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Click here to subscribeTwo Chinese Export saucers comprising an example painted en grisaille with flower-sprays enriched in gilding in scroll diaper borders, another painted with orange and pink flower sprays and two English saucers, one of fluted form painted with loose flower sprays within ribbon border, the other a New Hall-type painted with pink rose sprays and iron red ribbons, all late 18th century (4)
1936 Rolls-Royce 20/25 Sportsman Coupé by H. J. Mulliner Transmission: manualMileage:36292The introduction of a smaller Rolls-Royce, the 20hp, in 1922 enabled the company to cater for the increasingly important 'owner driver' market. Its successor, the 20/25, introduced in 1929, up-dated the concept with significant improvements, featuring an enlarged (from 3.1 to 3.7 litres) and more-powerful version of the Twenty's six-cylinder overhead-valve engine. Produced contemporaneously with the Phantom II, the 20/25 benefited from many of the features, such as synchromesh gears and centralised chassis lubrication, developed for the larger model, and would become the best-selling Rolls-Royce of the inter-war period. The Rolls-Royce 20/25 was, of course, an exclusively coachbuilt car, and most of the great British coachbuilding firms offered designs, many of them unique, on the 20/25 chassis.This lovely, unique Rolls-Royce 20/25 two-door, two seat fixedhead coupé was specially built by H. J. Mulliner along the lines of the American style sportsman coupé for R Allen Esq. and delivered to Sutton Brailes Hall near Banbury, Oxfordshire in March 1936. The next owner, D.S. Astbury acquired it in 1959 after which it entered the collection of Dr Huw D. Walters in Llangadog, Carmarthenshire. The current owners father purchased the 20/25 from Dr Walters in the late 1980's. The vendor believes that the mileage of 36,292 to be genuine. This coupé has some unusual features including a very large boot, door in the side behind the passenger door to give easy access to get your golf clubs and a special compartment on the passenger side that contains the hand tools. When new the coachwork was black but shortly after being purchased in the late 1980's the colour was changed to the striking combination of maroon with brown above the swage line and brown wings and running boards but retaining the original beige cloth interior. This unique Rolls-Royce 20/25 is supplied with a V5C registration document, the original handbook and copies of the original specification sheets and chassis cards supplied by the Rolls-Royce Enthusiasts Club. We are informed that the car runs and drives very well having been fully maintained and well looked after.
1991 Mercedes-Benz 300 GE Transmission: automaticMileage:110200If your idea of G-Class ownership doesn't involve oversized wheels, aftermarket body kits, or even a 5.5 litre fire-breather of an engine, but rather the original styling and everyday usability, this 1991 Mercedes-Benz 300 GE must be considered. It has nine previous keepers, a little over 100,000 miles on the clock, and custom registration 'G20 WAG'. Its blue bodywork further cements the understated styling and the grey interior is similar to what you'd find in a standard Mercedes-Benz saloon from that era.First registered in April 1991, over three decades ago, this example is powered by a three litre straight-six engine mated to an automatic gearbox. The dark blue colour scheme seems to be a great choice, and the paintwork is in good order. G20 WAG has done a little over a hundred thousand miles, and through the MoT records and its visual condition, it is clear that the underside bits have stood the tests of time and use. Currently with its ninth owner the odometer reads 110,200 miles and it is reported that it runs and drives very well indeed. Previously owned by the CEO of Howdens Kitchens the car resided in Scotland where it was maintained regardless of cost. £14,500 was spent on a complete retrim in grey leather as well as the respray in the blue paintwork you see today. The current vendor purchased the car in 2021 and drove the G-Wagon from Scotland to London before treating the 300 GE to a no expense spared service and maintenance program with Edward Hall Mercedes-Benz specialists costing circa £16,500! The work included a new head gasket, fuel lines, the underside was treated and undersealed, new alloy wheels, new all-terrain tyres and new side steps. The history file accompanying the car includes the original toolbox, many previous MoT test certificates, sundry bills including invoice's totalling circa £14,000 for interior retrimming and an overhaul and the more recent invoice for £16,500. Other works include £2,000 spent in 2010, the UK registration document and an MoT test certificate valid until April 2024. Offered with its private and fitting registration number, this is a superb opportunity to acquire a sound 300 GE!
1931 Rolls-Royce 20 / 25 Sedanca De Ville by Windovers Transmission: manualMileage:57000First registered on 7th May 1931 and finished in pastel blue and black with black leather interior, GNS75 was initially ordered by J.J. Jones of 88 St. James's Street, London however the first owner was actually Hylton Ralph Murray-Philipson (Jnr) of Stobo Castle, Peebles. Stobo Castle had been purchased by Hylton Murray-Philipson Snr in 1905 and in 1924 he conveyed the estate to his son who was a pioneer aviator. Hylton's career consisted of being the C.O. of the City of Edinburgh Auxiliary Air Force Squadron, Conservative MP for Twickenham; Chairman of N.E. Marine Engineering Company and a member of the King's Bodyguard for Scotland and the Royal Company of Archers. Hylton Murray-Philipson suffered from ill health and died in 1934 aged 32 leaving GNS75 to his wife Monica and two young children. In 1939 Monica Murray-Philipson sold Stobo Castle to Wenefryde Agatha Scott, 10th Countess of Dysart and after 10 years of being a widow Monica married Colonel P.H. Lloyd of Stone House in Blaston. The Colonel and Murray-Philipson had business connections as they were both company directors of Manvers Main Collieries Ltd Murray-Philipson in 1923/33 and Lloyd in 1940/47. In 1943 GNS75 is shown as being with her second family, that of John Stanley Coombe Beard of Grayshott Hall, Surrey. John Beard was an architect well known for designing over 100 cinemas in many styles, Baroque, Art Deco, Italian Renaissance, Greek Revival and even Egyptian. Interestingly in 1937 Mrs Beard made call to the police about an attempted burglary which resulted in the first arrest directly attributable to the new 999 service.A rare, possibly unique and very attractively designed car incorporating many appealing features such as stylish wings, separate steps in place of running boards, slim bumpers, external visor and louvred bonnet and scuttle with beautifully proportioned coachwork. With a polished aluminium bonnet top and waistline and P80 'bullseye' headlamps with pillar spot lamp all adds to the overall gorgeous design with the incorporation of various Art Deco touches.This 20/25 allows you to instruct your chauffeur from the privacy of the rear passenger compartment with the interior dividing screen while keeping an eye on progress with your own speedometer which is naturally mounted atop the built-in drink's cabinet. Such unusual original features are what make this Rolls-Royce special, even the delightful Sedanca de Ville coachwork is rare with its split separate steps and Art Deco flourishes. The front compartment provides accommodation for the driver and a passenger with a removable roof section for open-air motoring and wind-up windows. The driver's window also featuring a quick release lower section to allow hand signals to be easily executed. A right hand gear change allows for plenty of legroom and the large steering wheel is surmounted by a collection of hand controls. A large bulb horn lies easily to hand and the windscreen can be opened for ventilation. It is shaded by a glass visor and a spot lamp is within the driver's reach. Gauges are also a feature of the rear passenger compartment, although separated by a dividing screen, the rear passengers can keep an eye on their own speedometer as well as being supplied with a clock, barometer and a circular thermometer. The clock, and possibly the barometer, appear to be later additions. The drinks cabinet has provision for holding several decanters and a few glasses in a Lazy Susan, although the glassware itself is no longer present. The leather upholstery looks to be in lovely condition throughout, exhibiting just the right amount of patina without looking tatty. The carpets, door cards and headlining are similarly well presented as are stylish Art Deco door handles and window winders, which place this Rolls-Royce squarely in the 1930s.To the exterior, the Palladian radiator surround is topped with the Spirit of Ecstasy and the long bonnet is flanked by twin side-mount spare wheels. A pair of large Lucas tripod headlamps illuminate the road ahead and are assisted by a centrally mounted spot lamp, as well as the swivelling spot lamp near the driver. Twin horns complete the scene at the front of the car, along with a polished chrome-plated bumper. The Windovers Sedanca de Ville coachwork suits the car well and is beautifully proportioned. It features the unusual running boards, separate for front and rear passengers, as well as a useful luggage boot to the rear. Polished aluminium discs cover the wire wheels and the car runs on a full set of Paymaster tyres. Lifting the long bonnet reveals the powerful, straight-six, 3.7 litre engine. The engine features coil ignition and is fed by an Autovac fuel pump and, unusually for a car of this period, there is a glass bottle of screen wash mounted on the bulkhead, which is likely to be a later addition coupled to a small modern electric pump which has been added for ease of use. Supplied with a history file which includes historic photographs of restoration, instruction book and the original buff logbook coupled to the V5C registration document and copies of handwritten service records. The vendor informs us that the engine starts up easily every time and runs well. It is said to be a joy to drive and mechanically sound with its overhead valves, four-speed gearbox and powerful engine, this Rolls-Royce is certainly very capable and splendidly opulent. An imposing motorcar, which wears fabulously unusual coachwork and retains many original details.
Disney Television Scene Display, by Pytram Ltd of New Malden, Surrey, c.1936/38, a laminated cellulose fibre musical automaton display, 186 x 88 x 190cm. Copy of the original letter of instructions. Provenance; originally made for the entrance hall of Butlins, either Clacton on Sea or Skegness. Provenance; Watermouth Castle, Ilfracombe, North Devon.
Rebecca Hardaker Appreciate me no.1, 2023 Watercolour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Rebecca Hardaker's practice is an intersection between painting and drawing. Executed with an unabashed fondness for innocence, each canvas is an ensemble of abstract mark making and figures. Rebecca often never has a plan when she starts a new painting. One mark provokes another and so gives birth to a landscape of abstraction. She moves around the canvas, filling it with painterly strokes and line. The process is fast and intuitive, unencumbered by rules. Her palette is bright and dreamy. Just as she never sets out a plan, Rebecca doesn't cancel out mistakes. These are part of the composition, which is the artist's immediate translation of her cerebral vision giving way for to whimsical uncertainty. Education BA Classical Studies, University of Manchester MA Heritage Management, University of Birmingham Buying and Selling Art at Auction at Sotheby's Institute of Art Art Handling and Installation at University of the Arts London Select Exhibitions/Awards Upcoming 2023 Act One open call winner, show details TBC, 2023 2023 Radio Hair Salon, 'Find Me', 5th September - December 2023 The Nomad Salon, ' The Art Collector's Home', 19th August - 16th September 2023 Intuition Goes Before You, Vittoria Beltrame x BWG, 13 Soho Square W1D 3QF, 11th-20th August 2023 Interrupted art at Somerset House, 8th June 2023 All that matters to me now, Greatorex street gallery, 1st-6th June 2023 Conart Global Group Show, Battersea, 25th April 2023 Selected by Zimmer Stewart Gallery for the New Medical Centre, King Edward VII Call for Artists, January 2023 Old Parcels Office Open Art Space Exhibition, 11th February to 12th March 2023 2022 Girl & Gallery podcast, episode one, December 2022 Fitzrovia Gallery, She Came, She Saw, She Conquered, 18th -23rd October 2022 Interrupted Art live painting and exhibition, 29th September 2022 Palette presents 'Pie in the Sky', 13th-14th September 2022 Phoebe Minson's, Conservations with Creatives, September 2022 The Koppel Project Hive Open Studios Summer Edition, 31st August - 2nd September 2022 The Summer Exhibition at Heal's, 20th June - 11th September 2022 Bright Young Things at Alex Eagle, July - 11th September 2022 The Other Art Fair, 30th June - 3rd July 2022 KCAW X Chelsea Windows, 18th June - 2nd July 2022 https://fadmagazine.com/2022/06/20/artwork-by-london-based-emerging-artists-to-take-over-kings-road-shopfront-windows/ Featured in FAD Magazine, June 2022 Other Art Fair Director's Pick, June 2022 Queen Elizabeth II Platinum Jubilee Corgi Trail, Whitehall Gardens, May - June 2022 Fitzrovia Gallery, 'Post the Surrealist Manifesto', 16th - 22nd May 2022 The Back Room at Holdrons Arcade, 'FLOWERS', 5th - 10th April 2022 The Other Art Fair, 17th - 20th March 2022 Avenue Restaurant, 'Woman's Art for Women's Aid, Artist Talk', 15th March 2022 2021 The Koppel Project, 54 Oxford Circus, End of Year Showcase, 14th - 18th Dec 2021 Peggy Jay Gallery, 'Come hither, Come hither, Come hither', 1st - 19th Dec 2021 https://www.thefrankmagazine.com/rebecca-hardaker-freedom-of-thought/ Featured in The Frank Magazine The Koppel Project, 54 Oxford Circus, Window Showcase, 18th - 20th October The Koppel Project, 193 Piccadilly 'Gardens / Garages' 4th - 8th August 2021 The Gallery Holt 'Fusion' 23rd July - 31st August 2021 Mall Galleries 'The Pastel Society Annual Exhibition 2021' 14th - 24th July 2021 Every Women Biennial, Copeland Gallery 2nd - 9th July 2021 The Holy Art 'Momentum' virtual exhibition 13th - 21st February 2021 Received the Frank Herring & Sons Award by the Pastel Society for 'an analogue state of joy' Linden Hall Studio 'Winter Group Show' 2nd December 2020 - 30th January 2021 2020 Solo Show 'Landscape of an Inner Child' 15th - 18th October 2020 2nd Edition at Highgate Contemporary Gallery 1st October - 30th November 2020 The Koppel Project Showcase 7th -14th October 2020 Featured in Saatchi Art 'New This Week' - May 2020 'Unframed' by Highgate Contemporary Art The 'Feed NHS' charity postcard exhibition by Highgate Contemporary Art Statement about AOAP Submitted Artwork These artworks are directly a response to her large-scale paintings, where she paints with her hands. Through Watercolour pencils she wanted to create the same energy and tactile experience of expression. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Richard Spare Chat (detail), 2023 Drypoint and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Richard Spare is a painter and printmaker. After studying painting at Maidstone College of Art in the 1970s, Richard embarked on a career that has seen him edition work for a number of leading contemporary artists including David Hockney, Robert Ryman and Jasper Johns among others. He has exhibited his own work internationally and has often displayed work in our own Summer Exhibition over the years. He first came to Hockney's attention in 1977 working as his assistant. During their time together, Spare took charge of setting up an etching studio for him and observed Hockney creating sets for a Glyndebourne production of The Magic Flute. A decade later, Spare was working with Jasper Johns in New York, proofing and editioning complex carborundum prints. Today, Spare focuses on producing his own work, drawing on themes of nature and travel. Based in Charlton, he works from a converted Victorian coach house. A homage to the art of printmaking, this specially designed studio is home to his lovingly restored antique etching presses. Education Maidstone College of Art 1971 - 1974 Select Exhibitions/Awards 2001-21 13 tours of Japan totalling over 200 solo exhibitions 2012 Guest International Artist, Melbourne, Australia Solo Exhibitions in: Australia, Japan, Korea, United Kingdom Selected Group Exhibitions RA Summer Exhibitions. 1973-2023 44 Artworks selected for 30 Summer Exhibitions at the Royal Academy of Arts, London Invited Artist at: 2016 The Original Print Show curated by Norman Ackroyd CBE RA, Zillah Bell Gallery, Thirsk, Yorkshire 2014-15 Painter Printmakers - The Six-Month Launch Exhibition of RA Art Sales, The Keeper's House, Royal Academy of Arts, London 2005 The Discerning Eye Exhibition, Mall Galleries, London 2003 The Winter Print Fair, The Friends Room, Royal Academy of Arts, London 1997 The Discerning Eye Exhibition, Mall Galleries, London Gallery Representation Public Collections Art in Healthcare Aston University Berlin Central and Regional Library British Library Cartwright Hall Art Gallery Chelmsford Museum Federation University Australia Hastings Museum and Art Gallery Horsham Regional Art Gallery, Victoria, Australia Hunterian Art Gallery Imperial Health Charity Leeds Art Gallery Maidstone Museum Museum of London Museum of the Home Penlee House Gallery and Museum Royal Cornwall Museum Trevelyan College, Durham University University College London Hospitals Trust Victoria and Albert Museum. Statement about AOAP Submitted Artwork 'Chat' detail, a glimpse into Richard's London Garden, where birds meet for a chat on the garden bench he renovated. Spring Bullfinch detail, a welcome spring visitor to the magnolia tree in Richard's London Garden. Honeysuckle detail, honeysuckle winds its way through the jasmine and clematis in Richard's front garden in London. A heavenly scent on a summer evening. All three are cropped from original drypoint and watercolour prints and are unique. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Sonia Martin Which Way, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Following graduate and postgraduate studies in Fine Art, British artist Sonia Martin completed a Master's Degree in printmaking at Camberwell College of Art, London. Her work has been exhibited widely in solo and group shows including London Art Biennale; Royal Academy Summer Exhibition; New Hall College, Cambridge; the Barbican; Lynn Painter Stainers Prize Exhibition; Bankside Gallery; Contemporary Art Society; Gallery Different; Dentons Art Prize. Arising from her response to the past and to the present, her subjects are a merging of the here-and-now and the imagination. Education City & Guilds Art School and Camberwell College of Arts Select Exhibitions/Awards Widely exhibited including at the Royal Academy Summer Exhibition, the London Art Biennale, Bankside Gallery, and the London Original Print Fair. Recipient of a Pollock-Krasner Award in 2021, a Contemporary British Painting Prize Shortlisted artist in 2022, and became a Fellow of the Royal Society of Painter-Printmakers in 2023. Gallery Representation Tart Gallery, Maggio Art Consultancy, Gallery Different Statement about AOAP Submitted Artwork Figures moving forwards into different spheres. Figure moving towards a different sphere. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Estelle Vera Ocean View VII Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Estelle Vera lives by the sea in Deal. Born in the countryside of Switzerland, she probably fell in love with nature with her first cry. She has always enjoyed the freedom of strolling through the woods, climbing trees, lying in the grass and dreaming into the clouds. It has certainly made a strong impact on her journey. After five years of study at the Lucerne School of Art and Design, she was drawn without hesitation to Italy, where she continued studying painting at the Art Academy of Bologna. In the last decade, she discovered very surprisingly her love for still life painting and a parallel journey took its way. At the beginning she enjoyed the playful approach to the overwhelming abundance of colours, perspectives and patterns. The move to the coast of South England brought new inspirations and the conversation deepened. The subtle colours, the sensitive light and the beauty and fragility of the objects found on her walks along the beaches became once more a dive into silence. As an honouring of simplicity and in a slow process paintings emerge filled with great wonder. Education School of Art and Design Lucerne / MA Art Academy of Bologna/Italy / Painting / Further Education in Sculpting and Digital Art Select Exhibitions/Awards The Art of Silence / Beaux Arts Bath / Somerset 2023 RA Summer Exhibition 2023 / Royal Academy of Arts / London Quiet Living / Rye Art Gallery / Rye, East Sussex 2023 Bath Society of Artists / Victoria Art Gallery / Bath, Somerset 2023 Winter Group Show 2022/23 / Linden Hall Studio / Deal Winter Group Show 2021/22 / Linden Hall Studio / Deal, Kent Wells Art Contemporary 2021 / Wells Cathedral / Wells, Somerset Winter Group Show 2020 / Linden Hall Studio / Deal, Kent Small Sizes - Kleine Formate / Galerie Carla Renggli / Zug, Switzerland Miniatures and Masterstrokes - The Christmas Show 2020! / Rye Art Gallery Winter Group Show 2019 / Linden Hall Studio / Deal, Kent Royal Institute of Oil Painters ROI / Annual Exhibition 2019 / Mall Galleries London Royal Society of Marine Artists RSMA / Annual Exhibition 2019 / Mall Galleries London Royal Society of British Artists RBA / Annual Exhibition 2019 / Mall Galleries London Small Sizes - Kleine Formate 2015 / Galerie Carla Renggli / Zug, Switzerland Gallery Representation Rye Art Gallery / East Sussex Beaux Arts Bath / Somerset Statement about AOAP Submitted Artwork My very current work is mainly focused on the mesmerizing beauty of the beach pebbles. The inspiring encounter of equal simplicity and complexity in each and every beach pebble fills me with awe, - or as Henry David Thoreau put it: "Heaven is under our feet as well as over our heads." (H.D. Thoreau "On the Wisdom and Simplicity of Life") You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Jane Bustin Mother Avocado dye and toilet tissue paper on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Jane Bustin, born 1964, London, studied at Portsmouth University and lives and works in London, her practice spans three decades of single works in painting and ceramic as well as installation, text, film and performance. The paintings are made as sequential, monochrome abstract works, executed in a variety of mediums and surfaces. They explore the metaphysical potential for painting to 'make visual' philosophical concepts found primarily in modernist literature, feminism, theology as well as music and dance. The work is usually project based and can incorporate paintings, ceramic objects, text and live performance. The works influences come from 14th century frescos, 17th century painting, Belle epoque iconography, modernist literature, Nineteenth century poetry, women artists, 70's feminist movement, Japanese ceramics, fabrics, books, hardware stores, neon signs, cosmetics, sweet wrappers... Education Portsmouth University 1983 - 1986 Select Exhibitions/Awards 2019 Mark Rothko Memorial Trust Award/Residency, Daugavpils, Latvia 2006 Arts Council England 1996 London Arts Board 1993 Pollock-Krasner Foundation Solo / Two Person Shows 2023 Pirelli, Let me count the ways: Copperfield London Jane Bustin/Anne Lindberg at September Gallery, Kinderhook, New York The Colour of Words, The Rothko Museum, Daugavpils, Latvia 2022 Après Mallarmé, Le petit pan de jaune, le sentiment des choses, Paris 2021 This woman's work, Fox Jensen McCory, Auckland 2021 Le petit pan de jaune, le sentiment des choses, Paris 2012 The Colour of Words pt2, Jane Lombard Gallery, Tribeca, NY 2020 The Colour of Words, Jane Lombard Gallery, Chelsea, NY 2019 Blindspot, Copperfield Gallery, London 2019 V, le sentiment des choses, Paris 2019 The Feeling of Things, Fox Jensen, Sydney 2017 Modern Domestics, Jane Lombard Gallery, Chelsea, NY 2017 Fühler, Leslie Gallery, Berlin 2016 Rehearsal, Copperfield Gallery, London 2014 The Astonishing, Austin Forum, London 2012 Anatole Notes at Testbed1, London 2009 Unseen - A Collaboration with Tracy Chevalier and John Hull, The British Library, London 2008 Paintings 1998-2008, Artprojx Space, London 2005 Time Share, with Alexis Harding, Eagle Gallery, London 2004 Violet and the War, Eagle Gallery, London 2000 Atemwende, Eagle Gallery, London 1998 Nameless Grace, Eagle Gallery, London Performances 2022 The Nijinsky project - Faun, Zabludowicz Collection in collaboration with Maria Lassnig 2021 Nameless Grace, Daata Film Programme, New World Symphony, SoundScape Park, Miami Beach In darkness let me dwell, in collaboration with John Woolrich, Folkestone Fringe Festival 2018 The Nijinsky project - Faun, Art Night London at Marriott, London County Hall, South Bank 2014 The Astonishing with 'Where are You?' by Lina Lapelyte at Austin Forum, London 2000 Hoxton New Music Days/ Almeida Opera commission with Deirdre Gribben & Matthew Barley, Hoxton Hall Selected Group Shows 2023 No One's Rose, Fox Jensen McCrory, New Zealand TERRITORY OF ONESELF, Zembla Gallery, Hawick, Scotland One Foot in the Sky, curated by Jen Ellis, Contemporary Sculpture at Fulmer WORKABLE, Huidenclub, Rotterdam Ballroom Project, Antwerp 2022 Looking through the window wearing only socks - curated by Francesco Giaveri, L21 Gallery, Mallorca, Spain Fundamenteel, Cultuurcentrum de Werft, Geel, Belgium 2021 Not Painting, Copperfield, London Raven, Fox Jensen Sydney & Fox Jensen McCrory, Auckland Aora III, Aora Space, Online 2020 Luminosity, Fox Jensen McCrory, Auckland Hazard, Piccadilly Arcade/Frieze Art Fair, Copperfield, London 2019 Olaph the Oxman curated by Tiago de Abreu Pinto, Copperfield, London Eros, curated by Andrew Jensen, Fox Jensen, Sydney Art Basel Hong Kong, Fox Jensen 2018 Sit-In, September, Hudson, New York The Day of the Triffids Ep 5, news of the world gallery, London Combining Materials, Rosenfeld Porcini, London 2016 Left to Right, Copperfield Gallery, London Imperfect Reverse, Camberwell Space Projects, London 2015 Resistance and Persistence, Ingleby Gallery, Edinburgh London Open, Whitechapel Gallery ABJAD, at Ingleby Gallery, Edinburgh 2014 Towards Tomorrow, Parasol Unit, London More Material, curated by Duro Oluwu, Salon 94, Bowery, NYC John Moores Painting Prize, Walker Art Gallery Liverpool "a little patch of yellow wall ..." (curated by Jane Bustin) Lion and Lamb Gallery 2013 Mud, Rokeby Gallery, London Jerwood Drawing Prize, selected by Michael Craig-Martin, Jerwood Gallery London Mostyn Open Prize, selected by Ryan Gander, Mostyn Gallery Llandudno 2012 John Moores Painting Prize, Walker Art Gallery Liverpool Jerwood Drawing Prize, Jerwood Gallery London, Hastings and mac, Birmingham RA Summer Show, selected by Tess Jaray Back and Forth, Budapest, Hungary 2011 Will Alsop's A Few Friends - Testbed 1, London 2008 Figuring Light: Colour and the Intangible - Djanogly Gallery, Nottingham 2006-7 Darkness Visible, Ferens Art Gallery, Hull & Southampton City Art Gallery 2005 iD, Ferens Art Gallery, Hull Gallery Representation Copperfield, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Winnie Hall Good Luck From Stone Henge 1 Oil paint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Winnie Hall lives and works in London. Hall graduated in 2020 with a BA in Fine Art from Chelsea College of Arts and went on to have a studio and take part in Conditions Studio Programme based in Croydon. In 2022 she was selected for Bloomberg New Contemporaries, showing works in Ferens Art Gallery, Hull and South London Gallery in Peckham. In September 2022, Hall was granted funding to develop her practice from the Arts Council. In January 2023, Hall's work was acquired by the Government Art Collection. She recently finished a 6-month residency at OOF Gallery, situated in Tottenham football stadium, exploring the crossovers of art and football. Education BA Chelsea College of Arts 2017 - 2020 Select Exhibitions/Awards Awards/Prizes/Grants: New Contemporaries 2022 Awarded Develop Your Creative Practice Arts Council Funding Sep'22 Selected Exhibitions 2023: 'Gate Keeper' - Plinth Online Exhibition 20th June - 21st August 3D Women: 'Works That Never Came To Life' - Art Hub,Deptford (Curated & Exhibited) Royal Academy Summer Exhibition - Royal Academy, 21st June - 21st August 'The World Of Gazza!!' - OOF Gallery, Tottenham, London - April - September '23 'It's Like That' - Coleman Projects, Bermondsey,London Twenty Nineteen - Campbell Works, Stoke Newington,London 2022: New Contemporaries - South London Gallery, London New Contemporaries - Humber Street Gallery and Ferens Art Gallery, Hull Conditions Group Show - Whitgift Centre, Croydon Oasis Academy Shirley Park, Workshop Outcome Exhibition - Turf Projects,Croydon StaffShow - Green and Stone,Fulham Sugarcoated - Changing Room Gallery,Soho 2021: Curated and exhibited : 3D Women! - Platform Southwark, London Mascot - Best Wishes,Camberwell,London Conditions Group Show, - Whitgift Centre,Croydon Are You Lonesome Tonight - WhitGift Centre (solo) - Croydon Work In Progress:Elvis - Project Space,Croydon Statement about AOAP Submitted Artwork For this years Art On A Postcard auction, I enjoyed playing with the idea of a postcard, finding humour in sending a postcard 'from Stone Henge' and a postcard for a wisdom tooth lost. Considering who it might go to and who might be sending it. I am someone who often sends postcards, and also collects a selection of Good Luck postcards from different counties in Kent. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Winnie Hall Good Luck From Stone Henge 2 Coloured pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Winnie Hall lives and works in London. Hall graduated in 2020 with a BA in Fine Art from Chelsea College of Arts and went on to have a studio and take part in Conditions Studio Programme based in Croydon. In 2022 she was selected for Bloomberg New Contemporaries, showing works in Ferens Art Gallery, Hull and South London Gallery in Peckham. In September 2022, Hall was granted funding to develop her practice from the Arts Council. In January 2023, Hall's work was acquired by the Government Art Collection. She recently finished a 6-month residency at OOF Gallery, situated in Tottenham football stadium, exploring the crossovers of art and football. Education BA Chelsea College of Arts 2017 - 2020 Select Exhibitions/Awards Awards/Prizes/Grants: New Contemporaries 2022 Awarded Develop Your Creative Practice Arts Council Funding Sep'22 Selected Exhibitions 2023: 'Gate Keeper' - Plinth Online Exhibition 20th June - 21st August 3D Women: 'Works That Never Came To Life' - Art Hub,Deptford (Curated & Exhibited) Royal Academy Summer Exhibition - Royal Academy, 21st June - 21st August 'The World Of Gazza!!' - OOF Gallery, Tottenham, London - April - September '23 'It's Like That' - Coleman Projects, Bermondsey,London Twenty Nineteen - Campbell Works, Stoke Newington,London 2022: New Contemporaries - South London Gallery, London New Contemporaries - Humber Street Gallery and Ferens Art Gallery, Hull Conditions Group Show - Whitgift Centre, Croydon Oasis Academy Shirley Park, Workshop Outcome Exhibition - Turf Projects,Croydon StaffShow - Green and Stone,Fulham Sugarcoated - Changing Room Gallery,Soho 2021: Curated and exhibited : 3D Women! - Platform Southwark, London Mascot - Best Wishes,Camberwell,London Conditions Group Show, - Whitgift Centre,Croydon Are You Lonesome Tonight - WhitGift Centre (solo) - Croydon Work In Progress:Elvis - Project Space,Croydon Statement about AOAP Submitted Artwork For this years Art On A Postcard auction, I enjoyed playing with the idea of a postcard, finding humour in sending a postcard 'from Stone Henge' and a postcard for a wisdom tooth lost. Considering who it might go to and who might be sending it. I am someone who often sends postcards, and also collects a selection of Good Luck postcards from different counties in Kent. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Richard Spare Honeysuckle (detail), 2023 Drypoint and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Richard Spare is a painter and printmaker. After studying painting at Maidstone College of Art in the 1970s, Richard embarked on a career that has seen him edition work for a number of leading contemporary artists including David Hockney, Robert Ryman and Jasper Johns among others. He has exhibited his own work internationally and has often displayed work in our own Summer Exhibition over the years. He first came to Hockney's attention in 1977 working as his assistant. During their time together, Spare took charge of setting up an etching studio for him and observed Hockney creating sets for a Glyndebourne production of The Magic Flute. A decade later, Spare was working with Jasper Johns in New York, proofing and editioning complex carborundum prints. Today, Spare focuses on producing his own work, drawing on themes of nature and travel. Based in Charlton, he works from a converted Victorian coach house. A homage to the art of printmaking, this specially designed studio is home to his lovingly restored antique etching presses. Education Maidstone College of Art 1971 - 1974 Select Exhibitions/Awards 2001-21 13 tours of Japan totalling over 200 solo exhibitions 2012 Guest International Artist, Melbourne, Australia Solo Exhibitions in: Australia, Japan, Korea, United Kingdom Selected Group Exhibitions RA Summer Exhibitions. 1973-2023 44 Artworks selected for 30 Summer Exhibitions at the Royal Academy of Arts, London Invited Artist at: 2016 The Original Print Show curated by Norman Ackroyd CBE RA, Zillah Bell Gallery, Thirsk, Yorkshire 2014-15 Painter Printmakers - The Six-Month Launch Exhibition of RA Art Sales, The Keeper's House, Royal Academy of Arts, London 2005 The Discerning Eye Exhibition, Mall Galleries, London 2003 The Winter Print Fair, The Friends Room, Royal Academy of Arts, London 1997 The Discerning Eye Exhibition, Mall Galleries, London Gallery Representation Public Collections Art in Healthcare Aston University Berlin Central and Regional Library British Library Cartwright Hall Art Gallery Chelmsford Museum Federation University Australia Hastings Museum and Art Gallery Horsham Regional Art Gallery, Victoria, Australia Hunterian Art Gallery Imperial Health Charity Leeds Art Gallery Maidstone Museum Museum of London Museum of the Home Penlee House Gallery and Museum Royal Cornwall Museum Trevelyan College, Durham University University College London Hospitals Trust Victoria and Albert Museum. Statement about AOAP Submitted Artwork 'Chat' detail, a glimpse into Richard's London Garden, where birds meet for a chat on the garden bench he renovated. Spring Bullfinch detail, a welcome spring visitor to the magnolia tree in Richard's London Garden. Honeysuckle detail, honeysuckle winds its way through the jasmine and clematis in Richard's front garden in London. A heavenly scent on a summer evening. All three are cropped from original drypoint and watercolour prints and are unique. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Richard Spare Spring Bullfinch (Detail), 2023 Drypoint and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Richard Spare is a painter and printmaker. After studying painting at Maidstone College of Art in the 1970s, Richard embarked on a career that has seen him edition work for a number of leading contemporary artists including David Hockney, Robert Ryman and Jasper Johns among others. He has exhibited his own work internationally and has often displayed work in our own Summer Exhibition over the years. He first came to Hockney's attention in 1977 working as his assistant. During their time together, Spare took charge of setting up an etching studio for him and observed Hockney creating sets for a Glyndebourne production of The Magic Flute. A decade later, Spare was working with Jasper Johns in New York, proofing and editioning complex carborundum prints. Today, Spare focuses on producing his own work, drawing on themes of nature and travel. Based in Charlton, he works from a converted Victorian coach house. A homage to the art of printmaking, this specially designed studio is home to his lovingly restored antique etching presses. Education Maidstone College of Art 1971 - 1974 Select Exhibitions/Awards 2001-21 13 tours of Japan totalling over 200 solo exhibitions 2012 Guest International Artist, Melbourne, Australia Solo Exhibitions in: Australia, Japan, Korea, United Kingdom Selected Group Exhibitions RA Summer Exhibitions. 1973-2023 44 Artworks selected for 30 Summer Exhibitions at the Royal Academy of Arts, London Invited Artist at: 2016 The Original Print Show curated by Norman Ackroyd CBE RA, Zillah Bell Gallery, Thirsk, Yorkshire 2014-15 Painter Printmakers - The Six-Month Launch Exhibition of RA Art Sales, The Keeper's House, Royal Academy of Arts, London 2005 The Discerning Eye Exhibition, Mall Galleries, London 2003 The Winter Print Fair, The Friends Room, Royal Academy of Arts, London 1997 The Discerning Eye Exhibition, Mall Galleries, London Gallery Representation Public Collections Art in Healthcare Aston University Berlin Central and Regional Library British Library Cartwright Hall Art Gallery Chelmsford Museum Federation University Australia Hastings Museum and Art Gallery Horsham Regional Art Gallery, Victoria, Australia Hunterian Art Gallery Imperial Health Charity Leeds Art Gallery Maidstone Museum Museum of London Museum of the Home Penlee House Gallery and Museum Royal Cornwall Museum Trevelyan College, Durham University University College London Hospitals Trust Victoria and Albert Museum. Statement about AOAP Submitted Artwork 'Chat' detail, a glimpse into Richard's London Garden, where birds meet for a chat on the garden bench he renovated. Spring Bullfinch detail, a welcome spring visitor to the magnolia tree in Richard's London Garden. Honeysuckle detail, honeysuckle winds its way through the jasmine and clematis in Richard's front garden in London. A heavenly scent on a summer evening. All three are cropped from original drypoint and watercolour prints and are unique. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Winnie Hall Postcard For a Tooth Coloured pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Winnie Hall lives and works in London. Hall graduated in 2020 with a BA in Fine Art from Chelsea College of Arts and went on to have a studio and take part in Conditions Studio Programme based in Croydon. In 2022 she was selected for Bloomberg New Contemporaries, showing works in Ferens Art Gallery, Hull and South London Gallery in Peckham. In September 2022, Hall was granted funding to develop her practice from the Arts Council. In January 2023, Hall's work was acquired by the Government Art Collection. She recently finished a 6-month residency at OOF Gallery, situated in Tottenham football stadium, exploring the crossovers of art and football. Education BA Chelsea College of Arts 2017 - 2020 Select Exhibitions/Awards Awards/Prizes/Grants: New Contemporaries 2022 Awarded Develop Your Creative Practice Arts Council Funding Sep'22 Selected Exhibitions 2023: 'Gate Keeper' - Plinth Online Exhibition 20th June - 21st August 3D Women: 'Works That Never Came To Life' - Art Hub,Deptford (Curated & Exhibited) Royal Academy Summer Exhibition - Royal Academy, 21st June - 21st August 'The World Of Gazza!!' - OOF Gallery, Tottenham, London - April - September '23 'It's Like That' - Coleman Projects, Bermondsey,London Twenty Nineteen - Campbell Works, Stoke Newington,London 2022: New Contemporaries - South London Gallery, London New Contemporaries - Humber Street Gallery and Ferens Art Gallery, Hull Conditions Group Show - Whitgift Centre, Croydon Oasis Academy Shirley Park, Workshop Outcome Exhibition - Turf Projects,Croydon StaffShow - Green and Stone,Fulham Sugarcoated - Changing Room Gallery,Soho 2021: Curated and exhibited : 3D Women! - Platform Southwark, London Mascot - Best Wishes,Camberwell,London Conditions Group Show, - Whitgift Centre,Croydon Are You Lonesome Tonight - WhitGift Centre (solo) - Croydon Work In Progress:Elvis - Project Space,Croydon Statement about AOAP Submitted Artwork For this years Art On A Postcard auction, I enjoyed playing with the idea of a postcard, finding humour in sending a postcard 'from Stone Henge' and a postcard for a wisdom tooth lost. Considering who it might go to and who might be sending it. I am someone who often sends postcards, and also collects a selection of Good Luck postcards from different counties in Kent. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Jennifer McRae RSA Infanta Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Jennifer McRae studied at Gray's School of Art, Aberdeen from 1987 to 93. Since 1988 her work has appeared in group and solo exhibitions in Britain and America, and she has won numerous awards including the BP Travelling Scholarship in 1999. Best known for her distinctive portraits, she has had work commissioned from the National Portrait Gallery, London and the Scottish National Portrait Gallery. Jennifer is also an enthusiastic printmaker and continues to work with both studio models and commissioned portrait sitters. She currently lives in London. Education 1st Class Honours in Fine Art, Grays School of Art, Robert Gordon's University BA (first class hons) Fine Art Select Exhibitions/Awards SOLO EXHIBITIONS INCLUDE: Fine Art Society Beaux Arts, Bath Bohun Gallery, Henley on Thames Gomez Gallery, Baltimore USA Scottish Gallery Edinburgh Thackeray Gallery London GROUP EXHIBITIONS INCLUDE: Barber Institute Birmingham, Terms of Engagement. Hunting Art Prizes, RCA London Singer & Friedlander, Mall Galleries, London Worshipful Society of Painter stainers, Painters' Hall London Royal Society of portrait painters, Mall Galleries Royal Academy Summer Exhibition New English Arts Club, Mall Galleries Threadneedle Prize, Mall Galleries Mirror, mirror self-portraits by women artists NPG Being Present, 8 painters, Jerwood Space Things standing still, Browse & Darby, London Small is Beautiful, Flowers Central, London Fine Art Society, Edinburgh Fine Art Society, London COLLECTIONS National portrait gallery London, National portrait gallery of Scotland Edinburgh, Royal Collection Windsor, Reading Museum AWARDS Royal Society of Portrait Painters, 1st prize, Gold Medal / Painter Stainers Award 1st prize, Gold Medal/ Royal Soc of Watercolour: Singer and Friedlander Sunday Times Awards 1st Prizewinner Statement about AOAP Submitted Artwork I wanted to reflect on both the fragility and the strength in human life (especially in these current times) by conveying the delicate studio light and working with a very young relative of mine as model. Infanta is the title because the young have significant presence, even when wearing a cardboard home-made crown. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Rebecca Hardaker Appreciate me no.2, 2023 Watercolour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Rebecca Hardaker's practice is an intersection between painting and drawing. Executed with an unabashed fondness for innocence, each canvas is an ensemble of abstract mark making and figures. Rebecca often never has a plan when she starts a new painting. One mark provokes another and so gives birth to a landscape of abstraction. She moves around the canvas, filling it with painterly strokes and line. The process is fast and intuitive, unencumbered by rules. Her palette is bright and dreamy. Just as she never sets out a plan, Rebecca doesn't cancel out mistakes. These are part of the composition, which is the artist's immediate translation of her cerebral vision giving way for to whimsical uncertainty. Education BA Classical Studies, University of Manchester MA Heritage Management, University of Birmingham Buying and Selling Art at Auction at Sotheby's Institute of Art Art Handling and Installation at University of the Arts London Select Exhibitions/Awards Upcoming 2023 Act One open call winner, show details TBC, 2023 2023 Radio Hair Salon, 'Find Me', 5th September - December 2023 The Nomad Salon, ' The Art Collector's Home', 19th August - 16th September 2023 Intuition Goes Before You, Vittoria Beltrame x BWG, 13 Soho Square W1D 3QF, 11th-20th August 2023 Interrupted art at Somerset House, 8th June 2023 All that matters to me now, Greatorex street gallery, 1st-6th June 2023 Conart Global Group Show, Battersea, 25th April 2023 Selected by Zimmer Stewart Gallery for the New Medical Centre, King Edward VII Call for Artists, January 2023 Old Parcels Office Open Art Space Exhibition, 11th February to 12th March 2023 2022 Girl & Gallery podcast, episode one, December 2022 Fitzrovia Gallery, She Came, She Saw, She Conquered, 18th -23rd October 2022 Interrupted Art live painting and exhibition, 29th September 2022 Palette presents 'Pie in the Sky', 13th-14th September 2022 Phoebe Minson's, Conservations with Creatives, September 2022 The Koppel Project Hive Open Studios Summer Edition, 31st August - 2nd September 2022 The Summer Exhibition at Heal's, 20th June - 11th September 2022 Bright Young Things at Alex Eagle, July - 11th September 2022 The Other Art Fair, 30th June - 3rd July 2022 KCAW X Chelsea Windows, 18th June - 2nd July 2022 https://fadmagazine.com/2022/06/20/artwork-by-london-based-emerging-artists-to-take-over-kings-road-shopfront-windows/ Featured in FAD Magazine, June 2022 Other Art Fair Director's Pick, June 2022 Queen Elizabeth II Platinum Jubilee Corgi Trail, Whitehall Gardens, May - June 2022 Fitzrovia Gallery, 'Post the Surrealist Manifesto', 16th - 22nd May 2022 The Back Room at Holdrons Arcade, 'FLOWERS', 5th - 10th April 2022 The Other Art Fair, 17th - 20th March 2022 Avenue Restaurant, 'Woman's Art for Women's Aid, Artist Talk', 15th March 2022 2021 The Koppel Project, 54 Oxford Circus, End of Year Showcase, 14th - 18th Dec 2021 Peggy Jay Gallery, 'Come hither, Come hither, Come hither', 1st - 19th Dec 2021 https://www.thefrankmagazine.com/rebecca-hardaker-freedom-of-thought/ Featured in The Frank Magazine The Koppel Project, 54 Oxford Circus, Window Showcase, 18th - 20th October The Koppel Project, 193 Piccadilly 'Gardens / Garages' 4th - 8th August 2021 The Gallery Holt 'Fusion' 23rd July - 31st August 2021 Mall Galleries 'The Pastel Society Annual Exhibition 2021' 14th - 24th July 2021 Every Women Biennial, Copeland Gallery 2nd - 9th July 2021 The Holy Art 'Momentum' virtual exhibition 13th - 21st February 2021 Received the Frank Herring & Sons Award by the Pastel Society for 'an analogue state of joy' Linden Hall Studio 'Winter Group Show' 2nd December 2020 - 30th January 2021 2020 Solo Show 'Landscape of an Inner Child' 15th - 18th October 2020 2nd Edition at Highgate Contemporary Gallery 1st October - 30th November 2020 The Koppel Project Showcase 7th -14th October 2020 Featured in Saatchi Art 'New This Week' - May 2020 'Unframed' by Highgate Contemporary Art The 'Feed NHS' charity postcard exhibition by Highgate Contemporary Art Statement about AOAP Submitted Artwork These artworks are directly a response to her large-scale paintings, where she paints with her hands. Through Watercolour pencils she wanted to create the same energy and tactile experience of expression. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Rebecca Hardaker Appreciate me no.4, 2023 Watercolour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Rebecca Hardaker's practice is an intersection between painting and drawing. Executed with an unabashed fondness for innocence, each canvas is an ensemble of abstract mark making and figures. Rebecca often never has a plan when she starts a new painting. One mark provokes another and so gives birth to a landscape of abstraction. She moves around the canvas, filling it with painterly strokes and line. The process is fast and intuitive, unencumbered by rules. Her palette is bright and dreamy. Just as she never sets out a plan, Rebecca doesn't cancel out mistakes. These are part of the composition, which is the artist's immediate translation of her cerebral vision giving way for to whimsical uncertainty. Education BA Classical Studies, University of Manchester MA Heritage Management, University of Birmingham Buying and Selling Art at Auction at Sotheby's Institute of Art Art Handling and Installation at University of the Arts London Select Exhibitions/Awards Upcoming 2023 Act One open call winner, show details TBC, 2023 2023 Radio Hair Salon, 'Find Me', 5th September - December 2023 The Nomad Salon, ' The Art Collector's Home', 19th August - 16th September 2023 Intuition Goes Before You, Vittoria Beltrame x BWG, 13 Soho Square W1D 3QF, 11th-20th August 2023 Interrupted art at Somerset House, 8th June 2023 All that matters to me now, Greatorex street gallery, 1st-6th June 2023 Conart Global Group Show, Battersea, 25th April 2023 Selected by Zimmer Stewart Gallery for the New Medical Centre, King Edward VII Call for Artists, January 2023 Old Parcels Office Open Art Space Exhibition, 11th February to 12th March 2023 2022 Girl & Gallery podcast, episode one, December 2022 Fitzrovia Gallery, She Came, She Saw, She Conquered, 18th -23rd October 2022 Interrupted Art live painting and exhibition, 29th September 2022 Palette presents 'Pie in the Sky', 13th-14th September 2022 Phoebe Minson's, Conservations with Creatives, September 2022 The Koppel Project Hive Open Studios Summer Edition, 31st August - 2nd September 2022 The Summer Exhibition at Heal's, 20th June - 11th September 2022 Bright Young Things at Alex Eagle, July - 11th September 2022 The Other Art Fair, 30th June - 3rd July 2022 KCAW X Chelsea Windows, 18th June - 2nd July 2022 https://fadmagazine.com/2022/06/20/artwork-by-london-based-emerging-artists-to-take-over-kings-road-shopfront-windows/ Featured in FAD Magazine, June 2022 Other Art Fair Director's Pick, June 2022 Queen Elizabeth II Platinum Jubilee Corgi Trail, Whitehall Gardens, May - June 2022 Fitzrovia Gallery, 'Post the Surrealist Manifesto', 16th - 22nd May 2022 The Back Room at Holdrons Arcade, 'FLOWERS', 5th - 10th April 2022 The Other Art Fair, 17th - 20th March 2022 Avenue Restaurant, 'Woman's Art for Women's Aid, Artist Talk', 15th March 2022 2021 The Koppel Project, 54 Oxford Circus, End of Year Showcase, 14th - 18th Dec 2021 Peggy Jay Gallery, 'Come hither, Come hither, Come hither', 1st - 19th Dec 2021 https://www.thefrankmagazine.com/rebecca-hardaker-freedom-of-thought/ Featured in The Frank Magazine The Koppel Project, 54 Oxford Circus, Window Showcase, 18th - 20th October The Koppel Project, 193 Piccadilly 'Gardens / Garages' 4th - 8th August 2021 The Gallery Holt 'Fusion' 23rd July - 31st August 2021 Mall Galleries 'The Pastel Society Annual Exhibition 2021' 14th - 24th July 2021 Every Women Biennial, Copeland Gallery 2nd - 9th July 2021 The Holy Art 'Momentum' virtual exhibition 13th - 21st February 2021 Received the Frank Herring & Sons Award by the Pastel Society for 'an analogue state of joy' Linden Hall Studio 'Winter Group Show' 2nd December 2020 - 30th January 2021 2020 Solo Show 'Landscape of an Inner Child' 15th - 18th October 2020 2nd Edition at Highgate Contemporary Gallery 1st October - 30th November 2020 The Koppel Project Showcase 7th -14th October 2020 Featured in Saatchi Art 'New This Week' - May 2020 'Unframed' by Highgate Contemporary Art The 'Feed NHS' charity postcard exhibition by Highgate Contemporary Art Statement about AOAP Submitted Artwork These artworks are directly a response to her large-scale paintings, where she paints with her hands. Through Watercolour pencils she wanted to create the same energy and tactile experience of expression. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Sonia Martin After the Rain, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Following graduate and postgraduate studies in Fine Art, British artist Sonia Martin completed a Master's Degree in printmaking at Camberwell College of Art, London. Her work has been exhibited widely in solo and group shows including London Art Biennale; Royal Academy Summer Exhibition; New Hall College, Cambridge; the Barbican; Lynn Painter Stainers Prize Exhibition; Bankside Gallery; Contemporary Art Society; Gallery Different; Dentons Art Prize. Arising from her response to the past and to the present, her subjects are a merging of the here-and-now and the imagination. Education City & Guilds Art School and Camberwell College of Arts Select Exhibitions/Awards Widely exhibited including at the Royal Academy Summer Exhibition, the London Art Biennale, Bankside Gallery, and the London Original Print Fair. Recipient of a Pollock-Krasner Award in 2021, a Contemporary British Painting Prize Shortlisted artist in 2022, and became a Fellow of the Royal Society of Painter-Printmakers in 2023. Gallery Representation Tart Gallery, Maggio Art Consultancy, Gallery Different Statement about AOAP Submitted Artwork Figures moving forwards into different spheres. Figure moving towards a different sphere. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Rebecca Hardaker Appreciate me no.3, 2023 Watercolour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Rebecca Hardaker's practice is an intersection between painting and drawing. Executed with an unabashed fondness for innocence, each canvas is an ensemble of abstract mark making and figures. Rebecca often never has a plan when she starts a new painting. One mark provokes another and so gives birth to a landscape of abstraction. She moves around the canvas, filling it with painterly strokes and line. The process is fast and intuitive, unencumbered by rules. Her palette is bright and dreamy. Just as she never sets out a plan, Rebecca doesn't cancel out mistakes. These are part of the composition, which is the artist's immediate translation of her cerebral vision giving way for to whimsical uncertainty. Education BA Classical Studies, University of Manchester MA Heritage Management, University of Birmingham Buying and Selling Art at Auction at Sotheby's Institute of Art Art Handling and Installation at University of the Arts London Select Exhibitions/Awards Upcoming 2023 Act One open call winner, show details TBC, 2023 2023 Radio Hair Salon, 'Find Me', 5th September - December 2023 The Nomad Salon, ' The Art Collector's Home', 19th August - 16th September 2023 Intuition Goes Before You, Vittoria Beltrame x BWG, 13 Soho Square W1D 3QF, 11th-20th August 2023 Interrupted art at Somerset House, 8th June 2023 All that matters to me now, Greatorex street gallery, 1st-6th June 2023 Conart Global Group Show, Battersea, 25th April 2023 Selected by Zimmer Stewart Gallery for the New Medical Centre, King Edward VII Call for Artists, January 2023 Old Parcels Office Open Art Space Exhibition, 11th February to 12th March 2023 2022 Girl & Gallery podcast, episode one, December 2022 Fitzrovia Gallery, She Came, She Saw, She Conquered, 18th -23rd October 2022 Interrupted Art live painting and exhibition, 29th September 2022 Palette presents 'Pie in the Sky', 13th-14th September 2022 Phoebe Minson's, Conservations with Creatives, September 2022 The Koppel Project Hive Open Studios Summer Edition, 31st August - 2nd September 2022 The Summer Exhibition at Heal's, 20th June - 11th September 2022 Bright Young Things at Alex Eagle, July - 11th September 2022 The Other Art Fair, 30th June - 3rd July 2022 KCAW X Chelsea Windows, 18th June - 2nd July 2022 https://fadmagazine.com/2022/06/20/artwork-by-london-based-emerging-artists-to-take-over-kings-road-shopfront-windows/ Featured in FAD Magazine, June 2022 Other Art Fair Director's Pick, June 2022 Queen Elizabeth II Platinum Jubilee Corgi Trail, Whitehall Gardens, May - June 2022 Fitzrovia Gallery, 'Post the Surrealist Manifesto', 16th - 22nd May 2022 The Back Room at Holdrons Arcade, 'FLOWERS', 5th - 10th April 2022 The Other Art Fair, 17th - 20th March 2022 Avenue Restaurant, 'Woman's Art for Women's Aid, Artist Talk', 15th March 2022 2021 The Koppel Project, 54 Oxford Circus, End of Year Showcase, 14th - 18th Dec 2021 Peggy Jay Gallery, 'Come hither, Come hither, Come hither', 1st - 19th Dec 2021 https://www.thefrankmagazine.com/rebecca-hardaker-freedom-of-thought/ Featured in The Frank Magazine The Koppel Project, 54 Oxford Circus, Window Showcase, 18th - 20th October The Koppel Project, 193 Piccadilly 'Gardens / Garages' 4th - 8th August 2021 The Gallery Holt 'Fusion' 23rd July - 31st August 2021 Mall Galleries 'The Pastel Society Annual Exhibition 2021' 14th - 24th July 2021 Every Women Biennial, Copeland Gallery 2nd - 9th July 2021 The Holy Art 'Momentum' virtual exhibition 13th - 21st February 2021 Received the Frank Herring & Sons Award by the Pastel Society for 'an analogue state of joy' Linden Hall Studio 'Winter Group Show' 2nd December 2020 - 30th January 2021 2020 Solo Show 'Landscape of an Inner Child' 15th - 18th October 2020 2nd Edition at Highgate Contemporary Gallery 1st October - 30th November 2020 The Koppel Project Showcase 7th -14th October 2020 Featured in Saatchi Art 'New This Week' - May 2020 'Unframed' by Highgate Contemporary Art The 'Feed NHS' charity postcard exhibition by Highgate Contemporary Art Statement about AOAP Submitted Artwork These artworks are directly a response to her large-scale paintings, where she paints with her hands. Through Watercolour pencils she wanted to create the same energy and tactile experience of expression. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Kitchen gardens.- Switzer (Stephen) The Practical Kitchen Gardiner: Or, A New and Entire System of Directions For his Employment in the Melonry, Kitchen-Garden, and Potagery...To which is added...The Method of Raising Cucumbers and Melons, Mushrooms, Borecole, Broccoli, Potatoes, first edition, 3 folding engraved plans, sig. b of preface misbound before a, first plate with neatly repaired tear within image, a small hole / split within image, and a little piece from lower margin, second plate with small hole / split within image at central fold, third plate defective at foot and with a few small holes and splits, some spotting or staining, lightly browned, contemporary calf, gilt, spine in compartments, spine ends little worn, corners worn, little stained, rubbed and scuffed, [Fussell p.118-121; Henrey 1417; Hunt 469; Maclean pp.139-140], 8vo, Printed for Tho. Woodward, 1727.⁂ Switzer gained much of his early knowledge under the tutelage of the great masters London and Wise. He ran a seed business with a shop in Westminster Hall, and a garden in Vauxhall.
Constantinos Parthenis (Greek, 1878-1967)Pin signé 'C.Parthenis' (en bas à droite)huile sur toile54.5 x 60cm (21 7/16 x 23 5/8in).signed (lower right)oil on canvasFootnotes:ProvenancePrivate collection, Athens.ExpositionsAthens, Zappeion Hall, Parthenis Exhibition, January-February 1920 (based on an exhibition photograph published in E. Matthiopoulos, The Life and Work of Costis Parthenis, K. Adam editions, Athens 2008, p. 65).The music of colours, first introduced by Klimt,was taken up only by Parthenis among Greek artists. Pinakothiki journal, January 1904.1Parthenis was one of the first artists to infuse the forces of renewal in Modern Greek painting, distancing it from academic pictorial formulas and turning it towards liberal artistic movements and avant-garde trends. Reviewing the artist's legendary 1920 Parthenis retrospective at the Zappeion hall, Athens National Gallery Director Z. Papantoniou noted: 'Parthenis masterfully applies the innovative technique of 'optical mixture' in which pigments instead of being mixed on the palette are directly applied on the canvas to be mixed by the spectator's eye at a certain distance from the picture.'2 This pulsating pointillism is perfectly evident in Pine Tree, producing a shimmering effect and charging the picture with vibrant energy. Throughout, Parthenis used his distinctive parallel strokes and sharp vertical touches with great confidence and freedom to capture the power and variable pulse of the landscape. The viewer's eye follows the darting movements of his brush, as successive touches of colour are seized upon and added to the picture surface.Moreover, the elegant shapes, sinuous lines and wonderful rounded tree forms that instantly bring to mind the handling of foliage in his famous Slope at the National Gallery in Athens, show how the painter exploited the expressive nature of his formal repertoire to offer a poetic, idealised experience of the landscape. As noted by Z. Papantoniou, 'Parthenis's landscapes take us to the world of ideas. His eye sees into the ideal, as ours does into the natural. The humblest of his trees reveals a thought.'3 The work should be dated from the early 1900s, just before or after the artist's return to Athens following his seven-year stay (1897-1904) in Vienna.4 In this great centre of European modernism Parthenis became familiar with Viennese Jugendstil and especially the work of Gustave Klimt. The poetic atmosphere, subtle colour harmonies, absence of human figures, solemn remoteness and sharp brushstrokes that transform the canvas into a gleaming tapestry of colour touches, leave no doubt that Parthenis had assimilated the achievements of the great Viennese symbolist5 (compare G. Klimt, Roses under trees, c. 1905, Musée d'Orsay, Paris). 1 See also E. Mathiopoulos, 'The reception of Parhtenis' Work' in Art Grows Feathers in Pain [in Greek], Potamos editions, Athens 2005, pp. 574-594. 2 Z. Papantoniou, 'The Art of Parthenis' [in Greek], Patris daily, January 19, 1920.3 Ibid.4 Compare C. Parthenis, Misty lake, sold by Bonhams, Greek Sale, May 15, 2007, lot 83.5 The square format Parthenis used here played a central role in Viennese Jugendstil and perfectly suited Klimt's search for peace and balance. It was also used by Monet to increase the feeling of tranquillity, and to direct attention on the orchestration of the colours and harmonies within the painting. See S. Koja, Gustave Klimt Landscapes, Prestel editions, New York 2006, p. 61.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Yiannis Tsarouchis (Greek, 1910-1989)Garçon couché signé en grec et daté '54' (en bas à droite)huile sur toile20.5 x 34cm (8 1/16 x 13 3/8in).Peint en 1954.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceIolas Gallery, New York.Private collection, Athens.ExpositionsAthens, Zoumboulakis Gallery, May 1972.Nicosia, KEMA Hall, 16 Contemporary Greek Artists, December 18-27, 1986.Tsarouchis's pursuit of realist clarity and truthfulness of vision is described by the words of poet Andreas Embeirikos: 'Truth in the work of Tsarouchis is distilled and explosive like thunder, uninfluenced by any sort of dogmatism, either that of a school or of an accepted morality or aesthetic. This fundamental independence is so apparent that even his most 'clothed' images always appear to be utterly 'nude'.1 In his Reflections,Tsarouchis mentions the writings of archaeologist C. Tsountas who referred to the ideal nudity of ancient Greek sculpture and specifically to that of the 'regiment' of the two Tyrannicides who are stark naked, even though no citizen was in the nude during the Panathenaic Games.'2 As argued by D. Kapetanakis, Tsarouchis found the truth of Modern Greece in the bodily forms of Greek youth. In contrast to other cultures, such as the French, which are woman-centred, Greece, both ancient and modern, is mainly expressed through masculine types.3 In the same vein, Nobel laureate O. Elytis noted that 'Tsarouchis restored the human body in a land whose age-old civilisation has always been man-centred. Thanks to his paintings, the figures of Hermes, Narcissus, St. Georgios and St. Dimitrios started to live and breathe again and circulate among us.'4 For both Kapetanakis and Elytis, Tsarouchis's male figures are invested with a symbolic value that carries on the humanistic ideal of Ancient Greece, while at the same time expressing the spirit and reality of Modern Greece.5 Here, the shallow compositional structure coupled with a stage designer's perception of space, which played a pivotal role throughout Tsarouchis's career, build up an edifice of pure forms, an everlasting world liberated from the fleeting moment, imaginatively transforming the reclining youth into a protagonist of a Modern Greek narrative.A towering figure of 20th century Greek art Yannis Tsarouchis was also an intellectual who courageously faced ideological challenges and biased ethical practices in Greek society of his time that included homophobia. It was only in the last years of his life that studies addressed homosexuality in his painting. And it wasn't until the turn of the century that scholars6 could write unequivocally about the homoeroticism in his work and highlight its determinative role in the artist's evolution.7 1 A. Embeirikos, 'The Triumph of Sensuous Painting' [in Greek], Zygos magazine, no. 72-75, November 1961 - February 1962, p. 11. See also 'Yannis Tsarouchis', Greek Heritage quarterly, vol. 1, no. 2, Spring 1964, p. 92. 2 Y. Tsarouchis, 'Some Reflections on my Works' in The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 299.3 D. Kapetanakis, 'Yannis Tsarouchis, Return to Roots' [in Greek], Nea Grammata magazine, 1937 as reprinted in Tsarouchis [in Greek], Zygos, Athens 1978, p 6. 4 O. Elytis, preface to the Yannis Tsarouchis: Fifteen Works and One Original Print 1938-1963 album [in Greek], 1964.5 See E. Florou, Tsarouchis - Painting, [in Greek] (doctoral dissertation) vol. 1, Athens 1989, p. 118.6 N. Hadjinikolaou, 'Yannis Tsarouchis' [in Greek], in Figures of the Twentieth Century, Ta Nea - Livanis editions, Athens 2000, pp. 517-518.7. See E.D. Matthiopoulos, 'In Search of Divine Lightning' in N. Gripari and A. Szymczyk ed., Yannis Tsarouchis, Dancing in Real Life, exhibition catalogue, Wrightwood 659, Chicago 2021, pp. 251-267.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Mauchline and Related Wares from the Collection of the Late Christabelle and David Davey, Part 2 of 2. Mauchline ware - ten pieces, comprising a bell shaped go-to-bed (Loughrigg Tarn), 11cms high, a tumbler case with glass (The New Pier Skegness), 7.5cms, a square section brush box with brush incorporating mirror (Cleft In High Rock Tunbridge Wells / Tunbridge Wells From The Frant Rd.), 8.6cms, a square form egg timer (Beachy Head Lighthouse), 8cms, a boat shaped box (The New Pier Skegness), 12cms, a drawer form box (North Berwick / Souvenir From North Berwick), 11.3cms, a cylinder box (Queen Elizabeth's Pocket Pistol), 4.2cms, a small rectangular hinged box with velvet lining (Eglwgseg Rocks Nr Llangollen), 5.5cms, a circular box (Scarborough Castle / The Music Hall Scarborough From The Sands), 7.2cms, and a bun shaped box, painted interior, chips to rim (Blundells School, Tiverton / The Exe, Tiverton), 7cms. (10) From the collection of the late Christabelle and David Davey
* Barrington Family Papers. An important and substantial archive of manuscript correspondence and documents, copybooks and some printed material relating to the Barrington Family of Beckett Hall, Shrivenham, Oxfordshire, principally William Barrington (1717-1793), 2nd Viscount Barrington, twice Secretary at War (during the Seven Years' War, and the American War of Independence), and Chancellor of the Exchequer, his brother Admiral Samuel Barrington (1729-1800), and Shute Barrington (1734-1826), Bishop of Durham, and Major-General John Barrington (1722-1764), c. 1740s-1830s, including a significant archive of loose manuscript correspondence from William Barrington as Secretary at War, and as Chancellor, to various recipients including naval commanders and politicians regarding international relations and diplomacy during the Seven Years' War, c. 1756-57, important documents and correspondence during the 1760s relating to the British relationship with America (its provinces in Massachusetts, Quebec etc., reform of the Irish Army along the lines of its British equivalent, etc.), a large quantity of naval correspondence c. 1740 to 1780 on the Royal Navy, including events in the West Indies, the taking of St. Lucia, Gibraltar, comparative accounts of the state of the fleet (the number of ships in America in 1750, details of the French fleets 1749/50), and expenditure (debt of the navy in 1752, etc.), a plan to destroy Spanish ships at Cartagena, a proposal to blockade Quiberon, list of ships stationed in Africa 1720-39, restructuring and proposals regarding the design of naval vessels, accounts of court martials etc., also 5 folio copy letterbooks, two containing correspondence of Admiral Samuel Barrington relating to the West Indies (including Antigua, St. Lucia and Barbados) in 1759-71 (including memoranda and orders given by Samuel Barrington and others as commander aboard HMS Achilles, HMS Albion, HMS Venus, approx. 126 leaves), and 1778-82 (comprising 15 original letters, 6 copy letters and other miscellaneous entries, original letters include Lord Sandwich congratulating Barrington on repelling an attack in St Lucia; Sandwich offering Barrington Commander-in-Chief of the Western Squadron; Sir John Gay Alleyne (Barbadian politician) regretting the departure of the fleet and thus leaving some islands exposed; Lord Howe passing on the House of Lords acknowledgment of those involved in the Relief of Gibraltar, 42 manuscript leaves, one volume containing correspondence of Admiral John Barrington relating to the West Indies in 1759, and two miscellaneous copybooks for William Barrington, covering the years 1756-60 and 1760-66, mostly bound in reversed calf, a further folio manuscript volume bound in vellum, 305 pp., titled The Navy Board, containing neat copy of the old and new instructions for various posts in the navy including principal officers, store keepers, gunners, master shipwrights, etc., a large correspondence to the diplomat Robert Adair, c. 1800-1810, plus a printed Large Paper quarto copy of Shute Barrington's biography of his brother William Barrington (The Political Life of William Wildman Viscount Barrington, compiled from original papers by his brother, Shute, Bishop of Durham, London: W. Bulmer, 1814), a printed copy of The Case of Nicholas Nugent, Esq; Late Lieutenant in the First Regiment of Foot Guards..., 1776, bound in original plain wrappers, 8voQTY: (5 archive boxes)NOTE:Further documents in this collection include estate accounts, invoices, bills, wine drunk and left in the cellar at Beckett Hall, 1760s to 1770s, family correspondence, various recipes - wild sage tea for gout, anchovy sauce, salting salmon, potting eels, mutton barley broth, barley water, and remedies – for weak bowels, ague, wormwood draught for preserving teeth, etc., Shute Barrington's manuscript draft of an oration delivered at Oxford (1756) on objects of art being available for public viewing, leases and rents, income from property, the Mongewell Estate (Shute Barrington’s home), and his vellum document (in Latin) investing him as Visitor of Balliol College Oxford, with large wax seal in hallmarked silver box.The collection is organised into tied bundles and folders with alphanumeric codes on post-it notes for which a tabulated inventory spreadsheet is available from the auctioneers.
* George VI (Albert Frederick Arthur George, 1895-1952). King of the United Kingdom, 1936-52. A presentation fountain pen by Wyvern, c. 1953, black barrel and cap with gilt clip and band with engraved royal monogram 'GRE' surmounted by a crown, contained in original presentation white card box with additional royal monogram in gilt to upper lid, rubbed and some ink staining to inner lining near nib end, 15 x 4 cm, together with related letter, carbon copy reply, 2 unsigned small Christmas cards from George VI and Queen Elizabeth and a small black & white photograph of George VI, Queen Elizabeth, Princess Elizabeth and Princess Margaret in a garden by a deck chair, 75 x 110 mmQTY: (7)NOTE:Provenance: By family descent from Kenneth Hall, MVO, MBE, RN (1892-1976). The pen is accompanied by a typed letter on Buckingham Palace letterhead, 4 October 1953, presenting the fountain pen at the request of the new Queen 'as a memento of your service to the late King', signed by Edward Ford; with Ford's carbon copy reply on Buckingham Palace letterhead, 7 October 1953, in which Ford thanks 'the Queen and Queen Elizabeth the Queen Mother for Their Majesties' kind thought and the memento of my service to The King... '.
Samuel Howitt, British c.1765-1822- Seven Studies of birds; each pencil and watercolour on paper, six signed 'Howitt', four indistinctly inscribed in pencil, 19 x 12.9 cm. and smaller, seven (7). Provenance: Anon. sale, Sotheby's, London, 22 November 1995, lot 1. (part lot). Private Collection, UK. Note: Howitt made his name as an animal and sporting artist, particularly depicting hunting and equestrian scenes. He illustrated a number of publications, including Peter Beckford's 'Thoughts on Hunting' (1798) and John Turton's 'The Angler's Manual' (1808), as his own titles, such as 'A New Work of Animals' (1811) and 'Groups of Animals' (1811). Howitt produced a number of ornithological studies like the present works - indeed, one of his major patrons was Walter Fawkes (1769-1825) of Farnley Hall, Yorkshire for whom he executed studies to be included in the family's 'Ornithological Collection' albums, whilst another patron was the naturalist and collector William Bullock (c.1773-1849).
Philip Alexius de László, PRBA, Hungarian / British 1869-1937- Portrait of Paul Leonardo de László, the artist's son; oil on canvas, signed, inscribed, and dated 'To Stephen / de László / 1932' (lower left), 77.8 x 62.2 cm. Provenance: Stephen de László, son of the artist. By descent; Anon. sale, Christie's, London, 12 December 2013, lot 27. Private Collection, Spain. Literature: The de László Archive Trust, 'The Catalogue Raisonné of Works by Philip de László (1869-1937) [online]', no.8354. Note: Paul Leonardo de László (1906-1982) was born in Vienna, the third son of Philip de László and his wife Lucy, née Guinness. His second Christian name was given to him in honour of Leonardo da Vinci, (1452-1519) whom his father much admired. The family moved to England in 1907 and Paul was educated at Twyford School, near Winchester, Rugby (where he was known for his debating skills) and Balliol College, Oxford. At Oxford he was a keen boxer, and very much involved in the Oxford Union Debating Society. After graduating from Oxford he taught history at Eton for a term, and was asked to join the permanent staff. He declined the offer and spent a year (1927-1928) in New York working in the bank of Ladenburg Thalmann & Co. Inc. Philip de László was extremely proud when his son was called to the bar in 1929 and painted a number of portraits of him in his wig and gown. The sitter joined solicitors Gregory Rowcliffe & Co. in London, who would later act as executors of Philip de László’s estate after his death in 1937. In June 1933 Paul married Josephine Vavasour McConnell. They had three children, Christopher (born 1936), Ann (born 1938) and Jane (born 1942) and lived in Tite Street and later, Southcote Lodge, Camberley. During the war Paul served as a Lieutenant Commander Royal Naval Volunteer based at Bletchley Park. He served in North Africa, inspected Naval Radio stations and worked in the special section of the Admiralty. He was awarded an OBE. He was a close friend of General Montgomery’s Chief of Staff, Freddie de Guingand. After the war he joined 'English Electric' as personal assistant and legal advisor to the chairman, Sir George Nelson. He became a director of the company. He retired in 1969. His interests included photography, cine-photography, woodwork, clocks and watches, and natural history. During his schooldays he knew Harry Abrahams and they shared a job collecting films to be developed. At the age of 14 he became a Fellow of the Royal Photographic Society. He took many of the photographs in John Ramsbottom’s book 'Mushrooms and Toadstools'. A keen amateur conjurer, he was very skilled with his hands. During the war, when he was at home and had the time, he taught carpentry to his son Christopher and his contemporaries in his workshop. He enjoyed designing and building electrical gadgets. Visitors to Orchards, Godalming (where he moved in 1946) were fascinated by the movie screen which was hidden behind the panelling in the hall, and which would appear at the press of a button as the lights dimmed. He took a great interest in his family which included many cousins with whom he remained in touch until he died. He was referred to as 'The Rock of the Family' and took great pleasure in his eight grandchildren. He lived at Orchards until 1974 when he moved to Haslemere, Surrey. He died in December 1983, twenty two months after his wife Josephine. In this highly engaging portrait study, the sitter is shown half-length, seated and to the left at a table, wearing a barrister's black gown, wing collar and a grey wig. His left elbow rests on the table with his hand raised, his right forearm across a group of papers. The portrait is inscribed to Stephen, the elder brother of the sitter. We are grateful to Katherine Field for writing the catalogue entry for this portrait, which is included in the Philip de László catalogue raisonné, currently presented in progress online: www.delaszlocatalogueraisonne.com (no.8354).
A LARGE COLLECTION OF POSTCARDS, aproximately 850 to include Bexhille, Bexley, Bibury, Bicester, Biddenden, Biddlesden, Betchworth, Bethnal Green, Biggleswade, Bignor, Billericay, Billingshurst, Bilsington, Birchington, Birdham, Birdingbury, Bisham, Birling Gap, Bishops Hatfield, Bishops Sutton, Bishopstoke, Bishops Stortford, Bishops Waltham, Bisley, Blackheath, Blackmore, Blackstone, Bladon, Blakesley Hall, Blenheim Palace Woodstock, Bletchingley, Blockley, Bloxham, Blythburgh, Bobwalls, Bodiam, Bodicote, Bognor Regis, Bolderwood New Forest, Boldre, Boreham, and Blisworth, these are spanning early 20th century to mid-late, a great selection of topographical included with interesting buildings, national parks, and rural scenes, many with postage marks, or unposted, viewing is advised
FIVE BACHMANN BRANCHLINE OO GUAGE MODEL BUILDINGS, to include Aidensfield Garage, item no. 44-076Z, The Birch Hall Inn, item no. 44-043Z, 2 Hampton Garages, items no. 44-076, and a Wooden Village Hall, item no. 44-0006, all appear in new condition, outer cardboard boxes in good condition with possibility of lightest storage related rubbing/handling marks to boxes
WAVE / POP / ROCK - LP / 12" COLLECTION. A collection of around 240 x LPs / 12". Artists/ Titles include New Order - Low-life, Icehouse - Measure For Measure, Hall / Oates - Bigger Than Both Of Us, Blondie - Parallel Lines, The Waterboys - A Pagan Place, Prefab Sprout - From Langley Park To Memphis, Josie Cotton - Convertible Music, ABC - Beauty Stab, Elvis Costello, The Police, Paul Simon, The Smithereens, Billy Joel, Cyndi Lauper, Rod Stewart, 10cc, Kylie Minogue and Cheech & Chong. Please note condition varies and viewing is recommended.
Collection of The Fall paperwork and documentation from MES' personal collection to inc: a 1985 tour itinerary page (5x7.5") with annotation by MES to read (in reference to a Hollywood address) "This is the famous 'street of stars' of the (indecipherable) 30's. Chinese Theater (star symbol) on pavements". Also to inc: memo for 1986 'From Manchester With Love' concert in Liverpool with The Smiths, New Order, The Fall. A stapled 1994 contract for Queen Elizabeth Hall, Oldham. A 1986 fax with proposed tour dates with MES annotations in pen "NO".Consigned directly from Mark E. Smith's personal collection by Mark's family.
A collection of glassware and ceramics to include a T Goode & Co Ltd tea service comprising eleven tea cups and saucers, nine coffee cups, a link jug, plates, a lidded tureen, milk jugs; a set of eleven basket woven Helena Wolfsohn plates with handpainted floral motifs; a New Hall style teapot; a small mirror with an applied Dresden porcelain of applied floral decoration; a pair of ribbed glass decanters; four further decanters; a toasting glass; four Champagne glass washers; and a blue glazed dog of foQty: qtyCracks and chips throughout the tea service. Repairs and cracks to the dog of fo. Rubbing to the gilt and decoration on the Helena Wolfsohn. Glass in generally good condition, one of the decanters with a crack in its rim.
A Ridgway porcelain teapot and cover. Circa 1820, of London shape, the apple green and gilt ground with floral corners, height 16.5cm, together with another London shape Ridgway teapot and cover, and a New Hall teapot and cover, painted and gilt with leaves and acorns, in pattern number 1147 (3).Apple green teapot with large chips to the inner rim, the apricot ground teapot with two large cracks and repair to the lid, and the acorn decorated teapot with two hairline cracks and small chips to the inner rim. Images of affected areas on Lay's website.
A New Hall or Keeling oval porcelain teapot, cover, and stand. Circa 1800, with flower painted and gilt decoration, pattern number 365, height 18cm, together with a Derby low oval teapot, cover and stand, circa 1815, and a New Hall blue and gilt teapot and cover (3).some small wear to gilt on all teapots, the new hall blue and gilt teapot has the worst rubbing ro gilt, the Derby low oval teapot has a small firing crack to base of handle, please see additional images of affected areas on our website. otherwise no condition issues.
Thompson, Edward Palmer - 'Out of Apathy', published by New Left Books, Stevens and Sons, Ltd., London, 1960, first edition, signed in ink by authors E. P. Thompson and Stuart Hall to frontispiece, black cloth boards, lacking dust jacket, 4to, also Bednarik, K. - 'The Young Worker', published by Faber and Faber, 1955, blue cloth boards with dust jacket, 4to, and a pamphlet titled 'The Welfare State' by Enoch Powell. (3)
Mark Tobey, Strukturendichte Komposition aus Strichen und kleineren Flächen, Farbradierung auf Velin, um 1970, unter der Darstellung in Blei rechts signiert "Tobey" und links nummeriert "33/55", in der unteren linken Blattecke Prägestempel "Edition de Beauclair Frankfurt am Main", kräftiger Druck, Darstellungsmaße ca. 23,7 x 14,5 cm, Blattmaße ca. 51 x 34 cm. Künstlerinfo: US-amerikanischer Maler und Grafiker (1890 Centerville bis 1976 Basel), 1906 Umzug in die Nähe von Chicago, 1911 Umzug nach New York und hier unter anderem als Zeichner für die Vogue tätig, ab 1918 Anhänger der Bahai-Religion, 1922 Umzug nach Seattle und hier bis 1925 als Lehrer am Cornish College of the Arts tätig, 1925-27 Parisaufenthalt, 1930-38 Dozent an der Darting Hall School, 1934 Reise nach China und Japan, 1939 Rückkehr nach Seattle, 1944 Personalausstellung in der Willard Gallery/New York, 1958 Auszeichnung auf der Biennale in Venedig, Teilnahme an der documenta II und III, ab 1960 lebte der Künstler in Basel, gilt als Wegbereiter des abstrakten Expressionismus, Werke in zahlreichen Sammlungen und Museen, Quelle: Vollmer, Benezit, Wikipedia und Internet.
59 New York City related silver gelatin prints and original vintage photographic reproductions from the archives of the Star Tribune including: architectural designs for the Philharmonic Hall in the Lincoln Center, James M. Landis, various mayors through the years, John F. Kennedy, children creating play areas, the construction of a tunnel under the Hudson River, among others.Provenance: From the archives of the Star Tribune, established over 150 years ago, Minneapolis, Minnesota.The copyrights for these images remains solely with the Star Tribune or with the issuing agency or photographer. The prints are available as a collectible item only and may not be reproduced in any form whatsoever without prior written consent from the copyright holder.Height ranges from 2 1/4 in to 10 in; width ranges from 3 1/2 in to 10 in. />Condition: All lots are in used condition. These photographs are from a working archive and contains notes, marks, labels, clippings, and/or retouching put in place by the staff at the time of publication. All may have cracks in the emulsion, losses, creases, folds, tears, smudges, and other issues associated with time, age, and use. The archive contains both silver gelatin prints and original vintage photographic reproductions.
Paul Guiragossian (Lebanon, 1926-1993)Fate (from the Gibraniyat series) watercolour on paper, framedsigned 'PAUL G' (bottom centre), executed in 198169 x 49cm (27 3/16 x 19 5/16in).Footnotes:Provenance:Property from a private collection, BeirutNote:This work is sold with a photo certificate from the Paul Guiragossian FoundationKahlil Gibran SeriesThroughout this long decade of exhibitions abroad, Guiragossian never ceased to exhibit locally in the 1980s. In 1981, on the occasion of the international year of Kahlil Gibran, which marked the fiftieth anniversary of the artist/author's death, Guiragossian conducted a series of water colours that were exhibited on two occasions, first from October 23rd until November 3rd at the Hall of Glass of the Lebanese Ministry of Tourism, followed by a second presentation organised by Gallery One from the 3rd until the 24th of December at the Foyer of the Casino du Liban. The series took a year to complete throughout which the artist immersed himself in the world of Gibran. This period of prolonged contemplation resulted in seventy-nine works that were inspired by Gibran's Jesus., The Son of Man and twenty-nine others responding to the themes within Gibran's most famous literary oeuvre: The Prophet. In a review that appeared on the 24th of October, 1981 in An-Nahar newspaper, critic May Mounassa wrote: 'Guiragossian has undertaken a bold step, or a subconscious one, that has translated his philosophical thought, which is hard enough to decipher, let alone through ambivalent lines and free colour. Therefore, in deviating from his traditionalism, albeit neither in form nor in concept, represents a new vision that matches the artist's vision of his world which provides him with his only foundation.' Guiragossian continues to seek new manifestations for constantly reworked vision.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
Dickens (Charles). The Personal History of David Copperfield, 1st edition, London: Bradbury & Evans, 1850, etched frontispiece, additional title and 38 etched plates by H. K. Browne, usual toning to plates, some light spotting and offsetting, previous owner inscription, contemporary green half morocco spine lettered and decorated in gilt, edges slightly rubbed, 8vo, together with The Life and Adventures of Martin Chuzzlewit, 1st edition, London: Chapman and Hall, 1844, etched frontispiece, additional title and 387 etched plates by H. K. Browne, some browning and spotting, previous owner inscription, contemporary green half morocco gilt, a little rubbed, top edge of lower cover a little bumped, 8vo, plus The Adventures of Oliver Twist; or, the Parish Boy's Progress, new edition, revised and corrected, (1st one volume edition), London: Bradbury & Evans, 1846, engraved portrait frontispiece and 24 plates by George Cruikshank, some spotting and offsetting, previous owner inscription, all edges gilt, contemporary green half morocco gilt, joints and edges a little rubbed, 8vo, with 3 other 1st editions bound in recent cloth: Dombey and Son, 1848, Bleak House, 1853, and Little Dorrit, 1857QTY: (6)
Forbes (Duncan, translator). The Adventures of Hatim Tai, a Romance. Translated from the Persian, 1st edition in English, London: printed for the Oriental Translation Fund, 1830, 214 pp., Oriental Translation Fund presentation leaf at front with the statement 'This copy was printed for Peter Johnston, Esq.. of Carnsalloch, a Subscriber to the Oriental Translation Fund', a little light spotting, hinges reinforced, contemporary calf gilt, rebacked with original spine relaid, a little rubbed with some edge wear and stains, 4to, together with Skinner (H. D.) The Morioris of Chatham Islands. Memoirs of the Bernice P. Bishop Museum Volume IX, Number 1 with Plates I-XXXV, Bayard Dominick Expedition Publication Number 4, Honolulu, Hawaii: published by the Museum, 1923, map in text, monochrome illustrations, light spotting to title, small previous owner stamp, original burgundy buckram, 4to, plus Parker (E. H.) Studies in Chinese Religion, 1st edition, London: Chapman and Hall, 1910, half-tone illustrations, advertisement leaf at front, some light spotting, original cloth gilt, spine a little faded, 8vo, with others including Kwang Tung or Five Years in South China, by John A. Turner, circa 1896, Extreme Oriental Mixture, by Gilbert Collins, 1925, Decorative Art of New Guinea. Incised Designs, by Albert Buell Lewis, Anthropology Design Series No. 4, Field Museum of Natural History Chicago, 1925, Carved and Painted Designs from New Guinea, by Albert Buell Lewis, 1931, and The Junks and Sampans of the Yangtze, Volume I: Introduction and Craft of the Estuary and Shanghai Area, by G. R. G. Worcester, Shanghai, 1947 QTY: (45)
Helps (Arthur). The Spanish Conquest in America, and its relation to the history of slavery and to the government of colonies, 4 volumes, 1st edition, London: John W. Parker and Son, 1855, numerous monochrome maps, period inscription to the front endpaper of volume 1, some gutters slightly cracked, some light spotting & toning throughout, original uniform green cloth, some minor rubbing to the head & foot of the boards & spines, 8vo, together with:Bradford (Alexander W.), American Antiquities and Researches into the Origin and History of the Red Race, 1st edition, New York: Dayton and Saxton, 1841, signed & inscribed by the author to the front endpaper, some light marginal toning throughout, original embossed green cloth, boards & spine slightly faded & rubbed to head & foot, 8vo, plusGerrare (Wirt), Greater Russia, the Continental Empire of the World, 1st edition, London: William Heinemann, numerous monochrome illustrations plus a map, front & rear gutters cracked, some light marginal toning, top edge gilt, original gilt decorated red cloth, boards & spine slightly rubbed to head & foot, 8vo, and other 19th & early 20th century travel & history reference, including The Ancient Ruins of Rhodesia, by R. N. Hall & W. G. Neal, 1st edition, London: Methuen & Co., 1902, ex-library copy with associated stamps, original gilt decorated blue cloth, 8vo, some leather bindings, mostly original cloth, some in dust jackets, G/VG, 8vo/4toQTY: (3 shelves)
[Defoe, Daniel]. A Tour thro' the Whole Island of Great Britain. Divided into Circuits or Journeys. Giving a Particular and Entertaining Account of whatever is Curious, and worth Observation..., by a Gentleman, 4 volumes, 5th edition, London: S. Birt, T. Osbourne, D. Browne [& others], 1753, some toning, armorial bookplate of John George Home Drummond of Abbots Grange, contemporary calf, 12mo, together with:Hooker (William Jackson). Journal of a Tour in Iceland, in the Summer of 1809, 2 volumes, 2nd edition, with additions, London: Longman, Hurst, Rees, Orme, Brown and John Murray, 1813, hand-coloured engraved portrait frontispiece to volume 1, 3 maps (2 folding), folding plan and 3 plates (one folding), occasional spotting, light offsetting and toning, bookplate of Charles Langton Massingberd of Gunby Hall to upper pastedowns, contemporary diced calf, rebacked, gilt decorated spines, 8vo,Bullar (John). A Historical and Picturesque Guide to the Isle of Wight, 7th edition, Southampton: Baker and Son, [1828], 2 engraved plates including frontispiece, bound with Buller (John). A Companion in a Tour round Southampton..., 4th edition, improved and enlarged, Southampton: T. Baker, 1819, hand-coloured folding engraved map frontispiece, armorial bookplate of George Meek to upper pastedown, contemporary half calf, rebacked, red morocco title label, 12mo, and three others, Trollope (William). A History of the Royal Foundation of Christ's Hospital, London: William Pickering, 1834; Wildridge (T. Tindall). Old and New Hull, volume 1, Hull: M. C. Peck & Son, 1884; and Scruton (William). Pen and Pencil Pictures of Old Bradford, Bradford: Thomas Brear & Co. Ltd., 1889QTY: (10)
Sydney. Guide to the Port of Sydney N. S. W. published by The Maritime Services Board of N. S. W. printed by D. H. Paisley, Govt. printer, circa 1925, containing five folding maps including Birds Eye View of the Port of Sydney, Sydney Harbour Trust, 1919, colour lithographic pictorial map, printed on thin paper, old folds, short splits where old folds cross, occasional closed tears, 610 x 750 mm, together with Map of the Wharf Accommodation of the Port of Sydney, circa 1920, colour lithographic pictorial map, printed on thin paper, old folds, short splits where old folds cross, torn with the upper left corner of the map detached which remains bound into the volume, with Sydney Harbour Trust, Birds Eye View Showing new Wharfage Scheme Walsh Bay Sydney, circa 1920, colour lithographic pictorial map, printed on thin paper, old folds, short splits where old folds cross, torn with loss, 525 x 810 mm, plus Sydney Harbour Trust Birds-Eye View Showing New Wharfs & Approaches Jones Bay Pyrmont, circa 1920, colour lithographic pictorial map, printed on thin paper, old folds, trimmed to the image along the left hand margin, 470 x 815 mm, and Sydney Harbour Trust Birds-Eye View of Terminal Grain Elevator and Proposed Cargo Berths Glebe Island Port Jackson N. S. W. circa 1920, colour lithographic pictorial map, printed on thin paper, old folds, trimmed to the image along the left hand margin,590 x 815 mm, the volume also contains numerous uncoloured photographic views of the harbour and docks including two folding plates, publisher's green cloth gilt, spine faded, 8vo, together with Paterson (Daniel). Paterson's Twenty-Four Miles round London, with Reference to Seats of the Nobility and Gentry. London, published Bowles and Carver, 25th July 1791, circular engraved map with bright contemporary hand colouring, sectionalised and laid on linen, reference tables to each of the spandrels, very slight spotting, some wear cracks and small holes where old folds cross, crude tape repairs to verso, overall size 660 x 660 mm, contained in a contemporary card slipcase with publisher's printed label to the upper cover and advertisement to the rear cover, worn and frayed with crude tape repairs to the extremities, with Stanford (Edward). A Chart of the World on Mercator's Projection Shewing the Principal Ocean Steam Routes & Submarine Telegraphs &c. Jany. 1st. 1885, large engraved map with contemporary outline colouring, sectionalised and laid on linen, 660 x 1100 mm, contained in a contemporary cloth slipcase with printed title label to the upper cover, plus Hall (Sidney). A Travelling County Atlas..., 1842, printed title, 26 (only) engraved maps with contemporary outline colouring including one folding (Ireland), contents shaken and loose, contemporary 'envelope style' green morocco gilt covers, heavily worn and frayed, with another 10 British and foreign county and regional folding maps, including examples by or after Hughes, Buxey, Ordnance Survey, Bouchard, Allnutt, Vuillemin, Cassell and Colonel Thuillier, various sizes and conditionQTY: (13)NOTE:The Map of London by Paterson. James Howgego. The Printed Maps of London, no.212a. Howgego lists the first edition as 1797. This appears to be an unrecorded state, published six years prior to the first recorded edition.
Bible [English]. [The Holy Bible, Containing the Old Testament, and the New: newly translated out of the Originall Tongues: and with the former Translations diligently compared and reuised by his Maiesties speciall Commandement. Appointed to be read in Churches, Imprinted at London by Robert Barker, Printer to the Kings most excellent Maiestie, 1617], general title lacking, New Testament title present with decorative woodcut border (slightly loose and short closed tear at gutter), Apocrypha present, black letter double column text, decorative woodcut initials throughout, Ruth 3:15 reading 'She went into the citie', leaves 2F6, 2U4 and 5S1 torn to lower outer corner with very slight loss to border, closed tear to 5B2, hole to fore-margin 5H5, lower outer corner of 5O6 torn with slight loss to printed marginal note, Genealogies by John Speed present, with several woodcut genealogies including one incorporating an image of Adam and Eve in the Garden of Eden, verso of title to genealogies with contemporary ownership inscription 'Hunc libyu Franciscus Morrice de Huntercumb Armiger dono dedit in ... Parochia Bornham die 25 Decembris die natali salvatoris nostrii Jesu Christi, Anno Dom. 1617 ... Johannes Wryght', occasional short worm trails to gutter margins of few leaves within volume, sewing weak in places and contents loosening in places, occasional light dust-soiling and damp stains, few marks, some marginal fraying mostly to leaves at front and rear, pencil note to front pastedown ' Bt at sale of part of contents of Helperby Hall, Yorkshire, seat of Milnes-Coates family, June 1989', contemporary blind panelled reversed calf, upper board with very indistinct blind label ('Burnham'? dated 1725) with gilt foliate decoration, spine lifting from text block and torn with some loss, worn, folio (41.7 x 27.7 cm)QTY: (1)NOTE:Darlow & Moule 273; Herbert 353; STC 2247.The third distinct folio edition, printed in large black letter, of King James' version (Herbert, Darlow & Moule).
A large commemorative photograph album presented to the Maharajah of Mysore by Maharajah Sir Jagatjit Singh Sahib Bahadur of Kapurthala (reg. 1877-1949), on the occasion of the wedding of his son, and the completion of the New Palace Punjab, Kapurthala, 1911, the dedicatory inscription dated 25th Decembergelatin silver prints laid down on card with printed captions, 41 photographs on 40 leaves, presentation inscription on front doublure, original black morocco gilt, upper cover stamped in gold Kapurthala 1911 and the State coat of arms the photographs typically 240 x 285 mm., the largest 270 x 360 mm., one 215 x 160 mm.; the album 35.5 x 46 cm.Footnotes:ProvenanceFormerly in the collection of the Maharaja of Mysore, Krishna Wadiyar IV (reg. 1902-40): presentation inscription from Maharajah Jagatjit Singh, dated 25th December 1911, (ten days after the Imperial Durbar at Delhi).The subjects of the photographs are as follows:HH the Maharajah, the Tikka Saheb and the Tikka Rani Sahiba.A large group photograph of the wedding guests (Indians and Europeans).The Indian wedding guests.The three Princes and the Princess of Kapurthala.HH the Maharajah, Princes and State Officials.A large group of guests in evening dress at the State Ball.The Sehrabandi Ceremony, in Durbar.The Hindu Marriage Ceremony.The Sikh Marriage Ceremony.The Wedding Procession.The Wedding Procession, with the bride and groom's carriage.The Wedding Procession, with the Maharajahs of Kashmir and Kapurthala on elephants.The Wedding Procession, with the principal guests.The Wedding Procession, with the arrival at the palace.A view of the spectators at the gymkhana.The State Banquet.General view of the Guests' camp.Another view of the Guests' camp.A further view of the Guests' camp.Another view of the Guests' camp.Another view of the Guests' camp.The Drawing Room Tent in the Guests' camp.The New Palace, front view.The New Palace, back view.The New Palace, side view.Interior view of the Durbar Hall Palace.The State Drawing Room in the Palace.The State Dining Room in the Palace.The Japanese Room in the Palace.The Library in the Palace.The Billiard Room in the Palace.HH's Office in the Palace.The Villa Buona Vista.A view from the river.The State temples.The mausoleum of H.H.'s ancestors.A group photograph at Akaona.A group photograph of a shooting party at Akaona.Chateau Kapurthala, Mussoorie.The Ball Room in the Chateau.HH on the State Elephant.A fine album commemorating two important events from 1911 in the life of Maharaja Jagatjit Singh (1877-1949), Sikh ruler of the princely state of Kapurthala, in the Punjab. The first was the wedding of Jagatjit Singh's eldest son Sri Tikka Raja Sahib Paramjit Singh to Maharani Brinda Devi Sahiba. Also in that year the Maharajah's extravagant New Palace (now Jagatjit Palace) was completed. Reflecting the Maharajah's love of France (he made French the official court language of Kapurthala), the palace was inspired by Versailles and Fontainebleau. The Villa Buona Vista, and the chateau at Mussorie, were both inspired by Spanish architecture, and were built for the Maharaja's fifth wife, Anita Delgado (the 'Spanish Maharani'), a young Spanish dancer whom he had married in 1908. She can be seen in the wedding and hunting groups alongside her husband.For further information on this lot please visit Bonhams.com
A FINE, RARE AND LARGE CHARLES II YEW AND BEADWORK MIRROR CIRCA 1665/1675 The beadwork depicting flowers, a lion and a lioness, the bevelled rectangular plate flanked by a depiction of King Charles II to the right and Catherine of Braganza to the left, the upper border also centred by a roundel with depiction of the King and beneath by an alternate depiction of Catherine of Braganza, within borders of yew wood cross grain moulding throughout 110cm high, 85.5cm wide Whilst it is not uncommon to find embroidery framed mirrors of this period- beadwork mirrors are altogether rarer- especially of this scale and retaining such good colour. Unlike fabric embroideries the beads tend to retain most if not all of their original colour. The beads themselves it is believed were often sourced from national and international makers- including Murano in Italy. The depictions of King Charles II and Catherine of Braganza, together with the inclusion of the heraldic lion and leopard, suggest a Royalist supporting family and may be a commemoration of the Royal marriage of 1662. The overall scale of the piece, the size of the mirror plate, further suggests a very wealthy family. For similar please see: A related but smaller Restoration period mirror with provenance possibly to the Horton Fawkes family of Farnley Hall was purchased by the Art Fund in 2014 for the Leeds Museums and Galleries and is now housed in Temple Newsam. A mixed raised work embroidery framed mirror with similar iconography and lobed corners from the Irwin Untermyer collection in the Met Museum (accession Number: 64.101.1332). A Charles II beadwork and faux tortoiseshell dressing mirror circa 1670, illustrated in Graham Child, World Mirrors 1650-1900, Sotheby's Publications, 1990, page 60, plate 2 and subsequently sold Sotheby's New York, Important European Decorative Arts, 9th June 2014, lot 167 $20,000.SALEROOM NOTICE: Please note that the beadwork mirror actually depicts Queen Henrietta Maria on the left, in full-length, opposite King Charles I, in full-length on the right and Charles II is depicted at the top of the mirror on the roundel, and the bottom of the mirror, in the roundel, is depicted, the ever so beautiful, Catherine of Braganza. Condition Report: Marks, scratches and abrasions commensurate with age and useSome old chips and splits. Some small losses including a section of moulding the the outermost lower right corner of the frame. Some old repairs and replacements as expected for age. Some areas of the beadwork replaced. Some movement, warping the frame overall creating an overall 'bow' as expected for age. (see additional images)The mirror plate has significant age and the hand bevelled edge is true to its current size and placement, however it is not possible to guarantee that this plate is entirely original to the frame. It is possibly original. Textile was previously glued to the side edges of the frame and apparently the same material to the reverse of the frame throughout. To the reverse there is various old staining to the textile. To the side edges a high percentage of the textile is lost and mainly only very small fragments remain. The reverse of the frame looks generally good and original. There are later fixtures screwed to the reverse in order that the mirror can be hung. We cannot guarantee the originality or condition of the timber immediately underlying the glued down textile to the reverse. Very good original surface, depth of colour and patina to the yew mouldingsThere is no further specific provenance regarding this lot.Please refer to the additional images available via email for visual reference to condition in addition to the images available on our website. Condition Report Disclaimer
A COLLECTION OF ARTEFACTS ASSOCIATED WITH THE AMERICAN CLIPPER SHIP SURPRISE AND THE RANLETT FAMILYComprising an American silver slop bowl, impressed 'Davis Palmer & Co, Boston, Pure Silver' and engraved with the inscription, 'Presented to Capt. Charles A. Ranlett, by the Underwriters on the Ship Susan Drew, Decr 1841', 6in. (15cm.) high, together with a creamer by the same maker and with a similar inscription, 6in. (15cm.) high; an English silver cup, maker unknown, 1830-31, engraved 'Charles Augustus Ranlet, Jan 1st 1876'; a book entitled 'Gracious Lady, The Life of Sara Delano Roosevelt', by Rita Halle Kleeman, 1st edition, 1935, signed by Sara Roosevelt and the author; another book entitled 'Clipper Ships of America and Great Britain, 1833-1869', by Helen La Grange, 1936; 'The American clipper ship, Surprise' an etching, titled lower left, signed illegibly lower right -- 4 x 5½ in. (10 x 13cm.); a daguerreotype of the elder Ranlett’s children, including Charles Ranlett, Jr.; and two handwritten letters to Charles Augustus Ranlett from his mother and his wife, dated 1837 and 1839(a lot) Charles Augustus Ranlett (1804-1878) and thence by descentCharles Augustus Ranlett (1804-1878) and his son and namesake, Charles Augustus Ranlett Jr. (1836-1874) hailed from a Charlestown (Massachusetts) maritime family. Both father and son would in time captain the American clipper ship, Surprise. An early clipper ship, Surprise was built in 1850 to the order of A A Low & Brother. She was built by Samuel Hall of East Boston, with Samuel Hartt Pook as a designer. Although her first voyage was from New York to San Francisco, she spent the majority of her long working life plying the China trade. She set several speed records and was one of the most profitable clipper ships ever built. On one notable voyage she carried the Roosevelt family to Shanghai, a journey described in the biography of the mother of American President Franklin Delano Roosevelt, Sara Delano Roosevelt, Gracious Lady. She was still trading to the Far East when lost in February 1876 near Yokohama. The Ranlett Family Papers (1791-1948), Series I and II, are housed in the Phillips Library, Peabody and Essex Museum, Salem, Massachusetts. 1.3 oz kg;/542 gm slop bowl11 1/8 kg/316 gm creamer
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![[Defoe, Daniel]. A Tour thro' the Whole Island of Great Britain. Divided into Circuits or Journeys. Giving a Particular and E](https://cdn.globalauctionplatform.com/b9199598-926c-41b8-aeda-b0a600f4e350/0bb468c5-375c-4655-a1f6-b0af00bfc980/468x382.jpg)
![Bible [English]. [The Holy Bible, Containing the Old Testament, and the New: newly translated out of the Originall Tongues: a](https://cdn.globalauctionplatform.com/b9199598-926c-41b8-aeda-b0a600f4e350/28ba9c17-b8b6-41d6-9074-b0af00c0416f/468x382.jpg)
