Early 19th century AD. A tall bronze piriform jar with flared base, collar to the neck, everted rim; the surface painted with a background of dense foliage and reserved polychrome panels depicting female busts, flowers, perching birds, scenes of armed men fighting and hunting lions. 3.6 kg, 49cm (19 1/4"). Fine condition, some abrasion and usage wear. Private collection, London, UK; formerly with Persepolis Gallery, Mayfair, London, UK; in the 1980s. From their roots as a Turkmen tribe of shepherd-warriors centered in Azerbaijan, the Qajar Dynasty would become a fully assimilated Perso-Islamic monarchy that reunified Persia and, through their modernisation programs, laid the foundation for the modern nation-state now known as Iran. The Central Asian origins of the Qajar dynasty are illustrated through the art of the time which draws on themes popular among the nomadic people of the area as well as traditional Islamic patterns and designs. The Qajar period is now increasingly recognised as a time of significant change in Persian society. Perhaps the most obvious influence was the impact of Western ideas and technology, which accompanied the diplomats, military and technical advisers, merchants, travellers, and missionaries who flocked into 19th-century Persia. Qajar art is characterised by an exuberant style and flamboyant use of colour, which became more emphatic as the 19th century progressed; here Persian art may be compared with developments in 19th-century Europe, where technological mastery made virtuoso forms of decoration possible. A particularly important feature of Qajar art is the richness of its iconography. Flowers (especially roses and irises), foliage, and fruit function both as central and supporting motifs. There are views of pastoral landscapes and buildings mainly inspired by imported European illustrations. There are also many narratives. Nostalgia for Persia’s past is reflected in scenes of Sasanian rulers, traditional themes of Persian literature, and more recent battles with the Ottoman Turks and Mughals.
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Published 1978 AD. Sotheby's, The Robert von Hirsch Collection, London, auction sale, 1978; part 1 (Old Master drawings, paintings and medieval miniatures), part 2 (works of art), part 3 (furniture and porcelain"). and part 4 (Impressionists and modern art), with prices realised. 3.71 kg total, 27 x 19cm (10 1/2 x 7 1/2"). Property of a Hertfordshire, UK collector. Fine condition; some wear to dustwrappers. [4, No Reserve]
Early 20th century AD. A large and elaborate silver-gilt pendant and chain comprising: a crown with stone-set cross, teardrop panel with filigree and inset faceted red and blue stones; hinged attachment to a silver-gilt cruciform plaque with filigree and granule trefoils set with stones above and below and sets of stones flanking; central enamelled crucifixion scene with stones to the border; small pendant plaque below with scrolled filigree and inset stone; silver-gilt chain with two clip attachments to the crown; supplied in a modern custom-made velvet-lined case. 207 grams, 78.5cm overall, chain: 122cm (48"). From an old Munich collection; acquired on the German art market before 2000. Fine condition.
3rd millennium BC. A stone idol, flat in section, with square body and two large lentoid eyes above. 18.88 grams, 56mm (2 1/4"). From an old British private collection; formed between 1975 and 1985. Today the remains of Tell Brak covers a massive forty-hectare area. It was first excavated by Max Mallowan in 1937-1938 when he found the remains of early religious practices represented by hundreds of votive objects, including the so-called 'eye idols'. Tell Brak must be considered as one of the oldest cultural sites in the world it was still in use during the Mitannian empire [1,500 - 1,360 BC]. During the Hellenistic and Roman eras, the site lay silent. Tell Brak was known as Nagar in Antiquity. Although they date from roughly 3200 BC, eye idols look remarkably modern. Simple and abstract, they represent the human form with a flat trapezoidal body and oversized eyes. Hundreds of these figurines were found in a monumental building known as the 'Eye Temple' in Tell Brak, north-eastern Syria. The idols vary in size from about 3 to 6 cm in height, and are made of either white or black alabaster. Because of the huge numbers of idols found, the monumental building where they were found has been called the 'Eye Temple.' The interior decoration was lavish - the altar was decorated with a frieze made from colourful stones, silver nails and gold foil, and on the floor and walls were mosaics made from coloured clay cones. Eye imagery and designs are found in the frieze and carvings in the temple, suggesting that the eye was a powerful magical and religious symbol. The large number of eye idols found and their size suggests that they were left in the temple as votives (gifts to the gods), perhaps representing the people who dedicated them as offerings. The decoration of the idols varied, and it seems that they may have been personalised; those on display in the Fitzwilliam are examples of the simplest type, but others have carved lines and zig-zags on their bodies depicting clothes. There are even examples of group idols representing more than one figure - some of which have a smaller 'child' figure carved onto the front. Eye Idol from Tell Brak (WAE.5.1966"). Although Tell Brak is in north-eastern Syria, both the decoration and plan of the Eye Temple resemble that of south Mesopotamian temples, such as those in Uruk and Eridu. Eye symbolism was also popular in Mesopotamia around this time, and eye designs have been found on objects from the Royal Cemetery from Ur as well as in temples. The eye idols of Tell Brak, however, are completely unique and have no parallels, in either Syria or Mesopotamia. For more information: D. Collon, Ancient Near Eastern Art (London, 1995), 47, fig. 26. M.E.L. Mallowan, Excavations at Tell Brak, Iraq 9 (1947), 32-8; 150-9; 198-210. Fine condition, repaired.
Heading: Author: Bremer, AnneTitle: The Last Glow of DayPlace Published: Publisher:Date Published: Early 20th centuryDescription: Oil on panel. 23x28 cm (9x11"). Framed, overall 29.5x34.5 cm (11½x13½"). Signature smeared at lower left, a small slip with the title and artist's signature affixed to rear. Anne Bremer (1868-1923) was a San Francisco painter, greatly influenced by Post-Impressionism. She studied at the San Francisco Art Students League and the California School of Design. Her works are in the collections of the San Francisco Museum of Modern Art, the San Diego Museum of Art, etc. Label from H. Valdespino, San Francisco. Fine.
Heading: Author: Arbus, DianeTitle: Diane Arbus: An Aperture MonographPlace Published: Millerton, NYPublisher:ApertureDate Published: [1972]Description: [6], 15 pp. + 80 plates from photographs by Diane Arbus; portrait of Arbus from photograph by Stephen Frank. 27.8x23 cm. (11x9"), photo-pictorial wrapper. First Edition, first issue. Monograph produced in conjunction with the Arbus retrospective at the Museum of Modern Art organized by John Szarkowski, the year following Arbus' death from suicide. This first issue or printing includes the photograph "Two Girls in Identical Raincoats Central Park, N.Y.C, 1969" which was suppressed in all subsequent printings. Simultaneous release with hardcover edition. Some wear and soiling to wrapper, light foxing to inner wrapper and page edges; very good.
An Art Deco style 18ct white gold and diamond ring, approx. ring size K½ Condition report Report by NG Approx. 3.1 g (all in). Centre rose cut approx. 5 x 2 mm, others between 1 and 2 mm diameter. Stones are grey. The centre stone has large black inclusion. No visible marks. It appears shank has been re-sized. This is a modern ring.
COLLECTION of Royal and other correspondence to Frank Lewis Publishers, Leigh-on-Sea, Essex together with related ephemera, Frank Lewis published Christmas cards for Queen Mary (1867-1953) but are better known for their fine quality art books, included in the collection are 11 Queen Mary signed Christmas cards, four are inscribed "...grateful thanks for the beautiful cards...", "with grateful thanks for the two charming books", "to you both and grateful thanks for the beautiful book...", "grateful thanks for lovely cards", one with loosely inserted autographed note signed, Marlborough House headed notepaper "and grateful thanks for the charming book you have kindly sent me", a calendar for 1944 with Queen Mary autograph note verso "with best wishes" together with the relevant Christmas card, similarly inscribed, 3 "proof" cards signed by Queen Mary, Queen Elizabeth II typed letter signed (when Princess) dated 15 January 1948 on Buckingham Palace headed notepaper, Princess Elizabeth and Prince Philip signed 1948 Christmas card, various Royal secretarial letters and Christmas cards, notice of grant of a Royal Warrant of Appointment as booksellers and publishers dated 20th May 1943, two tickets to Mr & Mrs Lewis to the funeral of Queen Mary and two items of printed instructions etc etc, other non-Royal items include James Ramsay MacDonald (1866-1937) typed letter signed, Privy Council Office headed notepaper dated 9th June 1936 "...I am much obliged by yours... asking me to subscribe to a book... unfortunately its cost is prohibitive to me...", housed in modern folder
HERBERT CENCINSKY: THE GENTLE ART OF FAKING FURNITURE, London, Chapman & Hall 1931, 1st edition, original cloth gilt, dust wrapper (worn) plus EDWARD L CUTTS: AN ESSAY ON CHURCH FURNITURE AND DECORATION, London 1854, 1st edition, original blind stamped cloth gilt worn plus JOHN F DOWSETT: STAIR BUILDING AND HAND RAILING ..., London 1929 1st edition, original cloth gilt slightly soiled plus P C H WEST: MODERN MANUFACTURE OF PORTLAND CEMENT ... VOLUME ONE MACHINERY AND KILNS, London 1910, only 1 volume in series published, original cloth gilt plus RUDIMENTS OF ANCIENT ARCHITECTURE CONTAINING AN HISTORICAL ACCOUNT OF THE FIVE ORDERS WITH THEIR PROPORTIONS ..., London, Architectural Library 1810, 4th edition enlarged, 11 plates as called for, leaves slightly trimmed to fore edge, bound in together with T WARTON AND OTHERS: ESSAY ON GOTHIC ARCHITECTURE, London, The Architectural Library 1808 3rd edition, 10 engraved plates, bound in together with JAMES DALLAWAY: OBSERVATIONS ON ENGLISH ARCHITECTURE MILITARY, ECCLESIASTICAL, AND CIVIL ..., London, Architectural Library 1806, contemporary half calf very worn, leaves slightly trimmed to fore edge plus ALLAN FEA: SECRET CHAMBERS AND HIDING PLACES ... [1908] 2nd edition, original cloth gilt very worn plus GEORGE P BANKART: THE ART OF THE PLASTERER ..., London 1908, 1st edition, original cloth gilt worn plus four others similar (11)
Maurice Feild (British, 1905-1988), Portrait of a young man, 41 x 31 cm, oil on canvas, unframed; Portrait of 'Angelica' in an Interior, oil on board, 49.5 x 37 cm; Study of a Blacksmith, oil on canvas, unframed, 55 x 46 cm (3). Feild studied at the Slade School in the 1920's, at Camberwell School of Art after 1945 and later lectured at the Slade School. He exhibited at Grosvenor Galleries, Cooling, and Walker's Galleries and others. Other Notes: Maurice Feild studied at the famous Slade School in the 1920s, then taught Art at "The Downs" near Great Malvern. After 1945, he taught at Camberwell School of Art, and later lecturd at the Slade School. Maurice Feild inspired many notable modern artists, by his direct, open air teaching methods.
Headley (George W.). The Headley Treasure of Bibelots and Boxes, Italy, 1975, numerous colour illustrations, inscribed by the author to front endpaper, original green cloth in slipcase, 4to, together with Caulfield (S.F.A. & Saward, Blanche C.), The Dictionary of Needlework, an encyclopaedia of artistic, plain, and fancy needlework, 1882, numerous black and white illustrations, adverts to front and rear, guttering split, some light marks, original gilt-decorated brown cloth, spine slightly faded and rubbed to head and foot, large 4to, plus Gibbings (Robert), The Wood Engravings of... with some recollections by the artist, 1st edition, 1959, numerous black and white illustrations including frontispiece, original black cloth in glassine dust wrapper, spine slightly rubbed at foot, 8vo, plus other late 19th century and modern art and bibliography reference, mostly original cloth, some in dust jackets, G/VG, 8vo/folio (3 shelves)
Lear (Edward). Journals of a Landscape Painter Southern Calabria &c, 1st edition, 1852, lacking front endpaper, Journals of a Landscape Painter in Corsica, 1st edition, 1870, both numerous black and white illustrations, some spotting, both original gilt-decorated blue cloth and red cloth (respectively), boards and spines slightly rubbed with minor loss, 8vo, together with Nutting (Wallace), The Clock Book, being a description of foreign and American clocks, 1st edition, The Plimpton Press, Massachusetts, USA, 1924, numerous black and white illustrations, original brown cloth, boards and spine slightly faded and damp damaged, 8vo, plus Bowett (Adam), English Furniture 1660-1714, from Charles II to Queen Anne, Antique Collectors' Club, 2002, numerous colour illustrations, original brown cloth in dust jacket, covers slightly rubbed to head and foot, 4to, plus other late 19th century and modern furniture, antique and art reference, mostly original cloth, many in dust jackets, G/VG, 8vo/folio (6 shelves)
Jaffe (Franz). Die Bischöfliche Klosterkirche Zu Curtea De Arges in Rumänien, Berlin, 1911, numerous black and white illustrations plus tipped-in colour plates, original gilt-decorated grey cloth, folio, together with Deutshe Kunst,Photogravüren nach Meisterwerken der Deutschen Malerie, volumes 1-4 (bound in 2), Berlin, circa 1900, numerous black and white plates with tissue guards, bookplates to front pastedowns, uniform gilt-decorated red half calf, spines slightly rubbed, folio, and other modern art reference, including Richard Hamilton, David Hockney, mostly original cloth, many in dust jackets, G/VG, 8vo/folio (a carton)
Hurlbutt (Frank). Bow Porcelain, 1926, 64 colour and half-tone plates, including frontispiece with tissue guard, original red cloth, boards and spine slightly rubbed and faded, large 8vo, together with Radcliffe (Anthony), The Robert H. Smith Collection, Bronzes 1500-1650, 1st edition, 1994, numerous colour plates, original brown cloth in dust jacket, 8vo, plus Halfpenny (Pat), English Earthenware Figures 1740-1840, 1st edition, 1991, numerous colour and black and white illustrations, original blue cloth in dust jacket, covers slightly rubbed to head, 8vo, plus other modern art, antiques, porcelain and pottery reference, including publications by Antique Collectors' Club, V & A, mostly original cloth, many in dust jackets, G/VG, 8vo/folio, approximately 90 volumes (4 shelves)
Calza (Gian Carlo). Hokusai, reprint edition, 2005, Ukiyo-e, reprint edition, 2007, both with numerous colour and black and white illustrations, original wrappers in dust jacket, spines slightly faded, large 4to, together with MacIntosh (Duncan), Chinese Blue and White Porcelain, 3rd edition, Antique Collectors' Club, 1997, numerous colour illustrations, original blue cloth in dust jacket, 8vo, plus Ingrams (Leila), Yemen Engraved, Illustrations by foreign travellers 1680-1903, 2006, numerous black and white illustrations, original blue cloth in dust jacket, 4to, with other modern Oriental and Middle Eastern art reference and related, mostly original cloth in dust jackets, G/VG, 8vo/4to (44)
Ruskin (John). The Art of England, lectures given in Oxford, 1884, The Storm Cloud of the Nineteenth Century, two lectures delivered at the London Institution, in Mantibus Sanctis, 2 volumes bound in 1, both 1884, some light marks, uniform contemporary gilt-decorated green quarter morocco, spines slightly rubbed and faded, 4to (2 volumes in total), together with Stillman (Damie), English Neo-classical Architecture, volumes 1 & 2, 1988, numerous black and white illustrations, original blue cloth in dust jackets, spines faded, large 8vo, plus Peill (James & Glin, Knight of), Irish Furniture, Woodworking and Carving in Ireland from the Earliest Times to the Act of Union, 2007, numerous colour and black and white illustrations, original blue cloth in dust jacket, spine slightly faded, large 4to, plus other late 19th-century and modern art reference, mostly original cloth in dust jackets, G/VG, 8vo/4to (6 shelves)
Foskett (Daphne). A Dictionary of British Miniature Painters, volumes 1 & 2, 1st edition, 1972, numerous colour illustrations, original blue cloth in price-clipped dust jackets, spines lightly rubbed to head and foot, 4to, together with Baron (Wendy), The Camden Town Group, 1st edition, 1979, numerous colour and black and white illustrations, original brown cloth in dust jacket, covers slightly rubbed to head and foot, 8vo, and Reitlinger (Henry Scipio), Old Master Drawings, a handbook for amateurs and collectors, 1922, 72 black and white plates including frontispiece with tissue guard, original red boards to cream cloth spine in dust jacket, covers slightly toned and rubbed with minor loss to head and foot, large 4to, plus other modern art and artist reference, including publications by the Antique Collectors' Club, all original cloth, many in dust jackets, G/VG, 8vo/folio (3 shelves)
Armstrong (Walter). Turner, Thomas Agnew & Sons, 1902, 103 monochrome illustrations, some light toning and spotting, original gilt-decorated plum cloth in slipcase, boards slightly rubbed, spine faded and frayed to head and foot, folio, (limited edition 99/1000), together with other modern miscellaneous art, historical reference and fiction, mostly original cloth, many in dust jackets, G/VG, 8vo/folio (6 shelves)
Heinemann (Rudolf J., editor). The Thyssen-Bofnemisza Collection, volumes 1 & 2, 1969, numerous black and white illustrations, original blue cloth in dust jackets and slipcases, covers slightly marked and rubbed, 8vo, together with Bickerton (L.M.), Eighteenth Century English Drinking Glasses, An Illustrated Guide, 2nd edition, Antique Collectors' Club, 1986, numerous black and white illustrations, original blue cloth in dust jacket, covers slightly worn with minor loss, 4to, plus Butler (Rodney), The History of Kirkstall Forge through Seven Centuries, 1200-1954, 2nd edition, The Ebor Press, York, 1954, 53 black and white illustrations, original red cloth, boards slightly rubbed, 4to, with other modern antique, ornament and art reference, mostly original cloth in dust jackets, G/VG, 8vo/folio, approximately 60 bolumes in total (2 shelves)
Epstein (Marc Michael, et al). The Brother Haggadah, a medieval Sephardi masterpiece in facsimile, 2016, 100 colour plates, original blue cloth in dust jacket and slipcase, large 8vo, together with Scrase (David), Italian Drawings of The Fitzwilliam Museum, Cambridge, Together with Spanish Drawings, CUP, 2011, numerous colour illustrations, original red cloth in dust jacket, large 4to, plus Avery (Charles), Finger Prints of the Artist, European Terra-Cotta Sculpture from the Arthur M. Sackler Collections, USA, 1981, numerous colour and black and white illustrations, original red cloth in dust jacket, folio, plus other modern European art reference including some German and Italian language, mostly original cloth in dust jackets, VG, 8vo/folio (34)
* JONATHAN GIBBS, JAPAN acrylic and charcoal on linen, signed and dated 1985 verso 120cm x 153cm Label verso: 'The Scottish Gallery One Man Exhibition 1985'. Note: Jonathan Gibbs is the Head Of Illustration at Edinburgh College of Art. He studied at The Central School of Art & Design, London and at The Slade School of Fine Art. He has had nine solo exhibitions at the prestigious Open Eye Gallery (Edinburgh), six at The Curwen Gallery (London) and many in other top flight galleries including Ewan Mundy Fine Art, The Scottish Gallery, 369 Gallery, The Ikon Gallery (Birmingham) The Richard Demarco Gallery , Rowley Galleries (London) and The Camden Arts Centre (London). Group exhibitions include The Royal Academy, The Royal Scottish Academy, The John Moores Exhibition, The Hayward Gallery and The Scottish National Gallery of Modern Art. Public collections include The Arts Council Of Great Britain, The Scottish Arts Council and the UK Government Art Collection.
* GWEN HARDIE,BODY 08.06.13.2oil on canvas, signed and titled verso40.5cm x 51cm (oval)Unframed, as intendedNote: Hardie is the youngest artist ever to be awarded a solo show at The Scottish National Gallery of Modern Art in Edinburgh, Scotland (1990).Gwen Hardie is represented in many private and public art collections in Britain, Europe and America including two major works in The Scottish National Gallery Of Modern Art. Since moving to New York in 2000, she has shown with The Lennon Weinberg Gallery, Dinter Fine Art and has been awarded Residencies at Yaddo in 2004, 2005 and 2006 in a Bogliasco Fellowship at The Liguria Study Center in Italy. She lived in London between 1990 and 2000 and had 6 solo shows with galleries such as Annely Juda Fine Art, Beaux Arts and Fischer fine Art. In 1997 her painting was awarded a prize at the John Moores biennial, Liverpool and was included in the New British Painting'' which toured America in 1986. Hardie left her native Scotland in 1984 when she was awarded a DAAD Scholarship to study with Georg Baselitz in Berlin. A documentary was broadcast on Scottish Television about her in Berlin in 1987. At Edinburgh College of art she was awarded the Richard Ford Award to study the paintings of Velasquez at the Prado Museum and received a first class honours degree in 1983.
* GWEN HARDIE,FACE 09.17.05oil on canvas64cm x 58.5cm (25 x 23 inches)FramedProvenance: The artist. Private London collection.Note: Hardie is the youngest artist ever to be awarded a solo show at The Scottish National Gallery of Modern Art in Edinburgh, Scotland (1990).Gwen Hardie is represented in many private and public art collections in Britain, Europe and America including two major works in The Scottish National Gallery Of Modern Art. Since moving to New York in 2000, she has shown with The Lennon Weinberg Gallery, Dinter Fine Art and has been awarded Residencies at Yaddo in 2004, 2005 and 2006 in a Bogliasco Fellowship at The Liguria Study Center in Italy. She lived in London between 1990 and 2000 and had 6 solo shows with galleries such as Annely Juda Fine Art, Beaux Arts and Fischer fine Art. In 1997 her painting was awarded a prize at the John Moores biennial, Liverpool and was included in the New British Painting'' which toured America in 1986. Hardie left her native Scotland in 1984 when she was awarded a DAAD Scholarship to study with Georg Baselitz in Berlin. A documentary was broadcast on Scottish Television about her in Berlin in 1987. At Edinburgh College of art she was awarded the Richard Ford Award to study the paintings of Velasquez at the Prado Museum and received a first class honours degree in 1983. '' Three of Gwen Hardie's paintings are currently included in ''REALITY; Modern and Contemporary British Painting'' at The Walker Art Gallery (until 29th November 2015) alongside the work of Walter Sickert, Lucien Freud, Francis Bacon, L S Lowry, Jenny Saville, Ken Currie, George Shaw, David Hockney, Alison Watt, Paula Rego and other important 20th century and contemporary artists.
DERHAM, WILLIAM (1657-1737): "The Artificial Clock-Maker, A Treatise of Watch & Clock-work, wherein The Art of Calculating Numbers for most sorts of Movements is explained, to the Capacity of the Unlearned, Also, the History of Watch and Clockwork, Both Ancient and Modern With other Useful Matters never before Publish'd", the second edition enlarged, with additional supplement in the same volume, printed for James Knapton at the Crown in St Paul's Church-yard in 1700, with two musical notations for chimes to the main book (one separate) and two fold out illustration plates to the supplement, with two final pages of advertisements, including prices, of other books printed by Knapton, in contemporary binding (binding af), plus a Russian travelling clock and another. CONDITION REPORT: Volume appears to be complete as all the catchwords are intact. Also the pagination is correct except for page 13 of the supplement which appears to be erroneously numbered 31. Binding split and separate to front and thus both front cover and endpaper are separate but present. Split to binding at the back. Wear and foxing to the edges of the pages.
Catering and Baking Miscellany : Kirkland J. (Ed.) : The Modern Baker, Confectioner and Caterer, 1907. Six Vols. Qto. Hb. Art nouveau decorative cloth binding, colour and monochrome plates. 'Nirvana' : Pastries, C.1950. With two other titles. CONDITION REPORT: Signs of use to the binding o/w generally vg,
Eishin Yoza (1952 - ) Six signed Limited Edition Prints from an edition of 200, figures in pastel colours, 51cm x 68cm, mounted and glazed in modern silvered frames. Footnote - Eishin Yoza was born in 1952 in Okinawa (Ishigaki island). At the age of 18, he left for Tokyo where he enrolled in the Shinjuku Art School. (6)
A group of modern art glass, comprises a Bo Borgstorm design vase Svensk form by Aseda, original label; a Goran Warff for Kosta Boda sunflower candleholder; Orrefors artichoke candleholder designed by Berit Johansson; a Selkirk glass paperweight; a Nybro Sydney opera glass paperweight and other glasswares (11)
Set of Six Charles Rennie Mackintosh Prints. Stunning set of six prints, in a special portfolio of The Flower Paintings of Charles Rennie Mackintosh. Each print is accompanied by a Certificate of Authenticity signed by the Director of the Hunterian Museum and Art Gallery and the Managing Director of Spink Modern Collections. Each print measures 12x14 inches. Good condition. All signed items come with Certificate of Authenticity. Can be shipped worldwide.
Renee Halpern (20th Century) - A La Campagne, lithograph, 179/200, signed and numbered, 39.5 x 56; Thomas Kruger (20th Century) - The Dawn, lithograph, ed. 33/200, signed and numbered, 54 x 45 cm; Fanch Ledan - "Parc Monceau sur la Neige", lithograph, signed and numbered 85/200, with blindstamp, 58 x 79 cm, all three with certificates from Christie's Contemporary Art; and Modern British School - Abstract in greens and blacks, print, 55 x 75 cm (4)
WILLIAM CROZIER (SCOTTISH 1897 - 1930), THE SUMMER HOUSE oil on canvas, signed lower right 46cm x 61cm Unframed Note: Born in Edinburgh, Crozier studied at Edinburgh College of Art and was a fellow student and friendly with William Geissler, William Gillies, Anne Redpath, Adam Bruce Thomson and William MacTaggart. He is, along with these artists, closely associated with The Edinburgh School. An exhibition of his work was given at the Scottish National Gallery of Modern Art in Edinburgh in 1995.
Postcards, a collection in box and modern album of sets and part sets including Dalkeith, Literary, Months of the Year, Art Nouveau, Belle Jardinière (4 sport ads), comic personal newspaper ads, loose cards including ethnic, sold with an album of approx 145 Edwardian Actors and Actresses, signed include Ada Reeve, Gladys Cooper, Phyllis Monkman, Sybil Thorndike, Phyllis Dare, Fred Terry, Forbes Robinson, Fred Beck, Nora Moore etc (mixed condition)
‡The following three lots are sold on the instructionsof Shrewsbury College of Arts and TechnologyROBERT MEDLEY, CBE. RA. (1905-1994)Red Street Scene with Figuresoil on canvas30 1/2 x 40 1/4 in (77.4 x 102.3cm)Exhibited:Robert Medley Retrospective Exhibition, paintings, drawings and sculpture 1928-1963. Whitechapel Art Gallery, London November-December 1963, no 6'Red Street Scene' is mentioned in the Whitechapel exhibition catalogue - "1938. Painted Red Street Scene, a more social-realist picture with expressionist-caricature elements of distortion and 'artificial' invented colour" and (he) "began to feel the need to eliminate elements of fantasy from his work. Medley feared sentimentality and started to mistrust surrealist fantasy"'Robert Medley Exhibition' 1984 no.10. Museum of Modern Art, Oxford. The frame bears a 'Contemporary Art Society. Art Exhibitions Bureau, London'label on the reverse.For a smaller study for the painting in this auction.cf Dreweatts & Bloomsbury Auctions, Oct 2014. lot 342 Medley included in the 39th Exhibition, New Burlington Galleries, London. Oct-Nov 1937 , ,no.38 a painting titled 'Men, Women and Children talking and Playing'. 50 gns.He was however also working on a number of other paintings at this time. In the same year 1937, Medley exhibited six pictures including 'Tenement Buildings' and 'Jokers' at Agnews Robert Medley studied at the Byam Shaw and RA Schools, London in the early nineteen twenties, and later in Paris from 1926-1928. In the period 1929-1934 he worked with both Duncan Grant and Vanessa Bell. He showed with the London Group from 1929 becoming a Member in 1937. As art Director of the Group Theatre 1935-1939 he designed the settings and costumes for a number of Productions. In 1938 he won the commission to paint the safety curtain for the Old Vic , and from about the same time he was working on another street scene known as the 'Butcher's Shop'.
Katzhütte figure of a female skier, Art Deco period figure of a girl in a blue dress impressed numbers to base 395-I, Art Deco period glass trinket box with figural decoration and one other Art Deco style figure (4) Condition Report Girl with blue dress - crack through right arm at the shoulder & all over crazing. Trinket box - good condition. Green girl - no cracks or chips. Some marks but they appear to be surface dirt. Ivory-coloured figure - modern resin but good condition. Click here for further images, condition, auction times & delivery costs
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