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Lot 1155
A Chinese silver winged beetle, 19th/early 20th century, with banded detail to body denoting sections, wings engraved with fish scale and grass blade type pattern, surmounted by circles, with eyes embellished with flower petal style eyelids, engraved with eyelashes, standing on four cylindrical legs terminating with disc feet, bears marks, length 13 cm, an oriental white metal necklace, adorned with two butterfly plaques and two floral and fruit plaques, length 54 cm, (2) Provenance: Donald Simmonds Estate.
Lot 1160
An Oriental white metal dagger/knife case, 20th century, of rectangular shape, incised with patterns to include floral and fruit scroll work, fish scale and interlacing, with removable cover, and mounting loops, length 28 cm, a pair of Chinese white metal rectangular bars, decorated with animals around a central motif, marked, width 20 cm, (3) Provenance: Donald Simmonds Estate.
Lot 289
An oak cased aneroid barograph, Negretti & Zambra, London, mid 20th century, with ten segment aneroid chamber connected via lacquered brass armature to an inked pointer for recording barometric pressure variation onto the paper scale lined clockwork rotating drum, the baseplate signed NEGRETTI & ZAMBRA, LONDON under oak framed five glass cover, on moulded base and squab feet, 35cm (14.75ins) wide
Lot 290
A mahogany mercury wheel barometer, early 19th century, the 8 inch circular silvered register calibrated in inches and with the usual observations beneath ebonised bordered convex mirror, arched alcohol scale Fahrenheit thermometer and hygrometer to the restored swan neck pediment, the rounded base with spirit level signed Pedrone Brothers, Carlisle to the rounded base, 97cm high
Lot 478
Toys: a collection of Exclusive First Edition 1:76 scale die cast models, comprising; Bristol MW Coach 16202; Daimler Utility Bus Midland Red 16401;Leyland Bet Style Bus Yorkshire Traction 24314; Leyland TD1 Closed Back Ribble 27301; Leyland Atlantean Sheffield City 16506; Bedford SB Duble Vega Barton Transport 18706; Leyland TS8 Tiger Type A Yorkshire Woollen 18301; EX London RTL Stevensons 11110; Leyland PD2 Lowbridge North Western 16007; Route Master Bus B.O.A.C. London Transport 15601; Bedford OB Coach West Yorkshire 20112; London R. T. with Roof Box Premium Bonds 16402; Bristol City Lodekka Bus 13901; Bristol VR Series II Manchester GMT 20304; Orion Bodied Regent II Sheffield City 190701; Leyland National Long 2 Door Bus Bristol City 15104; Leyland PD2 Highbridge Wigan Corporation 16101; Leyland PD2 Highbridge Sheffield City 16105; E18404 Leyland TS8 Tiger Type B Doncaster; Daimler DMS Fleetline South Yorkshire 25703; and Plaxton Pointer/Dennis Dart Yorkshire Terrier 20604DL. (21)
Lot 10
NESTEROV, MIKHAIL 1862-1942 The Nightingale is Singing , signed and dated 1918. Oil on canvas, 81 by 68.5 cm. Provenance: Private collection, UK.Authenticity certificate from the expert V. Petrov.Related literature: For a later version of the same composition, see Russkaya dorevolyutsionnaya i sovetskaya zhivopis’ v sobranii Natsional’nogo khudozhestvennogo muzeya Respubliki Belarus’, Vol. 2, Minsk, Belarus, 1997, p. 178, No. 1189, illustrated.Mikhail Nesterov’s The Nightingale is Singing is one of his earliest versions of the celebrated 1917 composition, of which the artist painted at least four. It is now impossible to establish what became of the 1917 original, which, according to contemporary sources, was a larger-scale work than the later versions. We know for certain that a picture of the same name was sold at the famous Russian Art Exhibition in America in 1924 (and it is possible that this and the present work are one and the same). Another version, painted in 1922, is in a private collection in Kiev and the 1929 work that concludes the series is in the collection of the National Art Museum of Belarus.The well-known avant-garde theatre director and theorist Nikolai Evreinov visited Nesterov’s studio in the early 1920s and wrote that: “Among the versions of subjects that I knew well I found my eyes glued, so to speak, to the spellbinding work The Nightingale is Singing which Nesterov had painted in 1917. The subject is not complicated: in early summer, a young novice nun stands by a dreamy lake bordered by a beautiful forest and listens breathlessly to the song of Nature pouring forth in the nightingale’s trilling; and on her lips, which have vowed never to know a sinful kiss, is a smile — such a sad smile, so understandable, so human!”The story of how this subject arose is closely linked to Nesterov’s cycle of works dedicated to nuns, the “brides of Christ”, which he created over twenty long and extremely fruitful years. He conceived The Bride of Christ as a memorial to his beloved wife who had died unexpectedly. He first painted a large study of a girl lost in thought, in a dark dress with a little stalk of grass in her teeth and “with the face of my Masha”. In the words of one who had seen this now-lost work, “you could stand before this pensive girl for a good while and ponder for hours that mystery of life that she too is pondering. And in those thoughtful eyes there was so much that was familiar and close to us, such a revelation of the deepest recesses of the female soul that, looking into them, you could not help but recall the similar pensive heroines of Melnikov-Pechersky, his Flenushka and others, and the whole of our native Rus and its God-seeking people.”“With this picture” said Nesterov later, “I had reached a turning point and something had appeared that would later grow more consistent, something well-defined, which gave me my ‘persona’... My love for Masha and my losing her made me into an artist, brought to my art what had been missing: emotion and a living soul — in a word, everything that people would later come to value and still value in my art.”And indeed, The Bride of Christ immediately attracted serious critical attention. With this work, the artist’s destiny was decided. Continuing his initial theme, between the 1890s and 1910s Nesterov painted a whole story in pictures dedicated to the fate of the innocent girl, partly serving to develop the theme of his own sweet melancholy and partly inspired by Pavel Melnikov-Pechersky’s twin works In the Woods and In the Highlands.However, according to the celebrated writer and close friend of the artist S.N. Durylin, it was The Nightingale is Singing that “became one of the most poetic versions of Nesterov’s theme of the fate of the Russian woman. Again we have a bride of Christ, but this time the artist brings her outside the convent walls one peaceful May evening to the edge of the forest, basking in the fragrant warmth of spring, while the nightingale’s song of love and paean to springtime makes her forget for a moment all her vows to obey, to pray and to ‘withdraw from the world’… We cannot see the nightingale in the picture, but we hear its song in the fragrant stillness of that spring evening, a stillness that seems to hear and respond, and the subject of the song is clear: youth, happiness and love.”Indeed, in the delicately observed motif of the nightingale’s song, which seems to come from beyond the bounds of the picture, a theme resonates which was of great significance in Nesterov’s work — the theme of music bringing man and nature into harmony. As we look at this picture, we are reminded of what Vasily Rozanov said of Nesterov in 1907, in connection with the gloomy and oppressive state of Itinerant painting, and his words seem prophetic: “Then, like the resonant song of the skylark from a warm, blue sky, we heard the music and the musicality of Vasnetsov and Nesterov. ‘To the sky! To the sky!’ And we all looked to the sky. That is why we love them!”
Lot 19
BOGDANOV-BELSKY, NIKOLAI 1868-1945 The Teacher`s Guests , signed. Oil on canvas, 80.5 by 102 cm. Provenance: Private collection, UK.The work will be included in the book on N. Bogdanov-Belsky being prepared by A. Kouznetsoff.The Teacher’s Guests by Nikolai Bogdanov-Belsky is the artist’s reworking of his celebrated work The Teacher’s Name Day. Executed with impeccable skill, it presents a significant departure from his earlier works painted at the turn of the century and bears witness to the creative strides made during his later period.The idea of a work on the theme of village children invited to tea with their teacher was first conceived of by Bogdanov-Belsky in 1908, when visiting the estate of a landowner named Ushakov, in Tver Province. There he executed a sketch entitled Visiting the Teacher from which, two years later, he painted the large-scale work that brought him celebrity in Europe. Sadly, it has been lost and is known only from reproductions. The artist, however, carefully preserved the sketch itself and used it as the basis for several variations which would have been well-known by his contemporaries, including The Teacher’s Name Day, The Teacher’s Birthday and Visiting the Teacher.When Bogdanov-Belsky left Soviet Russia for Latvia in 1924 he took the sketch with him, and it is today preserved in the Art Museum in Riga. As an émigré he again turned to the theme of children having tea in a garden, always composed from fresh sketches drawn from life and never forfeiting the principles of Impressionism, which for him were still relevant. Thus his protagonists change from picture to picture and this large work, The Teacher’s Guests, is a splendid demonstration of this. Painted while the artist was living in Latvia, this work continues to focus on the theme of a happy village childhood, which allowed him to address the creative problems of light and colour that interested him. By arranging his figures within their landscape and using lively, vivid, vibrant colours, the artist fills the picture with the fleeting movement of foliage trembling in the wind and with the sense of a glimpse of real life. The composition is imbued with the desire to convey artistically the link between man and nature and to suffuse the canvas with light and air.It was most likely local youngsters who posed for this picture, alongside the artist’s young wife, who often modelled for Bogdanov-Belsky’s portraits and genre works. Incidentally, many of the teacher’s guests can also be seen in his other works of the time. We can, for example, recognise the little girl in the flowered headscarf and striped top, drinking tea from a saucer, as the protagonist in the romanticised work Inspiration, and the two urchins sitting at the end of the table nearest to us as the young visitors to an artist’s studio in the painting Guests.
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216136 item(s)/page