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Click here to subscribeA selection of vintage and other costume jewellery inc. diamante necklace with drops, Art Deco style diamante bracelet, 3 diamante clips, a sterling silver Norwegian cream and brown enamel butterfly, a silver Celtic style brooch, 4 modern silver rings set small green stones, a black enamel pendant cross and oddments
ink and acrylic on paper, 123 by 123cm Provenance: Michael Goedhuis Footnote: Born in Datong, Shanxi, in 1964, Wei Ligang has been at the forefront of contemporary ink painting’s development on the mainland, and he was one of the organizers of the June 1999 “Bashu Parade: ’99 Chengdu Retrospective of Chinese Modern Calligraphy at the End of the 20th Century” exhibition. In 1981, at the age of 17, Wei was admitted to Nankai University in Tianjin to study mathematics. He became the president of the calligraphy society at the university, which enabled him to connect with leading local calligraphers. After graduating in 1985, Wei was assigned to teach mathematics at the Teachers’ Training School in the industrial city of Taiyuan, but he succeeded in persuading the school to allow him to teach calligraphy in 1988. Wei Ligang moved to Beijing in 1995 to concentrate on his art. His training in mathematics has contributed to his abstract form of calligraphy. Many of his works are based on “Wei Squares,” a formula inspired by the square framework printed on practice paper for the characters that students copy repeatedly when learning calligraphy. Different from his gold-ground paintings, in which individual brushstrokes are not discernible, the Wei Square calligraphic paintings subtly combine painting and calligraphy: the density of ink ranges from solid black with dry brushstrokes to pale greys. Wei Ligang constantly deconstructs and re-forms the characters in his paintings while hinting at traditional script-forms (such as formal, running, or “grass” script), thus declaring his deep roots in Chinese culture. His works were included in the pioneering exhibition organized by Gordon Barrass at the British Museum in 2002.
ink on xuan paper, 96.5 by 180.3cm Provenance: The Origo Collection. Michael Goedhuis Published, Illustrated and Exhibited: Jason C Kuo, Chinese Ink Painting Now, New York, 2010, p.144, where the author notes that Zhang Dawoo was born in Beijing in 1943, and has been actively involved in the modern calligraphy movement. Coming from a cultivated family, Zhang had an unhappy childhood as his parents separated when he was three. In his early teens, Zhang lived in Tianjin with his father, who was a professor of English at Nankai University. During this period, Zhang studied with two master calligraphers, Li Henian and Wu Yuru, which built a solid technical platform for his later development. From 1963 to 1979, Zhang lived in the northeast of China, and the wild landscape he saw there greatly increased his appreciation of art stimulated by nature. After the Cultural Revolution, Zhang returned to Beijing in 1979; he began teaching calligraphy, and in the mid-1980s trying novel effects. In 1992 he set off for Tasmania, where his innovative calligraphic experiments developed. Since then Zhang Dawo has lived and worked in both Beijing and Australia. This led to his work being included in the pioneering exhibition of calligraphy organized by Gordon Barrass at the British Museum in 2002. The rugged landscape in Tasmania has become an endless inspiration for Zhang’s later works, in which he continues to explore the spatial arrangements and chromatic possibilities of Chinese calligraphy, attempting to render it relevant to modern viewers, wherever they’re from.
GORDON, Jan & Cora (authors and illustrators), mainly travel or art subjects, cloth without dustjacket, unless stated:Two Vagabonds in the Balkans, 1925, first edition; On Wandering Wheels, 1929, 1st; Two Vagabonds in Albanis, 1927, 1st; Modern French Artists, 1936, new edn.; Art ain't all Paint, 1944, 1st; Two Vagabonds in Languedoc, 1925, 1st; Two Vagabonds in Sweden andLapland, 1926, 1st; Misadventures With a Donkey in Spain, 1924; Portuguese Somersault, 1934, 1st; Star-dust in Hollywood, 1930, 1st; Poor Folk in Spain, 1922, 1st; The London Roundabout, 1933, 1st; The Luck of Thirteen, 1916, author's first book; A Balkan Freebooter, 1916; Three Lands on Three Wheels, 1932, 1st, dustjacket; and others (three paperbacks); together with a photocopy of an article about the Gordons by Kenneth J. Bryant, (24 vols)
Uschebti für den Kommandanten der königlichen Flotte, 26. Dynastie (664 - 525 v. Chr.) Uschebti in Mumiengestalt aus türkis glasierter Fayence. Kopf mit Perücke und Bart, die vor der Brust gekreuzten Arme Dreschflegel und Feldhacke haltend. Unterhalb der Arme neunzeilige Inschrift, die Zeilen durch Linien begrenzt. Die Inschrift im April 1981 gelesen von Professor Kamploni vom orientalischen Seminar der Universität Zürich, Ägyptologische Abteilung. Der Lesung zufolge handelt es sich um ein Uschebti für Tan he bou (andere Lesart: Tha en hab), was "Sohn des Ibis" (bzw. des Gottes Thot) heißt. Als Mutter wird "Ta Nofretete" genannt. Der Tote war Kommandant der königlichen Flotte in der Saitenzeit. Höhe 18,2 cm. Perfekt erhaltenes Uschebti, modern auf quadratischem Bronzesockel montiert. Provenienz: Berliner Privatsammlung. Übernommen aus dem Besitz der Eltern, erworben in den 70er Jahren vom Vater von einem renommierten Sammler ägyptischer Kunst in der Schweiz. An ushabti for the commander of the royal fleet, 26th Dynasty (664 - 525 B.C.) An ushabti for the commander of the royal fleet, 26th Dynasty (664 - 525 B.C.) Ushabti in mummy shape made of turquoise glazed faience. Head with wig and beard, arms crossed over chest holding flail and field hoe. Below the arms there is a nine-line inscription, the lines delimited by lines. The inscription read in April 1981 by Professor Kamploni of the Oriental Seminar of the University of Zurich, Department of Egyptology. According to the reading, it is an ushabti for Tan he bou (other reading: Tha en hab), which means "son of the Ibis" (or the god Thoth). The mother is named “Ta Nefertiti”. The dead person was commander of the royal fleet in the Saiten period. Height 18.2 cm. Perfectly preserved ushabti, modernly mounted on a square bronze base.Provenance: Berlin private collection. Taken over from the parents' possessions, acquired by the father in the 1970s from a renowned collector of Egyptian art in Switzerland.Condition: I
Bronzebeil für zeremonielle Zwecke, etruskisch, 2. Hälfte 8. - frühes 7. Jhdt. v. Chr. Zeremonialbeil von ausgesprochen schöner, aber nicht praxistauglicher Formgebung mit reicher Verzierung. Stumpfer, geradliniger Nacken. Die Schaftbahn seitlich von zwei leicht nach innen gebogenen, hohen Lappen begrenzt und vorne in einen gewölbten Absatz mündend. Ober- und Unterseite der Lappen mit rundherum verlaufenden Kreisaugen und einer Mittellinie aus Kreisaugen verziert. In den Bahnen dazwischen Linien aus Punktpunzen. Vom Absatz aus schwingt die Axt zum sehr dünnen Klingenblatt ein, das zur gewölbten Schneide hin stark auszipfelt. Beide Seiten der Klinge nach dem gleichen Schema verziert.Vom Absatz bis zur Mitte der Beilklinge eine Zierzone aus acht vertikalen Reihen von Kreisaugen, jeweils gefolgt von einer Reihe aus Punktpunzen. Unmittelbar davor fünf mit feinen Linien eingeritzte und ausschraffierte Dreiecke, an den Spitzen Punktpunzen. Zwischen diesen und der Schneide in der Mitte drei Vierbeiner mit Gehörn bzw. Geweih, durch Punktpunzen dargestellt. Diese Tierdarstellungen modern durch weiße Farbe in den Punktpunzen besser kenntlich gemacht. Schöne dunkelgrüne Patina. Eine Ecke der Schneide minimal abgebogen. Sonst völlig intakt. Länge 17,9 cm. Eine altitalische Ritualaxt von seltener Schönheit. Dazu ein Exemplar des Ausstellungskataloges von 1993 "L' Art Des Peuples Italiques", in dem die Axt publiziert ist.Provenienz: Erworben 2006 in deutscher Galerie. Seitdem in Deutschland verwahrt. Zuvor in Genfer Privatsammlung. Ausgestellt 1993 - 1994 in Genf. Publiziert im Katalog "L'Art Des Peuples Italiques", Genf 1993, S. 144, Nr. 53. Zuvor ausgestellt im Katalog "Italy of the Etruscans", Jerusalem 1991, Nr. 106. An Etruscan ceremonial bronze axe, 2nd half of the 8th - early 7th century B.C. An Etruscan ceremonial bronze axe, 2nd half of the 8th - early 7th century B.C.The lavishly embellished ceremonial axe of unusual shape. Blunt, straight neck. The groove for the shaft bordered on the side by two slightly curved, high wings and extending forwards to a domed shoulder. Ornate concentric circles struck all over the top and bottom of the wings and on the midline, interspersed with lines of chased dots. The axe flaring from the shoulder to an extremely thin blade, which widens to the prominent lobes of the domed cutting edge. The blade with identical ornamentation on both sides. A decorative segment from the shoulder to the middle of the axe blade, with eight vertical rows of concentric circles, each interspersed with a row of chased dots. Directly adjacent are five triangles, composed of fine carved outlines and cross-hatching, with a chased dot at each tip, followed in the middle by three four-legged creatures with horns or antlers, composed of chased dots and highlighted with modern white colouring. Beautiful, dark green patina. One corner of the cutting edge very slightly bent. Otherwise fully intact. Length 17.9 cm. An exceptionally exquisite ancient Italian ceremonial axe. Comes with an item of the catalogue "L' Art Des Peuples Italiques" of 1993, in which the axe is published.Provenance: Acquired in a German gallery in 2006, the axe has since remained in Germany. Previously in a private collection in Geneva. Exhibited in Geneva in 1993 - 1994. Published in the catalogue "L'Art Des Peuples Italiques", Geneva 1993, p. 144, no. 53. Previously exhibited in the catalogue "Italy of the Etruscans", Jerusalem 1991, no. 106.Condition: II +
PEDRO CASQUEIRO - NASC. 1959, Untitled, mixed media on canvas, signed and dated December 1984 on the back. Notes: it was part of the exhibition "Pedro Casqueiro", Modern Art Centre of the Calouste Gulbenkian Foundation, Lisbon, June 1997, and is represented in the respective catalogue, pp. 26-27; and LAMBERT, Fátima - "Pedro Casqueiro - Nomadismo estético, pintura sedentária". Lisbon: Editora Caminho, 2006, p. 5., Dim. - 150 x 170 cm
PEDRO CHORÃO - NASC. 1945, "Entre o Céu e a Terra", oil on canvas, signed and dated 1996, on the back. Notes: it was part of the exhibition "60 Years 60 Artists Modern and Contemporary Art", held between November 24th and December 4th, 2011 at the Mystetskyi Arsenal Museum in Kiev, according to the label pasted on the back., Dim. - 130 x 162 cm
A «Cone» armchair, transparent polycarbonate and metal, acrylic with two scratches, signs of use, 1997 model by Fernando & Humberto Campana for Edra. Notes: afrmchair of this model is part of the collection of the Museum of Modern Art in New York City (MOMA) - vd. https://www.moma.org/collection/works/3194 consulted on 04/11/2004, at 4:34 pm., Dim. - 77,5 x 106 x 84 cm
MENEZ - 1926-1995, Untitled, oil on canvas, signed and dated 1983. Notes: Private collection. integrated the following exhibitions:"Menez", held at the Modern Art Centre of the Calouste Gulbenkian Foundation, Lisbon, from November to December 1990, and is represented in the respective catalogue with number 78; and "Menez", held at Paula Rego's Casa das Histórias, Cascais, from March 10th to October 20th, 2022, and is represented in the respective catalogue, p. Work included in "Menez". Lisbon: Edição Galeria 111 and Quentral Editores, 1998, p. 129., Dim. - 50 x 61,5 cm
An Art Deco 18ct, plat and blue zircon set ring, with diamond chip set shoulders, size L, together with a modern Art Deco style 9ct gold, sapphire and diamond set ring, gross weight 6.7 gram. Some 'paper' wear to the facet edges of the zircon. Visible wear to the settings on the shoulder and also an old gold solder repair at the base of one of the claw settings.Later ring in good order.
Michael Gustavius PAYNE (1969) All I Had Oil on canvas Signed and titled to the verso 67cm x 58cm Postage is available on this lot from £42.50 to a UK address. His work is held in collections including the Museum of Modern Art Wales' Tabernacle Collection and The University of South Wales collection. Postage for this lot is available to the UK for £42.50.
A £100 voucher to spend on a sumptuous meal at The Ivy, in Bath. From their website: The Ivy Bath Brasserie & Garden brings relaxed, sophisticated all-day dining to the heart of Bath. Just minutes away from must-see sights such as Bath Spa, Bath Abbey and the ancient Roman Baths, the restaurant is the perfect location for visitors and locals alike to enjoy modern British cuisine, café-style classics and fantastic vegan and vegetarian dishes. The main restaurant is a beautiful place to relax, with high ceilings and original features complemented by our striking bar and sumptuous Art-Deco detail.
AMG, which is now the official performance division of Mercedes-Benz, has a long history of producing high-performance derivatives of Mercedes' standard production vehicles. With the introduction of the Mercedes-Benz SLS AMG in 2010, the Affalterbach-based firm took a significant step forward. First seen at the 2009 Frankfurt Motor Show and acknowledged as a tribute to the legendary 300 SL 'Gullwing' coupé of the 1950s – arguably the world's first supercar – the Mercedes-Benz SLS AMG was notable as the first car to be designed in-house by AMG. A collectors' item from the day it was announced, the newcomer featured 'Gullwing' doors like its illustrious predecessor and succeeded the Mercedes-Benz SLR McLaren at the top of the German manufacturer's range. Styled by Mercedes-Benz's Mark Fetherston, the SLS AMG received numerous prestigious design awards, and is the only automobile ever to have won the (gold) Design Award of the Federal Republic of Germany. Boasting a chassis/body of mainly aluminium construction, the SLS (Sport Licht Super) was powered by a 6.2 litre V8 engine producing 563bhp initially - the most powerful normally aspirated production car engine of its day - while the seven-speed dual-clutch automatic transmission was similarly state-of-the-art. A rear wing, extendable at high speeds, kept the SLS stable at its near-200mph maximum, while its low weight (3,573lbs) helped the car lap the Mercedes-Benz test track quicker than its SLR McLaren predecessor. Not surprisingly, given its pedigree, the SLS AMG proved very popular with racing drivers, Formula 1 World Champion Lewis Hamilton among them, while the list of celebrity owners includes Eddie Murphy, Arnold Schwarzenegger, Al Pacino, Roger Federer, Sylvester Stallone and Tom Hanks. Several limited edition versions were introduced, including a GT3 racer, leading up to the SLS AMG GT Final Edition of 2014. Mercedes-AMG CEO Tobias Moers has said that there are no plans for a successor, so for the time being the SLS AMG remains the ultimate expression of the noble 'Gullwing' tradition. This stunning example presented in Fire Opal Red with Black Designo Exclusive Diamond pattern leather and carbon fibre bonnet as per every SLS Final Edition has covered a mere 4,500 miles from new. Originally registered 19th June 2014, this example was owned for several years by the first owner before being sold by Romans International to its second owner who kept it for a year before Romans were again commissioned to sell it to our vendor in 2023. Limited to only 350 models worldwide, this is the last ever version of the iconic Gullwing Mercedes-Benz SLS AMG. The Final Edition is based on the SLS AMG GT, the later version which has a 20bhp power boost over the standard SLS and features a remapped double clutch seven-speed gearbox with upgraded suspension improving the car's performance and handling considerably. Final Editions such as this have some unique touches to make them it that extra bit special including a carbon fibre bonnet with a central air outlet, carbon fibre splitter on the front apron, a fixed carbon fibre rear wing from the SLS Black Series plus a set of forged light alloys and finally a diamond patterned exclusive leather interior. Of the 350 SLS Final Editions made worldwide which is a combination of both coupés and roadsters, it is believed only six were UK supplied Gullwing coupés with this example being one them and one of the rarest cars you'll ever find on the UK market.We believe the SLS to be a modern day classic which will be one of the most remembered and desirable Mercedes in years to come, a great investment opportunity as proven by the 300 SL Gullwing that the SLS was based on. Last serviced at 4,400 miles in December of 2023, this car boasts a main dealer service history and the car has also recently been treated to PPF on the front and carbon interior. With one of the last 6.2 litre naturally-aspirated V8 engines Mercedes will ever make it is of no surprise that we are seeing many collectors buying up the best examples, with the AMG Black SLS now fetching in excess of £700,000 and SLR’s values increasing year on year. Keeping an eye on its future value is certainly worthwhile but meanwhile own one of the design icons of the modern era harking back to the design icon of the 50’s.. Consigned by Mathew Priddy ONE OF SIX UK RIGHT HAND DRIVE EXAMPLES, ONE OF 350 WORLDWIDEMAIN DEALER SERVICE HISTORY & SHOWROOM QUALITYTHOSE GULLWING DOORS!
AFTER THE ANTIQUE, A FIBREGLASS MODEL OF THE GADDI TORSO MODERN Modelled to simulate sculpted white marble, truncated by design after the antique original 82cm high The marble Gaddi Torso displayed in the Classical Sculpture Room of the Uffizi Gallery in Florence is a Hellenistic work of the 2nd century BC. Its dynamic tension and unusually refined modelling almost certainly place it amongst sculptures of the Pergamene school. Formerly considered to be the torso of a satyr when it was in the Gaddi collection in Florence, the sculpture is now thought to represent a centaur straining against his bonds, a theme that was represented several times in Hellenistic art, as it was an emblem of civilized control of Man's baser nature. The torso was very likely discovered in Rome, according to Giovanni Di Pasquale and Fabrizio Paolucci. It was certainly already in the collections of the Gaddi family in the early 16th century, when Florentine artists and sculptors knew it Condition Report: Overall this is of recent (21st century) manufacture and is aged to look like the antique, with simulated wear and losses (truncating at limbs) in line with the antique original - surface similarly 'scuffed' and 'degraded' but is only simulationThis stood on a black metal 'museum' type base Please see additional images for visual reference to condition and appearance Condition Report Disclaimer
* BANKSY (BRITISH b. 1974), EXHIBITION POSTERS FROM CUT & RUN exhibition posters on papereach framed and under glassimage size 58cm x 41cm each, overall size 65cm x 47cm eachNote: The anonymous graffiti artist known as Banksy is perhaps the most controversial street artist of today. He is famous for his stenciled graffiti works, which appear in public spaces around the world. His use of stenciling developed from a need to complete a work quickly, namely to avoid being caught vandalizing by police. Between 15th June and 28th August 2023 at the Gallery of Modern Art in Glasgow he held his first show in 14 years: Cut & Run featuring stencils and more from his career on the street. “I’ve kept these stencils hidden away for years, mindful they could be used as evidence in a charge of criminal damage. But that moment seems to have passed, so now I’m exhibiting them in a gallery as works of art. I’m not sure which is the greater crime”
* JOHN HOUSTON OBE RSA RSW RGI SSA (SCOTTISH 1930 - 2008), SKERRA watercolour on paper, signedmounted, framed and under glassimage size 50cm x 69cm, overall size 72cm x 90cm Note: Painter and teacher, born in Buckhaven, Fife, married to the artist Elizabeth Blackadder. Houston studied at Edinburgh College of Art, 1948–54, his final year being spent in Italy on a travelling scholarship. He returned to Edinburgh to teach at the College. In 1957 Houston helped start the 57 Gallery in Edinburgh, having his first solo show there in 1958. Other one-man shows were held at Scottish Gallery, Edinburgh, and Mercury Gallery for many years. A keen traveller, Houston exhibited widely abroad. He was a member of SSA and RSW and was elected RSA in 1972. Houston tended towards Expressionism in his landscapes, Munch being a key influence, employing bold colours. Sixty-five examples of his paintings are held in UK public collections including at The Scottish National Gallery of Modern Art, The Hunterian, The Fleming Collection, The City Art Centre (Edinburgh) & Glasgow Museums & Galleries.
* BANKSY (BRITISH b. 1974), EXHIBITION POSTERS FROM CUT & RUN exhibition posters on papereach framed and under glassimage size 58cm x 41cm each, overall size 65cm x 47cm eachNote: The anonymous graffiti artist known as Banksy is perhaps the most controversial street artist of today. He is famous for his stenciled graffiti works, which appear in public spaces around the world. His use of stenciling developed from a need to complete a work quickly, namely to avoid being caught vandalizing by police. Between 15th June and 28th August 2023 at the Gallery of Modern Art in Glasgow he held his first show in 14 years: Cut & Run featuring stencils and more from his career on the street. “I’ve kept these stencils hidden away for years, mindful they could be used as evidence in a charge of criminal damage. But that moment seems to have passed, so now I’m exhibiting them in a gallery as works of art. I’m not sure which is the greater crime”
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), HILLS AND SEA oil on board, signedframed and under glassimage size 48cm x 48cm, overall size Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).
* WILLIAM LITTLEJOHN RSA RSW RGI (SCOTTISH 1929 - 2006), BLACK APPLE watercolour on paper, signed and dated 1995, titled label versomounted, framed and under glass image size 35cm x 36cm, overall size 61cm x 61cm Handwritten artist's label verso.Note: William Littlejohn as born in Arbroath in 1929 and went on to study Fine Art at Dundee College of Art, before becoming Lecturer in and later Head of Fine Art at Gray’s School of Art, Aberdeen. He retired in1991. In 1984 he was awarded a RSA Gillies Award to travel to Japan. William Littlejohn was elected as a member of the Royal Scottish Academy in 1973, the Royal Glasgow Institute in 1989 and the Royal Scottish Society of Painters in Watercolour in 1990. He had numerous one man exhibitions both in Scotland and England and his paintings are in many private and public collections including HM Queen Elizabeth II, The Scottish National Gallery of Modern Art, Royal Bank of Scotland and Edinburgh and Aberdeen Universities.
* WILLIAM LITTLEJOHN RSA RSW RGI (SCOTTISH 1929 - 2006), FISH AND DRAGONFLIES watercolour on paper, signed and dated 1994, titled label versomounted, framed and under glass image size 39cm x 66cm, overall size 63cm x 89cm Handwritten artist's label verso.Note: William Littlejohn as born in Arbroath in 1929 and went on to study Fine Art at Dundee College of Art, before becoming Lecturer in and later Head of Fine Art at Gray’s School of Art, Aberdeen. He retired in1991. In 1984 he was awarded a RSA Gillies Award to travel to Japan. William Littlejohn was elected as a member of the Royal Scottish Academy in 1973, the Royal Glasgow Institute in 1989 and the Royal Scottish Society of Painters in Watercolour in 1990. He had numerous one man exhibitions both in Scotland and England and his paintings are in many private and public collections including HM Queen Elizabeth II, The Scottish National Gallery of Modern Art, Royal Bank of Scotland and Edinburgh and Aberdeen Universities.
* PETER MCLAREN (SCOTTISH B.1964), STILL LIFE WITH POPPIES oil on board, signed and titled '91 versoframedimage size 64cm x 74cm, overall size 80cm x 90cm Exhibition label verso: Modern Masters, The Scottish Gallery 2013, EdinburghNote: Peter Mclaren was born in Edinburgh in 1964, he was schooled in Fife then studied at the Edinburgh College of Art. He won the John Kinross Scholarship, from the Royal Scottish Academy, which allowed him to study in Florence, and the Richard Ford Award, from the Royal Academy in London, to study the works in the Prado, Madrid. Early influences include the collection of Scottish Colourists and post war expressionist paintings from his home town of Kirkcaldy's Museum. As a student Mclaren travelled by bicycle to see collections in Amsterdam, Arnhem, Paris and London. Post-graduation, he won an Andrew Grant Scholarship which introduced him first hand to American art. Wyeth, Pollock, Lichtenstein and Warhol. In 1989 Mclaren won the inaugural British Airways Most Promising Artist Award. His work is held in many public and private collections.Condition of picture is good overall, with no visible or known issues.
* GORDON BRYCE RSA RSW (SCOTTISH b. 1943), BRIGHT DAY - DUNNOTTAR oil on paper, signed and titled verso mounted, framed and under glass image size 20cm x 28cm, overall size 45cm x 51cm Exhibition label verso: Gordon Bryce - New Paintings 4th-27th March 1996, The Scottish Gallery, Edinburgh. Note: Born in Edinburgh in 1943. Gordon Bryce studied at Edinburgh College of Art, where his tutors were Sir Robin Philipson and Sir William Gillies. His love of colour and texture stems from that time and has remained with him since. After graduating, Gordon moved to Aberdeen, to Gray's School of Art, where he was appointed as a Lecturer in Printmaking. He later became head of Fine Art at Gray's, a post he held from 1986 to 1995 when he began to paint full time. Gordon Bryce is now a highly established figure and his contribution to the UK art scene is considerable. His exhibitions both in London and in Scotland have spanned nearly 30 years. He has won numerous awards Including the RSA Latimer Award, May Marshall Brown Award, Shell Expo Premier Award and Sir William Gillies travelling Scholarship. His work is in many Private and Public Collections worldwide including those of the Fleming Collection and the Scottish National Gallery of Modern Art. Condition of the picture is good overall, with no visible or known issues.
* CALLUM INNES (SCOTTISH b. 1962), UNTITLED pastel and charcoal on paper, signed and dated '84 framed and under glassimage size 87cm x 57cm, overall size 87cm x 63cmProvenance: Acquired by the vendor directly from the artist circa 1984. Private Glasgow collection.Note: Artist and teacher, born and lived in Edinburgh, who studied in Aberdeen. Innes’ early canvases were figurative. Then he painted abstract works tending towards Minimalism, although he still saw his pictures “as having a figurative element”. Was included in the British Art Show, 1990; Kunst Europa – Kunstverein Freiburg, Germany, and Artisti Invitatial Premio Internationale, Milan, Rome, London and America, 1991; and New Voices, a British Council Exhibition, Brussels, 1992. Innes’ solo shows included Frith Street Gallery from 1990; Jan Turner Gallery, Los Angeles, 1990; Gallery Patrick de Brock, Belgium, 1991; ICA, 1992; and Scottish National Gallery of Modern Art, Edinburgh, 1992–3. Won the NatWest Art Prize, 1998, and Jerwood Painting Prize, 2002. In 2005 Tate St Ives held an exhibition, Resonance, which included a range of works from Innes’s Exposed Paintings series that the gallery had commissioned. Innes was then teaching in the fine art school at Glasgow School of Art.
* RYAN MUTTER (SCOTTISH b. 1978) UNTITLED oil on canvas, signedframedimage size 51cm x 101cm, overall size 69cm x 118cmNote: Born in 1978, Ryan Mutter studied at The Glasgow School of Art, where he graduated in 2001. He has since won many distinguished awards, including a remarkable six from the Royal Glasgow Institute of Fine Arts. His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone, shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a silent shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this workforce was in the development of the modern world. Ryan has built up a formidable reputation as a powerful contemporary painter of Industrial and Maritime subjects. His bold realism combined with expressionistic brushwork transports you into a world of arresting detail and mechanised splendour. Perhaps unsurprisingly, very few of Ryan Mutter's paintings appear at auction (anywhere) and his larger work is even rarer. However, in The Scottish Contemporary Art Auction of 28th March 2021, lot 517 "Cutty Sark in Moonlight" a relatively small 38 x 46cm oil on canvas (by Ryan Mutter) sold for £3000 (hammer)Condition of the picture is good overall, with no visible or known issues.
* JOHN HOUSTON OBE RSA RSW RGI SSA (SCOTTISH 1930 - 2008), SUNSET OVER THE SEA, LARGO watercolour on paper, signed and dated 1994, titled versomounted, framed and under glassimage size 25cm x 33cm, overall size 52cm x 60cm Exhibition label verso: Christmas Exhibition, the Scottish Gallery, Edinburgh, 1st to 30th December 1995.Note: Painter and teacher, born in Buckhaven, Fife, married to the artist Elizabeth Blackadder. Houston studied at Edinburgh College of Art, 1948–54, his final year being spent in Italy on a travelling scholarship. He returned to Edinburgh to teach at the College. In 1957 Houston helped start the 57 Gallery in Edinburgh, having his first solo show there in 1958. Other one-man shows were held at Scottish Gallery, Edinburgh, and Mercury Gallery for many years. A keen traveller, Houston exhibited widely abroad. He was a member of SSA and RSW and was elected RSA in 1972. Houston tended towards Expressionism in his landscapes, Munch being a key influence, employing bold colours. Sixty-five examples of his paintings are held in UK public collections including at The Scottish National Gallery of Modern Art, The Hunterian, The Fleming Collection, The City Art Centre (Edinburgh) & Glasgow Museums & Galleries.Condition of the picture is good overall, with no visible or known issues.
* ANDREW HAY (SCOTTISH b. 1944), PADDY'S MARKET oil on board, signedframedimage size 112cm x 160cm, overall size 135cm x 180cmComment: A rare auction appearance for a major painting by Andrew Hay and unquestionably the largest and most impressive example to be offered at auction, anywhere.Note: Having started to paint at the age of 39, within a year the People's Palace Museum, Glasgow had purchased ten paintings and had given Hay his first solo exhibition. Since then his works have been included in numerous public and private collections. His work deals with both narrative and nature, sometimes subverting one or the other in order to advance his artistic practise. His insistence on invention, freedom and risk affirms continuity in his aesthetic spirit. He uses a network of codes, symbols and expressive techniques which play off his collective memory and familiarity of everyday objects and culture from his childhood and juxtaposes them with present day reality. In so doing he embodies them with a new philosophical discourse. Andrew’s work now features in many significant public and private collections and is in the permanent collections of Glasgow's Kelvingrove, Gallery of Modern Art and The People's Palace.
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), BETWEEN MONTEJAQUE AND ZAHARA 13.09.01 oil on board, signed and dated 2001 framed and under glass image size 38cm x 48cm, overall size 57cm x 66cm Note 1: Titled verso in the artist's hand but obscured by the backboard. Note 2: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).
* BARBARA BALMER RSA RSW RGI (SCOTTISH 1929 - 2017), TULIPS IN JUG watercolour on paper, signedmounted, framed and under glassimage size 52cm x 69cm, overall size 84cm x 101cm Note: Barbara Balmer had a singular vision. Her pictures have a curious, if not surreal, edge. In her instantly recognisable style, she took the everyday and simplified it into shapes and patterns that she filled with subtle gradations of colour. Born in Birmingham, she moved to Scotland by way of a scholarship from Coventry School of Art that took her to Edinburgh College of Art (1949-1953). Her contemporaries are a roll call of familiar names of Scottish art: Elizabeth Blackadder, John Houston and Frances Walker to name a few. Balmer, however, eschewed the expressive brushwork and vibrant palette of the time and developed her own unique visual vocabulary. Throughout her long career, spanning more than five decades, she was twice selected to exhibit at the John Moores Exhibition in Liverpool, and had solo shows at the Richard Demarco Gallery and the Open Eye Gallery in Edinburgh, the Scottish Arts Council Touring Exhibitions and at the Fine Art Society in Edinburgh. Barbara taught at Gray’s School of Art in Aberdeen between 1970 and 1980 and held a retrospective exhibition at Aberdeen Art Gallery which travelled to Dundee, Lincoln and Coventry. Her work is included in many public and private collections including, The Royal Collection, The Scottish National Portrait Gallery (Portrait of Richard Demarco), The City Art Centre, Edinburgh, Leicester City Museum, Aberdeen and Stirling Universities, Aberdeen, Glasgow, Birmingham, Perth, Dundee and Lincoln Art Galleries. Seven of her paintings were used as dust jackets by Virago for the Modern Classics series and she was an elected member of the Royal Scottish Academy, the Royal Glasgow Institute and the Royal Scottish Society of Painters in Watercolour. In Barbara's obituary in The Herald, Richard Demarco wrote: "I hesitate to define her as an English, Scottish or indeed British artist. Her particular art must be viewed as belonging to the great and enduring tradition associated with the latest manifestations of European painting in this age of modern art".
* SIR NORMAN REID (BRITISH 1915 - 2007), CARNATIONS AND FRESIAS AGAINST THE LIGHT oil on board, initialed, titled label versoframed image size 27cm x 33cm, overall size 37cm x 44cm Handwritten label versoNote: Sir Norman Reid is best known for being the celebrated Director of the Tate Gallery from 1964 to 1979 but he was also a talented painter, having won a scholarship to study at Edinburgh School of Art in the late 1930's under William Gillies. The Scottish National Gallery of Modern Art hold and have exhibited his work, which rarely appears at auction.
* DAVY BROWN (SCOTTISH b. 1950), STILL LIFE oil on canvas, signedframed and under glassimage size 30cm x 30cm, overall size 51cm x 51cm Note: Davy Brown was born in Kilmarnock in 1950. As a young Scottish artist Davy studied at the Glasgow School of Art under David Donaldson and Duncan Shanks. In 1975 he won a modern art scholarship from the Institute of Cultural Affairs in Chicago. This enabled Davy to travel extensively in the USA and Canada. When he returned from his travels he successfully taught contemporary art in Scottish schools. Throughout this time he continued to paint and exhibit his paintings along with other leading Scottish artists in both Scottish art galleries and modern British art galleries further afield. Davy left teaching in 2002 to concentrate on his painting full time. Over the years his paintings, with their very distinctive style, have consistently grown in popularity. For much of this time Davy Brown paintings have been inspired by his love of the Scottish landscapes.
* BANKSY (BRITISH b. 1974), EXHIBITION POSTERS FROM CUT & RUN exhibition posters on papereach framed and under glassimage size 58cm x 41cm each, overall size 65cm x 47cm eachNote: The anonymous graffiti artist known as Banksy is perhaps the most controversial street artist of today. He is famous for his stenciled graffiti works, which appear in public spaces around the world. His use of stenciling developed from a need to complete a work quickly, namely to avoid being caught vandalizing by police. Between 15th June and 28th August 2023 at the Gallery of Modern Art in Glasgow he held his first show in 14 years: Cut & Run featuring stencils and more from his career on the street. “I’ve kept these stencils hidden away for years, mindful they could be used as evidence in a charge of criminal damage. But that moment seems to have passed, so now I’m exhibiting them in a gallery as works of art. I’m not sure which is the greater crime”
* JOHN HOUSTON OBE RSA RSW RGI SSA (SCOTTISH 1930 - 2008), CORNFIELD & NIGHT LANDSCAPE mixed media on paper, signed and dated '96, titled label versomounted, framed and under glass image size 29cm x 42cm, overall size 59cm x 72cm Label verso: Aitken Dott & Son, Edinburgh.Note: Painter and teacher, born in Buckhaven, Fife, married to the artist Elizabeth Blackadder. Houston studied at Edinburgh College of Art, 1948–54, his final year being spent in Italy on a travelling scholarship. He returned to Edinburgh to teach at the College. In 1957 Houston helped start the 57 Gallery in Edinburgh, having his first solo show there in 1958. Other one-man shows were held at Scottish Gallery, Edinburgh, and Mercury Gallery for many years. A keen traveller, Houston exhibited widely abroad. He was a member of SSA and RSW and was elected RSA in 1972. Houston tended towards Expressionism in his landscapes, Munch being a key influence, employing bold colours. Sixty-five examples of his paintings are held in UK public collections including at The Scottish National Gallery of Modern Art, The Hunterian, The Fleming Collection, The City Art Centre (Edinburgh) & Glasgow Museums & Galleries.
Three charming diaries with photographs, sketches and accounts of trips to Dorking, St Leonards, Torquay and Cherhill dated 1886, Tunbridge Wells, Gresford, Tedsmore, Ludlow, Ulcombe dated 1891, and Cromwell, Walmer dated 1892, written by Cyril James Humphreys-Davenport (1848-1941), British Museum library clerk, art scholar, artisan and book binder. The first includes images of the horse and cart, Cherhill Church, Wootton Church, Barbara and W Lascelles Bartson MRC, Betchworth Park, Ashfield Brittany Road in St Leonards on Sea, pictures of 'self' in greenhouse, and at the beach, sketches of 'Dorothy', Hollington Church, Lover's Seat in Hastings, small scenes and architecture of buildings, and describes reading books such as 'A Tale of a Lonely Parish', 'Great Porter Square', 'Masollan', 'A Phantom Regiment'. The second includes notes of letting their home in London and found a six month stay at Miss Bigwood's house - Kinellan House, Woodbury Park Road, Tunbridge Wells, with small floor plan and described as 'colder than in town, most comfortable beds', March 26 ' nasty day - snow', April 5 'filled up census paper - bore', July 16 'worked at embroidered work for Queen in morn, all morn'. Includes sketches of Tedsmore Hall, Jullieallan House, Gresford, Mayfield Village, coats of arms and window panes in East Sutton Church, George & Dragon in Speldhurst, photographs of family, Council Chamber in Shrewsbury, The Chequers Inn Tonbridge and . The diary ends with an account of leaving Miss Bigwood's house and getting the train and bus home. It reads 'Ge been over inventory with Miss Place and is much dissatisfied with the state of the house and declares she will never let her home again - dirt and damages!' The third starts with sketches of Rectory Cromwell and Newark Castle, a 'modern shop' in the market square in Newark, a house in Muskham where the Haudley's lived, a sketch of Henry Clinton at Potters Bar, sketch of Adela Stull, Kingsdown from Walmer, a charming sketch of 'the back of our house showing the wreck of The Leopard', Deal Castle, Sandown. Castle, Walmer Beach looking towards Deal, Tower of Walmer Castle 'Lord Warden in residence', naive sketch of 'the smallest house in Kent', Dover cliffs, low windows of old house in Deal. Notes of what he is reading, visiting and writing to people, watching marines drilling, children's activities etc, seeing the dancing bear, playing billiards. Photographs of skirmishers cavalry, family on the beach, notes of what Dody (Dorothy) could say at Walmer, sketches of flowers. Includes handwritten score of The Reveille - played every morning by the bugles at the marine depot, Walmer at 5:30am. A charming and interesting collection of diaries in very good condition for their age. -Condition Report1886 has one loose page.
Frith, William Powell (1819-1909) painter. Autograph letter signed to an unnamed correspondent, dated November 1847, thanking his correspondent for some presents, discussing domestic affairs and asking after his art studies "How you get on the water colour studies? Are you working very hard? We are all - I mean your artist friends over head and ears in our pictures, struggling away sometimes in good chopes - but often I myself - in despair. The black month of November, with its cold and fog, finds us once more ruining our eyes in a vain endeavour to work as well could in June - in spite of cold and darkness the fear of being tripped up, and above all the 'stern necessity' of getting our daily bread spurs us on and so nine out of ten of us are plunged in a hopeless struggle- and in this way we shall go on I suppose until in the words of Swift's biographer, all is dark and silence". Note: written at the beginning of his career as a highly successful painter. Frith rapidly moved into the centre of literary and artistic life in London (his lifelong friendship with Charles Dickens began in 1842.) The second letter in this group is by John Brett (1831-1902) landscape and marine painter. An autograph letter signed to Mr Weldon January 29th 1881. Regarding his election, and a photograph: "I take a real pleasure in the election myself because it affords some sort of justification of the faith that these few friends seriously cherish. May their shadow never grow less! I did print and mount the photograph I promised you of Parsons & u". Note: By the 1880's Brett had become a successful and admired artist, in 1881 was elected as an Associate of the Royal Academy, to which this letter alludes. In his early years he was a familiar figure on the fringe of the Pre-Raphaelite circle, but moved from painting genre scenes to landscape and marine subjects. The third letter in this group is by Richard Tongue (1795-1873) painter of prehistoric monuments. An autograph letter signed to Henry Howard Esq, stating: "I have sent one of my paintings of Westmoreland, the first offered to any London Exhibition". The fourth letter in this group is by Sir Charles John Holmes (1868-1936) painter and art critic. An autograph letter signed to Lord Ribblesdale May 1891, thank you note for a delightful holiday, he says: "Discussing an attribution of a painting "possibly by Cornelius van Haarlem no longer identified to my satisfaction, but I'll let you know the moment I find anything which seems certainly by the same hand" further down the page "I have tried my hand at the barn on the hill where you took me the evening of your coming but fear it makes rather a wasting (?) sort of painting". The fifth letter in this group is by Nathaniel Hughes John Baird (1865-1936) Scottish painter. An autograph letter signed to Alex Moore of Glasgow, regarding the Exhibition, "I address you to request the favour of your informing me when the Exhibition of The Works of Modern Arts, takes place this year, as I intend to send two or three of my paintings for exhibition dated June 1863". The sixth letter in this group is by James Duffield Harding (1797-1863) painter and lithographer. An autograph letter to Charles Locke Eastlake architect and furniture designer. A letter of thanks: "Many thanks for your favour of yesterday. If I could only have anticipated the possibility on the part of the Committee to comply with my request...... An interesting insight into the working lives of these artists. -
[Shooting] Nine gun and shooting related books comprising Guns & Gunsmithing by Anthony North and Ian V Hogg, Hammer Guns by Diggory Hadoke, Vintage Guns for the Modern Shot, The Better Shot with Holland & Holland, Gun Engraving by Christopher Austyn, Cogswell & Harrison, The Classic British Rook & Rabbit Rifle by Colin Greenwood, Do-It-Yourself Gun Repair and The Art of Gunsmithing - The Shotgun by Lewis Porter.
Four (4) modern commemorative medals, awarded to a Royal Mint engraver who worked in Llantrisant for 25 years. Includes (1) 1993 toned 925 silver Llantrisant Anniversary medal, presented to 40 members of mint staff, engraved 'D V MORGAN' on the edge with certificate, (2) 2000 Royal Mint Millennium hallmarked silver medal for the British Art Medal Society, one of 65 struck, (3) 1986 Eleven Hundred Years In Minting large bronze medal, only 1,100 struck, this one inscribed 43 to the edge, and (4) 1988 Spanish Armada 1588 400th anniversary medal in toned silver with certificate. Each medal is offered in the original presentation box.
East Anglian Landscape with Lady Farm Worker before a Mill signed (lower left), oil on canvas 113 x 151cm (44.5in x 59.5in) Footnote: Peter Henry Emerson trained in medicine, qualifying at Cambridge in 1885, but turned to writing and photography after election to the Council of the Photographic Society. Life and Landscape on the Norfolk Broads, a collaboration with the painter Thomas Frederick Goodall, launched a series of photographically-illustrated books about the East Anglian landscape and its peoples that he published over the next decade. Goodall was a member of the New English Art Club, a break-away from the Royal Academy of Arts, and his dedication to modern French-style open-air painting led him to convert a traditional East Anglian houseboat into a floating studio. The photographs in Life and Landscape were correspondingly taken directly from nature', and printed on platinum-containing paper that allowed a wide tonal range. By the late nineteenth century the railway had opened the Broads to visitors, like Emerson and Goodall themselves; Goodall married an East Anglian. However, the Broads' popularity as a'boating playground was still in its infancy. Wherries 'tall-sailed boats introduced in the early seventeenth-century ' were still key forms of transport, and Emerson and Goodall document the work of the area with close attention to its traditional nomenclature and practices.
An Art Deco sapphire and diamond matching pendant and earring set, the matching lobed drops set with graduated calibre-cut sapphires with single and rose-cut diamonds, pendant 26.1mm, earrings 29.5mm, 2.1g total (2)All lobed drops have been re-purposed from an original piece of Art Deco jewellery, all mounts are modern, 1 sapphire missing from pendant and 1 earring, otherwise no damage, fittings working, unmarked
An Art Deco 0.65ct solitaire diamond panel ring, claw set with old-cut diamond surrounded by rose and single-cut diamonds, apparently unmarked settings test as platinum, setting height 8mm, size K, 2.2gNo damage, all stones present, 1 shoulder stone is an inverted modern round brilliant-cut, principal diamond has a slight yellow tint but is still bright and fiery, small well concealed join section on back shank, unmarked
François Pompon(1855 Saulieu - 1933 Paris) nachEisbärBronze, dunkel patiniert. Posthumer, zeitgenössischer Guss, Anfang 21. Jh.; Darstellung eines nach rechts schreitenden Bären. In moderner Weise stilisierte Bronzeplastik nach der berühmten Marmorskulptur Pompons "Ours blanc", welche als sein vollendetes Werk gilt und mit der ihm 1922 auf dem Pariser Salon der Durchbruch gelang - Exemplare hiervon befinden sich im Museum of Modern Art in New York und im Musée d´Orsay in Paris. Pompon war im Atelier Auguste Rodins und Camille Claudels tätig, nach 1905 widmete er sich ausschließlich der Tierdarstellung. H. 45 cm; L. ca. 85 cm.After François Pompon (1855 - 1933). Dark patinated bronze. Posthumous, contemporary cast, early 21st C.
French, John, The Art of Distillation: or a Treatise of the Choicest Spagyrical Preparations, Experiments, and Curiosities, The art of distillation: or, A treatise of the choicest spagyrical preparations, experiments, and curiosities, performed by way of distillation. Together with the description of the choicest furnaces and vessels used by ancient and modern chymists....and the anatomy of gold and silver; . In six books, by John French, Dr of Phyfick, 2nd ed, Including: The London-distiller, .London, printed by E. Cotes for T. Williams at the sign of the BIBLE in Little-britain without Aldergate 1653, original tan leather boards, later 19th century(?) spine, recent bookplate for Edward Braxton Reynolds, first published in 1651, with about 46 woodcuts showing a wide variety of distilling equipment, bottles and furnaces. At the end is an additional work, The London-distiller, giving detailed instructions for distilling alcoholic drinks and including the regulations of the London Company of Distillers.
KHALED AL-JADIR (IRAQI 1924-1988) MARKET SCENE, RABAT, MOROCCOsigned in Arabic Khaled Aljadir lower leftoil on board33 x 36.5cm; 13 x 14 1/4in (unframed)Painted in 1987Property from a Private Collection, LondonProvenanceAcquired from the artist by the present ownerKhaled Al-Jadir is seen as a precursor to modern abstract art in Iraq. He was part of the 'Pioneers Group,' founded by Faik Hassan in 1941, and considered to be one of Iraq's most important artistic cultural voices. Al-Jadir successfully developed a unique realistic-expressionist style resulting from his persistent, experimental work that he undertook in Iraq before his departure to Paris to study at the Ecole des Beaux Arts in 1949. The artist was undoubtedly influenced by European arts, yet he was able to create his own Iraqi style, which remained constant and unchanged until his very last sketch.In his obituary of Al-Jadir, Shaker Hassan Al Sa’eed, the Iraqi painter and one of top art critics in the Arab world said: 'He was truly, incontestably the precursor of contemporary expressionist art in Iraq'.
MOHAMMAD NAGHI (EGYPTIAN 1888-1956) ARCHBISHOP MAKARIOS IIIpastel on paper23 x 15.5cm; 9 x 6in 39.5 x 29cm; 15 1/2 x 11 1/2in (framed)Property from a Private Collection, LondonProvenanceCollection of Dr Mohammed Said FarsiThence by descent to the present ownerMohammad Naghi, born in Alexandria, is famous for establishing the standard for a renaissance in Egyptian modern art as a member of Egypt's first generation artists, also known as Al-Ruwwad. After graduating in law at the University of Lyon in France in 1910, Naghi studied art at the Academy of Florence until 1914. This classical European training in Italy and his elite background (as he was born to a well-connected family), along with political developments in Egypt, shaped much of his art and fashioned his role as a diplomat and cultural educator. His works combine ancient Egyptian influences with his characteristically delicate style.Naghi had a tendency towards Impressionist art and its use of colour. While he was living in France following the First World War, he became acquainted with the work of Claude Monet, which he adapted to capture his native scenes in Egypt. Following the 1919 Egyptian revolution, his work turned towards using ancient Egyptian iconography and creating art based on folklore and Egyptian cultural heritage. Naghi's works combined ancient Egyptian influences with his delicate characteristic style, creating a 'neo-pharonic style', which reformulated ancient Egyptian imagery using Western formulas of representation.Throughout the interwar years, Naghi served as a diplomat and cultural attaché for Egypt, traveling to Rio de Janeiro, Paris, Prague, Adis Ababa, Rome, and most notably Ethiopia. While in Ethiopia in the early 1930s, he produced his most prolific body of work, known as his 'Abyssinian period', which featured figurative paintings of daily life in an expressive style using bright, warm colours. Naghi served as the head of the School of Fine Arts in Cairo from 1937 to 1939, where he was the first Egyptian to lead the school since its inception in 1908. While there, he introduced the study of ancient Egyptian art into the school's curriculum. In 1939, he became director of the Museum of Modern Egyptian Art, a post which he held until 1947 when he was appointed to the Egyptian Academy in Rome. He served as an Egyptian cultural attaché to Italy until 1950. In 1952, Naghi established and directed the Cairo Atelier art gallery. In 1955, Naghi went to Cyprus to paint Archbishop Makarios III (subject of the present lot), leader of the island's revolution against the British colonial establishment. Naghi finished his career in Cairo, where he set up his villa studio near the Pyramids, where he lived until his death in 1956.
GEORGE LILANGA (TANZANIAN 1934-2005) DANCING FIGURESsigned Lilanga lower rightoil on cut metal123 x 124.5cm; 48 1/2 x 49inProperty from a Private Collection, LondonGeorge Lilanga belonged to the Makonde people and lived most of his life in Dar es Salaam, the largest city in Tanzania. Featured in a number of landmark exhibitions devoted to African art, including the international touring African Remix (2004), and African Art Now: Masterpieces from the Jean Pigozzi Collection (Museum of Fine Art, Houston 2005), Lilanga became the foremost Tanzinian artist from his generation and was hailed as the leading African artist by the influential art collector, Jean Pigozzi. Initially, he worked in the Makonde artistic tradition of carving wooden sculptures. However after having been exposed to the work of other artists at the cultural centre Nyumba ya Sanaa (House of Art), he transformed his typical sculptural forms into two-dimensional art works such as paintings, etchings or panels (as in the present work). Developing his own style out of the Shetani (devils) figures of the modern Makonde sculptures, his paintings are characterised by their colourful irony, reflecting everyday life in Tanzania.
⊕ ‡ ARDASH KAKAFIAN (IRAQI 1941-1999) SENSE OF BELONGINGacrylic on canvas, in two parts184 x 306cm; 72 3/8 x 120 1/2in (framed)Painted circa 1990Property of a Private Collector, The NetherlandsProvenanceCollection of the artistThence by descent to the present ownerBorn in Mosul, Kakafian was the youngest member to be accepted into the Baghdad Modern Art Group and went on to exhibit extensively in both Baghdad and Paris, having studied at the Ecole des Beaux Arts in Paris. His work spanned many genres including expressionism, Chinese inkwork, miniature paintings and political propaganda for which he spent time in prison. Much of his work is influenced by his personal experiences as well as impressionism and al Wasiti miniatures and he is described by Ahmed Morsi as an 'explorer of a self-diaspora' and 'an eloquent mesh of personal architecture and poetry' (Exh. Cat., Washington D.C., Alif Gallery, Ardash, 1986). This work portrays a sense of pain and sadism which is further heightened by the scale of the canvas.
‡ KAMAL YOUSSEF (EGYPTIAN 1923-2019) TRADITIONsigned and dated KAMAL 70 lower rightoil on canvas116.21 x 76.84cm; 45 1/4 x 30 1/4in118.27 x 80.33cm; 46 9/16 x 31 5/8in (framed)Property of the Kamal E Youssef Family TrustExhibitedSharjah, Sharjah Art Foundation, Kamal Youssef: Egyptian Surrealism's Time Capsule, 2016LiteratureHoor Al Qasimi and Salah Hassan, Kamal Youssef: Egyptian Surrealism's Time Capsule, 2016, p. 85, illus.During his teenage years, Youssef underwent rigorous training in art under a number of prominent artists known for their engagement with Egyptian Surrealism. In 1939, he joined the Art and Liberty Group, one of the most prominent art movements of the time and in 1946, he was a founding member of the Contemporary Art Group and played a crucial role in the development of Egypt's modern art movement. After the 1952 revolution, Youssef made his home in Paris before moving to the US where he worked as an engineer for 20 years. His work has been shown in numerous solo and group exhibitions, including The Sharjah Art Foundation (2016); Southern Alleghenies Museum of Art, Loretto, USA (2014); Bakersfield Museum of Art, USA (2008); Westmoreland Museum of Art, Greensburg, USA (1993); Pittsburgh Center for the Arts, USA (1962); Mediterranean Biennale, Alexandria, Egypt (1955); Museum of Modern Art, Cairo (1952); São Paulo Biennale (1952) and Venice Biennale (1950). Kamal also participated in the 1939 exhibition organised by the Art and Liberty Group, and in several of the Contemporary Art Group’s collective exhibitions between 1946 and 1954.
⊕ ‡ SEIF WANLY (EGYPTIAN 1906-1979) UNTITLEDoil on board46.5 x 32.5cm; 18 1/3 x 12 3/4in (framed)Property from a Private Collection, CairoProvenanceAcquired from UBUNTU Art Gallery, CairoBorn in Alexandria, Seif Wanly was raised in French-speaking Turkish aristocratic family and was privately tutored in his family house. Seif Wanly and his brother, Adham (see lot 34), started developing an interest in painting and art. They attended Italian painter Ottorino Becchi's new studio in Alexandria, Egypt. Becchi introduced them to avant-garde movements like Futurism and Cubism; these two techniques formed the basis from which Wanly developed his personal style defined by angular lines, bright shades and colorful geometric shapes.Becchi left Egypt and the Wanly brothers decided to set up their own studio in Alexandria. The studio was set up during the 1940s with the filmmaker Mohammed Bayoumi, who also collaborated. Their studio is frequently credited with bringing attention to the art of the region.The Wanly brothers travelled extensively after the Second World War, particularly during the 1950s to France, Italy and Spain, where they sketched and painted scenes of ballet, opera, theatre performances and landscapes. In 1957, Seif Wanly travelled to Nubia to create a collection of paintings and drawings that depicted life in Upper Egypt. This project was initiated by the government to document the culture and conditions of the area before the relocation necessary for the construction of the Aswan High Dam. During this project Seif Wanly worked with other well-known artists of their generation, including Tahia Halim and Hussein Bikar.That same year, 1975, Seif's brother Adham passed away. This resulted in a very difficult period for the artist, which was reflected in his artworks. The Wanly brothers were really close both in their life and work. Both artists influenced one another, developing similar styles. The Wanly brothers were pioneers in introducing modern pictorial trends to Alexandria, depicting international subjects, and moving away from the folklorist style of their contemporaries.
⊕ LARISSA SANSOUR (PALESTINIAN B.1973) OLIVE TREE 2012Lambda print on Fuji Matt paper60 x 120cm; 23.6 x 47.2in(unframed)edition 5/5To be sold with a Certificate of AuthenticityProperty from a Private Collection, LondonProvenanceLawrie Shabibi Gallery, Dubai, 2014Larissa Sansour is a Danish-Palestinian artist, born in East Jerusalem, she studied Fine Arts in Copenhagen, London and New York. She is a visual artist who combines video, photography, experimental documentary, new media, the book form and the internet. Her work has been exhibited worldwide in galleries, museums and film festivals. Some of these include Tate Modern, London; the Reina Sofia, Madrid; and the Arken Museum of Modern Art in Denmark.Sansour's works represent the essence, the reality and the intricacy of life in Palestine and the Middle East using visual elements associated with entertainment and televised leisure activities. She uses humorous scenes such as references to science-fiction or spaghetti westerns that she always contrasts with scenes from the current situation in Palestine and the Middle East.Larissa Sansour has represented Denmark at the 58th Venice Biennale and her recent solo exhibitions have been at the Whitworth Gallery, Manchester, Dar-El Nimer, Beirut, KINDL, Berlin and Copenhagen Contemporary.
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