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Click here to subscribeAn Armand & Marseille (Germany) bisque head and ball jointed painted composition black doll, sleeping brown glass eyes, painted features including feathered eyebrows and fine eyelashes, open mouth revealing teeth, brown wig on a pate, impressed marks 'MADE IN GERMANY, 390., A.2½M', 48cm high; together with a wooden case, containing various doll clothes, accessories and miniatures
CHEMA MADOZ (Madrid, 1958)Untitled, 2000.Positive bromide virado. Copy 3/15.With the label of the Galería Moriarty (Madrid) on the back.Signed, dated and justified on the back.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 60 x 50 cm; 81 x 71,5 cm (frame).The Patio Herreriano Museum in Valladolid has the first copy of this series. In its cataloguing the museum states "In 1995 Madoz took a photograph of a real cactus planted in a sewing thimble. The association of the spiky plant with the thimble triggered in the observer the hypothetical effect of a finger entering the thimble. In this photograph the cactus has become stone. Madoz has replaced the fleshiness of the plant with the inert hardness of the boulders. He composes his objects, but never disguises the nature of each one. That thimble was perfectly legible as a thimble; in this photograph the pot and the stones are also fully identifiable. This play with the recognisable makes the effect of surprise provoked by the union of disparate and even antithetical elements even more intense, because it places us before concrete and familiar fragments of reality. The artist proposes a certain distancing from the motif captured, which generally appears with a carefully prepared mise-en-scène. This scenographic distancing is not objective, because it seeks to provoke subjective reactions from the gaze that the photographer and the camera have decided to fix on paper".Visual paradox is the fertile ground in which Chema Madoz moves. The way he interprets art through photography and his poetic vision make Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths. Playing with the everyday, generating associations, metamorphoses, in a playful background, he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or the logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Prize and the PHotoEspaña Prize in 2000, and the Culture Prize of the Community of Madrid in the category of Photography in 2012, among others.
CHEMA MADOZ (Madrid, 1958)Untitled (Árbol Piedras), 2000.Positive bromide virado. Copy 3/15.With label on the back of the Galería Moriarty (Madrid).Signed, dated and justified on the back. Provenance: private collection conceived since the 70s between London and Madrid.Size: 60 x 50 cm; 81 x 71 cm (frame).The Telefónica Foundation dedicated an exhibition to the artist, called Telos. It brought together a selection of works from 2000 to 2004, dedicated to nature. This "Tree Stones" belonged to the aforementioned group of which the artist commented: "I have chosen a series of images with common interests: their axis is nature and for this reason they are more distant from other series of objects from everyday life. I also make use of matter that comes from nature itself and lacks that objectual character, be it grass, water or sand, in an attempt to access the idea of landscape in other images".The way he interprets art through photography and his poetic vision make Chema Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths, there is always an undercurrent of play. Playing with the everyday, generating associations, metamorphoses, in a playful background he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or the logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Prize and the PHotoEspaña Prize in 2000, and the Culture Prize of the Community of Madrid in the category of Photography in 2012, among others.
CHEMA MADOZ (Madrid, 1958)Untitled, 2000.Positive bromide virado. Copy 3/15.With label of the Galería Moriarty (Madrid) on the back.Signed, dated and justified on the back.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 60 x 50 cm; 81 x 71,5 cm (frame):Naturgy's Spanish Contemporary Art collection owns the first copy of this same photograph. Visual paradox is the fertile ground in which Chema Madoz moves. The way he interprets art through photography and his poetic vision make Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths. Playing with the everyday, generating associations, metamorphoses, in a playful background, he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or the logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Prize and the PHotoEspaña Prize in 2000, and the Culture Prize of the Community of Madrid in the category of Photography in 2012, among others.
TWO ELIZABETH II SILVER BOTTLE COASTERS, both with turned wooden bases, both with internal diameter of 12cm, one makers Carr's of Sheffield Ltd, Sheffield 2000, the other makers M C Hersey & Son Ltd, London 1990 (2) (Condition Report: some partial rubbing of hallmarks, light liquid stains to the wood of the London example)
A BOX AND LOOSE PAINTINGS AND PRINTS ETC, to include an Ernest F. Hill (active 1897-1940 ) Cornish coastal landscape 'Gull Rock, Trebarwith' approximate size 16cm x 23cm, M. Trench pastel portrait of a young man dated 1986, watercolour depicting a cottage signed Wilmoth, a continental oil on canvas depicting a study of a building signed A. Galindo, Vanity Fair prints by Theobald T Chartran and Spy, etching of 'Derwent Water, Friars Crag', embellished print on canvas after Renoir 'Girl With Flowers' etc (1 box + loose)
FOUR BOXES, A SUITCASE AND LOOSE CAMERAS, BOOKS, PICTURES, AND SUNDRY ITEMS, to include autobiographies and motor sport books,an Olympus OM10 fitted with an f1.8 50mm lens, Miranda f2.8 28mm and f4.5-5.6 75-300mm lenses, a cased Agfa Isolette folding camera, a Braun Novamat M 330 autofocus, framed prints, etc (4 boxes, 1 suitcase + loose) (sd, untested)
Quantity of Victorian and Edwardian decorative clothbound fiction & children's books to include titles by Angela Brazil, Harry Collingwood, R. M. Ballantyne, Louisa May Alcott, Rudyard Kipling, Bret Harte, G. A. Henty, Walter Besant, W. H. G. Kingston, J. M. Barrie, Bunyan, R. Louis Stevenson etc. (4 boxes)
Quantity of books relating to horses and hunting, to include: Bowes-Lyon, Sarah 'Harum Scarum', J. M. Dent & Sons, 1934 Miles, W. J. 'Modern Practical Farriery', William Mackenzie n.d., boards and spine lacking Edwards, Lionel 'Famous Foxhunters', Eyre & Spottiswoode, 1932 Aldin, Cecil 'Time I Was Dead', Eyre & Spottiswood Limited 1934 Bernard Shaw, George 'Prefaces', Constable and Company Ltd, 1934 Edward, Lionel 'Sketches in Stable and Kennel', G. P. Putnam's Sons, 1933 Cornwallis-West, G. 'Us Dogs', Country Life Ltd., 1938 etc. (5 boxes)
WORLD STAMP COLLECTION IN BOX - COVERS, MINT AND USED, ALL ERAS Box with ranges of covers, presentation packs (GB), box of off paper loose leaves sets. Range of stockcards, with better noted such as re-engraved seahose 2/6- M/Mint, 1938 GVI high values 5/- MNH and other mint items. Album with thirty seven illustrated 1937 Coronation First Day Covers.
BOX WITH TWO WORLD COLLECTIONS, ONE CHIEFLY BRITISH COMMONWEALTH Meteor album well filled with Chiefly commonwealth collection, in brief GB QVIC, to early QEII, with GVI to £1, Malta GVI self Government to 5/- mint, KUT GVI to 10/-, Pictairn with odd covers, mid period mint Japan, Mauritius GVI to 5R mounted mint, Sarawak GVI issue to $5, Australia High values 10/- & £1 blue optd Specimen (m/mint). There is plenty more within, with several hundred stamps, much being from smaller territories within C/wealth. Other album sparsely filled.
GB 1840's-1950's + VINTAGE EMPIRE COUNTRIES A TO C IN ALBUM M & U Raw vintage stamp collection, untouched for 50+ years with useful GB collection including 2 x 1d blacks, 2 x 2d blues (1840, no white line) other line engraved items, including handful of fine looking entires, and then a further 100+ surface printed values with items to 5/-. QVIC Jubilee issue largely mint and used, EVII Mint and used, with values to 5/-. GV including 20+ seahorses (1914-18) plenty of GVI. Thereafter vintage empire collection Aden to Cyprus, with many better seen including Bermuda Keyplates to 10/- and a lot more. Some mixed condition, notably odd pages with toning to edge of some items (nearer to top of page) odd other faults noted. Non the less this should not detract from this wonderfully raw lot of material. Estimated 1200+ stamps
BRITISH EMPIRE COUNTRIES D-M MINT AND USED STAMP COLLECTION, 1200+ STAMPS IN ALBUM Vintage and raw stamp collection predominantly dating QVIC-GV eras, although odds to early 1950's also seen. Good mix of mint and used, with better noted throughout, in brief Egypt, better with empire and earlier independent 1920's/30's with sets and values to £E1. Eire, Falklands & Dependencies, Gold Coast, Heligoland, Hong Kong - many better including china opts, India with EVII to 15R used, KUT, Leeward Islands including a £1 Keyplate. Collection not been touched for many many years. Estimated 1200+ stamps and in need of viewing. Odd scattered faults and we note there could be odd forgeries. Viewing recommended.
VINTAGE WORLD STAMP COLLECTION, QVIC-GV IN FOUR VOLUMES - M & U. Three old ledger books and springback album with vintage world stamp collection. In brief, one album part full with early period central and latin America. second volume early period European material, third Empire collection with plenty of better noted through out. Including Mauritius, Hong Kong, India, with PO Prince of Wales Camp cover etc. Springback has small amount of M & U, GV-GVI era. Viewing recommended, with a good couple of thousand stamps seen. Odd scattered faults as to be expected with collections of this type.
LARGE WORLD STAMP COLLECTION IN 3 ALBUMS, EARLY TO MID PERIOD, M & U Pair of diplomat albums and Wanderer album all well filled with a good couple of thousand stamps. Much early to mid, odd newer noted, with better items of note. Good ranges of GB QVIC, with reds, bantams other QVIC, with material through to 1960s and commonwealth. Other Diplomat sees chiefly world collection, colonies etc. Wanderer general world collection to around the 1960's. Odd scattered faults noted. Plenty to go through.
CZECHOSLOVAKIA 1919-45 SPECIALIST MINT COLLECTION, MUCH COMPLETE Somewhat battered album with fine Czechoslovakia collection dating 1919-45. A mix of M/M and MNH. Much of the collection for the period is complete, much specialist by control blocks, gutter pairs, perf types, wmks etc. Red cross opts, Airs, Dues other BOB, with an estimated 800-1000+ stamps. To rear Silesia opts etc. Viewing recommended.
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