THIS PECULIAR ART, Boston, Lee & Shepard, New York, Charles T Dilliingham, 1884, 1st edition, original pictorial cloth, book plates of Fulton Bursler and Frank Koval, scarce, 2 copies on COPAC + ROBERT GANTHONY, Modern Ventriloquism, London, Will Goldston Ltd [1928], 1st edition, original pictorial board, 1 copy on COPAC, ARTHUR PRINCE, The Whole Art of Ventriloquism, London, Will Goldston Ltd, [1921], 1st edition, original cloth gilt, d/w, (small part losses), quantity 3
FRANCISCO JAVIER GOSÉ ROVIRA (Alcalá de Henares, 1876 - Lleida, 1915)."Lady".Charcoal on paper.Signed with a testamentary seal at the bottom.Discolouration on the paper.Size: 17 x 14.5 cm; 32.5 x 28 cm (frame).Javier Gosé's style oscillates between modernism and French art-deco, reflecting the life of Parisian society. Inspired by the worldly life of the café-concerts, the prostitutes, the horse races, the sportsmen and the well-known Montmartre, his style reflects the finesse and delicacy of French society at the time, although it is not without a certain mischievousness characteristic of carefree Paris.Francisco Javier Gosé was an essential draughtsman and painter in the world of graphics and fashion in the transition from the 19th to the 20th century. He studied in Barcelona, where he was assistant to the draughtsman José Luis Pellicer. From a very early age he collaborated in Barcelona publications, from "La Esquella de la Torratxa" and "La saeta", in which his attachment to modernism is clear, to "Mundial Magazine" and "Fémina", where a pre-cubist line can already be seen. His first exhibition was held at Els Quatre Gats. During his Barcelona period he portrayed the proletariat, although in 1900 he travelled to Paris, where he collaborated with "La vie Illustrée" and "Le frou-frou", among others. He exhibited in the Barcelona galleries Parés and Dalmau, the Vilches gallery (Madrid), Georges Petit and Ritlinger (both in Paris). Up to this point his works showed a satirical and realistic view of the bourgeoisie, snobs and prostitutes, although this view changed in 1907, when he began a more stylised, less realistic and less ironic period, above all because of his entry into the world of fashion, in which Gosé sought to set a trend among women in society. His period in Paris was the turning point in his life and artistic production, as the French capital was the place where he broadened his knowledge, becoming a successful artist who would obtain interesting commissions as an illustrator for the best satirical magazines. In 1910 he began to collaborate with German magazines such as "Ulk". In 1914 the First World War broke out, a circumstance which, together with serious health problems, deprived him of the elegant Parisian environment, and he moved to the city of Vichy, famous for its spas. Shortly afterwards Gosé moved back to Barcelona, spending the last days of his life in Lleida. His posthumous exhibitions include the one at the Círculo Artístico in the same year as his death, the retrospective at the Rovira gallery (1970) and the one at the Fundación La Caixa (1984). He is represented in the Museums of Modern Art in Barcelona and Madrid, among others.
ROMAIN DE TIRTOFF ERTÈ (Saint Petersburg, 1892 - Paris, 1990).Vase "Style", 1985.Bronze, example 196/250.Con-Ker foundry.Signed and with foundry details. Measurements: 31 x 12 cm.Colloquially known as Erté, Romain de Tirtoff or Roman Petrovich Tyrtov has been one of the great figures of art, costume design, illustration, jewellery design, interior design, fashion and sculpture, within the Art Decó. When he was barely 18 years old, Erté moved to France, where he developed a large part of his professional career. Soon after moving to Paris, he would see his talent recognised in the world of fashion, beginning his relationship with the famous magazine Harper's Bazaar barely three years after his arrival in Paris in 1915. Erté would begin to illustrate some of the magazine's covers. The relationship would clearly be fruitful for both parties, being a highly visible showcase for Erté's work. This relationship would last over time, and Erté would design a large part of the covers of this important magazine over the next 22 years, producing more than 240 covers. Erté's professional career is strongly interconnected with the Art Deco movement and he was a clear representative of this artistic and socio-cultural movement. In fact, the figure of Erté is recognised as one of the creators of Art Deco and it was undoubtedly an artistic movement with which the artist felt clearly identified. As a designer, one of his first important works was the costume design for the French dancer Gaby Deslys. Erté would soon begin to make costumes for some of the most important artists of the moment such as Joan Crawford, Marion Davis, Norma Shearer, Llillian Gish... as well as costumes for the Paris Opera, the Radio City Music Hall, Folies-Bergères and George White Scandals, The Casino de Pais... It is also important to highlight how Erté would become the designer of Broadway figures such as Iréne Bordoni. At the age of 75 Erté decided to turn his professional career around and began to focus on bronze sculpture and silkscreen printing, achieving great success in this area as well. The elegance and luxury of his creations has given Romaiin de Tirtoff a place in the history of art in museums such as the Metropolitan Museum of Art in New York, the Museum of Modern Art, the Victoria & Albert Museum, the Smithsonian Institution in Washington, the County Museum of California and others. Some of the awards he received during his lifetime were in 1976 the title of Officer of Arts and Letters from the French government and in 1982 the Vermeil medal awarded by the City of Paris.
Illustrated.- Greenaway (Kate) Mother Goose or the Old Nursery Rhyme, colour illustrations, ex-library with ink-stamps, original decorative limp reverse calf, lightly browned at edges, small loss to spine foot, c.1910 § Sandby (William) The History of the Royal Academy of Arts, 2 vol., half-titles, frontispiece, illustrations, occasional finger-soiling, ex-library with labels and ink-stamps, modern cloth, 1862 § Cotterill (H. B.) Homer's Odyssey, frontispiece and plates by Patten Wilson, original cloth, gilt, slight bumping to corners and extremities, n.d. § Hind (C. Lewis) Turner's Golden Visions, tipped-in colour frontispiece, colour plates, original pictorial cloth, gilt, housed in original pictorial box, lid with split to one corner, rubbed, 1910; and others art or illustrated, v.s. (40).
Alex Katz (New York 1927 – lebt in New York). „lawn party“ / „lawn party“. 1965/19882 Blatt: Jeweils Bleistift auf Papier. 21,7 × 29,4 cm bzw. 21 × 30,1 cm (8 ½ × 11 ⅝ in. bzw. 8 ¼ × 11 ⅞ in.). Jeweils unten links betitelt sowie unten rechts gewidmet, signiert und datiert: lawn party Alex Katz 11.28.88.Jeweils Studie zu dem gleichnamigen Gemälde von 1965, Museum of Modern Art, New York. [3017]Zustandsbericht: Harmonischer Gesamteindruck. Blatt 1: Die Blattkanten jeweils ohne Einrisse oder Fehlstellen. In der unteren linken Ecke mit diagonaler Knickspur (1 cm). Vereinzelte kleine Fleckchen. Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar.Blatt 2: Drei Blattkanten mit jeweils einem winzigen Einriss (jeweils 0,2 cm). Links mit vereinzelten schwachen Knickspuren. Das Blatt vereinzelt etwas knittrig und stellenweise leicht fleckig. Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar.Wir berechnen auf den Hammerpreis 32% Aufgeld.
Ca. 1526-1858 AD A gold ring comprised of a round hoop with three cells, each set with a turquoise gem and an applied large bezel with the side and underside engraved with linear and dot motifs. The upper face of the bezel is intricately decorated with a script around the central eight-pointed star with another turquoise gem enclosed. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D: 17.73mm / US: 7 1/2 / UK: O 1/2; 8.12g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 525-500 BC A large Etruscan amphora by Micali painter with double sided panels of black and red sirens are beautifully rendered as well as looming pairs of eyes and accented in ivy. The actual name of the prolific Etruscan black-figure vase-painter, is unknown. Nevertheless, consistent individual characteristics of style suggest a most unique talent. He is called the Micali Painter, having been named in honor of the Italian scholar who first published some of the vases he painted. This is a splendid example of his work Amphora stands 16" tall and has had expert museum grade restoration. It was purchased in Frankfurt, Germany in the early 1960s. Estimated Value $7,500 - 15,000. 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.Size: L:430mm / W:250mm ; 3.09kgProvenance: Property of a London Art Gallery; formerly acquired on the US Art market; previously in the collection of N. and E. Keefer.
Ca. 400 BC A red figure ware Apulian Krater with pedestal foot, cylindrical stem, inverted bell-shaped body and two lug handles protruding from the sides. The painted scenes show (side A): a seated female, holding a fan and a wreath; (side B): a standing, winged figure of goddess Nike sacrificing over an altar, holding a patera and a branch. The scenes are framed by an upper and lower geometric border and flanked by vegetal motifs. Kraters such as this would have been used for mixing wine at drinking parties.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.Size: L:240mm / W:245mm ; 1.25kgProvenance: From the private collection of a Kent gentleman; previously in an old British collection, formed in the 1990s on the UK /European art markets.
Late Helladic IIIB, Late 14th-13th century BC A large decorated tan color pottery vessel having a round tapered body, twin opposing strap type handles connected to a central column support having a large disc knob, and front tapered cylindrical spout. Painted brown concentric banded ring decoration on the body, with abstract linear elements around the shoulder. Scattered overall light surface deposits. Repaired from several large original pieces with restoration over the break lines and some scattered areas of resurfacing. Very scarce in this large size. 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.Size: L:260mm / W:215mm ; 1.74kgProvenance: Property of a London Art gallery; formerly in NYC collection; ex. Fortuna Fine Arts, NYC.
Ca. 618-907 AD A delicate female dancer wearing a long flowing gown with draped, winged sleeves. The long dress uncovers her up-turned shoes. Her both arms are up in the air, indicating motion. The dancer herself is carefully modelled, with her hair done up, red pursed lips, delicate brows and smiling eyes.Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time The Great Music Bureau was created as a means through with to train musicians and dancers for the imperial court.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out 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. The TL certificate with its full report will accompany this lot.Size: L:330mm / W:245mm ; 1.41kgProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Ca. 618-907 AD A beautiful pottery figure of a horse. The animal is shown in a standing pose on an integral base. The horse's neck is turned to the left, with its erect ears, downcast eyes, mouth open, and pronounced nostrils. The tail is depicted docked and bound in the traditional fashion. The saddle is covered with a red cloth draped over and gathered on the sides. The horse's trappings are completed by an elaborate harness with dangling tassels on the horse's croup.For similar (but with sancai glaze) see The Metropolitan Museum of Art, accession number: 1991.253.12.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.Size: L:650mm / W:620mm ; 20.6kgProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Ca. 386-534 AD A terracotta tile featuring a beautiful depiction of rendered in high relief a seated Buddha wearing rich garments whose pink pigment is marvellously still preserved as is the blue of the halo, the black of the hair and the green drapery above the Buddha. He is performing a mudra - symbolic gestures of the hands and fingers used in Buddhism.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.Size: L:330mm / W:50mm ; 3.41kgProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Ca. 200 AD A sardonyx 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 left profile with delicate face details and a carefully draped robe. The cameo is set in a gold ring setting with a notched edge, fine granules, and a flat-section hoop. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 16.31mm / US: 5 3/4 / UK: L; 6.35gProvenance: 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. 400-600 AD An open-work matched pair of gold earrings in a crescent shape, with hook and eye closure. The plaques are decorated with extensive granulation and each features a central scene of two birds facing each other. The edges are ornamented with five spherical baubles, which hang from the bottom of the outer edge.Byzantium was justly famous for the elegance of its jewellery, whether in precious metals for the aristocracy or in bronze for people further down the social ladder. 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:Set of 2: 47.7mm / W:43.7mm ; (total) 14.45gProvenance: 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. Late 15th / Early 16th century AD An ornate, gold ring of a flat-section hoop with inctricate designs to the shoulders, raised bezel with serrated detailing, and inset ruby to the centre. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 17.93mm / US: 7 3/4 / UK: P; 3.77gProvenance: 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. 1200 AD A rare gold finger ring comprised of a faceted band with a rectangular bezel carved with an IC monogram for Jesus. The letters are connected by a stylized laurel wreath. The band bears the inscription " SCORPIO VIVAS NOMINE" referring to the ring's owner called Scorpio. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 15.7mm / US: 5 / UK: J 1/2; 3.6gProvenance: 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. 1300 AD A finely modelled finger ring of a hoop flat inside and slightly rounded on the outside, expanding to decorative shoulders and a bezel set with a centered garnet stone. Possibly British. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 14.88mm / US: 3 3/4 / UK: H; 1.41gProvenance: 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. 1200-1400 AD A gold finger ring of a round-section hoop and an applied square-shaped bezel flanked by a pair of fine granules. The bezel bears a stylised fleur-de-lis motif enclosed by a dotted border.The fleur-de-lis (in French, fleur means "flower", and lis means "lily") is a symbol of French nobility. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 19.35mm / US: 9 1/2 / UK: S 1/2; 8.42gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 100-300 AD An oval carnelian intaglio depicting Eros, the god of love, holding a whip and sitting upon the dolphin's back, finely detailed with its pointed snout and fan tail. The intaglio set in a later Georgian pendant setting and it comes with a modern necklace cord.For similar intaglios see Richer Gisela M. A. - Catalogue of Engraved Gems - Greek, Etruscan and Roman; (Met Museum) nos. 312-314.Size: L:21mm / W:18mm ; 4.92gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 1100-1200 AD A beautiful gold bead of biconical form intricately decorated with granulation designs and alternating cells set with turquoise gems. Pierced longitudinally for suspension comes with a modern necklace cord.Size: L:26.3mm / W:12.7mm ; 3gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 1100-1200 AD A beautiful gold bead of elongated form intricately decorated with filigree designs and alternating cells set with turquoise and carnelian gems. Pierced longitudinally for suspension comes with a modern necklace cord.Size: L:37.2mm / W:17.4mm ; 8.27gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
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