**A SOUTH GERMAN `ALMAIN` COLLAR, CIRCA 1570-80 formed of three lames front and rear, connected to one another in each case by three internal leathers (replaced), the first lame formed at its upper edge with a prominent file-roped inward turn, and the lowest, which is deeper than the rest and descends at the front to a shallow central cusp, formed with a plain raised rib accompanied by a recessed border that rises to a small cusp at its centre, the front and rear sections connected to one another by an internal hinge and later rivet at the left side and fastened by studs and holes at the right, each side of the collar fitted with the proximal two lames of an integral spaudler (restored) decorated at its main edges with ribs and borders en suite with those of the lower edge of the collar, the lowest rear plate of the collar fitted with a modern hinged stud for the suspension of pauldrons, the front and rear sections of the collar each retaining traces of a black-from-the-hammer finish scored through with paired lines at their subsidiary edges (lightly pitted overall) 13.6 cm; 5¼ in high Provenance George F. Harding Jr, Chicago, purchased before 1939 Transferred to the Art Institute of Chicago, 1982, Acc. No. 1982.2576
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**A COMPOSITE COLLAR, PARTLY SOUTH GERMAN, MID-16TH CENTURY AND PARTLY EUROPEAN 19TH/EARLY 20TH CENTURY formed of four lames front and rear, the front and rear sections connected to one another at the left by a hinge and fixed rivet, and at the right by studs and holes, the lames of each section connected to one another by three internal leathers, the main edge of the uppermost lame formed in each case with a boldly roped inward turn and that of the lowest and deepest, with a plain raised rib accompanied by holes for lining-rivets, and the subsidiary edges decorated at their centres with filed ogees 16.3 cm; 6½ in high Provenance George F. Harding Jr, Chicago, purchased before 1939 Transferred to the Art Institute of Chicago, 1982, Acc. No. 1982.2573 The first lame and the second and third lames appear in each case to be authentic but partly reworked to fit one another. The lowest lame is in each case modern
Jazeh Tabatabai, Iranian 1931-2008- Two figures; oil on unstretchered canvas, signed and dated 1959 and signed in Farsi, 111.5x65cm, (unframed, rolled) Note: Tabatabai was an Iranian avant-garde painter and sculptor and he was the founder and director of the Iran Modern Art Gallery in Tehran, Iran. His work can be found in many museums and collections around the world including the Louvre and Metropolitan Museum of Art. He has received several international awards for his paintings and sculpture. CONDITION REPORT: canvas has been unstretchered, is rolled not re-lined the top section of the salvage is trimmed slightly there are three pieces of brown tape adhered to the reverse of the canvas along the left hand side the canvas appears to have been unprimed and as such there are areas where the diluted [pigment has bled through to the reverse of the canvas edges of the canvas and salvage are creased, slightly ragged and worn the salvage bears old holes from tacks or staples when it was formally on a stretcher the canvas is subject to slight small indentations overall suggesting it has been pressed against a rough surface at some point in time prior to being rolled there is some yellow staining to the reverse of the canvas there are some slight superficial scuffs to the paint surface here and there otherwise good condition will require re-stretchering
SIR JOHN LAVERY (1856-1941), IRISH LADY IN GREEN (MRS. CARA H.) Oil on canvas; signed lower right, titled and dated 1903 at Cromwell Place, London to artist label verso 35"" x 24"" 88.9 x 61 cm. Provenance: The property of E.F.B. Johnston, Esq., K.C. Toronto; Harry Diamond, Toronto purchased circa 1958; His Estate, Toronto Exhibited: The Art Museum of Toronto (now the Art Gallery of Ontario), the Second Exhibition Catalogue of a Loan Collection of paintings of the English, Old Master, Modern Dutch, French and other European Schools Contributed by Private Collectors from 24th November - 16th December 1909, Cabtalogue No. 38 label verso Literature: The Art Museum of Toronto, The Second exhibition catalogue
MAQBOOL FIDA HUSAIN (1915-2011), INDIAN FERTILITY Oil on canvas; signed lower right, titled verso and inscribed number H3-50/IC 38.25"" x 50"" 97.2 x 127 cm. Provenance: Private Collection, Montreal Note: Maqbool Fida Husains Fertility reinterprets the traditional Indian motif of the Mithuna or ""loving couple"", an iconic representation that first appeared in Indian sculpture over 2,000 years ago. Mithuna is understood to have multiple meanings, ranging from an obvious celebration of life`s pleasures to the more metaphorical symbolism of a human soul`s longing for union with the divine. Husain first painted the subject in his 1960 work ""Mithuna Bronze and would return to the theme throughout his career. In every incarnation, Husain transforms and all but rejects the old image. In the traditional motif, male and female are typically depicted in a loving embrace. Husains interpretation, by contrast, presents the couple with a different dynamic: glancing in opposing directions, recumbent, their postures exude isolation rather than unity. According to Husain scholar Shiv. S. Kapur, there are two clearly discernible strains in Husain`s painting; one which celebrates the beauty of life in simple forms and joyous rhythms of colour, and another which speaks of social hypocrisy, guilt and repression of sensuality. The disconnect between the male and female figures may allude to an erosion of a traditionally affirmative response to life experience in the community and the increasingly internal disintegration of the individual in modern society. The juxtaposition of repression and celebration is also mirrored in the formal elements of ""Fertility."" The male figure in shades of grey appears cold and hard in contrast to his partner whose vibrant patches of colour and fiery yellow orb exude pulsating life. The traditionally positive connotations of the theme of fertility and new life contrasts strongly to the state of disconnect that appears to plague the subjects of this painting. The Mithuna, along with a preoccupation with the female figure, are two of the most recognizable motifs in Husain`s work which incorporate elements of classic Indian narratives as well as the influence of modern art`s inward-looking tendencies. Husain`s work reflects both upon the state of modern society while staying grounded in archetypal parables of life, love and death. Source: ""Husain"" Richard Barthomew and Shiv S. Kapur; Harry Abrams Inc., New York 1971
A miscellaneous collection of items including an LP featuring the voice of Edith Sitwell reading her own poems to the music of William Walton, produced by Columbia Masterworks in cooperation with the Museum of Modern Art, a quantity of topographical and other postcards including examples showing the polar bear and elephants at Chester Zoo, a collection of PHQ cards, a collection of Norfolk Island First Day Covers, a black and white photograph of a cycling club, etc
•DAVID GAULD (Scottish 1866 - 1939) CALVES IN SUMMER SHADE Signed, oil on canvas, 60 x 74cm (23 1/2 x 29") Born in Glasgow 1865, studied Glasgow school of Art 1882 - 1885, David Gauld was a member of that iconic group of Scottish artists known as The Glasgow Boys. The Glasgow Boys were brought together by their passion for realism. They embraced change, reacted against the prescribed approach of Victorian painting and paved the way for a new "modern" style of painting which would sweep America and Europe in the late nineteenth, early twentieth century. David Gauld was a painter, lithographer and designer. He was a close friend and associate of Charles Rennie Macintosh and his early works have a strong symbolist theme. Gauld painted extensively in France, but he had strong connections with Kirkcudbright and it was here that his reputation was established and that he perfected his paintings of cattle and calves in the landscape. In 2010 Glasgow`s Kelvingrove Art Galleries and Museums held a record breaking exhibition of the Glasgow Boy`s work.
ADOLF R FLEISHMANN, 20th Century, American Modern Art ADOLF R FLEISCHMANN (American 1892 - 1969) Relief #25 1960 Oil on wood on canvas 10 x 8 1/2 inches / 25.5 x 21.5 cmFrame: 14 1/2 x 12 1/2 inches / 37 x 32 cm Signed and dated verso: Fleischmann 1960 Relief Painting Provenance: Private collection, Carmel CA Included in lot: Original receipt from Galerie Suzanne Bollag, Zurich (1961) and booklet.
ARTHUR OKAMURA, American 20th Century Modern Art ARTHUR OKAMURA (American 1932 - 2009) Pink Umbrella Oil on paper laid on canvas 26 x 40 inches / 66 x 101.6 Signed and dated lower right: Okamura 62 Provenance: Private collection, Carmel CA Included in lot: Original sales receipt from Feingarten Galleries with book on Arthur Okamura
JAMES JARVAISE, Californian Modern Oil, Hudson River School Series 1960 JAMES JARVAISE (Californian born 1931) Hudson River School Series 1960, #2 Oil on canvas 24 x 24 inches / 61 x 61 cm Signed, dated and annotated lower right: Jarvaise 60 HRS Provenance: Private collection, Carmel CA Included in lot: Conservation receipt for cleaning, original sales receipt and the book: The Museum of Modern Art, New York Sixteen Americans.
* ALL CREATION REJOICES IN THEE WITH A SILVER-GILT OKLAD MOSCOW, FIRST HALF OF THE 18TH CENTURY 33 by 27 cm. Related literature: For similar works, see Ikony Yaroslavlya XIII – serediny XVII veka, Moscow, 2009, in 2 vol., p. 90, no. 127. A. Rybakov, Vologodskaya icona. Tsentry khudozhestvennoi kultury zemli Vologodskoi XIII–XVIII vekov, Moscow, 1995, no. 154, 156. The icon is an illustration of the opening lines of the troparion of St John of Damascus in honour of the Mother of God: ‘O Thou who art full of grace, the joy of every creature, the host of angels and the race of man. O Holy Temple and Paradise of the Word...’ At the centre of the complex, theologically rich composition is the image of the Mother of God and Child on a throne, surrounded by the glory of heaven, and behind her the angelic host and temple against a background of the Garden of Paradise. In the bottom part of the composition are representations of patriarchs, prophets, apostles, saints, martyrs and holy people. This icon also includes several additional depictions that are rarely encountered. In the middle tier, on the same level as the Mother of God, are portrayals in the archways of King David holding a harp (left) and the Good Thief with a cross (right). We find a similar addition of this composition in an icon of the second quarter of the 17th century from the Yaroslavl Museum of Art and in an icon of the early 18th century, from the Vologda Regional Museum. These two depictions are associated with the Mother of God being compared to a ‘holy temple’ (a similar prophetic symbolism is found in the psalms of David) and as ‘paradise of the word’ (cf. the Good Friday canticle: ‘Thou didst vouchsafe the wise thief, O Lord, to be straightway in paradise’). A further – and this time unique – addition to the composition are the Seven Sleeping Youths of Ephesus. This independent subject replaces the youths (three or one in number) depicted on some other icons, also on the bottom in the centre. Also of interest is the temple, depicted with Baroque architectural features (a building divided into two tiers, the facade with decorative columns, pilasters, cartouches with swags, and cupolas to match ‘Ukrainian Baroque’). The Garden of Paradise is also more specific than had traditionally been the case: not with depictions of abstract flowers, but with trees of precise draughtsmanship, bearing paradisiacal apples. The Garden of Paradise motif is continued in the artistic rendition of the frame which has plant ornamentation in the form of a vine; two of whose branches split from a single stem on the bottom border and climb the side borders to come together again, thus embracing the icon’s whole composition. The icon is notable for the great professional skill of its painting and the bringing together of ancient tradition with certain special, stylistic qualities of the Kremlin Armoury school to provide a splendid example of Muscovite icon painting of the Modern Era.
VINCENT PEREZ, BAY AREA ART, Umbrellas at the Beach VINCENT PEREZ (Californian, born 1938) "Umbrellas at the Beach" Oil on canvas. 47 x 50 inches. Signed and dated l/r: Vincent Perez Provenance: Hoover Gallery label verso.Note: A local Bay Area artist, Perez was a full Professor at the California College of the Arts. His work can be found in the Museum of Modern Art and the Legion of Honor in San Francisco. (In very good condition)
Mary Swanzy HRHA (1882-1978) TREES oil on canvas signed lower left 21 by 18in., 52.5 by 45cm. P Family of the artist Although she studied art in Paris in 1905 and 1906 where she was amongst the first Irish artists to see the work of Pablo Picasso, Swanzy did not begin making and exhibiting Cubist inspired work until the 1920s and 1930s. She was one of Ireland`s most innovative exponents of this approach, using it in imaginative ways in a range of landscapes, figure studies and paintings of propellers. As she never dated her paintings, it is difficult to be precise about the chronology of the work, but she appears to have made and exhibited most of her Cubist inspired paintings after 1920. Having moved back to Dublin from Paris, Swanzy continued to travel widely visiting London, Italy, Czechoslovakia, Polynesia and the United States. She maintained contact with the French art world throughout the 1910s and 1920s, exhibiting at and becoming a committee member of the Salon des Independants, the largest show of modern art in Paris. Her work was shown at this venue alongside that of the Orphic cubists, Sonja and Robert Delaunay. Orphism, a hugely influential movement, was concerned with the impact of light and colour on the vision of the artist. The paintings of Robert Delaunay are preoccupied with aeronautical flight and altitude through which he could demonstrate how form is made of pure colour. The influence of these ideas is apparent in Trees. The bright colours and dynamic geometric patterning of the composition of Trees are also evocative of speed and movement. Swanzy was clearly aware of Italian Futurism and British Vorticism when she painted the work. Both movements stress the importance of dynamism in art and of representing technology. The railway track or roadway in the foreground of Trees suggests movement through the landscape resulting in a distortion of the forms. Swanzy`s father was a well-known ophthalmic surgeon and her fragmentation of the composition is equally reminiscent of ophthalmic lenses and optical devices.The giant pink trees with their swaying yellow barks are probably inspired by the exotic vegetation that Swanzy saw on her travels to Samoa and Hawaii in the 1920s. The tall towers in the distance (to the right) recur in several of her paintings, a memory of San Gimignano, the medieval city in Tuscany, near to Florence where the artist lived for a period before World War One. Swanzy draws on her vast experiences of travel and modern art in her work. The result is an inventive and unique engagement with Cubism and Futurism that was not always valued by her contemporaries in Dublin which she left in 1926 to settle with her sister in London. The originality of her work, however, ensured Swanzy`s rediscovery as one of Ireland`s most significant modernist painters at the end of her life in the 1960s and 1970s when she finally enjoyed critical and commercial success. Trees is an important example of her Cubist work.Dr. Róisín KennedyApril 2014
Nano Reid (1900-1981) BOATS AT CLOGHERHEAD, c.1933 watercolour signed lower right beneath the mount; with typed Arts Council exhibition label on reverse 8.75 by 11.25in., 21.875 by 28.125cm. L Acquired directly from the artist by the present owner`s mother;Thence by descent Nano Reid Retrospective`, Hugh Lane Municipal Gallery of Modern Art, Dublin, and the Ulster Museum, Belfast, from 27 November 1974 to February 1975, catalogue no. 6 (lent by the present owner);`Camille Souter / Nano Reid, Droichead Arts Centre, Drogheda and Linenhall Arts Centre, Mayo, 5 May to 26 June, 1999, catalogue no. 55
![Colin Middleton MBE RHA (1910-1983) SEATED FIGURE: 6.72 [1972] oil on gesso-prepared board signed in monogram lower right; s](http://lot-images.atgmedia.com/SR/10092/2903219/67-20145622209_468x382.jpg)
Colin Middleton MBE RHA (1910-1983) SEATED FIGURE: 6.72 [1972] oil on gesso-prepared board signed in monogram lower right; signed again on reverse and inscribed with title [Seated Figure: 6.72]; with inscribed Arts Council of Northern Ireland label on reverse; also with [1985] Studio stamp on reverse 36 by 36in., 90 by 90cm. L Collection of the artist;His sale, Christie`s, London, 4 October 1985, lot 177 (full colour illustration in catalogue); with Jorgensen Fine Art, Dublin;Where purchased by the previous owner;Thence by descent Colin Middleton`, David Hendriks Gallery, Dublin, January to February 1973, catalogue no. 3;`Colin Middleton`, David Hendriks at the Cork Arts Society Gallery, Cork, until 21 July 1973, catalogue no. 2;Colin Middleton Retrospective, Arts Council exhibition, Ulster Museum, Belfast, and Municipal Gallery of Modern Art, Dublin, 1976, catalogue no. 173 (loaned from the collection of the artist); Seated Figure 6.72 is part of an ambitious series of large paintings of the female nude that Colin Middleton completed in the early 1970s. While the female figure occurred frequently in his work from previous decades it was often seen in a more narrative or symbolic context. These paintings depict a female figure, highly abstracted and depersonalised, with no setting or attributes that identify her. Even the titles of the works refrain from any detail, conceding only the most basic details of the subject and the date of its production. It is interesting to compare the series of work to which Seated Figure 6.72 belongs to the single figure paintings of the early 1950s, such as Gypsy, Ardglass or Teresa, both of which remove all context from the actual painting and concentrate almost entirely on the sitter, but also suggest a specific identity, place or narrative in the title.Seated Figure 6.72 is more schematised than these in its treatment of the female figure, although it retains the strong sense of physical presence that these earlier works share. The figure is sexualised but not eroticised and the interlocked hands evoke a more awkward presence and a suggestion of tension. While many of the Seated Figure group use an extremely reduced palette there is a much stronger and wider range of colour in the present painting. Rather than looking back at the formalised synthesis of nude with landscape that Middleton experimented with in the 1960s Seated Figure 6.72, in its palette and stronger forms, seems to look forward to the often vibrantly colourful and more geometric female figures of Middleton`s late Spanish paintings.Blocks of flat colour and shape reiterate the flatness of the picture plane and contrast with the volumetric female form. The physical surface of the prepared board is also noticeable across the work, maintaining the sense of controlled design. The repeated vertical strokes of various scales that run throughout the work recall Middleton`s landscapes of the period, suggesting spatial depth, but ultimately the isolation of the figure is deliberate and adds to the focus on the formal construction of the work. Clearly Middleton felt that this group of female nudes was at the heart of his work at this time, as the earlier Seated Figure K.371.1 was selected to represent him in the 1971 publication Causeway. In addition, Middleton selected the present work to be included in the Arts Council`s 1976 touring retrospective of his work. Dickon HallApril 2014
Colin Middleton MBE RHA (1910-1983) CELTIC ICON, c.1963 oil on board signed in monogram lower right; titled and numbered [39] on reverse; also with Oriel Gallery label on reverse 12 by 12in., 30 by 30cm. L Magee Gallery, Belfast;Private collection;`Modern British Paintings, Watercolours and Drawings`, Phillips, London, 8 March 1988, lot 69;with Oriel Gallery, Dublin;Where purchased by the present owner Colin Middleton`, Magee Gallery, Belfast, 25 October to 9 November 1963, catalogue no. 39;`Colin Middleton`, Oriel Gallery, Dublin, 29 March to 15 April 1995, catalogue no. 27 (illustrated on exhibition invitation card) Nulty, Oliver (ed.), 100 Years of Irish Art, Oriel Gallery, Silver Jubilee (1968-1993), Nicholson & Bass Ltd., Dublin, 1993, p.88 (illustrated)
Andy Warhol (USA, 1928-1987) BE A SOMEBODY WITH A BODY, 1985 synthetic polymer paint and silkscreen ink on canvas signed and dated on reverse; stamped by the Estate of Andy Warhol and by the Andy Warhol Foundation for the Visual Arts, Inc. and numbered [PA 10.614] on the reverse; also stamped by the Andy Warhol Art Authentication Board with an ID number [A157.0310] on the reverse 8 by 10in., 20 by 25cm. L The Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, Inc., New York;Private collection, New York;Christie`s, New York, Post-War and Contemporary Art, 9 May 2012, lot 270;Taylor Gallery, Belfast To be included in a forthcoming volume of The Andy Warhol Catalogue Raisonné, Paintings and Sculptures, ed., Georg Frei and Neil Printz, New York; New York, Museum of Modern Art, `Andy Warhol, A Retrospective, 1989`, exhibition catalogue, no. 436, p.386, illustrated (another example);Andy Warhol: Heaven and Hell Are Just One Breath Away! Late Paintings and Related Works, 1984-1986, Rizzoli, New York, 1992, a double Be a Somebody with a Body, illustrated p.60 and 61 (another example); Andy Warhol 365 Takes, The Andy Warhol Museum, Abrams, NY, 2004, (another example) illustrated in colour, p.97Germano Celant, Super Warhol, Skira/Grimaldi Forum Monaco, 2003, catalogue no. 248, p.485, illustrated (another example) Lots (116-170) are from the collection of The Taylor Gallery (in administration), Belfast. The Taylor Gallery was one of the leading art galleries in Northern Ireland and had established a reputation, not just for Irish paintings and sculpture, but also for works by international artists such as Andy Warhol, Damien Hirst, Joan Miró, and, more recently, in street artists such as Banksy. Andy Warhol is synonymous with Pop Art, consumerism and the cult of celebrity. Through the medium of silkscreen printing he reinforced the idea of manufactured beauty which he saw in everything from Campbell`s Soup cans to Coca Cola, Marilyn Monroe and Elvis Presley. In the 1980s Warhol returned to advertising as a source of inspiration. His earlier output of the 1960s pivoted on the promises of ad men from cheap magazines and resulted in works such as Before and After, 1961 which was the genesis of his obsession with image, physical beauty and later the cult of celebrity. The subject of the present work, Be a Somebody with a Body, uses the muscular image of a bodybuilder (sourced from an untraced ad) projected against a canvas. Warhol emphasises the message through the use of bold graphic text; a BODY makes you a SOMEBODY. The figure`s defined torso and confident pose is highlighted by a halo that radiates from his head; a detail that nods to another late series by the artist based on Leonardo da Vinci`s mural The Last Supper. In that series he isolated the figure of Jesus from his disciplines and transplanted him next to an image of a bodybuilder; the gospel according to Warhol.
Andy Warhol (USA, 1928-1987) COW, 1976 screenprint with artist`s name and Nov 18 1976 to Jan 9, 1977 Copyright AWE"" printed in the left margin; with ""Modern Art Pavillion Seattle Art Centre"" printed in the right margin; stamped by the Estate of Andy Warhol and by the Andy Warhol Foundation for the Visual Arts, Inc. and inscribed ""T.J.H."" in pencil on reverse"" 45.75 by 28.25in., 114.375 by 70.625cm. P Taylor Gallery, Belfast Warhol: Portraits`, Modern Art Pavilion, Seattle Center, Seattle, WA, 18 November, 1976 to 9 January 1977 (another example) Lots (116-170) are from the collection of The Taylor Gallery (in administration), Belfast. The Taylor Gallery was one of the leading art galleries in Northern Ireland and had established a reputation, not just for Irish paintings and sculpture, but also for works by international artists such as Andy Warhol, Damien Hirst, Joan Miró, and, more recently, in street artists such as Banksy. Published for an exhibition at the Modern Art Pavilion, Seattle Center, Seattle, WA, November 1976 this example by Warhol is one from a set of four unique colour combinations of his iconic Cow. The image was sourced from an unidentified book on animal husbandry, the image caption read A Good Jersey Head.
§ ALISON WATT O.B.E. (SCOTTISH B.1965)ALABASTERSigned and dated 1998 verso, oil on canvas152.5cm x 183cm (60in x 72in)Provenance:Ingleby Gallery, 1998;Private Collection, EdinburghExhibited:Shift, Scottish National Gallery of Modern Art, 2000Literature:Shift: new works by Alison Watt, SNGMA, 2000
India and the Punjab - Paintings of the Sikhs by W G Archer^ 1st ed^ colour frontis^ 80 plates^ London HMSO^ 1966^ 284pp. This highly illustrated book is one of the rarest 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. Hardcover^ with dust jacket. Very good condition.
White (James). A Compendium of the Veterinary Art, Containing Plain and Concise Rules for the Treatment of all the Disorders and Accidents to which the Horse is Liable, 3 vols. (of 4) mixed eds., 1825 - 26, later manuscript ownership signature to title, varying titles to each, numerous eng. plts. modern uniform half morocco gilt, 8vo., together with, Lawson (A.), The Modern Farrier; or The Art of Preserving the Health and Curing the Diseases of Horses, Dogs, Oxen, Cows, Sheep & Swine....., 7th. ed., pub. Newcastle-upon-Tyne, 1825, eng. frontis. and addn. dec. title, five (of 7) uncoloured eng. plts., modern qtr. calf, 8vo., with, Bracken (Henry), Farriery ImprovÕd or a Compleat Treatise upon the Art of Farriery, wherein is fully explainÕd the Nature, Structure and Mechanism of that Noble and Useful Creature, A Horse....., 2 vols., mixed eds. 1752 & 1749, addn. half title to vol. 2, contemp. sheep, rebacked, 12mo., plus, Brown (Thomas), The Complete Modern Farrier...., 31st. ed., pub. Edinburgh, 1900, fourteen (complete) col. litho. plts., modern half calf, gilt dec. spine., 8vo, with another twelve volumes on farriery (19)
Aragon (Louis). Henri Matisse: A Novel, 2 vols., pub. Collins, London, 1972, colour and b&w illustrations throughout, orig. cloth in d.j., together with Kitson (Michael), Claude Lorrain: Liber Veritatis, 1st ed., pub. British Museum Publications, 1978, b&w plates, orig. cloth, together with Pope-Hennessy (John), Fra Angelico, The Paintings Of, 1st ed., pub. Phaidon Press, 1952, colour and b&w plts., orig. cloth in d.j., plus Day (Susan), Art Deco and Modernist Carpets, 1st ed., pub. Thames & Hudson, 2002, colour and b&w illusts. throughout, orig. cloth in d.j., and Hartt (Frederick and Wilkins, David G.), History of Italian Renaissance Art, 5th ed., pub. Thames & Hudson, 2003, colour and b&w illusts. throughout, orig. cloth in d.j., plus other classical and modern art reference, including Konemann publications (112)
Finden (Edward). FindenÕs Gallery of Modern Art: being a Series of Highly Finished Steel Engravings Illustrative of the Character, Beauty and Costume of many Lands, 2 vols., n.d., c.1850, dec. half title to each vol., fifty-six (of 60) eng. plts. some spotting throughout, a.e.g., contemp. half morocco gilt. rubbed and frayed, folio, together with Hall (S.C.). The Baronial Halls and Picturesque Edifices of England, 2 vols., 2nd. ed., n.d. c.1860,seventy-two litho. plts. (complete as list), numerous wood engs. to text, some spotting throughout, t.e.g., contemp. half morocco gilt, rubbed and worn at extrems., folio (4)
Turner (J.M.W., et al.). The Gallery of Modern British Artists, 1834, eng. frontis. and addn. eng. title, numerous eng. plts., occasional scattered spotting, contemp. half calf, gilt dec. spine, boards detached, worn, 4to, together with Gosse (Irene), A Florilege, Cosen from the Old Herbals..., and Illustrated with Twenty Wood Engravings by Gertrude Hermes, pub. Gresham Books, Old Woking, Surrey, 1981, twenty wood eng. plts., contemp. dark green qtr. calf by E.A. Weeks & Son, London, folio, (limited ed. 100/250), with Garrett (Albert), British Wood Engraving of the 20th Century, a Personal View, Scolar Press, 1980, b & w frontis. and illusts., orig. cloth, in d.j., 4to, and Poole (Monica), The Wood Engravings of John Farleigh, Gresham Books, 1985, frontis. in red & back, b & w illusts., orig. cloth in d.j., folio, plus other art reference (3 cartons)
LUCIEN PISSARRO (1863 - 1944) Unframed, signed, dated 1929 and additionally dated verso, watercolour on paper, preparatory sketch, showing woodland landscape with pencil grid lines throughout, 28cm x 37.5cm. Provenance: Authenticated by Mr Robert Upstone, Director and Head of Modern British Art at The Fine Art Society. This work is in the process of being added to the Catalogue Raisonne. (ARR).
**A COMPOSITE EUROPEAN CAP-A-PIE FIELD ARMOUR IN THE SO-CALLED `GOTHIC` FASHION, CIRCA 1490-1510 comprising modern sallet with rounded skull, short separate `tail`-plate, pivoted visor with a pair of flanged vision-slits, secured to the skull at the right by a spring-catch, Spanish bevor formed of a main plate shaped to the chin and flanged outwards at its lower edge to receive a V-shaped gorget-plate (the latter associated and both elements showing patched repairs), the main plate fitted with a modern lining and mail-covered neck-strap, German breastplate formed of a rounded main plate with angular outward turns at it neck and arm-openings, and an associated plackart rising to a decoratively-shaped cusp at its centre, overlapping the lower edge of the main plate to which it is attached by a single screw and flanged outwards its lower edge to receive an associated fauld of four lames (the first and last restored), and supporting on a pair of straps and buckles at each side a medially-ridged Flemish or Spanish tasset of five lames (the lowest four of the right and the second to fourth of the left restored ), a Spanish or Flemish backplate formed of a main plate and a pair of side-plates (each with patched repairs) rigidly riveted to one another and fitted at their lower edge with an associated waist-lame flanged outwards at its lower edge to receive an associated and much restored culet of four lames, the lowest of which descends to a slight central cusp, pair of German spaudlers each of seven lames (the lowest two in each case associated), the top one of the right struck with the mark of the Innsbruck armourer Hans Maystetter, both struck with a pair of dots, and the lowest connected by a turner to a fully articulated Italian vambrace of tubular form with a couter of three lames, the central one formed with a medially-puckered oval side-wing, pair of modern radially fluted besagues, pair of German gauntlets (the right entirely restored except for the main plate of its thumb-defence, and the left patched at several points) each formed of a short straight-ended cuff open at the inside of the wrist, five metacarpal-plates, a shaped knuckle-plate, a finger-plate, modern finger-defences of mail and a hinged thumb-defence (the left restored), modern left cuisse formed of a gutter-shaped main plate fitted within its concave upper edge with two extension-lames, at its outer edge with a hinged side-plate and at its lower edge with a poleyn of five lames, the third of which is formed with a pronounced medial ridge and a medially-puckered oval side-wing (right cuisse and poleyn missing), pair of modern tubular greaves extending downwards over the ankles, and pair of modern sabatons, each formed of a front and rear section connected by a hinge at the outside and fastened by a swivel-hook and stud beneath the cut-outs for the ankles, and the front section of nine lames projecting forward to a long pointed toe-cap (the whole lightly pitted overall) See note at front of catalogue for information concerning stands Provenance The Royal Armoury, Lisbon Dr Bashford Dean, Riverdale, New York No. 46, 5 September 1929 Clarence H. Mackay, Long Island, New York Jaques Seligmann & Co., New York, 9 November 1940 JWHA Inv. No. 2606 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, Massachusetts, 1961, p. 35, illustrated Exhibited Monmouth Museum, New Jersey, 27 February - 6 May 1978 Worcester Art Museum, Massachusetts, April 1940 - February 1941. Mrs. Mary Lou Wilding-White, 10 February 1966 - May 1972. Witte Museum, San Antonio, Texas, 1982-3, The mark on the right spaudler is that of the Innsbruck armourer Hans Maystetter, active 1510-33 (Thomas and Gamber 1954, pp. 72-3). The bevor and backplate have a character typical of pieces deriving from the armoury of the Knights of St John at Rhodes which fell to the forces of Suleiman the Magnificent in 1522 (Karcheski & Richardson 2000, pp. 32, 37, 45, 48, 66-9).
**A COMPOSITE GERMAN CAP-A-PIE FIELD ARMOUR IN THE SO-CALLED `MAXIMILIAN` FASHION, CIRCA 1520-30 comprising close helmet with rounded one-piece skull (repaired with brazing at the right of neck) rising to a low boldly roped medial comb, restored visor and bevor attached by common pivots fitted beneath their heads with rosette washers, the visor formed as a grotesque Turk`s mask, and a single restored gorget-plate front and rear, collar of three lames front and rear (the top two in each case restored and the lowest modified from that of a later `Almain` collar), breastplate formed of a rounded main plate fitted at each of its arm-openings with a moveable gusset, at the right of the chest with a detachable folding lance-rest (restored), and within its lower edge with a waist-lame (restored) flanged outwards to receive an associated and partly composite fauld of four lames fitted at the centre of its lower edge with a prominent one-piece codpiece, and to either side of it with an integral tasset of four lames (the lowest three in each case restored), backplate formed of a central main plate and a pair of side-plates rigidly riveted to one another (the main and left plates each with a small patched repair), and a restored waist-lame and culet of three lames, pair of pauldrons (largely restored but incorporating genuine plates), each formed of seven lames of which the lowest three extend inwards only to the armpit and of which the front of the third is fitted in the case of the right with an upstanding modern haute-piece mounted on a stud and turning-pins, and in the case of the left with a modern reinforcing-plate extending upwards as an integral haute-piece and attached by a screw, pair of three-piece tubular vambraces, each fitted at its upper end with a turner of one lame, at its elbow with a large one-piece bracelet couter (replacing an articulated one) and a series of lames at the inside of the bend, pair of modern gauntlets each formed of a short, flaring, straight-ended tubular cuff, five metacarpal-lames, a knuckle-plate decorated with a boldly roped transverse rib, five finger-lames and the main plate of a laterally hinged finger-defence, pair of cuisses each formed of a long gutter-shaped main plate fitted at its lower end with a winged poleyn of four lames, and a pair of greaves each of full-length tubular form and terminating in a broad-toed sabaton of nine lames, the main edges of the armour formed for the most part with inward turns, mostly roped and accompanied by recessed borders, and its surfaces, except on the greaves, decorated with bands and panels of flutes emphasised by pairs of incised lines (the flutes of some elements later added) See note at front of catalogue for information concerning stands Provenance Dr Bashford Dean, Riverdale, New York, sold Parke-Bernet Galleries Inc., New York, 26 October 1950, lot 97 JWHA Inv. No. 2877 (main armour), JWHA Inv. No 404. (backplate and gauntlets) and JWHA Inv. No. 3018 (greaves and sabatons) Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester 1961, p. 39 (the backplate pp. 50-1) Exhibited Clark Art Institute, Williamstown, Massachusetts, 17 October - 30 November 1980 `Medieval and Renaissance Splendor`, Ringling Museum, Sarasota, Florida, 9 February - 1 May 1984
**A COMPOSITE SOUTH GERMAN CAP-A-PIE FIELD ARMOUR, PARTLY NUREMBERG, CIRCA 1540 comprising modern close helmet with rounded one piece skull rising to a low medial ridge, and bellows visor and bevor attached to it by common pivots with radially incised heads, the visor stepped beneath its centrally-divided vision-slit and pierced with twelve horizontal ventilation-slots arranged in three rows, both the visor and the bevor secured at the right by spring-catches, and the lower edge of the helmet formed with an internally-hollowed rim to lock over the upper edge of the collar, the latter formed of four lames front and rear (composite and reworked at it upper edge and elsewhere), heavy breastptate of rounded form, boxed medially and at each side, fitted at each armpit with moveable gussets, at the right of the chest with a detachable folding lance-rest (restored) and within its lower edge with a waist-lame flanged outwards to receive a fauld of three lames and pendent tassets each of four lames (associated and slightly reworked), square-topped backplate fitted at its lower edge with a waist-lame flanged outwards to receive a culet of two lames (composite and reworked), pair of slightly asymmetrical pauldrons, the front of the right cut away more markedly at the armpit than the left, each formed of seven lames of which the third bears on its front an upstanding haute-piece, that of the left taller than the right (both restored), modern right besague of circular form rising at its centre to a conical boss, pair of fully articulated tubular vambraces each fitted at its upper end with a turner of three lames, articulated on sliding-rivets, and at its elbow with a winged bracelet couter of three lames, pair of gauntlets each formed of a short, flared and straight-ended cuff with a separate hinged inner plate, five metacarpal-plates, a knuckle-plate decorated with a roped transverse rib, five finger-lames (those of the left restored) and a hinged thumb-defence (the right lacking its distal three scales), the cuffs of the left and right gauntlets respectively marked with two and three dots and both bearing the quality-control mark of the city of Nuremberg (that of the right spurious and etched), pair of cuisses (partly restored using old plates), each formed of a short gutter-shaped main plate fitted at its upper end with two tall detachable extension-plates, and at its lower end with a winged poleyn of four lames, and a pair of modern full-length tubular greaves each cut with a slit to accommodate a spur at the heel, and fitted at the front with a square-toed sabaton of eight lames, the main edges of the armour formed with boldly-roped inward turns, for the most part accompanied by recessed borders, some of which are divided into two by a raised rib (the surface of the armour artificially pitted overall to better match the disparate elements and their restorations) See note at front of catalogue for information concerning stands Provenance Dr Wilhelm Treubner, Karlsruhe Duveen Borthers, New York, 18 January 1928, no.IV JWHA Inv. No. 426 Exhibited Worcester Art Museum, Worcester, Massachusetts, 1928 - 1930 WGHB TV, Boston, Massachusetts, 10 - 12 January 1968
**A COMPOSITE NORTH ITALIAN CAP-A-PIE FIELD ARMOUR WITH ETCHED DECORATION, PROBABLY MILANESE, CIRCA 1570-80 comprising composite close helmet with one-piece skull rising to a high roped medial comb and fitted at the nape with a later plume-holder of brass, upper bevor and lower bevor attached to the skull at each side by common pivots (replaced), the visor with a stepped, centrally divided vision-slit fitted at its right with a lifting-peg (replaced), the upper bevor with a near-vertical profile, pierced at its right side with five ventilation-holes in dice-formation, the lower bevor secured to it at the right by a swivel-hook and pierced stud (restored), and two gorget-plates front and rear, collar of two lames front and rear (the lowest in each case originally decorated with recessed bands), breastplate formed of a main plate of deep `peascod` fashion, fitted at its arm-openings with moveable gussets (the right patched) and flanged outwards at its lower edge to receive a restored fauld of one lame and a pair of pendent tassets of trapezoidal form, each of thirteen lames (extensively patched at their articulating points), one-piece backplate flanged outwards at its lower edge, large asymmetrical pauldrons each of six lames of which the lowest three extend inwards only to the armpit, and of which the third is fitted at its the front in the case of the right with an upstanding modern haute-piece mounted on a mushroom-headed studs and turning-pins, and in the case of the left with a large modern reinforcing-plate extending upwards as an integral haute-piece and attached by a screw, pair of fully articulated tubular vambraces, each fitted at its upper end with a turner of one lame (the left associated) and at its elbow with a bracelet couter of three lames, pair of modern gauntlets, each formed of a flared and obtusely pointed tubular cuff, five metacarpal-plates, a shaped knuckle-plate decorated with a roped transverse rib, scaled finger and thumb-defences (those of the left incomplete), pair of modern cuisses each formed of a short gutter-shaped main plate rising to a convex upper edge and fitted at its lower edge with a poleyn of five lames formed at the outside of the third with a small medially-puckered oval side-wing, and a pair of modern greaves each of full-length tubular form fitted at its lower end with a round-toed sabaton of eight lames, the main edges of the armour formed with roped inward turns and its surface etched in bands and borders on a stippled and blackened ground with trophies, winged cherub`s heads, masks and fabulous beasts, enclosed by narrower band of cabling or, in the case of the pauldrons and vambraces, by engrailing repeated at their subsidiary edges, except on the gauntlets which are etched in their main bands with strapwork interlace (the etching modern throughout except on the breastplate and pauldrons) See note at front of catalogue for information concerning stands Provenance Duke of Osuna, Beauraing, Belgium Victor Bachereau, Paris Edmund C. Converse, sold American Art Association, New York, 26th November 1927, lot 291, $2,100 JWHA Inv. No. 403 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester 1961, p. 88, illustrated
**A COMPOSITE NORTH ITALIAN CAP-A-PIE FIELD ARMOUR, CIRCA 1570-80 comprising close helmet with one-piece skull rising to a high boldly-roped medial comb pierced towards its rear with three later transverse holes, associated and reworked visor, upper bevor and lower bevor attached by common pivots (replaced), the visor with a stepped, centrally divided vision-slit fitted at its right with a lifting-loop (replaced), the prow-shaped upper bevor pierced at its left and right sides respectively with seven and nine circular ventilation holes in rosette formation, the lower bevor secured to the skull at the right of the neck by a swivel-hook and projecting ring (restored; a similar fastening for the upper bevor missing), and three associated gorget-plates front and rear, collar of three lames front and rear, the lowest deeper than the rest, breastplate formed of a main plate of deep `peascod` fashion, fitted at its arm-openings with moveable gussets, at the right of the chest with an associated lance-rest having incised decoration and an elaborately shaped base-plate, and flanged outwards at its lower edge to receive an associated fauld of one lame bearing a pair of pendent tassets each of four lames (restored using old plates), one-piece backplate boxed over the shoulder-blades and flanged outwards at its lower edge, large, slightly asymmetrical pauldrons (not a pair and slightly composite), each of seven lames of which the lowest four extend inwards only to the armpit, and of which the third is fitted at its front, in the case of the right, with an upstanding modern haute-piece mounted on mushroom-headed studs, and in the case of the left with a large modern reinforcing-plate extending upwards as an integral haute-piece and attached by a screw, pair of fully articulated tubular vambraces each fitted at its upper end with a turner of three lames (the top two of the left restored), and at its elbow with a bracelet couter of five lames, the left having screwed to its front a large modern reinforce, pair of modern gauntlets, each formed of a flared and obtusely pointed cuff with a separate inner plate, five metacarpal-plates (the first in each case pierced with a later hole for mounting purposes), a shaped knuckle-plate, scaled finger and thumb-defences, and leather lining-glove, pair of cuisses (the right restored) each formed of a long gutter-shaped main plate rising to a convex upper edge and fitted at its lower edge with a poleyn of five lames formed at the outside of the third with a small medially-puckered oval side-wing, and a pair of greaves each of full-length tubular form fitted at its lower end with a round-toed sabaton of nine lames, the main edges of the armour formed for the most part with roped inward turns, generally accompanied by roped ribs or recessed borders, and its subsidiary edges decorated at many points with pairs of incised lines See note at front of catalogue for information concerning stands Provenance Duke of Osuna Purchased by Mrs John W, Higgins as a present for her husband from Liberty & Co, London, on 1 March 1929 JWHA Inv. No. 207 Exhibited Worcester Art Museum, Worcester, Massachusetts, 1928-30 Filene`s, Worcester, Massachusetts, as part of Worcester Polytechnic School exhibit March 1938 Lee W. Court Associate, Boston, Massachusetts, September 1956 `The Pen and the Sword: Martial Arts Manuals in Medieval and Renaissance Europe`, John W. Higgins Museum, Worcester, Massachusetts, 26 October 2006 - 27 May 2007
**A COMPOSITE NORTH ITALIAN CORSLET WITH ETCHED DECORATION, PARTLY BY THE `MASTER OF THE CASTLE` OF MILAN, LATE 16TH CENTURY comprising morion with rounded one-piece crown rising to a high roped medial comb (perforated near the front), and `swept` integral brim rising to an acute point front and rear (the rear with a small welded repair, collar of two lames front and rear (the upper one in each case restored), breastplate formed of a main plate of deep `peascod` fashion, fitted at its arm-openings with moveable gussets (the right restored) and flanged outwards at its lower edge to receive an associated fauld of one lame and a pair of pendent tassets each of four lames (restored, the right damaged at its inner end), pair of large symmetrical pauldrons, each formed of six lames of which the lowest three extend inwards only to the armpit (both with patched repairs), two fully articulated tubular vambraces (not a pair), each fitted at its upper end with a turner of one lame (the left originally surmounted by at least one more), and at its elbow with a winged bracelet couter of three lames, and two gauntlets (not a pair) each formed of a flared and round-ended tubular cuff, four metacarpal-plates, a shaped knuckle and finger-plate, the main plate of a laterally hinged thumb-defence (restored) and a detached scaled defence for the second finger of the right gauntlet, the main edges of the armour formed almost throughout with file-roped inward turns, and its surfaces, except on the fauld and top of the collar, decorated with etching on a stippled and blackened ground (in part worn), that of the morion consisting of strapwork interlace occupied by trophies of arms, birds, fabulous beasts and human figures in both classical and contemporary dress, and that of the remainder consisting of bands and borders of trophies of arms generally enclosed by narrow bands of cabling and enclosing in the interspaces and volutes of the fronts and rears of the pauldrons, busts and full-length figures of classical warriors, and involving at the neck-opening of the breastplate the device of a two-towered castle; together with a pair of modern scaled chin-straps, each etched on a stippled and blackened ground with running foliage in the German fashion of the 16th century, and a pair of modern cuisses each of four lames, fitted at their lower ends with winged poleyns of four lames and etched with bands and borders of etching in the Italian fashion of the second half of the 16th century See note at front of catalogue for information concerning stands Provenance Victor A. Bachereau, Paris, Dr Bashford Dean, Riverdale, New York Edmund C. Converse, sold American Art Association, New York, 26 November 1927, lot 294, $4,300 (with horse armour) JWHA Inv. No. 406 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 83, illustrated The device of a castle etched at the neck-opening of the breastplate represents the signature of one of the most important Milanese armourers of the late 16th century, know to scholars today as the `Master of the Castle`. It is possible that he, like his contemporary, Pompeo della Chiesa, was privileged to work in the Castello Sforzesco, residence of the Dukes of Milan. Other extant works bearing his signature include the fine garniture made for Wolf Dietrich von Raitenau, Prince Bishjop of Salzburg, probably after 1587, and now divided between the Bayerisches Nationalmuseum, Munich, the Wallace Collection, London, and the Hermitage Museum, St Petersburg, as well as various armours preserved in the Museo Civico L. Marzoli, Brescia, the Real Armeria, Turin, the Real Armeria, Madrid, the Musée de l`Armée, Paris, and the Wallace Collection, London (C. R. Beard, The Barberini and Some Allied Armours, pp. 1924, 11-12; K. Maurice, `Armour for an Archbishop`, Apollo, Vol. CXII, pp. 474-5; Norman, 1986, pp. 29, 32-3 & 36-7; and D. J. LaRocca, `A Notable Group of Late Sixteenth-Century Etched Italian Armour`, Journal of the Arms and Armour Society, Vol. XVI, no. 4, March 2000, pp. 181-97).
**A COMPOSITE GERMAN CUIRASSIER`S ARMOUR, IN PART PROBABLY BY MARTIN SCHNEIDER THE YOUNGER, NUREMBERG, CIRCA 1620 comprising Zischägge with a two-piece hemispherical skull joined along the crest of a low file-roped medial comb fitted at its rear with a modern plume-tube of brass, the skull projecting forward to a short, obtusely-pointed integral peak pierced at its centre with a rectangular slot to receive a sliding nasal-bar (restored) expanding at its lower end to a large rounded triangular finial and secured at the brow by a modern staple and screw, fitted at the nape with an associated neck-guard of three lames, the last of which is formed at its lower edge with a prominent central cusp, and at each side with a modern forward-sloping hinged cheek-piece of two lames, the upper one embossed with a flower-head, collar of two lames front and rear (the lower rear one restored), one-piece backplate of late `peascod` fashion, struck internally, just below the neck, with the large letter `T`, and formed at it lower edge with a flange later fitted at each side with a projecting screw and wing-nut to attach a pair of composite cuisses each formed of a single boxed upper lame from which are suspended, by means of a pair of modern straps and buckles, a further eleven lames of which the last is fitted at its lower edge with a poleyn of four lames, one-piece breastplate struck at the neck with the quality-control mark of the city of Nuremberg and a maker`s mark consisting of a pair of scissors within a shield, and formed at it lower edge with a short flange, large asymmetrical pauldrons (not a pair), the left of seven lames and the right of six, two vambraces (not a pair) of fully articulated tubular form, each of late 16th century Italian make and fitted at its upper edge with a turner of one lame and at its elbow with a bracelet couter of three lames, and two gauntlets (not a pair) each formed of a flared and pointed cuff with a separate inner plate, several metacarpal-plates (four in the case of the left and five in the case of the right), a knuckle-plate decorated with a file-roped transverse rib, and a shaped finger-plate (composed and in part reworked from old plates), the main edges of the armour formed with inward turns, mostly roped and in many cases accompanied by lining-rivets retaining the remains of crimson velvet piccadils edged with gold bullion, and a few of the main edge, along with most of the subsidiary ones and three divergent bands of the breastplate and backplate respectively decorated with double or treble incised lines (in part later additions) gilt against a blued ground (some minor damage and patching throughout) Provenance Sumner Healey, New York, 6 June 1932 Exhibited `The Art of Collecting, J. W. Higgins Museum, Worcester, Massachusetts, October, 1984 Travelling exhibition visiting several locations in the south of the U.S.A. February 2004- September 2008 JWHA Inv. No. 1737 The mark of the scissors struck on the backplate is probably identifiable as that of the Nuremberg armourer Martin Schneider the Younger (his surname translates into English as `Tailor` ). The same or similar mark can be found on other Nuremberg pieces such as a steel target in the Historisches Museum, Dresden (Ehrenthal 1898, p. 34), as well as another in the J. W. Higgins Armory Museum, Worcester, Massachusetts, JWHA Inv. No. 2647 (`The Age of Armor`, 13 February 2003 - 31 August 2003). It is also to be found on an armour in the Musée d`Art et d`Histoire, Geneva, and a breastplate in the Hallwyll House Museum, Stockholm, Cat. No. E.2.
**A COMPOSITE GERMAN CUIRASSIER`S ARMOUR, CIRCA 1620 comprising shot-proof close helmet of `Todenkopf` form with rounded two-piece skull joined medially by rivets, its lower edge formed with a short integral rear gorget-plate, and peak, upper bevor and lower bevor attached to the former at either side by common pivots with low domed heads, the peak arched over the eyes and descending between them as a V-shaped projection, the near-vertical, medially-ridged upper bevor with slightly convex profile cut at its upper edge with a pair of U-shaped apertures for vision, a horizontal ventilation-slot over the mouth, and fitted to the right of the latter with a slender lifting-peg (restored), and the lower bevor formed with an integral front gorget-plate (its right end patched), `Almain` collar formed of a single lame front and rear, fitted at each side with an integral spaudler (associated) of seven lames, one-piece breastplate of late `peascod` fashion flanged outwards at its lower edge and fitted there with two pairs of modern hinges for the attachment of a pair of knee-length tassets each formed of eleven lames of which the last and longest is cut away slightly at the inside of the knee and fitted at its lower edge with a winged poleyn of three lames, one-piece backplate flanged outwards at its lower edge and fitted within it with a pair of modern projecting tabs, each bearing a pierced stud for the attachment of a deep flaring culet of four lames, the first traversely boxed and the last formed in two halves joined medially by rivets and deepening to its outer ends, a pair of modern besagues, each of circular form, rising at its centre to a conical boss, a pair of later sleeves of butted mail, probably Near or Middle-Eastern, and two long gauntlets, not a pair, each formed of a long, slightly flared tubular cuff closed at the inside by a separate plate and extending over the point of the elbow, five metacarpal-plates, a knuckle-plate decorated with a file-roped transverse rib, and a lining-glove of brocaded linen, that of the right retaining its distal two thumb-scales, the main edges of the armour formed with plain inward turns accompanied in part by recessed borders, and the subsidiary edges in most cases bevelled and polished bright to contrast with the overall black finish of the armour (refreshed with paint) Provenance Solothurn Arsenal, Switzerland (cuirass only) Dr Bashford Dean, Riverdale, New York, sold by American Art Association, New York, 23-4 November 1928, lot 147 JWHA Inv. No. 609 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester 1961, p. 101, illustrated
**A NORTH ITALIAN MORION IN THE SPANISH FASHION, CIRCA 1570-80, WITH ETCHED DECORATION OF THE 19TH CENTURY with one-piece almond-shaped crown rising at its apex to a backward directed `stalk`, and an integral brim turned down at each side and rising slightly to an acute point front and rear, its edges formed with file-roped inward turns accompanied by narrow grooves, the base of the crown fitted at the nape with a later plume-tube of brass and encircled by fourteen round-headed lining-rivets with accompanying rosette-washers also of brass (restored), two of them at each side retaining modern chin-straps, the crown later decorated with four radiating bands of etching on a stippled and blackened ground, the lateral ones including classical warriors, masks and trophies of arms, and the medial ones stylised acanthus foliage repeated around the brim, and the interspaces between the bands occupied cartouches enclosing subjects similar to those of the lateral bands 26.5 cm; 10 1/2 in high Provenance Dr Bashford Dean, New York, sold American Art Association, New York, 24 November 1928, lot 200 JWHA Inv. No. 619 Exhibited Worcester Art Museum, Worcester, Massachusetts, 1928-30 Berkshire Museum, Pittsfield, Massachusetts, 6 January 1965 - 21 February 1966 Worcester Polytechnic Institute, Worcester, Massachusetts, 12 -15 May 1967 Oneida County Jr. Museum, Utica, New York, 11 September 1967 - 8 January 1968 Museum of our National Heritage, Lexington, Massachusetts, 20 January - 20 May 1979
**A PAIR OF TASSETS, THE RIGHT SOUTH GERMAN, LATE 16TH CENTURY, AND THE LEFT 19TH CENTURY each formed of three upward-overlapping medially-ridged lames (those of left restored using old lames), the first, with a stepped inner edge, fitted at its upper edge with three modern double-ended suspension-buckles, and the last with a squared lower edge pierced at either side with holes (now occupied in two cases by rivets) for fittings which served to attach extensions, and the main edges of each formed with inward turns, file-roped in the case of the lateral ones and plain in the case of the lower one Provenance The Metropolitan Museum of Art, New York, sold by Parke-Bernet Galleries, Inc., New York, 24-6 October 1956, sale no. 1701, lot no. 106, $30 for lot JWHA Inv. No. 3127
NUMISMATIC BOOKS, COMMEMORATIVE MEDALS Jones, M, The Art of the Medal, London, 1979, 192pp, b/w illustrations, cloth, jacket, good; Edmundson, J, Collecting Modern Commemorative Medals, London, 1972, 247pp, illustrations in the text, cloth, jacket, good; Taylor, J, The Architectural Medal; England in the Nineteenth Century, London, 1978, 244pp, illustrated, cloth, jacket, virtually as new; [Hull Grundy] The Hull Grundy Gift to the British Museum – Medals and Plaquettes, no date, 10pp, 9 plates, card covers; [British Museum] A Guide to the Historical Medals in the British Museum, London, 1924, 155pp, illustrations in the text, original boards, good; Martin, J S, Index to the Biographical Dictionary of Medallists, London, 2004, 311pp, casebound, virtually as new. (6)
Hunt Slonem (American/Louisiana, b. 1951), "St. Martin de Porres", 1983, oil on canvas, signed and dated en verso, 72 in. x 24 in., unframed. Note: St. Martin de Porres (1579-1639) is the patron saint of mixed races and interracial peace. Born in Peru to a freed slave from Panama and a Spanish nobleman, de Porres became one of the first men of multiracial descent to be ordained as a Dominican brother. He is often depicted with a broom, because he worked his way up from a donado, "a volunteer who performed menial tasks in the friary", like sweeping the floor, to one of the most respected members of the clergy. In 1962, de Porres was canonized for the devout life he lived, caring for indigent people and animals, regardless of race and species. De Porres is the most commonly portrayed saint in Hunt Slonem`s works. In 1983, he painted a series of paintings that depict the saint in a blue vestment with a broom, surrounded by exotic flora and fauna. Two of those paintings, which closely resemble the one offered here, are in the permanent collections of the Metropolitan Museum of Art, NY and Newark Museum, NJ. For more information on the symbolism of birds and animals in Slonem`s oeuvre, please see lot 548. References: Craughwell, Thomas J., "Patron Saints for Modern Challenges." St. Anthony Messenger. American Catholic Organization. Web. Accessed April 2, 2014; Dinnerman, Barbara. "Winged Victory:Hunt Slonem`s Own Jungle Inspires His Flight of Fancy." Art and Antiques 25:11 (Dec. 2002): p. 68-70; Yau, John. The New Response: Contemporary Painters of the Hudson River. Albany: Albany Instiute of History and Art, 1985, p.72.
Riccardo Tommasi Ferroni (Italian, 1934-2000), "Studio per Un Gioco Tornatto", 1974, oil on canvas, signed and dated lower right, signed, dated and titled en verso, 27 1/2 in. x 39 1/2 in., framed. Note: Ferroni was a leading post-modern Italian figure painter throughout the latter part of the twentieth-century. Ferroni`s paintings combine classical themes and subjects from the Renaissance in surreal discontinuous spaces that stylistically resemble the works of DeChirico, Dali and DuChamp. In contrast to their works, Ferroni`s paintings are politically charged. Ferroni`s surreal compositions were pivotal to the resurgence of figurative painting in the early 1980s. Abstract existential art, void of figural or classical narratives, dominated the Italian art scene following World War II. Ferroni`s works were inspirational to the following generation of artists looking to reintegrate the past within a modern dialogue. Ferroni`s paintings have been exhibited and collected throughout museums and institutions in Europe and in the U.S. cities New York, Newport and Los Angeles. He was elected a member of the prestigious Accademia Romana di San Luca in 1982, and is recognized in prominent art history textbooks on Italian art such as Antonio Del Guercio`s Storia dell`Arte Presente (1998). References: Angelo Calabrese, "Riccardo Tommasi Ferroni: Una Costante Altezza di Tono L`Arte Come Circuito Aperto", Arte & Arte Online, 24 February 2006, Web. 27 March 2014; R.T. Ferroni, Le Regine di Riccardo Tommasi Ferroni (Parma: Galleria Borgobello, 1982).
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