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Click here to subscribeA rare nokonoko wood club,probably 19th century, Viti Levu Island, Fijian, in the form of an axe, the head with carved geometric lines,88cm long, together with a modern stand (2)For a similar club see, Stephen Phelps, 'Art and Artefacts of the Pacific, Africa and the Americas: The James Hooper Collection', Hutchison & Co., London, 1976, p.201, pl.114, no. 879.Condition ReportChip to 'axe' head.
A Maori 'toki',19th century, the adzed curved wooden shaft supporting a greenstone adze blade bound with flax,51cm long, together with a modern stand (2)Provenance: Private collection, Devon, by descent from a 19th century naval family who travelled extensively around the British Empire.A similar example sold by Finch & Co. in 'Polynesia: The Mark and Carolyn Blackburn Collection of Polynesian Art'.Literature: Adrienne L Kaeppler, 2010, item number, 476, p.344. A further example can be found in 'Art and Artefacts of the Pacific, Africa and the Americas: The James Hooper Collection', Steven Phelps, 1976, p.44, pl.12, no. 86.Condition ReportGeneral surface wear to pounamu, with tiny nibbles to blade edge. Some small splits to the wooden head. Darkening and patination. General surface wear and rubbing to handle. Appears in good structural and cosmetic condition. The blade is 4.5cm wide, 12.5cm long and 1.5cm high. The handle and shaft approx. 2cm diameter. The wooden shaft without the pounamu is 52cm long.
Box of books to include: 'Old England a Pictorial Museum' edited by Charles Knight, 'Encyclopedia of the Modern Age' A-K & L-Z, two volumes, 'The Art of Heraldry' Arthur Charles, Fox Davies, 'Kings of England' Glover & Milles folio society, 'Arms and Armour' Thomas & Hudson and various Sotheby's catalogues from the Honeyman collection etc. (B.P. 21% + VAT)
ROMEO VILLALVA TABUENA (Philippines, 1921- Mexico, 2015).Untitled.Mixed media (oil and sand) and canvas.Slight restorations barely perceptible.Signed in the lower central area.Size: 34 x 23 cm; 48 x 37,5 cm (frame).Child portrait in which the author presents the bust of a young girl who turns her face diverting the spectator's attention. The forms have been synthesised into pure geometric lines and flat fields of colour that make up this portrait. However, the tonalities and the effect of the sand in the composition distance it from the rigidity of geometry, giving it a naïve and innocent finish, which was common in Tabuena's works, an example of which is the "Portrait of a Girl with pink bows", painted by the author in 1964 and which is very similar to the present work.In 1955, Tabuena settled in Mexico, although he retained his Filipino citizenship. During this period he painted the mural Filipiniana at the Philippine Embassy in Washington, D.C. In 1965, he participated in the Eighth São Paulo Art Biennial as an official Filipino artist and as an art commissioner from the Philippines. The Honolulu Museum of Art has his painting Carabao, which is typical of the artist's animal paintings. His major works include: Art Expo in New York City; Solo exhibition at Gallerie Bleue in Manila, Philippines Solo exhibition at the Palacio de Bellas Artes in Mexico City; participation in the VII Bienal de São Paulo as official Filipino artist and Philippine art commissioner, and at the Tere Haas Gallery in Mexico City; Instituto de Bellas Artes in San Miguel de Allende, Mexico; and 10-year retrospective exhibition at the Art Gallery of the Philippines with the publication of illustrative monographs. He also participated in the exhibition El Nigromante at the Mexican Institute of Fine Arts in celebration of 30 years of artistic life in Mexico, and in October 1995, a major exhibition sponsored by the Instituto de Bellas Artes, Centro Cultural Ignacio for his 40 years of residence and dedication to the artistic life of Mexico was held at the Mexican artists' colony in Guanajuato. A similar exhibition in his honour was launched in November 1996 in Mexico in cooperation with the Embassy of the Philippines.Throughout his career he has been awarded several prizes and mentions, among them the Golden Centaur Award of the Accademia Italia, Master of Painting honoris cause of the International Seminar of Modern Art, Bannierre Europeanne des Artes, and Medaglia al Mérito of the International Parliament.
SEGUNDO MATILLA MARINA (Madrid, 1862 - Teià, Barcelona, 1937)."Costa Brava".Oil on canvas adhered to panel.Signed in the lower right corner.With label on the back of the David Cervelló Gallery.Measurements: 35 x 43 cm; 55 x 62 cm (frame).In this work Segundo Matilla offers us an evocative landscape, a sample of the poetry hidden in what is closest to us, the Costa Brava. He develops a composition of great simplicity, based on a rocky cove next to which the bright strip of sea and the dawn sky open up. A landscape worked with exquisite sensitivity based on very slight tonal variations and points of light.Although he was born in Madrid, Matilla trained and developed his career in Barcelona. He studied Fine Arts at the Lonja de Barcelona, under the direction of Antonio Caba. He took part in numerous exhibitions, including the Barcelona International Exhibition in 1891, 1894, 1896 and 1898 (honourable mention in 1891), the Barcelona Art Exhibitions of 1918 and 1919, and the Paris Salon of 1897. That same year he received an honourable mention at the National Exhibition of Fine Arts in Madrid. His solo exhibitions include those held at the Salón Vilches in Madrid (1915) and, in Barcelona, at the Sala Parés (1914) and the Pallarés Galleries (1942), the latter a posthumous tribute. Several of his works exhibited there were bought by the Museum of Modern Art in Madrid, and many others were exported to America. His landscapes of the Empordà, Camprodón, Port de la Selva and Cadaqués were a great success with the public and critics. His work can be found in various museums, such as the aforementioned Museum of Contemporary Art in Madrid, the Prado Museum, the Pablo Gargallo Museum in Saragossa and the National Art Museum of Catalonia, as well as in important international private collections.
CIRILO MARTÍNEZ NOVILLO (Madrid, 1921 - 2008)."Landscape".Oil on canvas.Signed in the lower right corner.Size: 48 x 58 cm; 78 x 68 cm (frame).Cirilo Martínez Novillo is one of the most outstanding representatives of the so-called School of Madrid, city where he begins his training in the School of Arts and Crafts. During the Civil War he entered the Escuela Superior de Pintura and attended the studio of Daniel Vázquez Díaz, who became his teacher and supported him throughout his career. In his studio Martínez Novillo met some of the painters linked to the Madrid School: Álvaro Delgado, Gregorio del Olmo, García Ochoa and San José. In 1946 he presented his work for the first time as part of a group exhibition held at the Bucholz gallery in Madrid. The following year he held his first individual exhibition at the same gallery. In 1948 he held an exhibition in the prints room of the Museum of Modern Art in Madrid, the critics began to echo his work and he was selected to take part in the exhibition "Arte Español", held in Buenos Aires and organised by the Ministry of Education. From then on he exhibited in various Spanish cities and in France, and took part in group exhibitions such as the Venice Biennial (1950) and the Salón de los Once (1951). Between 1952 and 1953 he travelled to Paris on three occasions thanks to various grants. His period of maturity began with a new visit to Paris at the beginning of the sixties, after which he travelled to Switzerland, Germany, Holland and Belgium, winning several medals at the National Exhibitions of Fine Arts, as well as the Painting Prize at the Hispano-American Biennial in Cuba. Although he was not part of the Second Vallecas School, Martínez Novillo's painting is aesthetically close to that of the group. His production is mainly centred on landscape painting and still lifes, although at first he also devoted himself to the figure. The painter produced his landscapes through direct contemplation of nature, not by copying it, as he then made a selection of what interested him in his studio. Cirilo Martínez Novillo is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art in Madrid, the Bilbao and Oviedo Fine Arts Museums, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.
GERARDO PITA (Madrid, 1950)."Landscape of Madrid".Oil on canvas.Enclosed certificate of authenticity issued by the artist.Measurements: 60 x 81 cm; 68,5 x 89 cm (frame).In this panoramic view of the city of Madrid captured from a rooftop, it is possible to appreciate a day of bright and intense sky on which the silhouettes of some of the most emblematic buildings of the city are cut out. In fact, the quadrigas that form part of the rooftop of what is now the Department of the Environment can be seen perfectly, and part of the dome of the Catalavras church can also be seen.Gerardo Pita, originally from Madrid, developed an artistic interest from his youth, in fact, at the age of thirteen he entered a painting competition for the first time, in which he received a gold medal, and a year later a bronze medal. This interest in painting and drawing led him to enrol in a degree in architecture. However, in 1972, he abandoned this facet to devote himself entirely to painting. He held his first exhibition in 1976 at the Vandrés Gallery in Madrid, which was followed by many others in important art centres such as; Fisher Fine Art Limited Gallery in London, Staempfli Gallery in New York, Club Financiero Génova, Galería Eude in Barcelona, Hollis Taggart Galleries (Washington and New York) and the Galería Leandro Navarro in Madrid, among others. His work is characterised by the use of a hyperrealist aesthetic, charged with a very personal lyricism. Today his work can be visited in important art collections such as the Museum of Modern Art (MoMA) in New York, The Art Institute of Chicago, the Arkansas Arts Foundation Collection, the E. F. Hulton Collection (New York), the Museum of Modern Art (New York) and the Art Institute of Chicago.F Hulton Collection (New York), Seavest of contemporary Realism Collection (New York), Melon University Collection (Pennsylvania), Exxon Company Collection, Baron Thyssen- Bornemisza Collection (Lugano, Switzerland), Hunt Institute Collection (Pennsylvania), Argentaria Collection (Madrid), Caja de Brugos Collection, Palacete de la Magdalena Collection (Oviedo), and Fundación Suñol Collection (Barcelona), among others.
RAMON MARTÍ ALSINA (Barcelona, 1826 - 1894)."Landscape with figures".Oil on canvas.Signed in the lower left corner.Very slight damage to the frame.Size: 24 x 34 cm; 52 x 62 cm (frame).As usual in his work, Martí Alsina achieves in this landscape an impression of a calm and moving horizon. Nature is imbued with a romantic mood, the sublimity of which dwarfs the figures, resolved with a few intuitively applied brushstrokes. Considered one of the most important figures of Spanish realism, Martí Alsina was part of the European avant-garde of the time. He revolutionised the Spanish artistic panorama of the 19th century, was a pioneer of the study of life and the creator of the modern Catalan school, as well as the master of a whole generation, with disciples of the importance of Vayreda, Urgell and Torrescassana. He began his studies in philosophy and literature, alternating them with evening classes at the Barcelona School of Fine Arts until 1848. After completing this first apprenticeship and deciding to take up painting, he took his first steps in the Maresme region, where he began to earn his living by painting portraits in a naturalistic style and landscapes "à plen air". In 1852 he became a teacher of line drawing at the Escuela de la Lonja in Barcelona, and two years later he began to teach figure drawing, a post he held until the accession of Amadeo of Savoy to the throne. In 1853 he travelled to Paris, where he visited the Louvre and became familiar with the work of Horace Vernet, Eugène Delacroix and French Romanticism. Later he became acquainted with the work of Gustave Courbet, the greatest exponent of realism. In 1859 he was appointed a corresponding member of the Sant Jordi Academy of Fine Arts in Barcelona. His first important exhibition was the General Exhibition of Fine Arts in Barcelona in 1851. From then on he exhibited regularly in Barcelona, Madrid and Paris, and was invited to the Universal Exhibition in the French capital in 1889. His prizes included medals at the National Exhibitions in Madrid, third in 1858 for his work Last Day of Numancia and second in 1860 for his landscape. In his last years he lived in seclusion, focusing his efforts on the search for new forms of expression, with an undone brushstroke close to Impressionism. His subjects include numerous landscapes and seascapes, urban views (especially of Barcelona), portraits and human figures, genre scenes, temperamental female nudes, history painting and biblical scenes. He rarely devoted himself to still lifes, although he also painted some still lifes. Works by Martí Alsina are kept in the Prado Museum, the Thyssen-Bornemisza Museum, the National Art Museum of Catalonia, the Barcelona Museum of Contemporary Art, the Museum of the Abbey of Montserrat and the Museum of l'Empordà in Figueras.
OMAS "PERRIER-JOUËT" FOUNTAIN PEN.Barrel in transparent green celluloid and rose gold.Limited edition. Exemplary 0213/1000.Nib 18 kts yellow gold. Tip F.Screw cap. Piston loading.No box.Dimensions: 14.50 cm. length, 17 mm. diameter.The Perrier-Jouët de Omas fountain pen is a thrill for only a few, as it is a Limited Edition of 1000 fountain pens. Created in Italy, the Perrier-Jouët fountain pen is made of precious Cotton resin in green, reminiscent of the transparency of the exclusive Perrier-Jouët bottles. Its precious and delicate details emphasise its brilliance and purity.To write history, to leave a mark, to pave the way for the future". This was the meaning of the bicentenary of the Maison Perrier-Jouët, which thanks to a precious artistic interpretation is captured in this Omas Limited Edition.If the function refers to the concept, the aesthetics speak of the Perrier-Jouët world. The fountain pen's details show the light and power of the Belle Epoque, while its ornaments allude to the sinuous forms of nature.The Perrier-Jouët de Omas fountain pen is a thrill for only a few, as it is a Limited Edition of 1,000 fountain pens.Created in Italy, the Perrier-Jouëtt fountain pen is made of precious Cotton resin in green, reminiscent of the transparency of the exclusive Perrier-Jouët bottles. Its precious and delicate details emphasise its brilliance and purity.The decorations on this fountain pen are full of quotations and references to the world of the Maison.On the back, there is an engraving of the famous bouquet of anemones from the Belle Epoque Cuvée, drawn by Emile Gallé in 1902. The acronym PJ and the number 200 emphasised in bright green enamel also decorate the design.The floral ornamentation that gives a great visual flare is also engraved on the ring of the grip area and on the cap. The latter is completed with the Omas logo.Its clip features a harmonious, soft and organic design. This is a creative, contemporary brand that nods to the past in an ideal trend towards the future: Art Nouveau anemone gives the shape, expressed by stylised, modern and long-lived strokes.The engraving of the PJ monogram on its 18K gold nib and on the end of the cap makes this Limited Edition Perrier-Jouët an original and unique work of art.The edition is presented in special packaging in which every detail has been taken into account to convey the Maison's style.
° ° Art and architecture - 5 works - Lloyd, Nathaniel - A History of the English House, 2nd edition, large 4to, green cloth, The Architectural Press, London, 1949; Wollin, Nils G - Modern Swedish Decorative Art, 1931; Pavillon Societe des Artistes Decorateurs. Exposition Internationale Paris, 1937; Normand, Charles - A Parallel Order of Architecure Greek, Roman and Italian, 1931 and Guptill, Arthur L. - Colour in Sketching and Rendering, New York, 1935
° ° European Art - 13 works:- Oppe, A.P - The Drawings of Paul and Thomas Sandby….at Windsor Castle, 1947; Falk, Bernard - Thomas Rowlandson. His Lif and Work, [1949]; Rothenstein, John - Augustus John, 1946; Oppe, A.P - The Drawings of William Hogarth, 1948; Berenson, B - The Italian Painters of the Renaissance, 1952; McLean, Rory - George Cruikshank, 1948; Klingender, F.D - Hogarth and English Caricature, 1944; Uhde, Wilhelm - Five Primitive Masters, 1949; Martin, Prof. Dr. W - Dutch Painting of the Great Period, 1951; Vries, A.D de - Jan Vermeer van Delft, 1948; The Watercolour Drawings of Thomas Rowlandson, 1947; Marriott, Charles - Modern Art and Peacock, Charles - Painters and Writers, 1949
Maurer, Dóra (1937 Budapest) (de)formation C/1, 1975 Radierung auf festem Velin. Rechts unten mit Bleistift signiert sowie links unten betitelt. Plattenmaß 62,3x 40,7 cm, Blattmaß 69,5x 50 cm. Literatur: Maurer/Révész/Pöcze 182 Hinweis: Die Grafikerin, Malerin und Konzeptkünstlerin Dora Maurer gehört neben Imre Bak und Istvan Nadler zu den wichtigsten Vertretern der ungarischen Neo-Avantgarde. Ihre Arbeiten werden international ausgestellt u.a. in einer Einzelausstellung in der Tate Modern London. Weiterhin finden sich ihre Arbeiten neben der Nationalgalerie Berlin und der Albertina Wien auch im Museum of Modern Art New York wieder.
Cruz-Diez, Carlos (1923 Caracas - Paris 2019) Couleur Additive, 1972 Serigraphie auf schwerem Karton. Rechts unten mit Bleistift signiert und datiert (19)72 sowie links unten nummeriert, Exemplar 5/50. Bildmaß 52x 52 cm, Blattmaß 62x 62,5 cm. Hinweis: Cruz-Diez gilt als wichtiger Vertreter der Op-Art und ist in vielen internationalen Sammlungen vertreten, darunter das Museum of Modern Art New York, das Tate Modern London oder auch das Haus Konstruktiv Zürich.
An Art Deco gold and diamond ring. The central early modern round brilliant approx. 0.15cts, rub-over set in platinum between tiny single-cut diamond shoulders, on a gold 'D' section shank, stamped '18ct Plat', size O+, 2g gross Condition Report: The centre stone measures approx 3.6mm x 3.6mm x 1.9mm. the shoulder stones approx. 1.5mm diameter.
An Art Deco diamond solitaire ring with tiny diamond shoulders. The early modern round brilliant approx. 0.27cts, millegrain set within a square surround, on a flat section shank with tiny eight-cut diamond two stone shoulders, stamped '18ct Platm', size L+, 2.1g gross Condition Report: The principal diamond measure approx. 4.6mm x 2.1mm.The shoulder stones approx 1.5mm diameter
Watercolor on paper Published in the book Rocco Lentini civic gallery of Modern Art Palermo, 205 figure 299. Signed lower left. Rocco Lentini was born in Palermo on February 17, 1858. As a young man he attended evening school to help his father, a much appreciated decorator, in the activity he carried out in the noble palaces of Palermo and in the Carolino theater. At the age of 15 he entered the studio of Francesco Lojacono, the influence generated by the landscape architect led to the creation of his first works '' The portal '', '' Piazza Pretoria '' and '' The palace of the Hermits ''. During his life he actively participated in Sicilian cultural life, carrying out some of the most important enterprises in his hometown, including the decorations and frescoes for the Massimo, Politeama, Bellini theaters, for the central station and for the interiors of the building. of the Eagles. He also organizes the "I Sicilian exhibition of black and white painting, sculpture", held at Villa Gallidoro, as well as being the founder and one of the directors of the monthly '' Artistic and archaeological Sicily ''. Along with numerous national and international exhibitions, such as in Rome in 1929 at the Casa d'Arte Baldi, he took part in the Venice Biennials of 1905 and 1922. Artist who ranges from painting, engravings, sets, illustrations and decorations, dies in Venice November 20, 1943 at his home in Dorsoduro. cm H24 x L32 without frame, with frame H 33 x 43 L cm Rocco Lentini 1931
Oil on canvas applied to cardboard Published in the book Rocco Lentini civic gallery of Modern Art Palermo, page 83 figure 40 Rocco Lentini was born in Palermo on February 17, 1858. As a young man he attended evening school to help his father, a much appreciated decorator , in the activity he carries out in the noble palaces of Palermo and in the Carolino theater. At the age of 15 he entered the studio of Francesco Lojacono, the influence generated by the landscape architect led to the creation of his first works '' The portal '', '' Piazza Pretoria '' and '' The palace of the Hermits ''. During his life he actively participated in Sicilian cultural life, carrying out some of the most important enterprises in his hometown, including the decorations and frescoes for the Massimo, Politeama, Bellini theaters, for the central station and for the interiors of the building. of the Eagles. He also organizes the "I Sicilian exhibition of black and white painting, sculpture", held at Villa Gallidoro, as well as being the founder and one of the directors of the monthly '' Artistic and archaeological Sicily ''. Along with numerous national and international exhibitions, such as in Rome in 1929 at the Casa d'Arte Baldi, he took part in the Venice Biennials of 1905 and 1922. Artist who ranges from painting, engravings, sets, illustrations and decorations, dies in Venice November 20, 1943 at his home in Dorsoduro. Unframed 20 x 30 cm, 27 x 37 cm with frame Rocco Lentini
Oil painting on canvas Signed and dated lower left R. Lentini 1930. Published in the book Rocco Lentini civic gallery of Modern Art Palermo, 113 figure 128. Rocco Lentini was born in Palermo on February 17, 1858. Da young he attended evening school to help his father, a much appreciated decorator, in the activity he carried out in the noble palaces of Palermo and in the Carolino theater. At the age of 15 he entered the studio of Francesco Lojacono, the influence generated by the landscape architect led to the creation of his first works '' The portal '', '' Piazza Pretoria '' and '' The palace of the Hermits ''. During his life he actively participated in Sicilian cultural life, carrying out some of the most important enterprises in his hometown, including the decorations and frescoes for the Massimo, Politeama, Bellini theaters, for the central station and for the interiors of the building. of the Eagles. He also organizes the "I Sicilian exhibition of black and white painting, sculpture", held at Villa Gallidoro, as well as being the founder and one of the directors of the monthly '' Artistic and archaeological Sicily ''. Along with numerous national and international exhibitions, such as in Rome in 1929 at the Casa d'Arte Baldi, he took part in the Venice Biennials of 1905 and 1922. Artist who ranges from painting, engravings, sets, illustrations and decorations, dies in Venice November 20, 1943 at his home in Dorsoduro. in frame 63 h x 47.5 cm, without frame 50 x 40 cm. Rocco Lentini 1930
Handwritten number 15. Professional instrument with a sweet and balanced sound. Has no crack or repair marks. Flamed maple body and sides. Soundboard of spruce. & nbsp ; Boxwood pegs and tailpiece. Ebony fingerboard. The paint has a beautiful brown gold color. Equipped with fine tuning tuner of the E and of hard case. Celeste Farotto (1864-1928) was an appreciated luthier in the modern Milanese school. He became interested in this art around 1895 at the age of 31. Moving to Milan to pursue his career, he earned an excellent reputation thanks to the fantastic sound and appearance of his instruments. Body length: 35.6 cm. Handle length: 24 cm Etichetta: ''Cav. Uff. Celeste Farotto fece in Milano 1915'' 1915
TOJU: A SUPERB FOUR-CASE LACQUER INRO WITH ENTERTAINERS AND A SAMURAIBy Kanshosai Toju(sai), signed Toju 桃壽 and kakihanJapan, 19th century, Edo period (1615-1868)Published: E. A. Wrangham, The Index of Inro Artists, 1995, p.292, Toju(sai), Kanshosai, bottom row, left (only the signature is illustrated).The four-case inro of lenticular profile bearing a lustrous roiro ground and lacquered in brilliant gold and iro-e togidashi-e with highlights of inlaid aogai depicting two female entertainers dressed in elaborate robes and holding a fan and large hyotan, approaching a samurai on the other side, viewed from the back and wearing a jingasa and katana, standing beneath a flowering cherry tree. The brilliant togidashi work is remarkable and the roiro ground is lightly sprinkled with gold flakes producing a vivid and elegant image. The interior cases of nashiji with gold fundame edges. Signed underneath in gold TOJU with red kakihan.SIZE 7.6 x 5.7 cmCondition: Very good condition with only very minor wear consistent with age and use. A small repair to the underside of the bottom case and some minor flaking to lacquer to the top of the top case. Some tiny chips to edges of cases. Presents very well.Provenance: Ex-collection Ted Wrangham, purchased from Douglas J. K Wright in 1969, Wrangham collection no. 779 (collection label in the upper case). Sold at Bonhams, The Edward Wrangham Collection Part IV, 6 November 2013, London, lot 219 (sold for 9,375 GBP). Edward A. 'Ted' Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book 'The Index of Inro Artists' (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.This design is reproduced in Banbutsu hinagata gafu (An Album of Designs for Everything) illustrated by Kobayashi Eitaku (1843-1890) and published in 1880-1882.Active at the turn of the 18th-19th century, Toju is considered to be the most gifted of Iizuka Toyo's pupils and is believed to have become his successor. For further information on the artist see Earle, Joe [ed.] (1995) The Index of Inro Artists, p. 292.
John BARNICOAT (1924-2013) Two Women, circa 2001 Four worksInk and washEach image size approximately 25 x 24cmProvenance - The artist's estateJohn, brought up in Cornwall, was educated at King’s College, Taunton. At 19 he joined RNVR as a Naval Officer taking part in D-Day, Sword Beach. He read modern History at Lincoln College Oxford 1948-52 also the Ruskin School of Drawing. He studied painting at the Royal College of Art 1952-55, and became Senior Tutor at the RCA Painting School 1976-80. His first one-man exhibition was at Colette Allendy Galerie, Paris 1959.John Barnicoat was described in ‘Exhibition Road. Painters at the Royal College of Art.’ Edited by Paul Huxley (1988), as a ‘gifted painter and highly esteemed teacher and administrator and is widely regarded as one of the most thoughtful and influential voices in art education’.John was Head of Falmouth School of Art 1972-76; Head of Chelsea School of Art 1980-89. He wrote Posters a Concise History (Thames & Hudson 1972) translated into many languages and organised and curated exhibitions in the UK and Russia on the art of the poster.From a young boy in Cornwall, during the war and later, he made pen and ink drawings, and was a painter of oils and works on paper using tempera, conté and acrylic. He showed continuously with one-man shows at Galerie Colette Allendy Paris (1959) Molton Gallery (Annely Juda) (1962) one-man exhibitions at the Taranman Gallery (1977-83) including the London Group (1955-1996); and his work is represented in both government and private collections.After retirement in 1989, he made several series: drawings and oils of the bridges of London, oils of women’s heads, acrylic and conté works on paper and finally pen and wash drawings of two women, one of whom is being dressed.John's work has recently been exhibited with The Belgrave Gallery, St Ives 2017-2022.
[MISCELLANEOUS] Sheringham, George, & Morrison, R. Boyd, editors, for Mason, Rupert. Robes of Thespis. Costume Design by Modern Artists, Benn, London, 1928, original blue cloth gilt, plate illustrations, quarto; together with Black's Picturesque Guide through North and South Wales, eleventh edition, Black, Edinburgh, 1861, original green cloth, map endpapers, engraved frontispiece, vignette title page, two folding maps, thirty-six page Black's Guide Book Advertiser dated 1862, octavo; M. Harris & Sons. An Abridged Introductory Catalogue of Antique Furniture and Works of Art, no date, original cloth-backed boards, illustrations throughout, quarto; and ten assorted other works, including those of hunting interest, (13).
A modern Art Deco style nickel plated drinks trolley, the glazed top above four hinged undertiers, height 74cm, width 80cm, depth 48cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A PAIR OF MODERN CLEAR GLASS BALUSTER TABLE LAMPS IN ART DECO STYLEWith black cloth shades, 59cm high overallCondition Report: One with chip and loss to one corner, these are sold as decorative items only and not as working electrical items, they would require re-wiring prior to use in a domestic settingCondition Report Disclaimer
A modern oak nest of three occasional tables in the 17th Century style 55 cm x 35 cm x 47.5 cm high, 36 cm x 26 cm x 43 cm, an oak octagonal occasional table with single drawer, oak oval drop leaf coffee table in the 18th Century style, a beech and oak framed needlework upholstered long stool on cabriole legs and two stained beech triangular stools by The Studio of Art and Antiquity, Torbay, Devon, the tops decorated with a spreadeagle and lion and shield raised on turned tapering legs
Books. European and Oriental art, including Mourice Raynal et al, History of Modern Painting, Matisse, Munch Rault Fauvism and Expressionism, published by Albert Skira, Geneva; Rex Battarbee, Modern Australian Aboriginal Art; Daniel Wildenstein Chardin Revised and Enlarged Edition; Ronald Millar, John Brack, and others. (12)
A 19th century Doulton Lambeth jardinière with Art Nouveau flower groups on a blue ground, height 18cm, diameter approx 24cm, a late 19th/early 20th century Majolica vase of urn shape, with pink glaze interior, bamboo leaves to the rim, mottled blue, green and brown glaze, supported on three legs modelled as swans with outswept wings, on a triangular base, unmarked, height 31cm, a 20th century Japanese vase decorated with war scenes, height 35cm (af) and a modern Japanese bulbous vase with narrow neck, with blue and white garden flowers, height 17cm (4).
A GROUP OF GLASS WARES AND SUNDRY ITEMS, to include four art glass clown figures, an art glass clown ashtray/trinket dish, a marigold carnival glass vase height 28cm, a modern art glass blue and clear star shaped bowl, a Stuart Crystal rose bowl, three crystal bowls by Royal Brierley and Tudor Crystal, four Capri Crystal champagne flutes, a pair of twisted two stem candelabra, etc (20) (Condition report: pieces appear in generally good condition)
MODERN DECORATIVE WALL ART TO INCLUDE PRINTS BY ARTKO, comprising 'Calle Som Breda ii' a continental street view by Louis Du Var, 'Hazy Daisies' by C. Stephanson, 'Sognando' a female figure in repose by Giorgio Mariani, 'Objets D'Arts' a street view by Brent Heighton, an unsigned continental canal view and two unsigned full length portraits of female figures, largest size approximately 60cm x 136cm, smallest 50cm x 60cm, all in good condition (7)
TRACEY EMIN,FINE BONE CHINA PLATE,20cm diameter,Open edition, published by Turner Contemporary,UnsignedTracey Emin lives and works in East London and Margate, UK, and is known for her autobiographical and confessionary artwork. She works in a variety of mediums: drawing, painting, sculpture, film, photography, neon text, and sewn appliqué. Emin came to prominence as one of the “Young British Artists” of the 1980s, and has since exhibited across the world. Emin’s artwork is held in some of the world’s most prestigious institutions, including the collections of The Museum of Modern Art in New York, the Tate Gallery in London, and the Goetz Collection in Munich.
PIE IN THE SKY,NOT ALL HEROES,Hand made embroidery in decoupaged frame, numbered verso 1/1,25cm x 25cm,OriginalThis ain’t yer granny’s cross-stitch! Pie In The Sky is a Glasgow based one-woman show bringing a modern twist to the traditional art of hand-stitching, from historical quotes to modern-day memes, pop culture and anything in between! She is based in Glasgow.
JULIAN OPIE,BIRDS,Limited Edition Fine Bone China Plate,31.8cm × 31.8cm × 5.1 cm,Artist proofJulian Opie lives and works in London, UK, and works in varied media: painting, drawing, sculpture, and film. He is best known for his simple graphic portraits and animated walking figures in black line drawing with minimal added detailing. Opie studied at Goldsmiths School of Art and has exhibited in both solo and group shows worldwide. His artwork is held in numerous collections, including, but not limited to, the Tate, British Museum, Victoria and Albert, National Portrait Gallery in London, and The Museum of Modern Art in New York.
8MAIL,CUT LINEN,Charcoal and chalk on paper, signed and titled verso,40cm x 49cm,Original8Mail is a rising star in the Street Art world. Born in England in 1999, he started painting at the age of 13. With his young and yet deep vision on modern society he’s able to immortalize the problems of the contemporary world, making every work of art a statement against injustice. His favourite subjects are riots, protests, fights scenes and migratory movements, which he captures with quick lines in charcoal and chalk. He has taken part in various street art festivals, and he has exhibited in shows in London, where he currently works and lives. 8Mail has studied art at both Central St Martin’s, University of the Arts London and Goldsmiths, University of London.
SWOON,PIGEON FEEDING FAMILY, BROOKLYN 2005,Inkjet print on heavyweight rag, signed and numbered,48cm x 33cm,Edition of 175Caledonia Curry, who works under the moniker Swoon, unites art and activism throughout her expansive multimedia practice. Swoon is perhaps best known for her monumental structures that explore how communities can heal through crisis, and for her large-scale, cut-out portraits of everyday city dwellers, which she often wheatpastes on the sides of buildings. She also works across printmaking, installation, animation, and other media. Swoon studied at Pratt Institute and has exhibited in New York, London, Paris, Tokyo, and Los Angeles. Her work belongs in the collections of the Museum of Modern Art, the Tate, the São Paulo Museum of Art, and the Institute of Contemporary Art, Boston.
TIM FISHLOCK,SELF WILL RUN RIOT,Lino print on paper, signed and numbered,24cm x 24cm,Edition of 15London based artist Tim Fishlock creates bright typographic paintings inspired by our love/hate relationship with social media and uneasy alliance with modern technology. A graduate from Goldsmiths, he began his career making commercial art installations, moving on to high-profile projects including limited-edition print portfolio releases and a book made with Hollywood screenwriter Josh Weinstein.
HARPER BIZARRE ART,YES - GOLD EDITION 1,Acrylic on canvas, titled, signed and dated verso,30cm x 23cm,OriginalHarper Bizarre Art's work has been exhibited internationally, including the Saatchi Gallery, Tate Modern, and Tate Britain in London, and The Wien Museum in Austria. She is one of the featured artists in the money art projects ‘Cash Is King’ and ‘For The Love Of Money Art’ books and exhibitions, using banknotes as a form of protest art. Member of the ‘Secret Society Of Super Villain Artists’, a worldwide network of artists set on making a difference in the world while having a little fun doing it.
Sir Basil Spence O.M. O.B.E. R.A. (British 1907-1976) for H. Morris & Co., Glasgow 'Allegro' Dining Table, designed 1947-8 maker's label 'MORRIS MADE/ GUARANTEED TRADE MARK/ GLASGOW', laminated woodDimensions:74cm high, 166cm long, 58cm deep (29in high, 65 1/4in long, 22 7/8in deep)Note: Literature: Studio Yearbook of Decorative Art, 1949, p. VIII (advertised);''Austerity to Affluence: British Art & Design 1945-1962'', The Fine Art Society, London, 1997, p. 14 and p. 22, cat. no. F27 (an example of chair illustrated);Long, Philip and Thomas, Jane (Edit.) ''Basil Spence'', Architect National Galleries of Scotland in Association with RCAHMS, Edinburgh 2008, p. 52 and p. 54, fig. 55 (another example illustrated). Sir Basil Spence was one of the leading British architects and designers of the 20th century, whose monumental or ''brutalist'' style came to define modern architecture in Britain. Noted commissions include designs for several exhibitions including the Sea and Ships Pavilion for the Festival of Britain (1951), Sussex University (1962), Glasgow Airport (1966), and Coventry Cathedral (1954-62), for which he received a knighthood. In 1947, Neil Morris of manufacturers Morris of Glasgow asked Spence to collaborate on a range of plywood furniture, which was to include his Bambi chair and celebrated Cloud table. The result was the Allegro dining suite, which was awarded a Diploma by the Council of Industrial Design in January 1949. In March of the same year it was exhibited at the Glasgow Today and Tomorrow exhibition, where it was commended, and an example of the armchair was commissioned by the Museum of Modern Art, New York for their collection. In September 1949 it was displayed at the Morris stand, also designed by Spence, at the Scottish Industries Exhibition. In 1951, another single armchair was commissioned for the collection of the Victoria & Albert Museum in London (V&A CIRC.183-1951). The manufacture of the Allegro suite found its origins in wartime innovation. The Southampton-based manufacturer of helicopters, Cierva Autogiro, had developed techniques of laminating and shaping wood to make strong and light helicopter blades - these blades were supplied by Morris of Glasgow by 1946, and the same technology was applied to this remarkable suite of furniture soon afterwards. Over one hundred layers of wood were bonded together under high frequency electrical pressure with phenoformaldehyde, a synthetic resin. The wood is then shaped and carved to produce the chairs, table and sideboard. Whilst it is now acknowledged as a landmark in immediate Post-War British furniture design, the immense expense of this manufacturing process meant that it went into extremely limited production, and as a result examples are extremely rare. In 1950 a single chair was advertised at £31 18s 3d, at a time when the average British annual income was just £101.
§ Tristram Hillier (British 1905-1983) Deserted Monastery in Castile, 1978 signed and dated (lower left), oil on canvasDimensions:59.5cm x 80cm (23 3/8in x 31 1/2in)Provenance:Provenance:Mr. W. Govett Esq.;The Lefevre Gallery, London;Christie's, London, Modern British Art, 10 June 2005, Lot 174 titled as 'San Juan Del Campo';Private Collection, London. Exhibited:Bradford Art Galleries and Museums, Bradford, A Timeless Journey, June - September 1983, cat. no. 72. The current work will be included in the forthcoming catalogue raisonné of the Artist's paintings. The Estate would like to hear from owners of any works by Hillier. Please write to The Estate of Tristram Hillier, c/o Lyon and Turnbull.Note: The surrealist inflections of Tristram Hillier’s early work were underpinned by Bernard Meninsky’s tutelage at Westminster School of Art’s evening classes; Hillier also studied under Henry Tonks at the Slade, but felt constrained by the School’s traditional approach. Exposure to surrealist and cubist painters during a period in late 1920s and ‘30s Paris proved formative, and by the time Hillier returned to England his reputation as a leading British Modernist painter had crystallised. This was aided in part by a fruitful exhibiting career with London’s Lefevre Gallery from 1931, as well as his membership of Paul Nash’s Modernist Group ‘Unit One’. Hillier’s Post-war canvases evidence maturation towards a starker, franker style suffused with a sense of stillness and detachment. This view of a deserted Spanish monastery is painted with a characteristic precision and intensity bordering on photorealism, disrupted only by the nod to abstraction in the monochromatic blue of the sky. The legacy of surrealism can be identified in the cast-off clothes and towels which further the idea of desertion. It is noteworthy that Hillier chose to portray a deserted monastery given the artist’s complicated relationship with his faith. His father had found solace in the Catholic Church after turning blind aged thirty, and in 1905 Tristram was born into a devoutly religious environment. Following the sudden deaths of his mother and brother in 1917 (the latter having perished during active service in northern France), Hillier seriously contemplated entering a monastery. He spent the following two decades as an itinerant artist, moving around England and Europe, with a spell in Beijing learning Chinese. It was not until the 1950s that he settled once more in Somerset and re-entered the Catholic Church. He increasingly portrayed religious subjects, and maintained a strict daily routine, passing most of his time in the studio in solitude. Hillier nevertheless continued to travel, particularly to Spain and Portugal, and was moved by the topography and ways of life he encountered there. All of this he recorded through sketches and photography, which he would use to build up fully-realised compositions upon his return to Somerset.
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