Sandra Blow RA, British 1925–2006 - Summer (Ridgeway), 2005; acrylic and hessian collage on canvas, signed and dated lower right 'Blow 05', further signed, titled, dated and inscribed on the reverse 'Blow 05 Title: Ridgeway', 59 x 59 cm (ARR) Note: together with exhibition catalogue: New Millennium Gallery, St Ives Provenance: with Caroline Weissman Modern Art, London (according to the label on the reverse); private collection Note: Blow is considered to be one of the pioneering abstract artists of the 1950s who introduced a new form of expressive painting to Britain, often using everyday discarded materials such as sawdust, sackcloth and plaster, as well as paint. Although considerably younger than many of her contemporaries of this early period, she was at the forefront of the abstract movement. The present work is an exemplary piece of her later period, showing her skillful techniques towards creating abstract form, light, space, texture and rhythm.
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Mary Newcomb, British 1992-2008 -Parakeet with Fresh Cherries, 1991;oil on canvas, signed and dated lower right 'Mary Newcomb 91', also signed, titled and dated on the reverse 'Mary Newcomb Parakeet with fresh cherries 91', 61 x 38 cm (ARR)Provenance: the Artist, with Crane Kalman Gallery, London (according to the label on the reverse), purchased from the aboveExhibited: Crane Kalman Gallery, 'The Rural Poetry of 3 Modern English Women', 1992, LondonNote: Newcomb is celebrated for her everyday observations of nature in her own poetic style. Here, the bright red and orange of the parrot is balanced with the plump cherries below.Last year a major retrospective for the artist was held at Compton Verney near Warwick. The museum holds a large collection of British Folk Art, which was originally gifted by Andreas Kalman, the director of Crane Kalman Gallery which exhibited her work since the 1970s. Her work is also held by the Tate, the Ingram Collection and the Sainsbury Centre for Visual Arts.
Thérèse Oulton, British b.1963 - Psalm II, 1983; oil on canvas, signed and titled on the reverse 'Therese Oulton Psalm II;, 62 x 52 cm (unframed) (ARR) Provenance: with Gimpel Fils, London, no. GF4600 (according to the label on the reverse) Exhibited: Museum of Modern Art Oxford (according to the label on the reverse) Note: Oulton had her first solo show at Gimpel Fils Gallery, London, in 1984. The show resulted in positive criticism towards her approach to her work, and she became known for her sombre, richly worked abstract or semi-abstract paintings. Her early work often resembles rocky landscapes, with thickly applied impasto paint.
John Kirby, British b.1949 - Man with a White Cat, 1995; oil on board, signed, titled and dated on the reverse 'J. Kirby "Man with a White Cat" May, ‘95' Rosscarbery', 91.5 x 76 cm (ARR) Provenance: with Koplin Gallery, Santa Monica, CA; with Flowers East, London (according to the labels on the reverse); The Geoffrey and Fay Elliott Collection, purchased from the above on 23rd April 1996 and thence by descent Note: Kirby had a major retrospective exhibition at the Walker Art Gallery, Liverpool in 2012. Trained at Central St Martins and the Royal College of Art, he cites French Modern artist Balthus and American realist Edward Hopper as his influences. His works are imbued with a haunting quality, addressing issues of gender, and sexual and social norms, and often depict solitary figures in a surrealist landscape. His works are held in many collections including the Tate, VIctoria & Albert Museum and the Royal College of Art.
Sir Claude Francis Barry RBA, British 1883-1970 - Carcassonne; oil on canvas, signed lower right 'F Barry', signed and titled to stretcher 'Barry Carcassonne', 100 x 113 cm (ARR) Provenance: Bonhams, London, Modern Pictures, 20th March 2007, lot 201 Exhibited: The United Society of Artists, 1955 Literature: Katie Campbell, Moon Behind Clouds, Fine Art Productions Ltd., 1999, no.843, illus.p.222. Note: Barry lived in France and Italy in the 1920s and was well travelled around Europe. Influenced by Pointillism and the bright colour of the Fauves, his work evolved into a unique style. Chateaus, castles and fortresses were common subject matter for Barry no matter where he lived. He made a later brightly coloured version of this scene using the secondary colours. He worked alongside Newlyn School greats like Stanhope Forbes, Henry Scott Tuke and Norman Garstin, spending many years in St Ives. He exhibited at the Royal Academy, the Royal Scottish Academy and the Royal Society of Painter-Etchers and Engravers.
Grandma Moses, American 1860-1961 -Kenyon Old House;oil on canvas, signed 'Moses', 20.5 x 25.76 cm (unframed)Provenance: the artist; Sidney Janis c.1940; private collection and thence by descent; Sotheby's, Arcade Sale, 15th March 1986, sale no.157, lot 267; The Geoffrey and Fay Elliott Collection, purchased from the above and thence by descentImages: Copyright Grandma Moses Properties Co., New YorkNote: catalogue raisonne number Kallir 1572A self-taught painter, Grandma Moses is one of America's most beloved folk artists. This work was originally handled by legendary dealer, Sidney Janis, whose gallery was an early exhibitor of the Abstract Expressionists, as well as Modern European masters. Janis included her work in the show ‘Contemporary Unknown American Painters’ at the Museum of Modern Art in 1939, which brought her work to national attention.The bucolic landscapes of Grandma Moses were inspired by the landscape and villages of rural East Coast America, idealised through her own imagination - “What’s the use of painting a picture if it isn’t something nice?” she asked.After spending most of her life working in rural New York and Virginia on farms, she started painting New England landscapes only at the age of 77.
Dame Elisabeth Frink RA, British 1930-1993 - Assassins I, 1963; bronze with brown patina, signed and numbered 'Frink 5/8', H55 x W17.8 x D17 cm (ARR) Provenance: Sotheby's, London, 11th March 1992, lot 188, illus.pg.60; The Geoffrey and Fay Elliott collection, purchased from the above and thence by descent Exhibited: Waddington Galleries, London, Elisabeth Frink, 11th October-4th November 1972 (another cast) Royal Academy of Arts, London, 'Elisabeth Frink: Sculpture and Drawings 1952-1984', 8th February-24th March 1985 (another cast) Literature: Edwin Mullins, 'The Art of Elisabeth Frink', 1972, Lund Humphries, p.49 (another cast illus.) Bryan Robertson, 'Elisabeth Frink Sculpture', 1984, Harpvale, pp.158-9, cat. no.104 (another cast illus.) Sarah Kent, 'Elisabeth Frink: Sculpture and Drawing 1952-1984', Royal Academy, 1985, p.16, (another cast illus.) Annette Ratuszniak, ed., 'Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93', 2013, Lund Humphries, cat. no.FCR128, p.90 (another cast illus.) Note: This powerful early work displays one of the artists most characteristic and unique themes, armoured male figures. Central to Frink's work is a sense of energy and physical presence and she was one of very few artists who focused on the male figure in her work, setting her apart from her contemporaries. Depicted here half-naked yet wearing uniform, her figures evoke both power and vulnerability, combined with a timeless quality, that is at once ancient and modern. Frink created two works focusing on the theme of Assassins, which were influenced by the assassination of JFK. This event and the ongoing threat of the Cold War, influenced how Frink depicted her figures, in particular in their helmeted heads, making them simultaneously remote yet scrutinising of the viewer. This is a rare sculpture of multiple figures in the artist's oeuvre and the treatment of the figure's faces points to the artist's seminal 'Goggle Heads'. Other casts of this work are in the Arts Council Collection.
Ronald Ossory Dunlop NEAC RBA RA, Irish 1894-1973 - The Ferry, Weybridge, 1969; oil on canvas, signed lower right 'Dunlop', 25 x 30.5 cm (ARR) Provenance: with Cork Street Gallery, London (according to the label on the reverse); Robert A. Lillie Collection, cat. no. 465; Christie's, Scotland, Decorative Arts; Scottish Contemporary and Modern Art, 23rd Sept 1997, lot 289, illus.pg.41; Sotheby's, London, Modern British and Irish Paintings, Drawings and Sculptures, 4th March 1998, lot 137, illus.pg.56
Basil Rákóczi, British/French 1908-1979 - Fleurs Artificielles II, 1957; oil on canvas, signed lower left 'Rákóczi', signed, titled, dated and numbered on the reverse 'Rákóczi, '57 Fleurs Artificielles II No. 2279, 47 x 19 cm (ARR) Provenance: the Estate of the Artist Note: Basil Rákóczi (1908–1979) and his partner, Kenneth Hall (1913–1946), founded The White Stag Group of modernist artists in 1935. Influenced by Surrealism and founded in London, they moved to Ireland in late 1939, following the start of the Second World War. There the Group flourished, gaining both local and continental members, including Nano Reid and Patrick Scott. Rakoczi and Hall’s work brought a modernism to Dublin and they gained a sizeable and positive reputation for their work, which focused on psychological states and esoteric myth and symbols. Instrumental to both artist’s careers, was the influential dealer Lucy Wertheim, who ran a celebrated gallery in Mayfair during the 1930s, one of the spaces focused on young artists working in a Modern idiom. Wertheim promoted major figures such as Barbara Hepworth, Christopher Wood, Frances Hodgkins and Henry Moore at an early age, but she is perhaps most known for her support of a diverse group of lesser known artists, many of whom worked in either expressionistic or faux-naïve styles. An exhibition of Wertheim’s legacy 'A Life in Art & Reuniting the Twenties Group' has recently been on display at Towner Eastbourne, UK, including works by both Hall and Rákóczi.
Basil Rákóczi, British/French 1908-1979 - Atlantide, 1950; watercolour on paper, signed lower right 'Rákóczi', titled and dated on the reverse of the frame 'Atlantide 1950', 52.5 x 72.5 cm (ARR) Provenance: with Molton Gallery, London, cat. no. 12 (according to the label on the reverse); the Estate of the Artist Note: ‘Atlantide’ explores the legendary sunken city of Atlantis. Basil Rákóczi (1908–1979) and his partner, Kenneth Hall (1913–1946), founded The White Stag Group of modernist artists in 1935. Influenced by Surrealism and founded in London, they moved to Ireland in late 1939, following the start of the Second World War. There the Group flourished, gaining both local and continental members, including Nano Reid and Patrick Scott. Rakoczi and Hall’s work brought a modernism to Dublin and they gained a sizeable and positive reputation for their work, which focused on psychological states and esoteric myth and symbols. Instrumental to both artist’s careers, was the influential dealer Lucy Wertheim, who ran a celebrated gallery in Mayfair during the 1930s, one of the spaces focused on young artists working in a Modern idiom. Wertheim promoted major figures such as Barbara Hepworth, Christopher Wood, Frances Hodgkins and Henry Moore at an early age, but she is perhaps most known for her support of a diverse group of lesser known artists, many of whom worked in either expressionistic or faux-naïve styles. An exhibition of Wertheim’s legacy 'A Life in Art & Reuniting the Twenties Group' has recently been on display at Towner Eastbourne, UK, including works by both Hall and Rákóczi.
Kenneth Hall, British 1913-1946 - The Blue House, 1937; oil on canvas, signed, titled and dated on the reverse 'Hall The Blue House April 5th 1937', 50.6 x 60.7 cm Provenance: the Estate of Basil Rakoczi Note: Basil Rákóczi (1908–1979) and his partner, Kenneth Hall (1913–1946), founded The White Stag Group of modernist artists in 1935. Influenced by Surrealism and founded in London, they moved to Ireland in late 1939, following the start of the Second World War. There the Group flourished, gaining both local and continental members, including Nano Reid and Patrick Scott. Rakoczi and Hall’s work brought a modernism to Dublin and they gained a sizeable and positive reputation for their work, which focused on psychological states and esoteric myth and symbols. Instrumental to both artist’s careers, was the influential dealer Lucy Wertheim, who ran a celebrated gallery in Mayfair during the 1930s, one of the spaces focused on young artists working in a Modern idiom. Wertheim promoted major figures such as Barbara Hepworth, Christopher Wood, Frances Hodgkins and Henry Moore at an early age, but she is perhaps most known for her support of a diverse group of lesser known artists, many of whom worked in either expressionistic or faux-naïve styles. An exhibition of Wertheim’s legacy 'A Life in Art & Reuniting the Twenties Group' has recently been on display at Towner Eastbourne, UK, including works by both Hall and Rákóczi.
Kenneth Hall, British 1913-1946 - Aran landscape, c.1940s; watercolour on paper, signed lower right 'Hall', 17.3 x 24 cm Provenance: the Estate of Basil Rakoczi Note: Basil Rákóczi (1908–1979) and his partner, Kenneth Hall (1913–1946), founded The White Stag Group of modernist artists in 1935. Influenced by Surrealism and founded in London, they moved to Ireland in late 1939, following the start of the Second World War. There the Group flourished, gaining both local and continental members, including Nano Reid and Patrick Scott. Rakoczi and Hall’s work brought a modernism to Dublin and they gained a sizeable and positive reputation for their work, which focused on psychological states and esoteric myth and symbols. Instrumental to both artist’s careers, was the influential dealer Lucy Wertheim, who ran a celebrated gallery in Mayfair during the 1930s, one of the spaces focused on young artists working in a Modern idiom. Wertheim promoted major figures such as Barbara Hepworth, Christopher Wood, Frances Hodgkins and Henry Moore at an early age, but she is perhaps most known for her support of a diverse group of lesser known artists, many of whom worked in either expressionistic or faux-naïve styles. An exhibition of Wertheim’s legacy 'A Life in Art & Reuniting the Twenties Group' has recently been on display at Towner Eastbourne, UK, including works by both Hall and Rákóczi.
Charles Higgins ('PIC'), Scottish 1893-1980 -Jalousie de Leda, 1947;oil on panel, signed, dated and titled on the reverse 'Pic 1947 Jalousie de Leda', 19.2 x 23 cm (unframed)Provenance: the Estate of the ArtistNote: writer and painter Charles Higgins painted under the pseudonym of PIC and created some of the most extraordinary and enigmatic British paintings of the 20th century. Setting mythological and fantastical imagery within imagined landscapes, PIC's work transports the viewing through time and the imagination, demonstrating the same visionary zeal as figures such as Marc Chagall and Leonora Carrington. His work was exhibited in some of the most important British galleries of the 20th century, including, the Wertheim Gallery during the 1930s and Gimpel Fils during the 1940s and 50s and Jack Bilbo's celebrated The Modern Art Gallery in the 1940s.
AMENDMENT: this work is unframed Charles Higgins ('PIC'), Scottish 1893-1980 -Untitled;ink on board, signed lower right 'Pic' and numbered on the reverse '21-', 20.2 x 42.8 cm (unframed)Provenance: the Estate of the ArtistNote: writer and painter Charles Higgins painted under the pseudonym of PIC and created some of the most extraordinary and enigmatic British paintings of the 20th century. Setting mythological and fantastical imagery within imagined landscapes, PIC's work transports the viewing through time and the imagination, demonstrating the same visionary zeal as figures such as Marc Chagall and Leonora Carrington. His work was exhibited in some of the most important British galleries of the 20th century, including, the Wertheim Gallery during the 1930s and Gimpel Fils during the 1940s and 50s and Jack Bilbo's celebrated The Modern Art Gallery in the 1940s.
Charles Higgins ('PIC'), Scottish 1893-1980 - French Railway Carriage, 1930; oil on paper, signed lower right 'Pic', 16.3 x 22.4 cm Provenance: with The Modern Art Gallery, London according to the label attached to the reverse of the frame); the Estate of the Artist Note: with Robert Sielle, Exhibitions Agents, London (according to the label attached to the reverse of the frame) Writer and painter Charles Higgins painted under the pseudonym of PIC and created some of the most extraordinary and enigmatic British paintings of the 20th century. Setting mythological and fantastical imagery within imagined landscapes, PIC's work transports the viewing through time and the imagination, demonstrating the same visionary zeal as figures such as Marc Chagall and Leonora Carrington. His work was exhibited in some of the most important British galleries of the 20th century, including, the Wertheim Gallery during the 1930s and Gimpel Fils during the 1940s and 50s and Jack Bilbo's celebrated The Modern Art Gallery in the 1940s.
Henryk Gotlib, Polish/British 1890-1966 - Standing woman, 1948; oil on canvas, signed lower left 'Gotlib', 76 x 51 cm (ARR) Provenance: with Grant Fine Art, Newcastle, Northern Ireland Exhibited: Scottish National Gallery of Modern Art, Edinburgh, 'Henrky Gotlib: Paintings and Drawings', 11th July - 17th August 1970, cat. no. 12
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),UNTITLEDpastel on paper, signed and dated '79image size 64cm x 50cm, overall size 85cm x 69cm Mounted, framed and under glass.Provenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),RONDA (SPAIN)oil on boardimage size 48cm x 48cm, overall size 67cm x 67cm Framed and under glass.Titled and dated (2000) verso in the artist's hand but obscured by the backboard.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).
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),HUTS & HENHOUSES ABOVE MONTEJAQUEoil on board, signed and dated 2000image size 39cm x 48cm, overall size 57cm x 66cm Framed and under glass.Titled and dated verso in the artist's hand but obscured by the backboard.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).
* PAUL RITCHIE (SCOTTISH b. 1948),UNTITLEDoil on board, signedimage size 30cm x 38cm, overall size 40cm x 49cmFramed and under glass.Collections include: Arts Council of Great Britain, Scottish Arts Council, Victoria and Albert Museum, Johnsonian Museum (New York), Scottish National Gallery of Modern Art, Elf Oil UK, The Hunterian, Aberdeen Art Gallery, University College Wales, Grampian TV, Bradford Art Gallery, Bolton Art Gallery, Inverness Art Gallery, Livingstone Development Corporation, Tayside Regional Council, Salford Art Gallery, Oldham Art Gallery, Provident, Eastern Airlines and The Hunting Group.
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),UNTITLED pastel on paper, signed and dated '87image size 84cm x 60cm, overall size 106cm x 82cm Mounted, framed and under glass.Provenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
Vinyl - Sex Pistols God Save The Queen on A&M AMS 7284. A super clean copy of the rare withdrawn A&M release housed in A&M company sleeve. The vinyl appears in unplayed near mint condition with just a few very light marks when viewed under UV light. A stunning example. Provenance: Comes with a letter of authenticity from world renowned punk collector and urban/modern art and memorabilia curator Eddie Lock confirming the record came from his own personal collection.
Meister von Guebwiller, tätig um 1490, Oberrheinischer MeisterJesus am ÖlbergÖl/ Tempera auf Holz.39,1 x 28,2 cm.In grünem Rahmen mit goldfarbenem Innenrand.Beigegeben sind Gutachten von Prof. Otto Fischer, Kunstmuseum Basel, 7. Dezember 1936, sowie vom Archiv Ludwig Meyer, München, 2012, und René Millet, Paris 2019.Die Szene illustriert eine Station des Leidensweges Christi, nach dem Evangelium des Lukas (22,39-46). Jesus ist hier im Gebet kniend nach rechts dargestellt, vor einem Felsen, über dem eine Engelsgestalt erscheint, die ihm einen Kelch reicht. Dieses Detail bezieht sich auf den Text, demgemäß Jesus spricht „Lass den Kelch an mir vorübergehen“. Die Jesusgestalt ist im Bild erhöht gezeigt, nicht nur im Sinne einer Bedeutungsbetonung, sondern auch, um die schlafenden Jünger dem Betrachter näher zu bringen. Am rechten Bildrand erscheinen aus dem Hintergrund bereits die Häscher, angeführt von Judas.Wie häufig in der Tafelmalerei der Zeit, hat sich auch dieser Meister an einem damals im Kupferstich verbreitetem Motiv orientiert. Es findet sich im Stichwerk des Martin Schongauer (Colmar 1445/50-1491 Breisach am Rhein) mit demselben Titel. Das von Schongauer gemalte Tafelbild war dem Meister des vorliegenden Werkes sicher noch nicht bekannt, weswegen er sich nach einem Stich bei der Farbwahl auf sich selbst stellen musste. Für das Kleid Jesu hat er ein Violett-Braun gewählt, bei den Jüngern dominieren die Farben Rot und Grün, allerdings hat er diese Kleiderfarben dem liegenden Petrus gegeben, anstatt dem mit einem Buch sitzenden Evangelisten Johannes. Auch die Detailformen, vor allem die Gesichter unterscheiden sich von der Stichvorlage erheblich. Die liegende Petrusgestalt hält kein Schwert, die Gesichter sind weit rundlicher gezeigt, wie ebenso die Felsen weniger gratige Kanten aufweisen, was dem Gemälde einen einheitlichen, für eine Künstlerhandschrift typischen Ausdruck verleiht. So präsentiert sich das Tafelbild als typisches Werk der Elsässer Kunst des ausgehenden 15. Jahrhunderts. Gemälde des genannten oberrheinischen Meisters, der vermutlich bei dem „Meister der Passion von Karlsruhe“ gelernt hat, sind äußerst selten. Der Einfluss dieses Straßburger Meisters, der um 1430/50 tätig war, ist jedenfalls spürbar. Gegenüber der Stichvorlage von Schongauer zeigt sich das Tafelbild bereits in modernerer Erscheinung. A.R. (†)Provenienz:Sammlung Fritz Stöcklin, Kunsthandel, Basel 1936-1946.Sammlung Dr. Georg Heinrich Thommen, Bern. (13414517) (11)Maître de Guebwiller,active ca. 1490, master from the Upper Rhine regionCHRIST ON THE MOUNT OF OLIVESOil/tempera on panel.39.1 x 28.2 cm.In green frame with gilt inner edge.Accompanied by expert‘s reports by Professor Otto Fischer, Kunstmuseum Basel, 7 December 1936 as well as by Archiv Ludwig Meyer, Munich, 2012 and by René Millet, Paris 2019.This scene illustrates one of the stations of the Passion of Christ after the Gospel according to Luke (22:39-46). Christ is depicted kneeling in prayer to the right, in front of a rock surmounted by an angel handing him a chalice. This is a typical example of late 15th century Alsatian art. Paintings by the above mentioned master from the Upper Rhine region are very rare. He was a student of the “Master of the Karlruhe Passion”, a master painter from Strasbourg, active ca. 1430/50 and his influence is noticeable here. In comparison with the engraving template by Schongauer, the panel painting already shows a more modern appearance. (†)Provenance:Fritz Stöcklin collection, art trade, Basel 1936-1946.Dr Georg Heinrich Thommen collection, Bern.
Maurice Utrillo, 1883 Paris – 1955 DaxLA PLACE DU TERTRE À MONTMARTRE, 1920 – 1922Öl auf Leinwand.46 x 61 cm.Rechts unten signiert „Maurice. Utrillo, V.“.In vergoldetem barockisierendem Rahmen.Beigegeben ein Zertifikat des Wildenstein Institute.Ein Platz der trapezförmig nach rechts zuläuft ist von mehreren Bäumen bestanden, deren Grün den Passanten, die sich dorthin vor der senkrecht stehenden Sonne geflüchtet haben, Schutz bietet. Die Vertikalen der Baumstämme und die dazwischen gesetzten stehenden Staffagefiguren kontrastieren mit den Horizontalen, die durch die Etagenbegrenzungen der umstehenden Häuser gebildet werden. Diese architektonischen Gebilde gehören zu Utrillos Lieblingswerkzeugen, werden in diesem Gemälde jedoch von der domestizierten Natur beherrscht. (†)Provenienz:Kurt Sponagel-Hirzel, Zürich, 1955.Schweizer Privatsammlung.Sotheby’s, London, 25. März 1992, Lot 62.Anmerkung:Der Platz ist einer der Lieblingsmotive Utrillos am Montmartre.Das Gemälde kann nur im Vorfeld auf Anfrage besichtigt werden.Literatur:Pierre Courthion, Montmartre, Lausanne 1956, S. 118 und 142 (abgebildet auf S. 118).Paul Pétridès, L’oeuvre complet de Maurice Utrillo, Bd. II, Paris 1962, Nr. 901, S. 320 (abgebildet auf S. 321 mit nicht korrekten Maßen).Ausstellungen:Basel, Kunsthalle, Maurice Utrillo. Graphische Blätter von Corot und Daumier, Juni-Juli 1942, Nr. 205.Vevey, Musée Jenisch, Maurice Utrillo, Valadon, Modigliani, Utter, Juli-September 1955, Nr. 50, S. 24 (mit inkorrekten Maßen).München, Haus der Kunst, Maurice Utrillo V., Suzanne Valadon, Juni-September 1960, Nr. 77, S. 12 (abgebildet Tafel 39).Bern, Kunstmuseum, Utrillo, Januar-März 1963, Nr. 69.Tokyo, Seiji Togo Memorial Sompo Japan Museum of Art, Maurice Utrillo, April-Juni 2010, Nr. 23, S. 55 (abgebildet), Wanderausstellung.Nigata, The Nigata Prefectural Museum of Modern Art, Juli-August 2010.Kyoto, Museum Eki Kyoto, September-Oktober 2010.Aichi, Toyohashi City Museum of Art & History, Oktober-Dezember 2010. (13414523) (13)Maurice Utrillo,1883 Paris – 1955 DaxLA PLACE DU TERTRE À MONTMARTRE, 1920 – 1922Oil on canvas.46 x 61 cm.Signed “Maurice. Utrillo, V.“ lower right.Accompanied by certificate by Wildenstein Institute. (†)Provenance:Kurt Sponagel-Hirzel, Zurich, 1955.Private collection, Switzerland.Sotheby’s, London, 25 March 1992, lot 62.Notes:The square is one of Utrillo’s favourite subjects at Montmartre.The painting can be viewed only in advance on request.Literature:Pierre Courthion, Montmartre, Lausanne, 1956, pp. 118 & 142 (ill. on p. 118).Paul Pétridès, L’oeuvre complet de Maurice Utrillo, vol. II, Paris 1962, no. 901, p. 320 (ill. on p. 321 with incorrect dimensions).Exhibitions:Basel, Kunsthalle, Maurice Utrillo. Graphische Blätter von Corot und Daumier, June-July 1942, no. 205.Vevey, Musée Jenisch, Maurice Utrillo, Valadon, Modigliani, Utter, July-September 1955, no. 50, p. 24 (with incorrect dimensions).Munich, Haus der Kunst, Maurice Utrillo V., Suzanne Valadon, June-September 1960, no. 77, p. 12 (ill. panel 39).Bern, Kunstmuseum, Utrillo, January-March 1963, no. 69.Tokyo, Seiji Togo Memorial Sompo Japan Museum of Art, Maurice Utrillo, April-June 2010, no. 23, p. 55 (ill.), touring exhibition.Nigata, The Nigata Prefectural Museum of Modern Art, July-August 2010.Kyoto, Museum Eki Kyoto, September-October 2010.Aichi, Toyohashi City Museum of Art & History, October-December 2010.
Auguste Rodin, 1840 Paris – 1917 MeudonTête de Balzac, dernier état, version au col coupé derrière l’oreille(Haupt des Balzac, in fortgeschrittenem Alter, Version mit Hals hinter dem Ohr abgetrennt)18 x 19,6 x 16,5 cm.Signiert „A. Rodin 1958“ im Haar rechts mit der Gießereimarke „Georges Rudier / Fondeur Paris“ am linken Rand, mit dem „© by musée Rodin 1958“ und innen gestempelt „A. Rodin“.Beigegeben ein Echtheitszertifikat des Comité Auguste Rodin, 12. Januar 2011.Bronze, dunkelbraun patiniert. Auf würfelförmigem Sockel aus schwarzem brüniertem Metall. Schwarz patinierte Bronze mit leichtem Patinaabrieb. Eindrucksvolles Portrait des französischen Schriftstellers mit frei um das Haupt geführten Haaren. Für die Augen eine starke Vertiefung, in die der Schatten fällt. Das Monument für Honoré de Balzac zählt zu den Hauptwerken Rodins. Abgüsse des Monuments von 1891 und Studien befinden sich in bedeutenden internationalen Sammlungen, wie dem Hirshhorn Sculpture Garden in Washington D.C. und dem Museum of Modern Art in New York.Um 1897 entworfen, wurde dieser Bronzeabzug 1958 gegossen.Provenienz: Musée Rodin, ParisPrivatsammlung, Frankreich Literatur:Wie bereits erwähnt, wird dieses Werk in den Catalogue Critique de l‘oeuvre Sculpté d‘Auguste Rodin aufgenommen, der bei der Galerie Brame & Lorenceau unter der Leitung von Jérôme Le Blay in Vorbereitung ist, unter der Nummer 2010-3326B. Aufnahmebestätigung vom 12. Januar 2011. (13401120) (13)Auguste Rodin, 1840 Paris – 1917 MeudonTÊTE DE BALZAC, DERNIER ÉTAT, VERSION AU COL COUPÉ DERRIÈRE L‘OREILLE (HEAD OF BALZAC, AGED, VERSION WITH NECK SEVERED BEHIND EAR)18 x 19.6 x 16.5 cmSigned “A. Rodin 1958”. Reverse right foundry mark „Georges Rudier/ Fondeur, Paris“ on the left “© by musée Rodin 1958”, stamped “A. Rodin” on the inside.Accompanied by a certificate of authenticity from the Comité Auguste Rodin, 12 January 2011.Mounted on a cube-shaped base made of black burnished metal. Black patinated bronze with slightly wear to patina. Impressive portrait of the French writer with his hair loose around his head. A deep depression into which the shadow falls for the eyes.The monument to Honoré de Balzac is one of Rodin‘s major works. Casts of the 1891 monument and studies are held in important international collections such as the Hirshhorn Sculpture Garden in Washington D.C. and the Museum of Modern Art in New York.Provenance :Musée Rodin, Paris.Privat Collection, France.Literature:As mentioned, this work will be included in the Catalogue Critique de l‘oeuvre Sculpté d‘Auguste Rodin in preparation at the gallery Brame & Lorenceau under the direction of Jérôme Le Blay under no. 2010-3326B. Attestation of inclusion dated January 12th 2011.
Willem Danielsz. van Tetrode um 1530 Delft– 1588, Nachfolge desBOGENSCHÜTZEHöhe: 66 cm.Gesamthöhe mit neuzeitlichem Sockel: 74 cm.Die Körpergestaltung bewegt, der schlanke Athlet steht mit kämpferisch weit gestellten Beinen und mit in Spannung zurückgeneigtem Oberkörper auf dem Sockel. Der linke Arm nach vorne gestreckt, hält er das Mittelstück eines Bogens, die linke Hand die hier ebenfalls nicht gezeigte Bogensehne. Auffallend ist die Oberflächenbehandlung des Körpers, die sämtliche Muskelpartien anatomisch vorführt. Dies ist bereits in einigen Werken des Künstlers zum Ausdruck gekommen, später wohl auch von dessen Werkstatt weitergeführt, insbesondere im Interesse der Darstellung der Anatomie des Menschen in der Zeit der beginnenden Aufklärung.Wie auch immer, so ist die Bronze eng mit dem genannten Bildhauer im Zusammenhang zu sehen. Am Hof von Francois I. wurde ihm jung schon geraten, nach Florenz zu gehen. Er zog nach Italien und arbeitete im Bildhaueratelier des berühmten Benvenuto Cellini in Florenz. Hier zählt er zu dessen Werkstattmitarbeitern, die am Marmorsockel des berühmten “Perseus” arbeiteten. Um 1549 restaurierte er im Auftrag Cosimos I. dé Medici den antiken Torso eines Ganymeds. In Rom wirkte er unter der Leitung des Guglielmo della Porta, um Antiken für den Cortile del Belvedere zu restaurieren, wie den Farnese Hercules, den Apollo oder die Venus de Medici. Später wurde oft die Frage gestellt, wieweit die künstlerische Wirkung auf den Restaurator zurückgeht. Alle diese Erfahrungen nützte er später bei seinen eigenen Werken. Es wird allgemein angenommen, dass er, zurück in Delft, Lehrer des jüngeren Adriaen de Vries war und diesen Schüler ermutigt hat, ebenfalls nach Florenz zu gehen. Das Modell zur vorliegenden Bronze ist bislang nicht bekannt geworden. Auffallend ist die schöne Lackpatina, die möglicherweise auf einen Guss des 18. Jahrhunderts in Frankreich weist. Seine Werke und die seiner Werkstatt finden sich in zahlreichen Museen und Sammlungen, wie etwa der „Merkur“ (1549/50) Los Angeles County Museum of Art. (1340752)Willem Danielsz. van Tetrode,Ca. 1530 Delft – 1588, follower ofArcherHeight: 66 cm. Total height with modern base: 74 cm.
Endless (British), 'Bronze Chapel Worship', 2020, mixed media, hand embellished with acrylic and spraypaint on 300gsm Art Paper, signed and numbered from an edition of 25 unique works in black ink; 141 x 99cm inc frameARR141 x 99cm inc frameEndless is a London-based contemporary, street artist, whose artworks tell a visual story and observation of the world he sees around him. Starting out using the walls of our nation’s capital as his canvas, a bold, street-art aesthetic is still prevalent throughout his works – infused with a mix of contemporary techniques. His work often comments on society’s reaction to the media, the influence of the advertising industry and the shift in modern priorities from religious worship, to the ‘new era’ religion, where the shops are our chapels, the magazines our bibles and the fashion icons are our gods. His career exploded in 2016 when he was asked to work with the legendary Gilbert and George and was followed by historic collaborations with brands such as Karl Lagerfeld, Fiorucci (FI-O-RU-CHY) and Liberty London.
Endless (British), 'Lizzy Vuitton Union Jack', 2021, mixed media, hand embellished with acrylic and spraypaint on 300gsm Art Paper, signed and numbered from an edition of 25 unique works in black ink; 141 x 99cm inc frameARR141 x 99cm inc frameEndless is a London-based contemporary, street artist, whose artworks tell a visual story and observation of the world he sees around him. Starting out using the walls of our nation’s capital as his canvas, a bold, street-art aesthetic is still prevalent throughout his works – infused with a mix of contemporary techniques. His work often comments on society’s reaction to the media, the influence of the advertising industry and the shift in modern priorities from religious worship, to the ‘new era’ religion, where the shops are our chapels, the magazines our bibles and the fashion icons are our gods. His career exploded in 2016 when he was asked to work with the legendary Gilbert and George and was followed by historic collaborations with brands such as Karl Lagerfeld, Fiorucci (FI-O-RU-CHY) and Liberty London.
Minkkinen, Arno Rafael -- "Self-Portrait, Kilberg, Vardo, Norway". 1990. Vintage gelatin silver print. 33,3 x 25,7 cm (40,3 x 30,4 cm). Signed by the photographer in pencil in lower margin; signed, titled, dated and editioned 16/25 by the photographer in pencil on the verso.Born in Helsinki, Finland, in 1945 Minkkinen emigrated to the United States with his family in 1951. He began taking self-portraits in 1971, while working as an advertising copywriter on Madison Avenue in New York. Studying later with Harry Callahan and Aaron Siskind at Rhode Island School of Design, he earned his Master of Fine Arts degree in photography in 1974. Over the past four decades, Minkkinen has been engaged as a teacher, curator, and writer while continuing to devote his photographic research and energies to the self-portrait: unmanipulated images of the human figure in the natural landscape. Published and exhibited worldwide, Minkkinen’s work can be found in the collections of the Museum of Modern Art in New York, the Museum of Fine Arts, Boston, the Addison Gallery of American Art in Andover, Massachusetts and the Centre Pompidou, Paris. – Traces of previous mounting on the verso, otherwise a rich tonal print in excellent condition.Lit.: Arno Rafel Minkkinen, Saga, The Journey of 35 Years of Photographs, San Francisco 2005.
David Teniers the Younger (Antwerp 1610-1690 Brussels)Interior of a laboratory with an Alchemist at work and a stuffed alligator hanging from a ceiling beam oil on canvassigned 'D. TENIERS. FC' (lower right) 71.8 x 88.2cm (28 1/4 x 34 3/4in).Footnotes:ProvenanceMr Stanley, by whom imported from Spain and sold in 1824 for 95 guineasLord Radstock, before 1826Sale, Christie's, London, 13 May 1826, lot 28 (as 'This noble cabinet picture was formerly in the Collection of the King of Spain', sold for 320 guineas to Lord Northwick) Lord Northwick, Thirlestane House, CheltenhamHis sale, Thirlestane House, 23 August 1859, (17th day) lot 1690 (sold for 675 guineas to Agnew)With Charles Sedelmeyer, Paris, 1897, no. 42Edward R. Bacon Esq., New York, and by descent to his sister-in-lawMrs Virginia Pirdy Bacon, Netherdale House, Turiff, Aberdeenshire, by whom offered Sale, Christie's, London, 12 December 1919, lot 103 (sold for 560 guineas to Campbell)Campbell Family and thence by descent until offeredSale, Christie's, London, 6 April 1984, lot 60 (as Property of a Gentleman)The Linda and Gerald Guterman Collection, Their sale, Sotheby's, New York, 14 January 1988, lot 37Spectrum Inc.Roy T. Eddleman TrustExhibitedOn loan to the Chemical Heritage Foundation, Philadelphia (later the Science History Institute).LiteratureJ. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, London, 1831, vol. III, p. 398, no. 520J. Smith, Supplement to the Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, 1842, vol. IX, p. 452, no. 139A. Moore (et al), The Paston Treasure: microcosm of the known world, New Haven and London, 2018, pp. 458-9, ill. pl. 252 Like The Alchemist of 1649 in the Philadelphia Museum of Art and An Alchemist in his Workshop (which sold for a hammer price of £443,360, Christie's, 29 October 2019, lot 629) the present impressive sized canvas is among the finest examples of approximately a dozen known depictions of this subject by Teniers. According to the theories of the time, it was thought possible that a base metal could be purified and turned into gold from the discovery of an elusive substance known as the 'philosopher's stone.' Thus, the alchemist is depicted here on the right of the composition holding a pair of bellows which would be used to assist in the heating process that was believed to be necessary in the transmutation of elements. This scene, set in a spacious workshop strewn with books, glassware, ceramic pots, vials and a stuffed alligator hung from the ceiling, offered this accomplished artist the opportunity to demonstrate his skills in still life painting. The artist probably first treated the subject in the late 1640s, when it gained great popularity with Dutch and Flemish painters. On account of the lighter palette with more complex and subtle tonal harmonies, the present picture most likely dates to the early 1650s, making it one of his earliest treatments of the subject. An important source of inspiration for Teniers and his contemporaries would undoubtedly have been a drawing by Pieter Brueghel the Elder of an Alchemist's Workshop of circa 1558 (Kupferstichkabinett, Staatliche Museen, Berlin), which was widely known shortly after that date through a print made by Philips Galle (fig.1). Indeed, Teniers would have most likely been only too well acquainted with Brueghel's design, having married his granddaughter, Anna, in 1637. The approaches of the two artists, however, reveal very different takes on the subject. In Brueghel's equally detailed image the alchemist is shown sitting at the hearth of a dilapidated kitchen, placing the family's last coin in a crucible to be melted in the alchemical process. This point is further underscored by his wife, who is seated hunched behind him emptying the contents of an already empty purse. While the alchemist's shabby attire signified the family's desperate poverty, the absurdity of the situation is comparable to the modern stereotype of the mad scientist. The message is that the alchemist neglects himself as much as his family in the single-minded pursuit of his occupation. The Latin verse appended to Florentius Schoonhovius's Emblemata (Gouda, 1618), in which an alchemist similarly stokes a fire with a pair of bellows, states: 'While I pursue uncertainly with certain means, I convert everything into smoke and worthless ash'. Judging from the number of alchemical treatises published through much of Europe in the seventeenth century, interest in the subject was then at an all-time high. However, it was only in the Netherlands that the idea of the alchemist in his laboratory became a popular subject for artists and by the time Teniers created this scene, the rising merchant classes were trying alchemy too and we do not find the previous moralizing associations with witchcraft and charlatanry in this artist's compositions. Although the practice of alchemy was still controversial, its techniques — such as distillation and metallurgy — were in fact contributing significantly to science and industry. It should be remembered that no lesser a scientist than Isaac Newton was a practitioner of alchemy, motivated by the search for the 'philosopher's stone' in the hope of turning base metals into gold. Indeed, as many artists' pigments and glazes used in the seventeenth century were prepared by alchemical methods, Teniers would have likely visited laboratories to acquire pigments and so may have felt a special affinity with the practice. This may well be attested to by a picture entitled The Young Teniers in his Studio (offered Hôtel Drouot, Paris, 9 June 1909) which shows a similar young man, possibly Teniers himself, seated preparing his pigments in a bowl at a window. And it was undoubtedly an equal affinity with this particular subject that will have lay behind the acquisition of this work, as well as lot 58, by the Roy Eddleman Trust and their loan to the Chemical Heritage Foundation, Philadelphia (later the Science History Institute), perfectly bringing together the late owner's interests in both art and science.Margret Klinge confirmed the attribution to David Teniers at the time of the last sale.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Bernard Buffet1928 Paris - 1999 ebendaCasserole rouge. 1955Am Ober- und Unterrand mit Tusche signiert und datiert. Etikett: E.J. van Wisselingh Kunsthandel Amsterdam. Mischtechnik (Gouache, Tusche, Öl) auf Bütten. 65,5 x 50,5 cm. Umlaufend auf Unterlagenkarton montiert. Rahmen (81,5 x 67 cm). Bernard Buffet war ein französischer Grafiker und Maler des Expressionismus. 1955 kürte ihn die Zeitschrift "Connaissance des Arts" zum Besten Künstler der Nachkriegszeit. In 57 Jahren entstanden mehr als 8.000 Werke. Am bekanntesten sind die Gemälde. Bernard Buffet produzierte aber auch zahlreiche Lithografien, Skulpturen, Buchillustrationen und Bühnenbilder. Seine Werke finden sich in vielen hoch renommierten Sammlungen weltweit (u a. Vatikan, Centre Pompidou, New York Museum of Modern Art). Vorliegendes, doppelt signiertes Werk trägt die einzigartige Handschrift des Künstlers. Es entstammt einer Reihe des Sujets der "Casserole rouge". Wir sehen ein stark stilisiertes Stillleben mit dem titelgebenden roten Topf, schwarzer Weinflasche, kleiner Zitrone und einem Stückchen Melone auf einem braunen Tisch. Im Hintergrund eine tapezierte, türkise Wand mit Bündeln roter Rosen. Das kantige Werk weist den für Bernard Buffet typischen Farbstil mit harten, schwarzen Konturen auf. Es erzählt von Armut und verströmt eine rätselhafte, melancholische Atmosphäre. Die Arbeit wurde von Céline Lévy, Galerie Maurice Garnier, Paris begutachtet und zertifiziert. Ein schriftliches Zertifikat vom 25. Oktober 2022 liegt vor Provenienz: Nachlass Johannes B. Ortner. - Versteigerung zugunsten der gemeinnützigen Johannes B. Ortner-Stiftung an der Technischen Universität München.
Matthew Chambers (b.1982)Twist - Grey, Yellow, 2020stoneware, wheel thrown and hand builtsigned and dated19cm high, 19cm wide. Lot 723-737To be sold on behalf of Contemporary Applied ArtsContemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors.CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches.Support for CAA via generous bidding will be very much appreciated. In very good condition. No signs of damage or repair.
Gabriele Koch (b.1948)Vesselwhite glaze with pitted designsigned20.5cm high. Lot 723-737 to be sold on behalf of Contemporary Applied Arts.Contemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors.CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches.Support for CAA via generous bidding will be very much appreciated.
Clive Bowen (b.1943)Large Platter, 2017earthenware, slip decorated depicting a fish37.5cm diameter. Lot 723-737 to be sold on behalf of Contemporary Applied Arts.Contemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors.CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches.Support for CAA via generous bidding will be very much appreciated.
David Watkins (b.1940)Gardens of the Arqva Petrarca, 2003bangle, layered stainless steeloutside diameter 14.5cm. Lot 723-737 to be sold on behalf of Contemporary Applied Arts.Contemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors. CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches. Support for CAA via generous bidding will be very much appreciated.
David Watkins (b.1940)Palaces of the Night, 2003bangle, layered black stainless steeloutside diameter 14.5cm. Lot 723-737 to be sold on behalf of Contemporary Applied Arts.Contemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors. CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches. Support for CAA via generous bidding will be very much appreciated.
Jacqueline Mina (b.1942)Chrysoprase spiral earrings, 1979partial London hallmark4.5cm long. Lot 723-737 to be sold on behalf of Contemporary Applied Arts.Contemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors.CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches.Support for CAA via generous bidding will be very much appreciated.Light surface wear, scuffs and nicks throughout, commensurate for occasional use. Small surface-reaching inclusions/fractures are just visible to the chrysoprase batons. Gross weight approximately 8.5gm. Each is numbered 'P533' in black marker pen to the base.Please note amended description: each of the wire fittings has a partial London hallmark; with maker's mark JKM, leopard's head mark for London and date letter for 1979. The standard/fineness mark is not present and therefore we are unable to confirm the metal standard of the mounts.
Daphne Krinos (Contemporary)Cage necklace, 2022oxidised silver, amethysts, lemon quartz52cm long. Lot 723-737 to be sold on behalf of Contemporary Applied Arts.Contemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors. CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches. Support for CAA via generous bidding will be very much appreciated.
Juliette Bigley (b.1978)Three vesselsbronze13cm, 12.5cm, and 9cm high (3). Lot 723-737 to be sold on behalf of Contemporary Applied Arts.Contemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors. CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches. Support for CAA via generous bidding will be very much appreciated.Condition good.
Richard Teschner (1879-1948),Exhibition poster for Modern Art at the Kunsthalle in Karlsbad under the direction of Galerie Miethke Vienna in 1913, Colour lithograph, Signed and dated within the print, Frame size 129 x 84 cm.(ARR)Footnote:Galerie Miethke was founded in 1861 by Hugo Miethke, from 1895 located at Dorotheegasse 11. After 1904, it was run by Secessionist painter Carl Moll and Paul Bacher (a friend of Klimt) as a center for modern art, exhibiting works of the Secession movement, Jugendstil, and the Wiener Werkstätte.Please refer to department for condition report
A JAPANESE OFFICER~S SHIN-GUNTÔ (MILITARY SWORD), BLADE DATED TO 1867, MOUNTS 1943-1945, Sugata (configuration): shinogi-zukuri (longitudinal ridgeline) with shallow tori-zori (even curve), small kissaki (tip), copper habaki (collar); Hamon (tempering pattern): midare with chôji (wavy with clove buds); Nagasa (length): 64.0 cm; Nakago (tang): ubu (unshortened) with one mekugi-ana (fixing hole), signed Oite Sunpu Miyaguchi Ikkansai Shigetoshi (Miyaguchi Ikkansai Shigetoshi in Sunpu) and dated a day in the eighth month, third year of Keiô (equivalent to 1867); Koshirae (mounting): saya (scabbard) of metal covered wood with tassels, suspension ring and silvered copper alloy fuchi and kabutogane (collar and pommel), the tsuba (sword guard) of pierced iron, the gilt shakudô menuki (hilt grips) decorated with sakura (cherry blossom), wooden tsuka (hilt) with light brown silk itô (braiding) over white same (ray skin)¦¦Ikkansai Shigetoshi (1838-1906) was born in Sunpu (modern day Shizuoka) in Suruga province with the given name Miyaguchi Hachirô. He worked in Inaba and in Odawara in Sagami province and used the art name Ikkansai; he was well-known for his excellent horimono (blade carvings). This sword is a good example of an earlier blade mounted in high quality military mounts for a high-ranking officer.
La Vie en Rouge - Olivia Roze Spray paint on canvas 594 x 878 mm ARTIST STATEMENT: This piece is a stencilled spray piece using street art techniques. I was inspired by Teddy Baden’s work after being selected for an Art for Guernsey Scholarship and visiting Teddy in London. I wanted to capture a moment in time using a modern technique; also creating something beautiful and delicate. The flow of the hair and the free expression of the face, then stripped back to black and white with one bold colour to make the expression pop!ABOUT THE ARTIST: Olivia Roze won the Public Vote Prize in the Sovereign Art Foundation Students Prize, Guernsey 2021 with her artwork "Freya" and also was selected for an Art for Guernsey Scholarship. Olivia studies Creative and Digital Arts at the College of Further Education. Olivia's aspriations are "to share my art with many, and also take my education further and study a Fine Art bachelors degree at university."
A GEM-SET CROSS PENDANT, BY LALAOUNISThe stylised textured gold cross of Byzantine style set with circular-cut sapphires and rubies with beading detailing, with similar bale, mounted in 18K gold, with maker's mark for Lalaounis, numbered E.69 and stamped Greece, length 6.8cm Greek jeweller Ilias Lalalounis was born in Athens in 1920, the fourth generation of a family of goldsmiths and watchmakers from Delphi. After studying economics and law at the University of Athens, he joined his uncles jewellery firm, where, apprenticed as a goldsmith, he learned the skills that were to determine his future as a master craftsman.Prompted by a passion for history, he began studying the art of his ancestors. In the 1950s he was inspired by Greek museum artefacts and transformed them into jewellery by reviving age-old techniques while also introducing the use of modern technology. His creative aim was to convey the spiritual and symbolic link of an object to its historical past, the art of neglected techniques, such as granulation, filigree, hand-weaving and hand-hammering.Lalaounis founded the Greek Jewellers Association and exhibited his first collection in 1957, the archeological collection, inspired by Classical, Hellenistic and Minoan-Mycenaean art, with modern jewels steeped in antiquity. In the 1960s, after his uncle passed away, Ilias Lalaounis started his own company. His collections, consisting of 18 and 22 karat gold pieces, were inspired by the art of many different cultures and periods. His interest spanned from prehistoric to Minoan art, from Persian to Byzantine, from Chinese art to the art of the Tudors. In the 70s, Lalaounis provoked a sensation with his collection BLOW UP, draping the human body in gold jewellery. He followed this by redefining new means of expression, inspired by spheres such as nature and science, flowers and biosymbols, the random movements of animal and plant cells, orbits and constellationsIn 1986 Lalaounis became the first jeweller to be honoured with the prestigious induction to the Academie des Beaux Arts et des Lettres of Paris.As appreciation of his work spread, the business continued to grow, expanding throughout Europe, Asia and America.Ilias Lalaounis continued creativity was passed on to his four daughters since 1998, who have been taking the respected brand to new heights of excellence and design.Condition Report: Sapphires: of blue hue, dark tone, overall well matched in colourRubies: of purplish-red hue, medium to dark tone, well matched in colourNormal signs of wear, overall in good conditionTotal gross weight approx. 20g
A FINE PAIR OF CULTURED PEARL AND DIAMOND PENDENT EARCLIPS, BY VERDURAEach surmount designed as stylised knots pavé-set with brilliant-cut diamonds, suspending a detachable cultured pearl drop of white or black tint, each caped with similarly-cut diamonds, mounted in 18K gold and platinum, diamonds approximately 7.50cts total, signed Verdura, with maker's mark for 'Amalphy', French assay marks, stamped 'Made in France', with maker's pouch, length 4.7cm and without pearl 2.3cmBorn in 1899 in Palermo, Italy, to an aristocratic family, Fulco Santostefano della Cerda’s, Duke of Verdura's, earliest beginnings were steeped in the beauty and sumptuousness inherent to both his homeland and social status. A vivacious and imaginative child, Fulco’s later designs would be deeply influenced by the family’s 18th century home, Villa Niscemi, as well as his love of nature and happy childhood days rambling around the vast estate. Inheriting the title of duke at the young age of, it became clear that the family’s financial situation did not reflect its noble status, and Verdura knew he would have to make a career for himself in order to upkeep the extravagant lifestyle to which he was accustomed. Having joined the army in 1916, Verdura would have to abandon a promising military career after sustaining a serious should injury which took months of recuperation to heal from. Luckily, the young duke had a wealth of family connections that placed him at the centre of Europe’s glittering interwar society.While on a visit to Venice in 1927 with his good friends, celebrated composer Cole Porter and his socialite wife Linda, Verdura was introduced to Coco Chanel. The two connected instantly, and shortly thereafter Verdura moved to Paris to work for Chanel as a textile designer. However, the young duke’s flair for jewellery design soon became evident and he began to help Chanel rework pieces from her own personal collection, some of which would be copied to be sold at the iconic 31 Rue Cambon location. Little of Verdura’s early work from this period survives, however by 1930 the design that would solidify his representation as one of the period’s foremost jewellery designers came into being. The Maltese Cross jewels consisted of two mismatched gold crosses set with an array of colourful gems, both Byzantian yet oddly contemporary in look. Verdura’s first Maltese Cross pieces were a pair of brooches which he gifted to the renowned fashion editor Diana Vreeland. Next came a pair of white enamel cuffs for Chanel herself, which she wore constantly. The lack of symmetry, yellow gold and brightly coloured stones were in stark contrast to the clean lines and white gold and platinum favoured by other jewellery designers of the time.In 1934, Verdura left Paris for the United States, where his charm, pedigree and good looks allowed him to easily insert himself into high society. Landing in New York before making his way to California, Verdura would meet Paul Flato, Hollywood’s most prominent jewellery designer, and soon became his Head of Design, his work appearing on the necks, arms, and fingers of era’s most standout starlets. By the late 1930s however, Verdura was ready to strike out on his own. His first solo store was opened at 712 Fifth Avenue on September 1st, 1939, the very day war was declared in Europe. The war denied American jewellery connoisseurs the ability to commission works from the master French and Italian ateliers, but Verdura filled the gap by introducing a uniquely European flair to the American market. He continued to produce commissions for actresses, notably Joan Fontaine, and New York society queens throughout the decade, but a collaboration with surrealist artist Salvador Dalí in 1940 allowed Verdura to explore his love of fine art through the lens of jewellery making. The collection consisted of five miniatures painted by Dalí, set by Verdura with gold and jewels. The pieces were exhibited at both the Julien Levy Gallery and the Museum of Modern Art in New York throughout 1941 and 1942, before being bought into private collections, although some re-merged for the Verdura company’s 75th anniversary exhibition The Power of Style: Verdura at 75 in 2014.Verdura’s success continued throughout the 40s, 50s and 60s. It seems he designed pieces for almost every style icon of the era, from royalty to socialites. Notable pieces include the Indian Feather Tiara created in 1957 for Betsey Cushing Whitney and the Double Crescent bracelet, which first appeared in 1940s and but was revived in popularity when it was worn by Princess Diana in 1997.After decades living in the world of glitter and gold, Verdura retired to London in 1973, passing on the company to his long-time business associate Joseph Alfano. The duke would spend the last few years of life indulging his other creative loves, publishing his childhood memoir The Happy Summer Days in 1976. He died in 1978 and was buried in his beloved hometown of Palermo.The Verdura company, meanwhile, continued to maintain its place in the world of fine jewellery. In 1983 the company was sold to Ward Landrigan, the former Head of Jewellery at Sotheby’s. The sale included the complete Verdura archives, consisting of over 10,000 original drawings and sketches, almost half of which were never realised. Landrigan aimed to re-introduce Verdura’s genius to a new generation and in 2004 was joined in the business by his son, Nico Landrigan, who became the company’s president in 2009. Today, Verdura’s classic collections are still available for purchase, including the Constellation Collection, the Caged Collection, the Byzantium Collection, and the Stardust Collection, each with their own unique backstory that offers insight into the mind of their brilliant creator.Verdura’s jewellery was never produced on a mass scale and his most famous pieces were often commissioned works. This has made the Verdura name all the more collectible for the discerning jewellery lover at auction.Condition Report: Cultured pearls:One black: Very good lustre, with green and pink overtones, minor natural blemishes visible under a bright light sourceOne White: Very good lustre, with green, pink and silver overtones, superficial natural blemishes visible under a bright light sourceDiamonds: approx. 7.50cts total, bright and livelySignature, French assay marks and maker's marks located on the clip fittingsEarclips for non pierced ears, includes rubber bands on the back fittingsEagle's head for French 18K gold and dog's head for French platinumMinor signs of wear, overall in good conditionTotal gross weight approx. 47.40g
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