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Click here to subscribeA collection of five boxed Eclipse Models hand-painted aircraft die-cast models (1:200 scale) including an F-14 Tomcat "Diamond Backs" US Navy plane, F/A 18E Super Hornet "Tophatters" USS Nimitz plane, F-111 USAF "Buccaneers" plane (Swept Wings), F-15A Eagle "Twin Tails" Israeli Air Force plane & F015C USAF 390th FS "Wild Boars" plane
A collection of five boxed Revell & Airfix military plastic model kits including a limited edition Revell D-Day LCM 3 50ft Landing Craft & 4x4 Off Road Vehicle kit (1:35 Scale), Airfix Royal Air Force BBMF Collection kit (1:72 Scale), Airfix Willys British Airbourne Jeep, Airfix White Half-Truck M3A1 & 1 Ton Trailer and Revell L.R.D.G 30cwt Chevrolet & Jeep - contents unchecked
Eleven Herend porcelain ornaments comprising ; set of three graduated Oriental kneeling men, each holding an ingot shaped bowl, 16.5cm, 12cm and 7.5cm high, together with a collection of animals decorated with an iron red Imari pattern, to comprise an elephant, (lacking tusk) a giraffe, two large rabbits, two bears and a frog, with a further frog decorated in a black scale palate (11)Condition Report: largest Asian man has chip to bowl/ingotTusk missing from the elephantThere is no cracking or crazing to the glaze surface.
dating: Early 19th Century provenance: France, One in bronze and one in silver (56 g), both of octagonal shape. On the obverse, Justice standing and holding the tables of the law placed on an altar.With her left hand, she is holding a scale At the base of the altar “GATTEAUX. R”; on the border 'TRIBUNAL DE CASSATION', the silver one with name 'M.R DANIELS' at the lower part. On the reverse, 'LA LOI' within oak wreath and within a triangle surrounded by rays. The law of the 24th windy year 8 (15 March 1800) established a new order of the Supreme Court; this medal was minted on this occasion. diameter 4.6 cm.
Ouattara Watts (Côte d'Ivoire, né en 1957)Pythagor and Thot signé, daté et situé au revers; étiquette de la Vrej Baghoomian Gallery sur le châssis au reverspeinture acrylique sur toile et panneau de bois, avec collage d'un bateau en bois174 x 198,5cm. (avec bateau)68 1/2 x 78 1/8in.Exécuté en 1990.signed, dated and situated on the reverse; label of the Vrej Baghoomian Gallery on the frame on the reverseacrylic pigment on canvas and on pannel, with collage of wooden boatFootnotes:ProvenanceCollection privée, France.Ouattara Watts, né en 1957 à Abidjan en Côte d'Ivoire, est un artiste dont la pratique transcende les frontières culturelles et artistiques. Formé à l'École nationale supérieure des beaux-arts à Paris, il rencontre Jean-Michel Basquiat en 1988 à New York, une rencontre marquante qui influence son parcours et l'amène à s'installer dans cette ville cosmopolite. L'art de Watts se distingue par un langage pictural dense et symbolique, fusionnant des références à la culture africaine, aux spiritualités ancestrales, et à des influences plus contemporaines telles que le jazz, la science et la cosmologie. Ses œuvres explorent des notions d'interconnexion entre les mondes visibles et invisibles, créant des dialogues complexes entre le passé et le présent, le local et le global.Durant les années 1990, Ouattara Watts produit des œuvres d'une grande intensité, marquées par des compositions éclatantes où la couleur, la matière et le symbole se mêlent pour former un langage visuel puissant. Ses toiles, souvent de grand format, sont traversées par des figures énigmatiques, des motifs géométriques et des signes ésotériques. Watts puise dans l'héritage africain des systèmes de pensée, tout en intégrant des éléments de l'abstraction moderne et du surréalisme. Les formes circulaires, omniprésentes, suggèrent des cycles cosmiques et spirituels, tandis que les couleurs vibrantes, dominées par les rouges, les bleus et les jaunes, évoquent une énergie vitale, une pulsation presque musicale.La dimension spirituelle et cosmologique de ses œuvres des années 1990 se révèle également à travers des signes mystérieux, des chiffres, des lettres ou des formes géométriques qui rappellent les systèmes de divination ou les cartes stellaires. Ces symboles, récurrents dans l'œuvre de Watts, ne sont pas seulement des ornements mais participent à une réflexion plus profonde sur l'équilibre entre matière et esprit, visible et invisible. Dans ces compositions complexes, l'artiste nous invite à une exploration des forces occultes et des énergies qui régissent l'univers, offrant une vision du monde où l'art devient un espace de médiation entre le tangible et le mystique.Les œuvres de Ouattara Watts durant cette décennie se situent à la croisée des cultures et des temporalités. Elles interrogent les flux entre les héritages africains et les préoccupations contemporaines, tout en créant un espace où chaque élément, chaque couleur, chaque symbole joue un rôle dans une narration plus vaste. La décennie des années 1990 marque ainsi une période de grande maturation pour l'artiste, où ses recherches picturales atteignent une intensité singulière, à la fois personnelle et universelle.Ouattara Watts, born in 1957 in Abidjan, Côte d'Ivoire, is an artist whose work transcends cultural and artistic boundaries. Trained at the École nationale supérieure des beaux-arts in Paris, his encounter with Jean-Michel Basquiat in 1988 in New York was a pivotal moment that significantly influenced his career and led him to settle in this cosmopolitan city. Watts' art is characterized by a dense and symbolic pictorial language, blending references to African culture, ancestral spiritualities, and contemporary influences such as jazz, science, and cosmology. His works explore the interconnections between visible and invisible worlds, creating complex dialogues between past and present, local and global.In the 1990s, Ouattara Watts produced works of great intensity, marked by vibrant compositions where color, material, and symbol converge to form a powerful visual language. His large-scale canvases are filled with enigmatic figures, geometric patterns, and esoteric signs. Watts draws from the African heritage of thought systems, while also incorporating elements of modern abstraction and surrealism. Circular shapes, omnipresent in his works, suggest cosmic and spiritual cycles, while vibrant colors—dominated by reds, blues, and yellows—evoke a vital energy, a pulse that is almost musical.The spiritual and cosmological dimension of his 1990s works is also revealed through mysterious signs, numbers, letters, and geometric forms reminiscent of divination systems or star charts. These recurring symbols in Watts' work are not merely decorative but are part of a deeper reflection on the balance between matter and spirit, visible and invisible. In these intricate compositions, the artist invites us to explore the occult forces and energies that govern the universe, offering a vision where art becomes a space of mediation between the tangible and the mystical.Ouattara Watts' works from this decade exist at the crossroads of cultures and temporalities. They interrogate the flow between African heritage and contemporary concerns, while creating a space where each element, color, and symbol plays a role in a broader narrative. The 1990s mark a period of great maturation for the artist, during which his pictorial explorations reached a singular intensity, both personal and universal.For further information on this lot please visit Bonhams.com
Early Computing.- Collection of Material Relating to the Ferranti Pegasus Computer, including: A Description of the Ferranti Pegasus Computer with Magnetic Tape Equipment, second edition, illustrations, original wrappers, Hollinwood, Ferranti, 1959; Programming Examples for the Ferranti Pegasus Computer, title leaf and a few others lightly spotted, original wrappers, one or two short tears, edges slightly creased, very light spotting, Ferranti, 1959; and 8 typescript documents relating to the Ferranti programming course for the Pegasus, 74pp. manuscript notes by a student on the course, 3 loose ff. of tables, 8vo and small 4to (small group) *** Designed in the early 1950s, the Ferranti Pegasus computer is described by the Science Museum (which has one as part of its permanent collection) as the first "user-friendly" computer which "addressed the early issues of how you actually work with a computer". These documents serve as vital evidence for this revolutionary new relationship between computer and user, tracing the information and training programmes that would allow for the Pegasus' practical and commercial use. Forty Pegasus systems were sold between 1956 and 1962, used for large scale and quick mathematical calculations - banks being early purchasers - and in engineering design. A number of the lecturers on these programming courses were women, thus contradicting the stereotype of the male computer scientist. One such woman was Mary Berners-Lee whose husband Conway Berners-Lee also worked at Ferranti and is listed here as the lecturer for "The use of auto-coding for commercial work". Their son Tim Berners-Lee would of course go on to become the inventor of the World Wide Web.A full list is available upon request.
London Transport 1959 Stock 4 Car Model Set: 1:76 (OO) 4-Car Motorised Underground Train was produced by Bachmann EFE Rail exclusively for London Transport Museum. Appears to come with coupling linkages. Conditions: Models appear to be Excellent, however Unboxed. Included is a selection of Platform modelling parts and OO Scale Escalators. Mostly Good to Excellent Condition.
Rolex. An 18ct gold Rolex Submariner ref. 116618LN automatic wrist watch, the black dial with luminous baton and roundel numerals, date aperture and luminous 'Mercedes' hands, the black ceramic unidirectional rotating bezel inset with gilt minutes scale, in an 18ct yellow gold Oyster case on an 18ct gold Oyster bracelet. 40mm case. Complete with box, outer box all paperwork, and tags. Provenance: Purchased as a gift by the vendors wife, but only worn on a couple of occasions.
FORMULA ONE (F1) INTEREST; three boxed model 1:18 scale autographed Formula One models including Renault signed by Alain Prost, Mark Webber Red Bull and Ayrton Senna Racing Car Collection signed by Nigel Mansell, also a 1:18 model of the Audi R8 Champion LM2005 winner Le Mans 24 hour, autographed by JJ Lehto M Werner and T Kristensen, with certificate (4).
EON Productions 1/8th scale Aston Martin DB5 James Bond model by Eaglemoss as built from their home build magazine series. Model features many working features including rotating front and rear number plates, rear bullet proof shield, cutting rear wheel spinners, working steering, spring loaded suspension, key initiated engine sounds, working horn, lights, machine guns etc with finely detailed interior and engine. Model 57cm length, model comes with black Aston Martin slip cover and part ID sheets. All features appear to function as expected. Appears complete and in good order.
Union Mills Models of the Isle of Man N Scale model railways locomotives to include 0-6-0 J39 Class tender locomotive 1802 LNER black, 0-6-0 J26 Class tender locomotive 5734 LNER black, 0-6-0 tender locomotive 2706 LNER black and 4-6-0 tender locomotive 8577 LNER green, three boxed. (4) Three are boxed.
A Louis XVI-style carved wood and gilt gesso Bergere armchair in green stuff over upholstery, with a rose bouquet cresting over a frame carved with fish scale and acanthus frame. supported by turned tapering legs. 71 cm x 71 cm x 117 cm overall height. The collection of the late Robert HicksonRobert was a noted London antique dealer for over 40 years. Robert started in the Silver departments in Garrards in London at the age of 15 and by the age of 20 he had risen to manage Brompton Gallery in Knightsbridge. Robert had a long and successful career within the antique trade and had a particular passion for Silver and antique Eccentricities, his passion and connoisseurship are reflected in his collection.
All ANACS Slabbed and Graded PR70 DCAM First Day Issue Connecticut, Maryland, Massachusetts and South Carolina. Certified number 273 of 420. Each coin on the obverse side have the Statue of Liberty. The reverse have unique images that are significant to the state: Connecticut Heinz Gerber Variable Scale; Maryland Hubble Telescope; Massachusetts Telephone; and South Carolina Septima Clark. Each coin is  in a clear protective case. For one coin, approximate measurement with the case: 2.25"L x 0.25"W x 3.25"H. Artist: Justin KunzIssued: 2020Dimensions: See DescriptionEdition Number: 273 of 420Condition: Age related wear.
Paul Henry RHA (1877-1958) The Bog Pool (c.1921-22) Oil on canvas 50.8 x 61cm, (20" x 24") SignedProvenance: A midwestern library, United States; Sale, Skinner, Boston, 2/3/2012; Private Collection, Ireland. Exhibited: Dublin, Dublin Painters' Gallery, 'Exhibition of Pictures by Paul and Grace Henry', 17 June-1 July 1922 (catalogue no 6); New York, Hackett Gallery, Paintings by Paul Henry, 10-22 March 1930 (catalogue no 14); Boston, Grace Horne's Gallery, 'Paintings of Ireland by Irish Artists', 31 March-18 April 1930 (catalogue no.10). ‘The Bog Pool’ was numbered 1264 in the late Dr. S. B. Kennedy's previously ongoing cataloguing of Paul Henry's oeuvre.In The Bog Pool, Henry is working on a much larger scale, and he is embracing the monumentality of the landscape, enhanced by the absence of people or cottages to distract the eye away from the main focus of the composition. Another work on a similar scale can be seen in An Irish Bog dated to 1923 – 25 (S.B Kennedy, no. 606) or, albeit on smaller format, Bog at Evening, 1922 – 23 (S.B Kennedy, no.591). Both works are comparable in their composition to The Bog Pool and together they represent the set pieces that would become iconic images of the West of Ireland. As is expected in this period, people are scarce, focusing on the landscape, without any cottages or references to the tools used to carry out work on the bogs. Though the very presence of turf stacks, cut into sods and piled one on top of the another, acknowledges the work and livelihoods of those nearby communities. The setting is most likely Achill in Connemara, a place that captured his attention and dominated his oeuvre. Henry visited for the first time in 1910 and initially focused on the people of the island community. This work, painted in the 1920s, reflects a movement towards the pure landscape genre which had begun after his first few years of living there. It is an uninterrupted view of sky, mountains and marsh lands. The typical Henry palette is employed with purple for the mountains, the inky black of the turf stacks and lightened by the yellow tones of the grasses. The influence of impressionism is evident in the handling of the paint, applied in varying directions. He uses quick upright strokes for the marshy grasses of the bogland, adding texture and movement to the painted surface. The sky is a muted white, painted with short strokes, in varying directions, giving the impression of an overcast day, light just breaking through the clouds. The beautiful, mirrored surface of the pool in the centre of the composition reflects the expansive cloud filled sky above, a picture within picture. The curving mounds of turf stacks are repeated and magnified in the shapes of the mountains behind, creating a gentle rhythm within the painting in which the landscape elements speak, in a visual way at least, in complete harmony with one another. Niamh Corcoran, August 2024
Charlie O'Sullivan, acrylic on board, 'Noah Takes Advice', signed verso, framed, overall size 70.5cm x 80.5cm. Charlie O'Sullivan is a Devon based artist, living by the coast has influenced her depictions of colour and scale, also allowing her to clear her head. She has exhibited both in the United Kingdom and internationally, including the Mall Galleries in London with the Royal Society of British Artists, Society of Women Artists and the New English Art Club in 2020/21.
Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)Head study of Maria Zambaco, eyes closed, looking right, for Summer, The Four Seasons (The Lapse of the Year) pencil26.5 x 21.5cm (10 7/16 x 8 7/16in).Footnotes:ProvenanceWith The Piccadilly Gallery, London, 1976.Private collection, Australia (acquired from the above).Famously, Summer is known as a portrait of Maria Zambaco, painted during the intensity of her affair with Burne-Jones; the present drawing is its source. It belongs to a series of impassioned drawings of his muse, that the artist created between 1868 and 1874. Technically, the drawing is transitional, in that it still relies on a large amount of texture but anticipates the refinement of the linear drawings that were to develop in the next few years. There is a greater skill in defining the image and mood inspired by the artist's intense feeling for Maria.The series of six paintings, the four seasons, together with day and night, follow the set of twelve signs of the Zodiac which Burne-Jones had designed in 1866. Prompted by the commission from Frederick Richards Leyland, a wealthy ship owner and patron who was decorating his new house at 49 Princes Gate, Burne-Jones decided to develop the ideas contained in the South Kensington series. Having invested a large amount of his creative energy on the decorative scheme of 14 designs for the museum, Burne-Jones ran with the concept but on a larger scale.We are grateful to William Waters for compiling this catalogue entry. The work is listed in the Burne-Jones catalogue raisonne, https://www.eb-j.org.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
Nikolai Fechin (Russian, 1881-1955)Portrait of artist's daughther Eya signed 'N.Fechin' (lower right)oil on canvas laid to board37.4 x 33.6cm (14 3/4 x 13 1/4in).Footnotes:ProvenanceThe Artist.Alexandra Fechin.Lorena V. Montgomery.Lonilee von Hassecn; Berenice M. Strathearn.With Fenn Galleries Ltd., Santa Fe, New Mexico.Acquired from the above by the present owner in 1978.ExhibitedMinnesota, The Museum of Russian Art (TMORA), Discovering 20th Century Russian Masters: Nicolai Fechin, August 2012 – January, 2013.The work is accompanied by a certificate of authenticity issued by Fenn Galleries Ltd., Santa Fe, New Mexico.Nikolai Fechin is a renowned master of children's portraits. In his oeuvre, a special place belongs to the paintings of his daughter Eya. She was his favourite model from the moment of her birth in 1914 until her twentieth birthday, appearing in both paintings and numerous sketches. Fechin's portraits consisted of a combination of anatomically accurate and refined faces, as well as free, spontaneous brush strokes. He mixed depth with flatness; contrasted textures and vivid blocks of colour; used a complex, dynamic colour scheme; and incorporated dynamism into his compositions, despite the static poses. This can be seen even in works of a smaller scale, such as the opresent work. Although Fechin's paintings to an extent possessed an impressionistic quality of incompleteness, they do not look unfinished. A comparison with the sketches of Eya created by Nikolai Fechin in the first year and a half after his arrival in New York in the second half of 1923 - 1924 reveals the closeness of the stylistic techniques of this sketch to portraits such as Eya, a study for the portrait Eya with a melon, 1923, Stark Museum of Art, Texas, and Portrait of Eya probably second half of 1923, Private collection, New Mexico.Reproductions of the present work are stored in the archives of the artist's heirs, the archive of the heirs of Forrest Fenn, and the archive of G.P. Gallery.We are grateful to Galina Tuluzakova for her assistance in cataloguing this lot.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
Wilhelm Friedrich Kuhnert (German, 1865-1926)Moose on a Swedish moor signed 'Willy.Kuhnert' (lower right), signed and inscribed 'Wilhelm Kuhnert Berlin' and inscribed with the title in German (twice, on two separate pieces of canvas attached to the stretcher)oil on canvas117 x 226.5cm (46 1/16 x 89 3/16in).Footnotes:ProvenancePrivate collection, UK. Unlike many of his contemporaries, Wilhelm Kuhnert often worked directly from nature taking hours to track down his subjects and then sketching the animals in the wild rather than in zoos. He is best known for his striking pictures of lions and tigers, captured in their natural environment and portrayed in all their majesty. After graduating from Berlin University of the Arts in 1887, Kuhnert travelled widely to Scandanavia, Eygpt, East Africa and India. Kuhnert was an outstanding draughtsman and a prodigiously talented artist, equally at ease with a minutely detailed etching as he was working on a monumental scale such as the present lot. His work is characterised by a blend of rapid execution combined with anatomical accuracy - reputedly he never used an eraser on a single drawing, or made any corrections to any of his 137 etching plates. He died in Switzerland in 1926.For further information on this lot please visit Bonhams.com
Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)The Forbidding Angel study/cartoon for the subject in Sir Gawaine and Sir Uwaine (Sir Gawain and Sir Ewain) at the Chapel of the Sangreal, Stanmore Hall tapestry seriescoloured chalks50.2 x 25cm (19 3/4 x 9 13/16in).Painted circa 1894Footnotes:ProvenanceWith The Fine Art Society, 1896.William Hesketh Lever, 1st Viscount Leverhulme, 1922.Lady Lever Art Gallery, National Museums and Galleries on Merseyside, Liverpool1922-1958, numbered 1783.Sale, Christie's, London, 'Modern pictures and Drawings mainly of the British School of the Nineteenth Century, the Property of the Trustees of the Lady Lever Art Gallery, Port Sunlight, coming from the collection of the 1st Lord Leverhulme', 6th June 1958, part of lot 27 (sold with another pastel The Failure of Gawaine and Sir Ewain.Private collection, UK.Because of the simplicity of the draperies and drawing of the Angel's wing, it is suggested that this pastel (possibly cut down from a larger cartoon) was made in the early stages of the evolution of the tapestry. Variations occur in the position of the hands and in the structure of the door from the final design. This pastel was sold in 1958 by Leverhulme with another entitled The Failure of Sir Gawaine and Sir Ywain. It is not beyond credence that this was the other half of the composition and it had been therefore previously cut down: the measurements of this piece imply that if it was part of a cut down design it was larger than the cartoon that followed (now in a private collection) and was the same scale as the pastel of The Attainment (Birmingham City Art Gallery, acc no. 1949P6). It is interesting to note that in the preparation of a tapestry, Burne-Jones was very concerned with colour and background, unlike the simpler processes involved in the making of a stained glass window that he had developed with Morris & Co., where he left the introduction of colour entirely to Morris.We are grateful to William Waters for compiling this catalogue entry. The work is listed in the Burne-Jones catalogue raisonne, https://www.eb-j.org.For further information on this lot please visit Bonhams.com
dating: Second quarter of the 19th Century provenance: Sardinian Kingdom, Rigid body made of thick black felt with black leather visor and nape-guard, front frieze shaped as a grenade with flame and with pierced '6', original blue cotton cockade, large red wool tassel with embroidered number, cheek-pieces and brass chin straps with scales (one scale missing). The interior is missing. Extremely rare and in very good conditions. height 20 cm.
dating: 1875 - 1889 circa provenance: Liege, A rifled, 9 mm cal. barrel with eight faces of different areas, the base marked with 'U ' under star and with mark of the Liegi test bench, provided with foresight. Frame engraved with racemes and provided with a rolling block bolt. Grooved butt (the signature 'G. DECORTIS' under the left grip scale) and checkered fore-end with fore-end cap sculpted as a shell. Iron mounts, trigger guard with finger support. Ring for the strap. length 30.5 cm.
GEORGE HOUSTON RSA RSW (SCOTTISH 1869 - 1947), GLEN ORCHY oil on canvas, signedframedimage size 70cm x 90cm, overall size 86cm x 106cm Note: George Houston was born in Dalry, Ayrshire. He was a prolific artist in both oils and watercolours. He specialized in the landscapes of Ayrshire and Argyll and his exceptional talent lay in creating the atmosphere, climatic conditions and season of each scene. He sometimes worked on a large scale but unlike many artists, the quality of his work remained constant. His style was not influenced by modernist trends and is best described as "late Impressionism". Houston achieved substantial commercial success, which funded a comfortable lifestyle for his ever growing family. He received widespread critical acclaim and was admired by his contemporaries for the apparent ease with which he painted. He only started painting professionally in his late thirties but "quality" came naturally to him as it usually does for truly "gifted" painters. Houston loved fishing and he loved country life. This love of the natural environment has always been (and remains) clear and obvious to the many who appreciate his paintings.
* DOROTHY JOHNSTONE ARSA (SCOTTISH 1892 - 1980), PORTRAIT OF LIZ AS YOUNG GIRL oil on board, signed and dated 1974 framed image size 45cm x 38cm, overall size 58cm x 51cm Provenance: by descent through the artists family Note: Having been one of the first students at the newly-established Edinburgh College of Art (ECA), Johnstone began exhibiting at the Royal Scottish Academy (RSA) in 1912, followed by the Royal Glasgow Institute in 1913 and at the Royal Academy of Arts in London in 1915. She focussed on figure painting, often on a sizeable scale. In recognition of her readily-achieved professional standing and due to the mobilisation of male staff following the outbreak of World War One, Johnstone began teaching at ECA in 1914. The studio facilities she enjoyed there, plus the stimulus provided by her students meant that her work developed apace. She spent most summers between 1915 and 1924 in Kirkcudbright, often staying in one of Jessie M. King's cottages, and became a key figure in the town's art circles. Meanwhile, in 1919 Johnstone joined the re-convened exhibiting society, the Edinburgh Group, whose members included Cecile Walton, Eric Robertson and David Macbeth Sutherland. A joint exhibition with Walton in 1924 led to the artists being described as 'two brilliant daughters of Scotland'. However, Johnstone's wedding to her ECA colleague David M Sutherland that year meant she had to resign her from her job, as the 'Marriage Bar' legislation prevented married women from holding full-time teaching positions. With the birth of her children and her husband's appointment as Head of Gray's School of Art in Aberdeen, Johnstone's career lost momentum. She continued to paint as domestic responsibilities permitted and was elected an Associate Member of the RSA in 1962. Her death in 1980 was marked by a Memorial Exhibition mounted at Aberdeen Art Gallery in 1983.
* DOROTHY JOHNSTONE ARSA (SCOTTISH 1892 - 1980), IAN AS A BABY oil on board, signed, titled versoframed and under glassimage size 25cm x 18cm, overall size 31cm x 24cm Exhibition label verso: Memorial Exhibition, Fine Art Society, Edinburgh, February 1983 Label verso: Aberdeen Art Gallery + Museums Provenance: by descent through the artists familyNote: Having been one of the first students at the newly-established Edinburgh College of Art (ECA), Johnstone began exhibiting at the Royal Scottish Academy (RSA) in 1912, followed by the Royal Glasgow Institute in 1913 and at the Royal Academy of Arts in London in 1915. She focussed on figure painting, often on a sizeable scale. In recognition of her readily-achieved professional standing and due to the mobilisation of male staff following the outbreak of World War One, Johnstone began teaching at ECA in 1914. The studio facilities she enjoyed there, plus the stimulus provided by her students meant that her work developed apace. She spent most summers between 1915 and 1924 in Kirkcudbright, often staying in one of Jessie M. King's cottages, and became a key figure in the town's art circles. Meanwhile, in 1919 Johnstone joined the re-convened exhibiting society, the Edinburgh Group, whose members included Cecile Walton, Eric Robertson and David Macbeth Sutherland. A joint exhibition with Walton in 1924 led to the artists being described as 'two brilliant daughters of Scotland'. However, Johnstone's wedding to her ECA colleague David M Sutherland that year meant she had to resign her from her job, as the 'Marriage Bar' legislation prevented married women from holding full-time teaching positions. With the birth of her children and her husband's appointment as Head of Gray's School of Art in Aberdeen, Johnstone's career lost momentum. She continued to paint as domestic responsibilities permitted and was elected an Associate Member of the RSA in 1962. Her death in 1980 was marked by a Memorial Exhibition mounted at Aberdeen Art Gallery in 1983.
* DOROTHY JOHNSTONE ARSA (SCOTTISH 1892 - 1980), ON THE BEACH pencil and watercolour on paper, titled label versomounted, framed and under glassimage size 13cm x 14cm, overall size 38cm x 38cm Exhibition label verso: Edinburgh Festival Exhibition 1987, Bourne Fine Art, Edinburgh Provenance: by descent through the artists familyNote: Having been one of the first students at the newly-established Edinburgh College of Art (ECA), Johnstone began exhibiting at the Royal Scottish Academy (RSA) in 1912, followed by the Royal Glasgow Institute in 1913 and at the Royal Academy of Arts in London in 1915. She focussed on figure painting, often on a sizeable scale. In recognition of her readily-achieved professional standing and due to the mobilisation of male staff following the outbreak of World War One, Johnstone began teaching at ECA in 1914. The studio facilities she enjoyed there, plus the stimulus provided by her students meant that her work developed apace. She spent most summers between 1915 and 1924 in Kirkcudbright, often staying in one of Jessie M. King's cottages, and became a key figure in the town's art circles. Meanwhile, in 1919 Johnstone joined the re-convened exhibiting society, the Edinburgh Group, whose members included Cecile Walton, Eric Robertson and David Macbeth Sutherland. A joint exhibition with Walton in 1924 led to the artists being described as 'two brilliant daughters of Scotland'. However, Johnstone's wedding to her ECA colleague David M Sutherland that year meant she had to resign her from her job, as the 'Marriage Bar' legislation prevented married women from holding full-time teaching positions. With the birth of her children and her husband's appointment as Head of Gray's School of Art in Aberdeen, Johnstone's career lost momentum. She continued to paint as domestic responsibilities permitted and was elected an Associate Member of the RSA in 1962. Her death in 1980 was marked by a Memorial Exhibition mounted at Aberdeen Art Gallery in 1983.
GEORGE HOUSTON RSA RSW (SCOTTISH 1869 - 1947), UNTITLED oil on board, signedframed and under glassimage size 24cm x 32cm, overall size 28cm x 36cmNote: George Houston was born in Dalry, Ayrshire. He was a prolific artist in both oils and watercolours. He specialized in the landscapes of Ayrshire and Argyll and his exceptional talent lay in creating the atmosphere, climatic conditions and season of each scene. He sometimes worked on a large scale but unlike many artists, the quality of his work remained constant. His style was not influenced by modernist trends and is best described as "late Impressionism". Houston achieved substantial commercial success, which funded a comfortable lifestyle for his ever growing family. He received widespread critical acclaim and was admired by his contemporaries for the apparent ease with which he painted. He only started painting professionally in his late thirties but "quality" came naturally to him as it usually does for truly "gifted" painters. Houston loved fishing and he loved country life. This love of the natural environment has always been (and remains) clear and obvious to the many who appreciate his paintings.
JULIAN SCHNABEL (AMERICAN B. 1951) UNTITLED (MONJAS DE CALLE CON BUEN OJO) Oil and resin on rubberised fabric 213.5 x 152.5cm (84 x 60 in.)Painted in 1993. Provenance: Waddington Galleries Ltd., London Acquired from the above in 1996Painter-director Julian Schnabel has enjoyed international renown for his powerful aesthetic vision. Among the first artists represented by Mary Boone, Schnabel has since exhibited at Pace Gallery, the Art Gallery of Ontario, and Museo Correr. His large-scale works tend to incorporate an element of collage, as the traditional marriage of oil and canvas is adulterated with an admixture of resin, textiles, and even ceramic shards. The present picture, which reads 'Monjas de calle con buen ojo', or 'Street nuns with a keen eye', belongs to a series by the same title. A typically obscure juxtaposition of concepts, this imposing canvas reflects Schnabel's preoccupation with religion and literature. His decisive mark-making allows for striking visual effects: the calligraphy of 'ojo' for example, resembles a face, while the sinuous dividing line suggests the form of an amphora. Schnabel treats his thematic concerns with parity: the holy and the profane, tradition and modernity, abstraction and figuration. Condition Report: The rubberised fabric surface is slack with associated creases most notable to the extreme edges. There is some puckering to the right edge possibly caused by the thick pigment applied in that area. There is some rubbing to the extreme framing edges with some associated loss to the point of the lower left corner. There is a hole to the lower left corner approx. 20cm up from the lower edge, this is likely part of the artist's intent. Condition Report Disclaimer
λ BITA GHEZELAYAGH (ITALIAN B. 1966) FELT MEMORIES IX, THE KING EMBRACING THE NATION 1001 Brass crowns on top, 3 stages of keys, tulips and wire mesh mounted in an acrylic box 128 x 128cm (50¼ x 50¼ in.)Provenance: Rose Issa Projects, London Drawing on the artistic traditions of Iran, Bita Ghezelayagh works primarily in embroidery. Ghezelayagh has exhibited at the V&A and the San Antonio Museum of Art; her work can be found in the collections of the British Museum and the Farjam Foundation. Her series of felt garments are a musing on and a monument to the cultural heritage often overlooked in the face of modernisation. Ghezelayagh's creations share a visual language: the tulip motif references traditional Turkmen textiles, while the layered metal panels recall the scale armour of asbaran in their structured, regular arrangement. The ambiguity of this work's title, Felt Memories, reflects the complex materiality of an object bound up with nostalgia and a sense of identity. Felted by hand in local workshops, the tunic recalls those of Iranian shepherds, marrying practical and creative functions in a similar manner to the textiles of Ghezelayagh's inspiration Joseph Beuys. The artist's work is marked by a profound sense of respect for indigenous cultures, paying tribute to the methods and materials in which her practice is grounded. Condition Report: Work is mounted within a perspex box frame. Work appears to be in good original condition. The work has been structured with a piece of card within the robe which is maintaining the shape. The work has been attached to a piece of foam board which has either been attached with Velcro or clips to another piece of foam board attached to the mounting board. Please contact housesales@dreweatts.com with any further queries. Condition Report Disclaimer
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