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Lot 638
George Cruikshank, British, London 1792-1878- "Ancient Military Dandies of 1450 - Modern Military Dandies of 1819" publ. Thomas McLean, 26 Haymarket, August 1st, 1835; hand-coloured etching, 27x36cm, Provenance: see The Metropolitan Museum of Art, New York, Accession Number: 1970.538.20, for a similar example: Attributed to William Heath, British, 1795-1840- "A Trifling Misunderstanding or a Military Tea Party" publ Thomas McLean, 26 Haymarket, London: James Gillray, British 1756-1815- "Heroes Recruiting at Kelsy's" publ Hannah Humphrey, London, 1797 ; hand-coloured etching, 27x21.5cm, (3)
Lot 1304
Fine and very rare J.L. Reutters Atmos mantel clock no. 4781, the 5" silvered chapter ring inscribed Atmos, Pendule Perpetuelle, upon a cream metal dial plate over a pendulum window, within an Art Deco chromium and copper plated stepped case, the back plate fitted with a small plate inscribed Brevets J.L. Reutter, S.G.D.G., Made in France, 8.5" high *There seem to have been very few Reutter Atmos clocks of this model type made; research has revealed one in the Jaeger Le Coultre Museum, another which recently sold in a French auction at The Hotel Marcel Dassault (Lot 518) for 26,777 Euros, and this example. According to Jaeger Le Coultre this clock (model CH2, modern type) was produced between 1935 and 1939
Lot 267
ANATOLY ZVEREV (RUSSIAN 1931-1986)Portrait of a Man, 1980watercolor, wax, pastel on paper85.1 x 59.7 cm (33 1/2 x 23 1/2 in.) [sight]initialed in Cyrillic and dated lower leftPROVENANCEMargo Grant Collection LITERATURECatalog ""No Exit Art, Works on paper by Nonconformist artists from the 1950s to the end of Soviet era"", The Museum of Russian Art (MoRA), New Jersey, page 44. EXHIBITEDJersey City, NJ, ""No Exit Art, Works on paper by Nonconformist artists from the 1950s to the end of the Soviet Era"", The Museum of Modern Art (MoMA), 3/2010-1/2011.
Lot 333
Merrill Lindsay; One Hundred Great Guns, published by Blandford Press, London 1968; Major Gerald Burrard DSO, The Modern Shotgun, vol 1, first edition, published by Herbert Jenkins, London 1931; Cotie Burland, North American Indian Mythology, and Eskimo Art; Philip Allison, African Stone Sculpture, and further books, predominantly on arms and armour and primitive arts. (24)
Lot 333
Merrill Lindsay; One Hundred Great Guns, published by Blandford Press, London 1968; Major Gerald Burrard DSO, The Modern Shotgun, vol 1, first edition, published by Herbert Jenkins, London 1931; Cotie Burland, North American Indian Mythology, and Eskimo Art; Philip Allison, African Stone Sculpture, and further books, predominantly on arms and armour and primitive arts. (24)
Lot 564
§ Sax Shaw (Scottish, 1919-2000) King David - a study for a cartoon possible partial signature lower right, inscribed ""David Cartoon"" to the reverse oil on canvas, rolled and unframed Provenance: From an Edinburgh textile Mill, thus possibly a design for a rug or wall hanging. The Sax Shaw appears to be a cartoon ( design ) for a textile, possibly a rug or wall hanging, hence its logical connection to it being left at a textile mill, although we do not know if it was ever produced or not, and is very similar to one shown as an example of the artist`s work, on the web page giving details of his Edinburgh Exhibition http://saxshaw.com/exhibition-catalogue/ ( CLICK HEADER TAB `exhibition catalogue ), then it is picture no` 12. It is unknown whether the design was ever produced in a textile. Sax Shaw designed stained-glass windows which feature in churches all over Scotland; produced modern British tapestry at the Dovecote studio, and became a mentor to generations of students at Edinburgh and Glasgow schools of art. Has been rolled up. Unframed.
Lot 1353
The Imperial Family Bible containing The New and Old Testaments according to the Authorised Version with notes, original and selected references, readings, chronological tables and indexes. Illustrated by A Superb Series fo Engravings from the most admired productions of Ancient and Modern Art. Published by Blackie and Son, Queen St, Glasgow
Lot 147
INDIA - PAINTINGS OF THE SIKHS - Paintings of the Sikhs, by W.G. Archer, 1966, first edition, 284pp, original cloth. Col. frontis, 80 plates, London HMSO, 1966, 284pp. This highly illustrated book is one of the most rare and sought after modern day publications on the Sikhs, as it has been long out of print and no second edition was ever printed. W G Archer was long associated with the Victoria & Albert Museum, and wrote a number of books on Indian art and in particular Punjabi art. This book contains detailed historical data on Sikh history as well as the origins of art associated with the Sikhs.
Lot 1772
Books - The Arts - Leather Bindings - The Picture Gallery of Modern Art, Sampson Low, London 1878, folio, half leather bound, gilt tooled spine; The Doré Gallery; Royal Academy Pictures 1891, bound in black leather; another, Royal Academy Pictures 1892; other large leather bound folios; Chamber's Cyclopaedia of Literature, half leather bound; qty
Lot 851
A modern suite of French Grange cherry wood dining room furniture made for Harrods, art deco "French Line" style comprising sideboard, extending dining table with two additional leaves, set of eight matching solid back dining chairs and a low side serving shelf. (11) CONDITION REPORT; Overall good condition. Very light scuffs/marks in places.
Lot 851
A modern suite of French Grange cherry wood dining room furniture made for Harrods, art deco "French Line" style comprising sideboard, extending dining table with two additional leaves, set of eight matching solid back dining chairs and a low side serving shelf. (11) CONDITION REPORT; Overall good condition. Very light scuffs/marks in places.
Lot 130
A quantity of Art Deco pressed glassware to include a Walther and Sohne vase, the bowl flanked by two mermaids, a frosted glass vase moulded in relief, a pair of green and blue candlesticks, together with an amber Bohemian amber vase and other glassware, together with modern Japanese and other decorative ceramics (two trays)
Lot 551
Mixed silver, to include, Art Deco cigarette box, Birmingham 1945, purple guilloche enamel and silver topped dressing table jar, Edwardian ring tree, London 1903, four division toast rack, Birmingham 1933, pair of modern engine turned ash trays, each with presentation inscription, Edwardian ladies purse, Birmingham 1909, various other silver topped dressing table jars, serviette rings etc., total weighable silver 13.7oz, (qty)
Lot 551
Mixed silver, to include, Art Deco cigarette box, Birmingham 1945, purple guilloche enamel and silver topped dressing table jar, Edwardian ring tree, London 1903, four division toast rack, Birmingham 1933, pair of modern engine turned ash trays, each with presentation inscription, Edwardian ladies purse, Birmingham 1909, various other silver topped dressing table jars, serviette rings etc., total weighable silver 13.7oz, (qty)
Lot 51
An historic 14th century relic from Ypres Cathedral Church of St Martin, being a carved wooden shield bearing the ancient coat of arms of the Ecclesiastical Court of Ypres, 24? x 16?. See opposite title page. Note: the shield is accompanied by a typewritten 12 page history by Hayter Preston, Art Critic for The London Reference entitled ?Soldiers Risk For a thing of Beauty?. The condensed story of its fascinating past is as follows: The cathedral was completed in 1370 with the shield proudly in place and it survived many wars; Richard II would have seen it as would the army of Charles VI of France and Spanish soldiers under Phillip II. During the French Revolution sympathisers were unable to disfigure it as it stood 60 feet above the ground. The Cathedral was heavily bombed during 1915 during which 130 people were killed seeking its protection.During this period the shield was spotted by a young British officer who felt that the original carving should be protected. In view of the height ladders were out of the question. With the shelling continuing by day the officer, with the help of an American volunteer in the British Army (from Detroit), decided to remove it from the ruins to a place of safety at night. The two men rigged up gun limber ropes and a ball of cord and with the aid of a rifle and a blank grenade they fired the cord over the top of the gable. Once the gun rope was secure the job was completed over two nights. It meant climbing up and chiselling in the stonework around the shield. They worked for three hours than gave up at 4.a.m. Between sessions the Germans had dropped a shell clean through the gable six feet below which gave a foothold obviating the necessity of coming down for a rest. The shelling at times was intense from the seventeen inch howitzers concentrated on the Cathedral Square. Once removed the officer took the shield to his mess and it became an item of great interest and he brought it back to England during his leave in 1916. Upon his return to France the officer received a head wound which caused memory loss which lasted ten years, but upon recovery he remembered where he had put it in store. Fortunately he was able to retrieve it. The American soldier who had helped him was sadly killed three weeks after the removal of the shield. During a visit to the British Museum he saw a Fifteenth Century guide to Ypres, printed in 1400, the coloured cover displaying the coat of arms which confirmed its date. The author of the article states that he has examined the pear wood shield embellished with thick coatings of paint and, in his long experience as a professional critic of art, declared that he had never seen a finer example of 14th century carving. With this lot is dated correspondence from the Ambassade De Belgique, the Sunday Express and the Imperial War Museum. We would like to point out that this shield was offered to the Belgian Government in 1955 for re-installing into the refurbished cathedral but they declined as a modern replacement had already been re-instated.
Lot 485
A COLLECTION OF BIBA AND WALLIS VINTAGE CLOTHES all bought by the vendor during her time working for BIBA in High Street Kensington in the 1960`s BIBA orange floral print long sleeved mini dress, unlabelled as BIBA had no labels during this time; BIBA Two long sleeves t-shirts with buttons in green and green/brown striped respectively, alongside a BIBA pirple/black large striped sleeveless vest; BIBA purple long sleeved t-shirt with matching purple/green paisly skirt, altered from original dress form; WALLIS khaki dungaree top play suit with a floral chiffon blouse; WALLIS orange print dress with whit collar and short sleeve cuffs; BIBA Two Art Deco style bagdes (7 garments) All clothes approximately ladies UK Size 10/12 Note:These clothes embody the 1960`s period of history called `Swinging London`, the catch-all term applied to the fashion and cultural scene that flourished in the captial at that time. It was a youth-oriented phenomenon that emphasised the new and modern. It was a period of optimism and hedonism, and a cultural revolution, catalysed by the recovery of the British economy after post-World War II austerity which lasted through much of the 1950s. The vendor was living in London at the time and working for Biba and Lee Bender at Bus Stop, proving these clothes are truely symbols of their period and style.
Lot 487
A COLLECTION OF LEE BENDER AT BUS STOP CLOTHES all bought by the vendor during her time working for Lee Bender At Bus Stop`s London shop in the 1960`s BUS STOP Art Deco black/pink/cream print large cream buttoned blouse, with gold threaded label; BUS STOP Art Deco cream/pink/eal floral print sleeveless dress with two hip placed pockets, with gold threaded label; BUS STOP red/black/yellow floral print halter neck mini dress, with gold threaded label; BUS STOP pink/red floral long sleeved button up mini dress, with contrast white collar and cuffs; BUS STOP fair isle scoop neck jumper with elbow length sleeves, with small label All clothes approximately ladies UK Size 10/12 (5 garments) Note:These clothes embody the 1960`s period of history called `Swinging London`, the catch-all term applied to the fashion and cultural scene that flourished in the captial at that time. It was a youth-oriented phenomenon that emphasised the new and modern. It was a period of optimism and hedonism, and a cultural revolution, catalysed by the recovery of the British economy after post-World War II austerity which lasted through much of the 1950s. The vendor was living in London at the time and working for Biba and Lee Bender at Bus Stop, proving these clothes are truely symbols of their period and style.
Lot 18
Two boxes of various china and glassware to include modern Vienna cabinet cup, Paragon Art Deco style part coffee set, 19th Century blue and white wares, commemorative mugs, Royal Worcester pink ground tea wares, B SMITH "Mountainous dwellings", watercolour heightened with white, signed bottom left, a framed and glazed collection of eight exotic butterflies, etc
Lot 96
Roderic O'Conor (1860-1940) Étude de Femme (c.1915-17) Oil on canvas, 54.5 x 66cm (21½ x 26") Signed. Atelier stamp verso Signed on middle bar of stretcher "No.9 Roderic O'Conor 'Etude de Femme' Exhibitied: Salon d'Automne, 1919 (1920); "Modern British Paintings" Crane Kalman Gallery, London,1969 (2), ill.; Roderic O'Conor 1860-1940, Retrospective Exhibition, Barbican Art Gallery, London; Ulster Museum, Belfast; National Gallery of Ireland, Dublin; Whitworth Gallery, Manchester, 1985 Cat No. 66 Provenance Hotel Drouot, Paris, Vente O'Conor 7 février, 1956, Crane Kalman Gallery, London, 1969; Mr.J. P. Reihill, Deepwell, Blackrock. Literature Roderic O'Conor 1860 -1940, Roy Johnston,1985, illustrated p.89 Roderic O'Conor 1860-1940, Jonathan Benington, Cat. No. 195, p.213 1992 The young woman who is the subject of this painting by Roderic O'Conor is believed to be Renée Honta. She was born in 1894 in the south west of France in the historic city of Pau, which is situated near the Pyrenees close to the border with Spain. Little is known about her early life or her reasons for leaving the parental home to travel to Paris, but Renée was to play an important role in O'Conor's life, initially as his model and mistress and then as his constant companion, later his wife in 1933. O'Conor included the painting in a group of nine works which he exhibited at the Salon d'Automne in 1919, the year which marked the return of the Salon to the Paris exhibition calendar following its temporary suspension during World War I. In this painting Renée, then in her early 20's, is depicted in a relaxed pose lying on what appears to be a wooden seat or long bench with a wooden arm rest. Her upper body is probably being supported by a concealed cushion covered with a draped blue and white patterned fabric, which appears frequently in O'Conor's studio paintings. She appears comfortable in her surroundings, and the subtlety of her smile and facial expression seem to indicate a relaxed relationship with the artist, who, when this portrait was painted, was thirty four years older than she was. O'Conor has composed his figure on the diagonal and has added interest to his composition through the introduction of a specific anatomical contrast between the angularity of her arms and the subtle rhythm of her reposing body. He has also made the most of the contrast between light and dark areas through an increase in values in the painting of her upper body and arms, which he has set off against the dark area of the bench and studio wall beyond. Additional visual contrast is introduced through variety in the paint application, which ranges from the dark background stain quickly scrubbed into the canvas to the energy of the brush marks defining the fabric of Renée's dress in the bottom right corner of the painting. The expressive wet on wet technique and blending of the paint directly on the canvas is typical of O'Conor's painting technique at this period in his career. Dr. Roy Johnston
Lot 102
Nathaniel Hone RHA (1831-1917) Driving Cattle Home through the Bend Oil on canvas, 61 x 91.5cm (24 x 36") Provenance: Deepwell, Blackrock. Presented to J.P. Reihill by the Board of Irish Life circa 1983 Nathaniel Hone was the first native artist to introduce the influence of 19th century French Naturalism to Irish painting. He was born in Fitzwilliam Place, Dublin in 1831, the son of Brindley Hone, a merchant and director of the Midland Great Western Railway and was the great-grandnephew of the 18th century painter of the same name. Though a member of this very artistic family, his initial training was as an engineer at Trinity College Dublin followed by a brief period of work for the Irish Railway before going to Paris in 1853, at the age of twenty-one to study painting. He first studied under Adolphe Yvon, the French military painter and later Thomas Couture who was one of the earliest exponents of realism and from whom Hone learned principles which would influence his work throughout his career. Hone moved to the village of Barbizon in the Forest of Fontainebleau circa 1856, where he painted with Millet, Courbet, Daubigny and Harpignies. Corot's paintings had the greatest influence upon his work. The advice which Hone had absorbed from Couture to "retain the brilliant qualities of a first painting", were echoed by Corot in Barbizon: "surrender to the first impression". While based in Fontainebleau, Hone also made trips to Normandy, Brittany, the Mediterranean coast and briefly visited Italy. Wherever he travelled his subject matter was consistent, always choosing to observe the landscape and country life, in scenes of shepherds with their herds, fishing villages and the seashore. During his seventeen years in France, Hone made regular visits home before this final return in 1872. Within a few months he married Magdalen Jameson of the wealthy, distilling family and they settled near Malahide. The paintings which he completed in Ireland after his return from France maintain the mood and muted tonality characteristic of the Barbizon School. He chose similar subjects to those he had portrayed in France: woodlands, pastures and coastline; the major part of his output was of scenes around Dublin Bay although he also painted in Wicklow, Donegal, Mayo and Clare and made several trips abroad to Greece, Asia Minor and Egypt. From 1876, except for four years, Hone exhibited at the RHA. He was elected a full member in 1880 and in 1894 became Professor of Painting. His exhibition with John Butler Yeats in 1901 was one of the turning points for the history of Irish art as it was their paintings which convinced Sir Hugh Lane that Dublin should have a gallery of modern art. After his death in 1917 his widow bequeathed the contents of his studio to the National Gallery of Ireland. Hone rarely dated his work so that it is difficult to establish chronology. The similarity of many of his motifs and subjects often make it difficult to tell whether a view is Irish or French. Equally it is difficult to chart his developments on stylistic grounds alone. This painting was one of the unframed canvases catalogued by Dermod O'Brien and listed by Thomas Bodkin as being in the collection of Mrs Hone at the time of her death (Four Irish Painters, p.172, no. 89). It displays Hone's great feeling for specific light and weather condition. His concentration is on billowing cumulus skies, which echo, formally, the shape of the undulating countryside beneath. The use of rapid, flecked brushstrokes in the foreground and to describe the cows and drover suggests an awareness of Impressionism.
Lot 43
Paul Nash,: Illustrated, qtr. cl., 4to, Ernest Benn 1923; BANHAM, Mary & HILLIER, Bevis (eds.) - A Tonic to the Nation - The Festival of Britain 1951, , 4to, 1976; ABERCROMBIE, Patrick - The Book of the Modern House, Illustrated, cl., 4to, 1939; HOLME, Rathbone & FROST, Kathleen M. (eds.) - Decorative Art - The Studio Yearbook, 1949, cl., 4to. (4)
Lot 242
Edward Bawden (1903-1989) (ARR), February, 2pm, 1936, signed and dated 1936 lower right, watercolour, 45 x 57cm. In original sycamore frame. We are very grateful to James Russell, lecturer and author for the Mainstone Press, for the following write up on this painting. `February, 2pm 1936` is one of the most important of Edward Bawden`s critically-acclaimed pre-war watercolours, a technically accomplished painting with great personal significance to the artist. The title tells us the time and date but not the place, which is the garden of Brick House, where Bawden lived with his wife Charlotte, (nee Epton, a talented potter) and children Joanna and Richard (both of whom became artists), seen from the roof. From this vantage point we see just below us a white trelliswork gazebo, which had been given to the Bawdens as a wedding present by Eric and Tirzah Ravilious. It appears in paintings by both Ravilious and Bawden, reminding us of the fact that the two friends and their wives lived all together at Brick House for several years in the early 1930s. As students at the Royal College of Art in the early 1920s Bawden and Ravilious had been encouraged by Paul Nash to explore watercolour, then a medium undergoing a major revival and they did so with enthusiasm. So seriously did they take their painting, that in 1930 they hunted down a weekend retreat, touring north-west Essex by bicycle and eventually finding their way to the village of Great Bardfield, where they managed to rent half of Brick House from its owner, a retired stewardess from an ocean liner. On Bawden`s marriage his father bought the whole place and so the art colony of Great Bardfield was born. A host of distinguished artists came and went during Bawden`s lifetime and the artist found endless inspiration for paintings, linocuts and drawings in and around the house and garden. This particular painting was exhibited in his second solo exhibition at the Zwemmer Gallery, London, in 1937. His 1933 show had been well-received with The Times noting that his work was `all paint, all edge, all sharpness` and the second exhibition was if anything even better. The distinguished critic Eric Newton approved particularly of Bawden`s modern watercolour technique, which he described as `dry and worried and patchy` and we can see in this painting the artist`s restless energy. Rarely did he apply himself with such vigour to a painting. The strong, meaty red of the wall is scratched and distressed, as is the whole surface of the picture, suggesting that the winter weather was less than clement. Bawden and Ravilious were highly competitive, each striving to endure greater discomforts and more challenging working conditions than the other. Here, Bawden has excelled himself. The picture is one of few reproduced in colour in the `Penguin Modern Painters` book on Bawden, published in 1946 with an essay by J.M. Richards. James Russell, July 2014. www.jamesrussellontheweb.blogspot.co.uk www.themainstonepress.com
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