A Fine American Neo-Grec Gilt Bronze-Mounted, Ebonized, Gilt Decorated and Inlaid Rosewood Parlor Cabinet, c. 1870, Pottier & Stymus, New York, bronze mounts marked and numbered "4738", reverse of cabinet numbered "4738", stepped shaped top, conforming case fitted with two paneled doors centering bronze plaques, birdseye maple shelf interior, fluted and blocked uprights, plinth base, height 51 in., width 55 1/2 in., depth 22 3/4 in. Note: The sophisticated design of this cabinet incorporates a theme of marital fidelity and domestic harmony. The two large plaques on the doors depict Penelope attending her weaving while awaiting the return of her husband and Ulysses seated with his devoted hound. The bronze plaques are likely from Pierre E. Guerin (1843-1911), who established his New York foundry in 1864 providing mounts for renowned cabinet makers such as Leon Marcotte and Pottier & Stymus. A cabinet with "Penelope" plaques marked "Gúerin" related to those here was offered by Neal Auction Company as lot 81, September 10, 2011. An important rosewood parlor cabinet with collared stiles and bust mounts marked "P&S" very similar to those placed on this cabinet was sold by Neal Auction Company as lot 742, May 1993. The use of a four and five-digit numbering system by Pottier & Stymus before 1888 is well-known and documented in Kristin Herrons` article on Glenmont, the Thomas Edison Residence in West Orange, New Jersey. The digits on a Pottier & Stymus example could be impressed, stenciled, or inscribed in ink, as seen here. Herron notes that the numbers were probably assigned chronologically, low digits, an "3924" on an Egyptian Revival chair at the Metropolitan Museum of Art dates from 1870, an1882 wardrobe at Glenmont is marked with a higher number "66595". The inked number on this cabinet, "4736," indicates manufacture in the early 1870s. An 1888 fire in the manufactory destroyed the firms` records, and probably terminated use of the numbers in subsequent work from Pottier & Stymus. Reference: Laux, Barbara. "The Furniture Mounts of P.E. Gúerin," Magazine Antiques (May 2002) p. 140-149 and Herron, Kristin. "The Modern Gothic Furniture of Pottier and Stymus." Magazine Antiques. (May 1999) p. 765, 768, pl. XIII-XIV, note 15, and p. 769, note 17.
We found 19749 price guide item(s) matching your search
There are 19749 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
19749 item(s)/page
20th. Century Art and its Protagonists. A large collection of books which include titles which have reference to particular Artists and to different schools and movements. Titles include works on Ben Nicholson, Hans Arp, Emil Nolde, Tamara de Lempicka, Jasper Johns, John Bellany, W.Barnes-Graham, Edward Piper, Maurice Cockrill, Sean Scully, John Piper, Cyril Mann, Ceri Richards, Howard Hodgkin, Stasys Krasauskas, Jackson Pollock, David Hockney, Chuck Close, Freidensreich Hundertwasser, John Hoyland, Duncan Grant, Ken Kiff, Michael Morgan, Gillian Ayres, Kenneth Draper, Richard Powers, Andrew Wyeth, Banksy, Jacob Lawrence, Bob Thompson, John Virtue and Georgia O'Keefe. Titles referring to schools and movements include : Transition - the London Art Scene in the Fifties, Camberwell School of Arts and Crafts, The School of London, Exhibition Road - Painters at the Royal College of Art, Modern Art in Britain 1910-1914, The Art of Bloomsbury. Books are all qto. mainly hbs. with a selection of pbs. and in vg near fine condition. CONDITION REPORT: Please see additional images
Eggleston, William (né en 1939) William Egglestons Guide. Museum of Modern Art, New York, 1976. In-8 (23 x 23 cm). Édition originale. 112 pp. Essai de John Szarkowski. Reliure déditeur en plein simili cuir noir, titre en lettres dorées et photographie reproduite en couleurs contrecollée sur la couverture. Ref. Parr & Badger, I, p. 265 ; Roth, pp. 238-239. Provenance : Collection du photographe Jerry Berndt.
USA 8 volumes. *Joel-Peter Witkin uvres récentes 1998-1999. Baudoin Lebon, Paris, 2000. Exemplaire dédicacé à Paul Facchetti par Baudoin Lebon. *Georgia OKeeffe & Alfred Stieglitz Two Lives. A conversation in paintings and photographs. Callaway Éditions, New York, 1992. *Stephen Shore Uncommon places. 50 unpublished photographs 1973-1978. Conrads/Mennour, 2002. *Irving Penn Passage. A work record. Alfred A.Knopf/Callaway, New York, 1991. *Photographie américaine de 1890 à 1965 à travers la collection du Museum of Modern Art, New York. Par Peter Galassi. Moma, New York/ Centre Pompidou, Paris, 1995. *Edward Weston Forms of Passion. Harry N. Abrams, 1995. *Louis Stettner Wisdom Cries Out in the Streets. Flammarion, 1999. Signé et dédicacé par Louis Stettner à Paul Facchetti. *Benjamin Katz Souvenirs. Könneman, 1996. Exemplaire signé et dédicacé.
Lillian Budd Modern World screenprint and acrylic on paper, two found lamps with assorted bulbs, found extension cord and resin-coated copy of Damned Shall be Desire by Stephen Coulter affixed to found stand National Art Gallery, Wellington, New Zealand Museum Contemporary Art, Sydney, Australia: Touring Exhibition label attached to base of found lamp 2400mm x 2000mm x 3000mm overall Acquired by the present owner from Gregory Flint Gallery, 1992. Formerly in the collection of Budd Holdings (NZ) Ltd, Auckland Headlands: Thinking through New Zealand Art, Museum of Contemporary Art, Sydney, Australia, 1992 Barr, Mary (ed.), Headlands: Thinking Through New Zealand Art, Museum of Contemporary Art: Sydney, 1992, p. 78
An Art Deco synthetic emerald and paste panel bracelet set in unmarked white metal and a reversible ring A) The stones are as described - synthetic emeralds and paste white stones. 9 small paste are missing and 5 of the larger paste have been replaced with modern cubic zirconia stones. The unhallmarked white metal bears foreign marks. B) Hinged reversible ring. The white stones are not diamonds and the red and blue stones are synthetic.
Edward Christian Quayle (1871-1946) - 'Fishing Boats on a Shore' and 'Fishing Boats in a Harbour' (possibly Douglas, Isle of Man), a pair of watercolours, both signed, one inscribed by hand verso 'Port St Mary, I.O.Man', the other bearing label verso for 'The Art Gallery, 44 Bucks Road, Douglas, Isle of Man', approx. 25x35cm and approx. 35x25cm, both inset modern frames (illustrated)
Literature autograph Henry Thrale^ friend of Dr Johnson The Art of Preserving Health: A Poem. London 1744. Lacking covers^ but otherwise appears complete 134pp. Contained in modern purpose built case. Bearing the signature of Henry Thrale to title page. Thrale^ from a successful brewing family^ was an MP and close friend of Johnson who lived with the Thrale family for many years.
India Paintings of the Sikhs ARCHER^ W G 1st Edition^ Col 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.
Three Art Deco metalware items to include a Tudric, Liberty & Co handled pewter cake/bread stand no. 01202 circa 1900; a modern Liberty Heritage tray depicting stylised honesty leaves, stamped to base `Liberty Heritage Made in England Des. no. 9827 Limited/250; and a Keswick school hammered-brass dish on pedestal base with lid, 21cm in height, 23cm in diameter with twisted-rope decoration round dish rim.
Kiki Smith (née en 1954)Ginzer and the birds, 1996Lithographie et collage sur papierSigné, daté et numéroté 26/50 en bas à gaucheEdition Benefit for Artists Space, New YorkLithograph and collage on paperSigned, dated and numbered 26/50 lower left43 x 52 cm - 16 7/8 x 20 1/2 in. Bibliographie :Kiki Smith, Prints, Books & Things, Wendy Weitman, The Museum of Modern Art, New York, 2003, un exemplaire décrit et reproduit page 101 sous le n°77
1912 (15 April) RMS Titanic - Passage to Eternity limited edition print by Ken Marschall Numbered No. 90/1450. Framed print by Marschall recognised as a leading Titanic artist. Complete with certificate of authenticity and accompanied by the book Ken Marschall`s Art of Titanic signed by author and with slipcase. Also with a modern reproduction of an Irish WW1 recruiting poster framed as a decorative piece. (3 items).
GIORGIO DECURSO & JONATHAN DE PAS (1932-1991) & DONATO D’URBINO (Né en 1935) & PAOLO LOMAZZI (Né EN 1936) - BBB BONACINA (Éditeur) Suite de douze chaises Junior démontables et empilables, "4 Knock Down”, dessin de 1972, en ABS rouge ou jaune, dont les piétements cylindriques ou les dossiers peuvent s’imbriquer indifféremment les uns dans les autres, permettant ainsi de créer des géométries ludiques et variables tel qu’un paravent. Cachet d’éditeur. A set of twelve "4 Knock Down" red or yellow plastic chairs, that can be dismantled and build large objects such as screen, designed in 1972. Haut. 50 cm - Larg. 30 cm - Prof. 32,5 cm Height. 19 3⁄4 in. - Width. 11 3⁄4 in.- Depth. 12 3⁄4 in. Bibliographie : - Emilio Ambasz, "Italy : New Domestic Landscape", Museum of Modern Art ; First edition, New York, 1972. - Thomas Müller, Romana Schneider, "Das Klassenzimmer. Schulmöbel im 20. Jahrhundert", Éditions Prestel, 1998, p. 145. - Carole Daprey, "Mobilier Design pour enfants", Piqpoq, 2009, Paris, pp. 130-131.
NOT AVAILABLE FOR ONLINE BIDDING. PLEASE CONTACT THE AUCTIONEER IF YOU WANT TO BID ON THIS LOT.USA, Panama-Pacific Exposition, 1915, commemorative set in gold and silver: gold octagonal 50 dollars, gold round 50 dollars, gold 2½ dollars, gold dollar, and silver 50 cents, all struck at the San Francisco mint, the rare complete set in original case with certificate of issue, extremely fine or better with some light hairlines, the two 50 dollars lightly wiped, rich gold toning on the gold coins, the silver 50 cents having lovely silvery gold surfaces with rich blue peripheral toning (5) The concept of a ‘world’s fair’ showcasing human achievement was an idea essentially of the 19th century, even though exhibitions were an age-old phenomenon. In America, the Centennial Exhibition of 1876 held in Fairmount Park in Philadelphia was intended both to show off new technical achievements and to celebrate a century of independence as a nation. The Paris Exhibition of 1889 followed. The World’s Columbian Exhibition of 1892-93 in Chicago was an even grander affair, where a small city was erected consisting of buildings, canals and parks; its ostensible purpose was to mark the 400th anniversary of the discovery of the New World. Not to be outdone, Paris again hosted an exhibition in 1900, and St Louis in Missouri felt a need to express itself and hosted a fair in 1904, where the summer Olympic Games were only part of all the excitement. Its formal name was The Louisiana Purchase Exposition but its purpose was largely as a commercial enterprise to attract tourists who wished to purchase gifts of many kinds for themselves as mementoes, and to be entertained. The west coast of the United States, however, was a long-distance trip not only for Europeans arriving by ship on the east coast but also for much of the American population. Californians were clamouring for their own world’s fair by the turn of the century. Beginning in 1904, a variety of plans and schemes for a festival was being considered in San Francisco, and the goal was to outdo other American exhibitions. The terrible earthquake disrupted plans only temporarily, and by 1911 the organizing council had the approval of none other than President Taft, who embraced the idea of a West Coast fair celebrating both American ingenuity and the opening of the Panama Canal in 1911, which was being hailed as a new wonder of the world. What is today known as the Marina District was filled with land while engineers constructed a variety of buildings meant to be temporary. Included in the plans for this mini city was even a 5-acre reproduction of the Panama Canal! After 3 years of construction, the Panama-Pacific International Exposition opened on 20 February 1915, occupying 635 acres by the bay. Featuring a vast array of landscape architecture, statuesque buildings, ornate gardens, art of many kinds, clever inventions, countless displays of wares and products, sports and entertainment — the fair showed the throngs of visitors what the world looked like in 1915. Perhaps the most spectacular event of the fair was the first-ever use of electricity to light up the entire city at night. Although coins commemorating such fairs had been issued before, at this exposition an entire set of specially designed coins was produced for sale to fair-goers. They could purchase single coins or, rarely, an entire set, as we see in the presently offered lot. Due to the high value of the set, at a time when the average yearly income was about $1500, few sets were purchased. Thus was born a modern rarity, in which the individual coins featured designs intended to commemorate the opening of the Panama Canal expressed in Art Deco style. All of the coins were struck at the fair. The half-dollar features the symbolic Miss Liberty scattering flowers which she received from a cornucopia, with the rising sun behind her, an expression of bounty and optimism. The gold dollar depicts a capped labourer, among many who built the Panama Canal. Its reverse features a pair of dolphins, symbolizing the flowing together of two oceans via the canal. The gold 2½ dollars, or ‘quarter eagle’, reputedly shows Columbia seated upon a hippocampus with a vigilant eagle on the other side said in its day to be warding off war. The huge, impressive gold 50 dollar coins, similarly designed but of different shapes, were supposedly meant to pay obeisance to the fifty-dollar ‘pioneer gold’ coins of the 1849ers. Each featured a helmeted Greek goddess Athena as a symbol of wisdom and of warfare, as well as of the practical arts, opposed by a large owl alluding to the inspiration of antiquity. It is seated upon a branch surrounded by Ponderosa pinecones, native to California. Dolphins ‘swim’ around the rim of the Octagonal, emblematic sailors’ guardians seen in the open seas on each side of the canal. Each coin also boasts a proud legend of the nation and another indicating its origin at the Exposition. It took massive hydraulic presses to produce these beautiful coins. They are among the finest of all numismatic expressions of the Art Deco era.
EDITH LAWRENCE (1890-1973) HOUSES UNDER THE HILL colour linocut, 1/50, 1933, signed, inscribed with the title, Exhibition Print and numbered 1/50 in pencil, 22.5 x 33cm Edith Lawrence met Claude Flight (1881-1995) in 1922. He was the highly original linocut printmaker of the Grosvenor School of Modern Art. Flight`s marriage had recently broken down and Lawrence, a textile artist, became his lifelong partner and collaborator. The present subject was executed when she and Flight were staying with Lilli Tschudi (1911-2004) in Switzerland in 1933. Being the first `pull` and inscribed `Exhibition Print` it is presumably this print that can be seen in a photograph of the exhibition staged by the three artists in Montreux in November of that year. See Coppel (G), Linocuts of the Machine Age, 1995, p62 (the print hanging immediately above the stool on the left). In entirely untouched original condition, undisturbed in the original slightly discoloured mount in oak frame, the card backboard with label of the framer J Bryce Smith Ltd 117 Hampstead Road London NW1. Although unexamined out of the frame the print lying slightly unevenly and not thought to be laid down, in untouched condition
George “AE” Russell (1867-1935) CONTEMPLATION oil on canvas signed in monogram lower left; titled on reverse; with handwritten label also on reverse [reads, A wedding present from a Mr Hogg to Rev. Geo. Townshend, 1981"]" 21.25 by 32.25in., 53.125 by 80.625cm. L with the Oriel Gallery, 1989;Where purchased by the present owner`s father;Thence by descent `George Russell ~ AE… at The Oriel`s 21st Anniversary`, Oriel Gallery, Dublin, 13 November to 2 December, 1989, catalogue no. 32a It was fitting that the Oriel Gallery should choose to highlight the work of AE for the gallery`s 21st anniversary as it was with George Russell`s work that it launched onto the arts scene in Dublin in 1968.In the catalogue for the 1989 anniversary exhibition, Oliver Nulty writes, Given AE`s awareness of the other world it is small wonder that he painted so many pictures of it and its inhabitants. Even his paintings of ordinary landscapes seem to be so influenced by it we often find it difficult to be certain whether the figures belong to this world or another, were it not for the fact that all those other worldly beings have colourful radiances coming from them. Of course there is no doubt about some of the poses - the half crouched or kneeling figures gazing with awe at some great being radiantly aflame. But others, such as those of children frolicking on a shore or playing in the water can recall some happy memories." Thereafter his clientele was drawn from wealthy Scots industrialists and ship-owners who included the families of wool and yarn manufacturers, the Fultons, the McKeans and the Clarks, as well as the renowned collector, William Burrell and the adventurer-laird of Gartmore, RB Cunninghame Graham. Now in 1895, he was admitted to the ranks of the Royal Scottish Academy with a portrait of Mrs Christie Smith, entitled The Rocking Chair, as his Diploma piece. (10) At this point, at the height of his fame in Scotland, Lavery`s magisterial Lady in White, thought to represent Mrs Park Lyle, a member of the Abram Lyle dynasty, took its place in the cavalcade of dignitaries associated with `the second city of the empire`. (11)Deliberating on Lavery`s achievement at the end of that important year, Moore`s avant-garde comrade, D. S. MacColl pressed the painter to extend himself further: When he paints a pretty woman, he seizes upon one or two obvious points of likeness, fixes the general allure of the figure, and makes a striking assertion of the éclat of fair flesh. A painter who can imagine the beautiful harmony of colour in the draperies of one of those portraits, and whose appreciation of the principles of picture making is evidently so high, owes it to his talent to try for other virtues. (12)MacColl was looking for more and so too was the painter. Glasgow was no longer enough for him. Rome, Berlin, Paris and London were calling. The international success of the Glasgow group continued and while there were `Glasgow Boys` exhibitions in St Louis and Chicago, its members, Lavery among them, were defecting. In March 1895 Blackwood`s Edinburgh Magazine carried an article chauvinistically declaring the new Scottish painting `the most vital art movement` of the day, conveniently neglecting the fact that Lavery, its most ambitious member, did not hail from the Glasgow hinterland. He was nevertheless singled out for praise and `elegance of arrangement and style` were regarded as the chief characteristics of his work. (13) The writer could indeed have been thinking about the picture then in his studio and nearing completion - A Lady in White. Prof. Kenneth McConkeyJanuary 2014Footnotes:1. See for instance, Two Art Critics, Pictures at Play, 1888 (Longmans, Green & Co); also William Sharp, Fair Women in Painting and Poetry, 1894 (Seeley and Co), quoted in Kenneth McConkey, Memory and Desire, 2002 (Ashgate), pp. 90-94. 2. George Moore, `The Royal Academy`, The Speaker, 11 May 1895, p. 516.3. Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), pp. 63-8. Having painted Mrs JJ Cowan and her daughter, Laura, Lavery recommended Whistler to her husband for a small full-length portrait (National Galleries of Scotland).4. JS Little, `A Cosmopolitan Painter: John Lavery`, The Studio, vol xxvii, 1902-3, p. 118.5. McConkey, 2010, p. 68. It was not unusual for paintings to be photographed for Royal Academy Pictures, while still in progress. Although there is no evidence to suggest that changes to the picture were made prior to, or shortly after its showing, this is likely to have been the case. 6. Lavery had used a similar motif in the portrait of Miss Mary Burrell, in the previous year and for this reason as much as any, he may have sought to reduce its effect in the present composition. 7. `The Royal Academy, Fourth Notice`, The Athenaeum, 22 June 1895, p. 811. 8. Anon, `The Glasgow School of Painting`, The Edinburgh Review, no. 398, 1901, p. 498.9. Charles M Kurtz, `The Glasgow School, The Men and their Work`, Modern Art, vol 4, no. 1, 1896, p. 8.10. McConkey, 2010, p. 68. 11. Walter Shaw Sparrow, John Lavery and His Art, n.d., [1912], (Kegan Paul, Trubner, Trench and Co), p. 177. Abram Lyle, the Greenock sugar refiner and ship-owner, merged his company with that of Henry Tate, founder of the Tate Gallery, London, to form the world famous Tate and Lyle sugar manufacturer. The Lyle company specialised in syrup and its motto, taken from the Old Testament story of Samson, remains `Out of the strong cometh forth sweetness`. Mrs Park Lyle is thought to be either of Abram Lyle`s daughters-in-law, Grace Eleanora Moir (1855-1918), who married his son, Sir Alexander Park Lyle (1849-1933), in 1880 or Agnes Jaimeson (d 1943) the wife of Alexander`s elder brother, Robert, 1st Baron Lyle of Greenock. A further complication arises from the fact that Harrington Mann, a successful portrait painter and one of Lavery`s Glasgow associates, produced a portrait of Mrs Park Lyle c. 1910 (National Trust, Barrington Court), this time, the wife of William Park Lyle, also of the sugar refining dynasty. 12. The Spectator, 23 November 1895, p. 725.13. Anon., `The Scottish School of Painting`, Blackwood`s Edinburgh Magazine, vol CLVII, March 1895, pp. 339, 344.
![Charles Vincent Lamb RHA RUA (1893-1964) BEAN AN DROCHSHÚIL [THE WOMAN WITH THE EVIL EYE], c.1954 oil on canvas signed lower](http://lot-images.atgmedia.com/SR/10092/2901686/48-201423164527_468x382.jpg)
Charles Vincent Lamb RHA RUA (1893-1964) BEAN AN DROCHSHÚIL [THE WOMAN WITH THE EVIL EYE], c.1954 oil on canvas signed lower right; with typed exhibition label on reverse 20 by 24in., 50 by 60cm. L Previously in the Collection of Mrs. Katherine Lamb, Carraroe, Co. Galway;Private collection RHA Dublin, 1954, catalogue no. 81;‘Charles Lamb Memorial Exhibition’, Municipal Gallery of Modern Art, Dublin, 1-27 April 1969, catalogue no. 78
Edward Delaney RHA (1930-2009) RESURRECTION, c.1960-1961 copper; (unique) 257.5 by 112.5 by 12in., 257.5 by 112.5 by 30cm. P Commissioned for Our Lady of Lourdes Hospital, Drogheda This 9ft long Christ figure, entitled Resurrection, is part of a major commission done by Edward Delaney for Our Lady of Lourdes Hospital in Drogheda, commissioned by the Medical Missionaries of Mary and specifically their pioneering superior, Mother Mary Martin, who wanted a modern artistic display for the new hospital. Delaney always gave great credit to the Catholic Church for its support for art, design and sculpture and for the artistic leeway that he was given. For the Drogheda project, Delaney created a dome for the mortuary chapel, with 90 square feet of bronze reliefs, depicting the life of Christ as well as this figure. The work was completed in 1961 and is very fine representation of Delaney`s early stark style, influenced by post war German Expressionist sculpture (Delaney studied sculpture in Germany from 1954 to 1958) as well the work of the Italian master Giacomo Manzu, who specialised in the virtually two dimensional paneled figure, similar to this.In a June 1963 interview with the Sunday Review (an Irish Times title), Delaney spoke about the Drogheda project and described how he believed `…a spiritual figure to be an abstract form of harmony`, and that `the spiritual quality of such a figure should come from the way the artist shapes the material; moulds and forms`. However, he said he couldn`t `explain the figure` as he didn`t think `an artist should ever explain a piece of sculpture. It is simply a statement made in bronze, or another material. If anyone doesn`t understand a statement by an artist, I don`t think it could be explained to them.`
Robert Ballagh (b.1943) NOT AGAIN, 1979 print on canvas; (no. 2 from an edition of 15) signed, numbered and dated lower right; with inscribed David Hendriks Gallery label on reverse 16 by 18in., 40 by 45cm. L David Hendriks Gallery, Dublin;Private collection Contained in original David Hendriks Gallery frame. An example of this print can be found in the collection of the Irish Museum of Modern Art, Dublin.
The Wilkie Gallery "A Selection of the Best Pictures, the Late Sir David Wilkie R.A." published George Virtue, marbled end papers, library stamps, and the National Gallery "The Pictures Known as the Vernon Collection and a Selection from the Works of Modern Sculptors" edition S.T.Hall (4 volumes) (5 in total) A quantity of books on Art to include:- "Twelve Portraits" by William Rothenstein, "The Paintings of Rembrandt", "Exhibition of Dutch Art 1450-1900", "A Descriptive Catalogue of the Works of Rembrandt..", (2 boxes) Please note we do not guarantee books regarding collation. Bidders must be completely satisfied with condition and collation before bidding.
A Trench art “scimitar”, 11” overall, with brass blade, the copper hilt crudely stamped “3 Sq Loos 1915 R.F.C”; 2 Finnish fishing knives, with 6” and 2½” blades and brass horse’s head pommels and tooled leather sheaths; a small kindjal type knife in brass sheath; a South American knife with WM hilt and sheath; 2 modern German hunting type sheath knives with staghorn grips and leather sheaths; and 3 other knives. Basically GC (10)
Philomé Obin (Haitian, 1892-1986), "Marché de Revendeuses", oil on masonite, signed lower right, titled lower center, 29 3/4 in. x 23 3/4 in., framed. Note: Philomé Obin (1892-1986) is considered by many to be the greatest of all Haitian artists. Born in Cap-Haitien, Obin took drawing lessons as a child. Many of his early paintings were on cardboard or masonite and were unappreciated by the general public who looked more to the `sophisticated` art of France. By 1944, the artist was desperate because of his commitment to art and the lack of response he was receiving. However, the next year, he got the attention of Dewitt Peters, an American artist who was a Quaker and pacifist, and who had established the Centre d`Art in Port-au-Prince, Haiti`s capital, as an alternative to doing military service for the American government. Obin sent Peters a painting depicting Franklin D. Roosevelt and was immediately invited to join the Centre. Obin subsequently founded and directed the Branche Capois de Centre d`Art in his home city of Cap-Haitien, where he grew to become universally considered the father of the "Cap-Haitien style`" of painting. His brother Seneque and many of Philomé`s children, nieces, nephews and grandchildren eventually took up painting resulting in an impressive body of work reflecting the creations of many subsequent generations, a vibrant family legacy that continues to this day. Sometimes called a "sophisticated naif," Philomé had a unique sense of perspective. His work ranges from enchanting views of life in Haiti to allegories with strong messages. One of Obin`s significant contributions was to the mural project in the Episcopal Cathedral of Sainte Trinite in Port-au-Prince where he painted "The Crucifixion" and "The Last Supper". His work is included in the permanent collections of the Museum of Modern Art in New York, the Milwaukee Museum of Art, the Musee d`Art Haitien du College Saint Pierre in Port-au-Prince, the Figge Art Museum in Iowa, the Wadsworth Atheneum in Hartford, CT, and the Yale University Art Gallery. Reference: Reference: Demme, Jonathan. Island on Fire: Passionate Visions of Haiti from the Collection of Jonathan Demme. Nyack, NY: Kaliko Press, 1997.
Evelyn, John. Numismata. A Discourse of Medals, Antient and Modern, first edition, presentation copy from the author, `For the Rigt. Honble my Lord Spencer from his most humble and most obedient servant J Evelyn`, a few leaves with manuscript corrections, engraved illustrations in the text, some light browning, contemporary mottled calf, neatly rebacked, folio, London: Printed for Benj. Tooke, 1697 [Wing E3505] A fine copy from the Sunderland Library at Althorp, bought by Sir Edward Sullivan (1822-1885) at the Sunderland Sale of 1881-3 and gifted by him to the then Lord Spencer in 1885, with an inscription recording the gift on the front-free endpaper. After a visit to Althorp, Evelyn described Spencer in his diary as `a youth of extraordinary hopes, very learned for his age, and ingenious` (18 August 1688). By 1699, Evelyn confirms that Spencer had `an incomparable library. wherein, among other rare books, were several that were printed at the first invention of the wonderful art.` (April 1699).
Mainie Jellett (Irish, 1897-1944) - ' Abstract Composition', oil on panel, signed, bears old label verso for Richard Haworth, dealer in works of art, 25 Preston Road, Blackburn, approx 54x44cm, inset ebonised frame (illustrated) NB: Mary Harriott Jellett known as Mainie Jellett was an Irish painter whose 'Decoration' (1923) was among the first abstract paintings shown in Ireland when it was exhibited at The Society of Dublin Painters Group Show in 1923. Jellett was important figure in Irish art history, both as an early proponent at art and as a champion of the modern movement. She helped found the 'Irish Exhibition of Living Art' in 1943.
Loading...-
19749 item(s)/page