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Lot 344
York Racecourse Collection - Collection of photos and prints to inc. Photograph of the Royal Box Doncaster c1908, framed 2 postcards 'Famous Jockeys Group and Famous Racehorse Trainers Group', Framed Photo of Tetrach, Framed photo of Lester Piggott after his first win aged 12, framed photograph of Minting, Photograph of Hyperion and Lord Lambton & Framed Don John The Winner of the Great St. Leger Stakes at Doncaster 1838 print (9) Shipping POA https://www.bradleys.ltd/quotation-request-form
Lot 284
A tropical landscape print after the original oil painting by Albert Bierstadt. This lush scene captures a serene Caribbean coastal view framed by towering palm trees, verdant foliage, and vibrant tropical flowers, evoking a sense of tranquility and natural grandeur. The work is characterized by rich detailing and luminous atmospheric effects, reminiscent of Bierstadt's mastery of light and landscape composition. Signed Bierstadt in the plate, this piece is housed in a heavy bamboo-style frame that complements its tropical theme. While not an original work by Bierstadt, this piece reflects the influence of the renowned Hudson River School artist, known for his grand and romanticized depictions of nature. The print appears to have been varnished. Artist: After Albert Bierstadt (German-American, 1830-1902)Issued: c. 1950Dimensions: 30.50"L x 37"HCountry of Origin: USACondition: Age related wear.
Lot 329
Finely executed 18th-century engraving depicting Adrienne Lecouvreur, the celebrated French actress, in an allegorical mourning pose. Based on an original work by Charles Antoine Coypel, this print was engraved by Pierre Imbert Drevet (French, 1697-1739), renowned for his meticulous technique and refined line work. The composition presents Lecouvreur holding an urn with a sorrowful expression, set within an elaborate trompe-l'oeil stone frame inscribed with her name and an epitaph. The delicate rendering of textures, from her flowing garments to the soft curls of her hair, reflects the artistic finesse characteristic of the French Rococo period. Adrienne Lecouvreur, a major theatrical figure of the Comedie-Francaise, was a muse to Voltaire and is remembered for her tragic fate. This engraving, with its dramatic emotional depth and rich historical context, holds significant collectible appeal among admirers of 18th-century French art and theatrical history.Artist: After Charles Antoine Coypel (French, 1694-1752)Issued: 18th centuryDimensions: 18.50"L x 24.50"HCountry of Origin: FranceCondition: Age related wear.
Lot 79
This framed art print, titled Meditation, is by Boris E. Skvirsky (1887-1941, Russia/Ukraine), an artist and photographer known for his evocative and cinematic imagery. This monochromatic composition presents a mysterious female figure bathed in dramatic light, seated in an ethereal pose that exudes both elegance and intrigue. The artwork is encased in a decorative gold and patterned frame, with a nameplate affixed to the bottom, enhancing its presentation. A compelling piece for collectors of vintage photography, surrealist compositions, and classic European art.Artist: Boris E. Skvirsky (Russian, 1887-1941)Issued: 20th centuryDimensions: 20"L x 24"HCondition: Age related wear.
Lot 67
This signed lithograph by Isaac Ishtar Holtz captures a spirited and joyous Hasidic dance scene, rendered in detailed black-and-white tones. The composition centers on three figures, their hands raised in unison as they dance with fervor, surrounded by an animated crowd. The background features expressive onlookers, adding depth and movement to the scene. Holtz, known for his ability to convey the vibrancy of Jewish life, infuses this work with a dynamic energy and deep cultural resonance. His precise linework and tonal shading highlight the rich textures of traditional garments and facial expressions. A celebration of Jewish heritage and communal joy, this work exemplifies Holtz's mastery of figurative storytelling in print form. Edition on lower left: 229/250. Signature on lower right. Artist: Isaac Ishtar Holtz (Polish-American 1927-2018)Issued: c. 1980Dimensions: 36.50"L x 30.50"HCountry of Origin: Poland/United StatesCondition: Age related wear.
Lot 336
A striking trompe-l'oeil fiberglass chair designed to mimic the look of draped fabric with an elegant tiger print pattern. This sculptural piece blends artistry with functionality, featuring a seamless molded construction with a high-gloss finish. The illusionistic design creates a bold statement, making it a perfect accent piece for contemporary, eclectic, or Hollywood Regency interiors.Dimensions: 22.5"L x 30"HCondition: Age related wear.
Lot 70
This framed print by renowned artist Leo Meiersdorff (1934-1994) captures the energy and rhythm of a New Orleans jazz band, a recurring theme in his expressive and fluid artistic style. Featuring a lively ensemble of musicians playing the saxophone, trumpet, trombone, and piano, the artwork reflects Meiersdorff's deep connection to jazz culture. Signed "Meiersdorff, New Orleans '76" in the upper right, this piece is professionally framed in an ornate gold-tone frame with burnt orange matting, complementing its vibrant composition. A fantastic collectible for lovers of jazz-inspired art and music memorabilia. Artwork can be unframed and rolled for shipment.Artist: Leo Meiersdorff (German/American, b. 1934-1994)Issued: 1976Dimensions: 14.75"L x 17.75"HCountry of Origin: United StatesCondition: Age related wear.
Lot 82
This framed botanical still life print features a decorative urn filled with lush fern fronds and cascading berries, rendered in a warm, muted palette of earthy tones. The composition evokes a classical European-inspired aesthetic, with aged patina effects that enhance its vintage charm. The artwork exhibits a textured finish with intentional craquelure, giving it the appearance of an antique fresco. Encased in an ornate, gilded frame with intricate scrollwork, this piece embodies a traditional and timeless appeal, making it a striking addition to any interior space.Issued: c. 2000Dimensions: 24"L x 30"HCountry of Origin: USACondition: Age related wear.
Lot 65
This framed print, titled Notre Dame: Reflections of Our Lady, is a stunning composition by artist J.R. Wainwright, celebrating the rich history and iconic architecture of the University of Notre Dame. The artwork presents a collage of significant landmarks, including the university's Golden Dome, Basilica of the Sacred Heart, and other revered campus monuments, depicted in a striking blue-toned palette. The print is professionally framed in an ornate gold frame with a double mat, enhancing its elegance. A meaningful collectible for Notre Dame alumni and enthusiasts. Artwork can be unframed and rolled for shipment.Artist: J.R. Wainwright (American, 20th century)Issued: c. 1980Dimensions: 36"L x 30"HCountry of Origin: United StatesCondition: Age related wear.
Lot 106
A striking framed bullfighting poster from the Plaza de Toros Monumental de Barcelona, advertising the Extraordinarios Festejos Taurinos of July 2001. The lithographic print features a dramatic illustration of a matador in traditional traje de luces controlling a charging black bull with a red cape. The design conveys the intensity of the Spanish corrida through expressive brushwork and bold color contrasts. The typography highlights celebrated toreros such as Enrique Ponce, Finito de Cordoba, Jose Tomas, and Jose Ortega Cano. This poster is a piece of Spanish bullfighting history, marking an event in one of Barcelona's most renowned arenas before the region banned the practice in 2012. The piece is professionally framed with a red mat and black frame, enhancing its visual impact and collectible appeal.Issued: 1981Dimensions: 30"L x 47"HCountry of Origin: SpainCondition: Age related wear.
Lot 69
This framed and matted print, titled Parfum Du Petit-Champlain III, is a captivating work by renowned Canadian artist Guy Begin. Featuring a lively European village scene, the artwork captures the charm of Petit-Champlain in Quebec City, with its colorful storefronts, outdoor cafes, and lush floral arrangements. Rendered in an expressive impressionist style, this piece is signed "Begin" in the lower right corner. The print is elegantly presented in a gold-tone ornate frame with a double mat, enhancing its depth and vibrancy. A beautiful addition for collectors of Quebec-themed art and impressionist cityscapes. Artwork can be unframed and rolled for shipment.Artist: Guy Begin (Canadian, b. 1944)Issued: 20th centuryDimensions: 14.75"L x 16.75"HCountry of Origin: CanadaCondition: Age related wear.
Lot 137
This limited edition print by Angelo Dundee's longtime associate, Ferdie Pacheco (1935-2017, American), humorously depicts Muhammad Ali down on one knee as his legendary trainer, Angelo Dundee, protests a foul. The print, titled Foul!, showcases Pacheco's signature cartoon-style illustration that captures the drama and humor of boxing. Hand-signed by Pacheco in pencil and numbered 396/500, this piece is an exceptional collectible for fans of Muhammad Ali, boxing memorabilia, and sports illustration art.Artist: Ferdie Pacheco (American, 1927-2017)Issued: 1978Dimensions: 20"L x 16"HCountry of Origin: United StatesCondition: Age related wear.
![An ornately framed print depicting grazing sheep beside a stream, approximately 39 cm x 29 cm image size. [W]](https://cdn.globalauctionplatform.com/0d5dec64-be9e-4295-aa3f-b2a300c3184a/ae3f9805-f527-4e01-8e42-b2ab00fd5783/468x382.jpg)
![A small ornately framed print depicting a sheep and a lamb, approximately 11 cm x 17 cm image size. [W]](https://cdn.globalauctionplatform.com/0d5dec64-be9e-4295-aa3f-b2a300c3184a/8f62825b-6a19-4f7e-8ad4-b2ab00fd61a5/468x382.jpg)
![A small ornately framed print depicting a maritime scene, approximately 19 cm x 24 cm image size. [W]](https://cdn.globalauctionplatform.com/0d5dec64-be9e-4295-aa3f-b2a300c3184a/4e2c8e41-918e-4ee0-8f68-b2ab00fd5576/468x382.jpg)
Lot 7
Baltasar de Echave Ibia (Mexico City, New Spain, ¿1583-84? - 1644)"Coronation of the Virgin"Oil on copper.24,5 x 18,3 cm.Baltasar de Echave Ibía was a prominent painter of the early Baroque in New Spain. Ibía, heir to the Mannerist style of his father Baltasar de Echave Orio, is distinguished by his use of a palette rich in blue tones, which earned him the nickname “El Echave de los Azules” (Echave of the Blues). This painting shares similarities with other works by Baltasar de Echave Ibía, as well as with the Seville school, from which the Echave family drew references through engravings by artists such as Francisco Pacheco and Murillo. The balanced composition, supernatural lighting, and detailed treatment of faces reinforce the idea that this work can be attributed to Echave Ibía. One of the most distinctive aspects of Echave Ibía’s style is his chromatic palette, dominated by deep blue tones, especially in the garments of the Virgin Mary. In this painting, the choice of a vibrant blue mantle with golden embroidery is one of the keys to its attribution to this artist. The use of blue in Echave Ibía’s work is both symbolic and aesthetic. From a theological perspective, blue has been associated with the Virgin Mary as a symbol of her purity and divinity. In pictorial terms, Echave Ibía used this tone exceptionally to create contrasts with golden backgrounds or the warm tones of angels and celestial figures. This characteristic feature found in the painting can also be observed in *The Immaculate Conception*, dated 1620, kept in the National Museum of Mexico, where the blue of the Virgin’s mantle stands out against a luminous background of golden radiance. Both paintings share other similarities, such as iconographic elements, enveloping light, and the rich ornamentation of the mantle. Moreover, Echave Ibía’s painting *Saint Paul and Saint Anthony the Hermit*, also kept in the aforementioned museum, shares the treatment given to the background landscape with this one, a background dominated by bluish tones that create a mystical and enveloping atmosphere. Finally, the similarity between the palettes of those paintings and the one we have here reinforces the hypothesis of its attribution to Echave Ibía. This marvelous copper piece shows a masterful use of chiaroscuro, with a light source emanating from the Virgin and Child, who are surrounded by a celestial glow. This light technique is characteristic of New Spanish painting of the 17th century and is particularly visible in the work of Echave Ibía. The modeling of the faces is delicate and detailed, with a tendency toward oval and gentle features, especially in the Virgin Mary and the angels, a hallmark of the artist, contrasting with the robustness and drama characteristic of other New Spanish painters such as Sebastián López de Arteaga. The painting represents a classical iconography of the Coronation of the Virgin, where Mary is depicted ascending to heaven, surrounded by angels, holding the Christ Child in her arms, and crowned in glory. This scene not only reinforces Marian doctrine but also emphasizes the Virgin Mary’s celestial hierarchy as intercessor and Queen of Heaven, a theme highly recurrent during the Counter-Reformation. Marian devotion was venerated by the Franciscans since the 13th century, being of great importance to the order. We can identify the iconographic type adopted by the fathers for the portrayal of the Virgin of the Angels, an image that presided over the church of the convent, known as the Convent of the Discalced. The Virgin of the Angels is a variation of a print that was circulating at the time, created by the Dutch engraver Cornelis Cort (1533/1536–1578) and published in Rome in 1574. It depicts the theme of the *Assumption and Coronation of the Virgin*, showing her figure standing, in a prayerful attitude, and surrounded by two pairs of angels who support and crown her. This composition was successively simplified in 16th-century models, focusing attention on the figure of the Virgin Mary. This small and exquisite copper piece varies slightly from the typical portrayal of the Virgin Mary, presenting her with a scepter as Queen and carrying her Son in her arms, thereby giving her greater prominence. Reference Bibliography:- Arellano, F. (1988). "El arte hispanoamericano". Universidad Católica Andrés Bello.- Burke, M. (1992). "Pintura y escultura en Nueva España: El barroco (Arte Novohispano)". Fondo de Cultura Económica.- Danes, G. (1942). "Baltasar de Echave Ibía. Some Critical Notes on the Stylistic Character of His Art". Anales del Instituto de Investigaciones Estéticas, 3(9), 15-26.- Kubler, G. (1961). "Mexican Architecture of the Sixteenth Century". Yale University Press.- Portús, J. (2016). "Metapintura. Un viaje a la idea del arte en España". Museo Nacional del Prado.- Ruiz Gomar, R. (2002). "La pintura novohispana del siglo XVII: Temas y variaciones". Museo Nacional de Arte de México.- Toussaint, M. (1965). "Colonial Art in Mexico". University of Texas Press.- Tovar de Teresa, G. (1992). "Catálogo de pintores y escultores en la Nueva España". Instituto de Investigaciones Estéticas, UNAM.- Victoria, J. G. (1994). "Un pintor en su tiempo. Baltasar de Echave Orio". Instituto de Investigaciones Estéticas, UNAM.
Lot 20
Sir Tom Finney: This is a print of the iconic image aqua-planing at Stamford bridge in 1956 playing for Preston North End. It was an acknowledged masterpiece – the 1956 sports photo of the year – which showed a spray-shrouded Tom Finney aquaplaning down the wing on a sodden afternoon at Chelsea. Finney represented Preston in all five of the old forward positions. Although slight, he was a ferocious ball-winner. Although not tall, he could be deadly in the air. He was quick, an accurate passer and a frequent scorer, with 187 goals in 433 appearances for Preston. He even became England’s leading scorer upon getting his 30th goal against Northern Ireland in 1958, but two weeks later Nat Lofthouse drew level and both were to be eclipsed by Bobby Charlton in 1963.
Lot 224
Trade card.- Map & print dealer.- Lockley (David) After. The following particulars made & sold very cheap by Robert Hulton at ye corners of Pallmall facing the Haymarkett, pen and ink on wove paper, remains of previous mounting verso, small pin holes to upper marginal corners, some creasing, lightly browned, 248 x 188mm., [early 19th century]. *** A copy of an early 18th century engraved trade card.
Lot 75
Ravilious (Eric) Hull's Mill, wood-engraving on vélin d'Arches, printed from the original block by Ian Mortimer, image c.125 x 190mm., numbered 61/150 in pencil, loose as issued in original wrappers, small indentation to upper cover (faintly visible to margin of print), [Greenwood G.346], Merivale Editions & Jennings Fine Art, 2006; Muse, [2 copies], wood-engraving printed from the original block, image c.125 x 50mm., numbered 11 [& 12]/100 in pencil, loose as issued in original wrappers, [cf. Greenwood G.102], Jennings Fine Art, 2014; and another wood-engraving by Ravilious (used for both 'An Athlete' & 'A Sun Worshipper' in Martin Armstrong's 54 Conceits of 1933, Greenwood G.271) (4)*** The second item, probably featuring Ravilious' future wife Tirzah Garwood, was commissioned in 1928 by the Westminster Bank as a bookmark but never issued. Ravilious engraved a similar design to illustrate August in his Almanack of 1929.
Lot 121
Hardie (Martin) The Liber Studiorum Mezzotints of Sir Frank Short after J.M.W. Turner, one of 110 copies with mezzotint frontispiece after Turner signed in pencil by Frank Short, from an edition limited to 510, illustrations, some marginal foxing to frontispiece, original cloth, Baynard Press for The Print Collectors' Club, 1938; Samuel Palmer, one of 500 copies, black and white plates, bookplate of Richard Burnett, original cloth-backed boards, couple very small nicks to spine ends, some light toning and surface soiling, some rubbing to extremities, Print Collectors' Club, 1928 § Image (Selwyn) Some Reflections on the Art of Thomas Rowlandson & George Morland, one of 500 copies, black and white plates, some foxing, original cloth-backed boards, spine very slightly faded, some soiling and light toning, little rubbed, Print Collectors' Club, 1929; and others Print Collectors' Club, 4to (9)
Lot 565
PHOTOGRAPH ALBUMS: 7 snapshot albums covering period 1901-1912, containing approx 160 window mounted albumen print and silver gelatin photographs, chiefly European trips inc. Switzerland, France and Germany, mountain scenery etc: with 2 other unrelated snapshot albums of similar period, one including India and Iraq. (9)
Lot 12
SAMU NAQELEVUKI | FIJI | 1969All white jersey, match worn by Samu Naqelevuki (1944-2002). Embroidered palm tree crest with the Fiji RU to square stitched to chest. Quilted number 15 stitched to reverse, label for Canterbury to the interior. To accompany a black and white photographic print of JPR with the ball, surrounded by four Fijian players seemingly attempting to tackle high. A photograph of a tribal dance within a crowded stadium and the cover of the programme from this match. Swapped with JPR after Fiji’s match with Wales XV played in Suva, June 25th 1969.The late Samu Naqelevuki, who was labelled as one of the country’s most stylish and ruthless fullbacks, passed away in November 2002, just a few days after his son Sireli Naqelevuki was named to be part of the national sevens team for Fiji.JPR (family notes, 2023):"The tour to NZ, Australia and Fiji was an exciting one for me, but we were well beaten by the All Blacks. It was wonderful to spend the last few days enjoying the wonderful Fijian hospitality, and sunshine after the grim attrition of the games in NZ. I had missed the last month of term at the Medical school and friends had copied up the lectures for me. Some came to Heathrow to meet us.. and were surprised to see a lot of the team coming through Arrivals wearing skirts (or Sulas) with their black shoes and Welsh blazers! We had all got soaked on a boat trip and were kitted out to return home. Not quite the ceremonial dress we had seen them wearing. I loved the Fijian style of play."
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