‘Your ideas……on the odious ownership of land, on the horror of patriotism, of wars and of the armed peace it engenders, are very dear to me’ TOLSTOY LEO: (1828-1910) Russian writer, regarded as one of the greatest authors of all time. A lengthy, interesting L.S., Votre ami et frere, Leon Tolstoy, seven pages, 8vo, n.p. (Yasnaya Polyana?), 8th February 1908, to [Sergei Zimaco, a Franco-Polish journalist] ('Dear Friend and brother'), in French. The letter is penned in the hand of Sophia Tolstaya and states, in part, 'You ask me if I share your ideas expressed in your letter and the brochure addressed to Nicholas II. I will try to answer this question as frankly and seriously as possible. Your ideas on property, especially on the odious ownership of land, on the horror of patriotism, of wars and of the armed peace it engenders, are very dear to me and I have made for a quarter of a century everything I could to popularise them as much as possible. To fight against the terrible superstition of landed property, I wrote to the head of the government, offering him the fine role of putting himself at the head of this restitution to the vast majority of the people of their most sacred rights. I repeat the same steps again now…..As for militarism, I am happy to say that every day I receive letters from my unknown friends, true Christians, who suffer imprisonment and the misery of their families, for the refusal of military service…..So that as regards your fundamental principles and the results to which you tend, I completely agree with you. I think I can say that however small the results obtained by people who try to follow Christian principles to their full extent, these results are greater than those which the anarchist communists have hitherto achieved. This brings me to the heart of the matter and the only difference of opinion that exists between us. You say that the social problem is above all an economic problem. I do not think so. The social problem, as you say, or the coming of the kingdom of God as you understand it and as I understand it is much larger. The economic problem is only a very small part of the arc of the circle. There are the relations of the sexes, the education of children, nationalities, the way of acting towards assailants, madmen, animals and a number of personal actions which do not enter into the economic problem, and which are the most important for humanity. All these problems cannot be solved by solving the economic problem. The solution of these problems and of all those that may arise before man is not in economic laws, but in the spiritual realm. Their solution is that given by the apostle John in his epistles. The solution is in the revelation of love. I say “revelation” because I believe that love is not a prescription but an interior law of man's life; that love is the only means for man to attain happiness, to which he tends naturally. This law was revealed not only by Christianity, but by all the sages of the world: Egyptians, Chinese, Indians, Greeks etc. But it has only been accepted and understood by a very small minority. The history of mankind is nothing but the progressive realisation of this law, the acceptance of this law, the replacement of selfishness with love, not to reward them from beyond the grave, but for the true happiness of this life. This, my dear friend and brother, is my creed with which I lived the happiest last part of my life, and with which I await death at every moment, without desiring it and without being able to fear it'. With an autograph note in Zimaco's hand to the verso of the final page, '[Tolstoy]…consoled me for the many setbacks I received from certain French journalists in wanting to expose them….and defend the true doctrine of Jesus Christ'. A letter of very fine content. Some light overall age wear and staining, most evident to the final page. About G
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DE QUINCEY THOMAS: (1785-1859) English writer, essayist and literary critic, remembered for his Confessions of an English Opium-Eater (1821). Autograph Manuscript, unsigned, one page, n.p., n.d. Quincey writes on a religious theme, in full, 'Xtianity in relation to Judaism was but a vast sheet of ice when beginning to dissolve gave a promise of all soon dissolving; and the transition was from a lower state to a higher: from an imperfect degree to perfection in the same genus, from an [blank] problem to its consummation, from the segment to its integration. Whereas afterwards it was a surrender to a formed opponent, formed as such to heroism consciousness, formed to the opinion of the world. The Christians had now become a known autogenic body. So if you listen to a Reformer in the first stage, you seem rather to share with him than to oppose him - to go along rather than to follow. You are both with yr. faces set in the same direction, both starting from error together. But let him form himself into a champion'. Quincey's notes are written to the verso of part of a printed announcement regarding a memorial for the late Father Perry in appreciation of his 'labours in Solar Physics and Terrestrial Magnetism' and 'his ever ready willingness to lecture to the people'. Very slightly irregularly torn to the left edge, VG
![HUGO VICTOR: (1802-1885) French Poet and Novelist. A.L.S., V[ict]or Hugo, two pages, 8vo, Paris, 25th October, 1837, to Monsi](https://cdn.globalauctionplatform.com/ce7d8d81-6c8c-4c2c-99d1-ae5800fe9415/48f6f4de-9b70-44d6-a7da-ae5b00d89a74/468x382.jpg)
HUGO VICTOR: (1802-1885) French Poet and Novelist. A.L.S., V[ict]or Hugo, two pages, 8vo, Paris, 25th October, 1837, to Monsieur Louis de Jivry?, in French. Hugo, in his usual difficult writing, states in part `Combien je vous dois de remerciements Monsieur! J´arrive d´une petite excursion à la campagne, et je trouve votre excellent article. C´est un grand bonheur pour moi, croyez-le bien, que la sympathie des hommes de talent…comme vous. Vous etes du petit nombre de ces écrivains généreux… par la critique si dépravée et si perverse de notre époque…mais comme votre justiciable, je viens remercier, comme votre lecteur, je viens féliciter.´ (“How many thanks I owe you, Sir! I have just returned from a short trip to the countryside, and I find your excellent article. It is a great happiness for me, believe it, that the sympathy of talented men… like you. You are among the small number of these generous writers ... by the so depraved and so perverse critics of our time ... but as your litigant, I come to thank, and as your reader, I come to congratulate.”) Hugo further expresses his belief on the fact that they both share same concerns and passions, saying in part `…vous aimez tout ce que j´aime, l´art, la nature et Dieu, nous sommes liés depuis longtemps.. par un rapport intime, c´est donc en ancient ami que vous me permettrez de vous traiter..´ (“..you love everything I love, art, nature and God, we have been linked for a long time.. by an intimate relationship, so it is as an old friend that you will allow me to treat you..”) With address leaf, postmarked. Small overall minor age wear, otherwise G
THORPE THOMAS EDWARD: (1845-1925) British chemist who served as Chief Chemist to the British Government (1894-1909) as Director of the Government Laboratory. An interesting A.L.S., T. E. Thorpe, three pages, 8vo, South Kensington, London, 28th January 1910, to Dr. Kurt Loewenfeld, on the printed stationery of the Imperial College of Science and Technology. Thorpe writes, in part, 'Such material as I had respecting the invention of the Safety Lamp - & more particularly as to the share of Stephenson - was lent to me by friends connected with the Philosophical Society of Newcastle on Tyne & was returned by me to them on the completion of the little work to which you refer. As regards the merits of Stephenson's claims I venture to think……that my conclusion as to the apportionment of the relative merits of the two men is just & can be fully substantiated. I do not know that anything fresh can be said about that matter'. VG
![Beckett (Samuel) [A collection of 22 volumes of his works in translation], 16 of which with signed presentation inscriptions](https://cdn.globalauctionplatform.com/1896b4f6-a2af-458e-8424-ae4e00bb1313/93ea5580-061a-4d10-b3d7-ae4e014248f2/468x382.jpg)
Beckett (Samuel) [A collection of 22 volumes of his works in translation], 16 of which with signed presentation inscriptions from the author to Barbara Bray, original wrappers or boards, 8vo, v.p., 1959-86.⁂ A superb collection of works inscribed by Beckett to Barbara Bray, a fellow translator, with whom he would maintain one of the longest and closest relationships of his life. Bray (1924-2010) first met Beckett in 1956 during the production of his radio play All That Fall. The two developed an immediate and strong connection based in part on their mutual passion for linguistics, their relationship would last until Beckett's death in 1989. Beckett would often use Bray as a sounding board to help develop his work and was one of the very few with whom he would discuss and share his work while in development. Bray would state that their relationship was one of equals, a claim that was backed up by those who knew the pair. The present collection includes translations into German, Italian, Spanish and Japanese, many of the volumes the first editions in their respective languages. A full list of the inscribed works is available upon request.
Colin Middleton RHA RUA MBE (1910-1983)Castle Park, Bangor Oil on canvas, 61 x 61cm (24 x 24'')Signed with monogram; also signed, inscribed and dated 1979 versoProvenance: Sale, these rooms, 1/4/2015, lot 6; private collection.This late work is one of the surprisingly small number of paintings by Colin Middleton that record a specific location in Bangor, the town where he lived for the last decade of his life (a blue plaque at 6 Victoria Road was unveiled in his honour in 2005). Middleton had first moved to Bangor for a shorter period in 1953 and had painted at least two canvases of Castle Park at that time; the turbulent and expressionist style of these works, typical of the early 1950s, is quite different to this later painting, where the more formally organised and architectural arrangement creates a mood of tranquillity.It is notable, however, that both paintings do share such a vibrant palette. In the present work, this is used in a less obviously expressive manner than in the 1950s and short and controlled strokes of high-toned colour are integrated into more subdued passages to imbue the scene with a subtle sense of luminosity. The presence of figures is unusual in Middleton's post-1960 landscapes but the mother and child are reminiscent of his 1955 painting, 'November Evening, Bangor Pier'. They are very much in harmony with the woodland, introducing solid passages of colour that make connections around the canvas, mirroring the shape of the tree to their right and occupying the triangle between the diagonal path and the higher level of land.The painting seems to convey a clear note of nostalgia; Bangor would have carried strong associations for Middleton of his own young family growing up in the 1950s and Castle Park appears to have been a place he enjoyed. This particular view must have been painted close to North Down Museum where, most appropriately, an exhibition of Middleton's paintings of Bangor was held in 2013.Dickon Hall
World - A folder containing a quantity of Share Bond/Stock Certificates dated from the early 19th century to mid 20th century, predominately Egyptian railways, tramways and banks etc, also noted issues for Australia, U.S. and G.B. plus one issue framed (N.B. In generally very good condition)
1997 MZ Kanuni ETZ 251, 243cc. Registration number R490 TCH. Frame number 0696310. Engine number 2440696By the late 1960s, MZ motorcycles were making inroads into the British market, gradually increasing their share due to the hard work of Sheffield-based MZ concessionaire Wilf Green. In the early 1970s the ES and ETS models were replaced by the TS range. By 1983 the ETZ models were in production as the 2 millionth machine was built.Following the fall of the Berlin wall, the factory was privatised in 1990, continuing with two-stroke production with the Saxon 251, Tour and Fun models until the factory went into receivership in 1993. The two-stroke designs and manufacturing technology were eventually sold off to the Turkish Kanuni factory.TCH was bought new by Paul Unwin of Mansfield, being sold to Antony Cliffe of Glossop in 2000 and then John Asbery of Sheffield in 2002. Our deceased vendor bought it in 2011 from A1 Motorbikes in Sheffield and there are receipts on file for works undertaken by him. The MOT history goes back to 2000 at 3,722 KM and 22,433KM in 2011, it was last done in 2015 at 22,845KM, today the speedo reads 22,865.Sold with the V5C, V5, copies of old V5's, various MOT's, tax discs, booklets and receipts, together with a spare used engine. It will need recommissioning for road use.
Historical and Medical Interest: An earthenware culture vessel for the large-scale production of penicillin, circa 1941, oblong in shape with cylindrical spout, glazed in the interior, 22.5cm x 28cm x 6cm, signed and enscribed in pen - 'The Penicillin culture vessel was designed by Norman Heatley 1940 - a member of the team who developed the drug administered later that year Sir William Dunn Pathology lab University of Oxford', with a letter of provenance from the vendor: A similar vessel was recently shown on the Antique Roadshow with a valuation of £15,000 to £20,000 .Dr Norman Heatley, OBE DM - Penicillin's Unsung Hero In the early 1940s, a team of Oxford University scientists, led by Professor Howard Florey, carried out pioneering research work which led to the large-scale production of penicillin - the 'miracle drug' that saved thousands of Allied troops' lives and literally millions since. Dr Norman Heatley was a key member of that team. Born in 1911 in Woodbridge, Suffolk and with a doctorate from Cambridge, Heatley joined Florey's research team at the Sir William Dunn School of Pathology in Oxford in 1936. Soon after the start of World War II, work began on penicillin after Sir Ernst Chain read Sir Alexander Fleming's 1929 paper on penicillin and thought the subject worthy of further research. With limited resources in wartime Britain, the Oxford team's ingenuity was taxed to the full. Heatley was responsible for many of the technical innovations that were necessary to carry out the extremely difficult processes of purification and extraction of penicillin. He also became expert at growing the mould from which penicillin was extracted. Initially all kinds of containers were used ranging from sheep-dip tins to gallon juice bottles, biscuit tins and bedpans. The solution was a stackable rectangular ceramic vessel designed by Heatley who organised their immediate production. Heatley also monitored the experiment on mice in 1940 which first showed penicillin's great potential, and grew the penicillin for the first clinical tests on human patients in Oxford in 1941. Britain's full engagement in the war meant that further development and large-scale manufacture of penicillin could not realistically take place here; the collaboration of the USA would be needed. Ignoring the danger, Heatley and Florey flew to the US in 1941 to share their knowledge and to try to enlist American support. Fortunately this was forthcoming, and treatment of soldiers began in North Africa in April 1943. Soon, increased production of penicillin became the second highest priority at the American War Department. Only the development of the atom bomb was considered more important. The US government encouraged chemical and pharmaceutical firms to collaborate without fear of potential antitrust violations with the result that penicillin became available in time for the closing stages of the war. Fleming, Florey and Chain shared the Nobel prize for their work on penicillin in 1945. Various studies since the 1980s have argued that Heatley's contribution was seriously underestimated. In apportioning the credit for penicillin's development, Professor Sir Henry Harris linked the four principal scientists: 'Without Fleming, no Chain or Florey; without Chain, no Florey; without Florey, no Heatley; without Heatley, no penicillin'. In 1990 Heatley was awarded an honorary Doctorate of Medicine - an unprecedented award from Oxford University - in recognition of his great contribution. Norman Heatley, a kind, much loved, and self-effacing man, died in January 2004
An interesting collection of 26 old, share certificates from France, USA, Belgium and the UK. They are for a variety of companies, including perfume (Les Parfums de Mury); transport; sport; rubber (The Pongola Rubber Estates, The Zongo Rubber Estate Limited, Bintan Rubber Estate Limited, Mooply Valley Rubber Company, Kuala Geh Rubber Company Limited); Fortnum and Masons; British Match Corporation; Bletchley Flettons; Rolls Royce; Packard Motor Car Company; The Anaconda Company; the Great Atlantic and Pacific Tea Company and Lever Brothers and Unilever. Dates range from 1910 to 1968. Also, six old copies of the International Bond and Share Society booklets and “The Scripophily Handbook” by The Bond and Share Society.
Accounts.- Alexander (Thomas) Journals A.B. & C. - Waste Book A - Ledger B, 3 vol., manuscript account books, c. 180pp., ruled in red, browned, small quantity of printed banking and share brokers documents loosely inserted, original wrappers, soiled and marked, lettered direct on upper covers, folio, 1829.⁂ Includes: "Adventure to Lisbon"; "Adventure to Leghorn"; "Adventure to Hamburgh".
Pair: Private S. G. Eley, Monmouthshire Regiment, later Royal Welsh Fusiliers, who died of wounds on the Western Front on 30 October 1918 British War and Victory Medals (60791 Pte. S. G. Eley. Monmouth R.) very fine Pair: Private W. J. Hardman, Monmouthshire Regiment British War and Victory Medals (230331 Pte. W. J. Hardman. Monmouth R.) toned, good very fine (4) £120-£160 --- Sidney George Eley was born at Tiddickstone (Tythegston) Higher, Cefn Cribwr, near Bridgend, Glamorgan, and attested for the Monmouthshire Regiment at Cardiff. Subsequently transferring to the 16th Battalion, Royal Welsh Fusiliers, he died of wounds on the Western Front on 30 October 1918, and is buried at Awoingt British Cemetery, France. The Glamorgan Gazette of 15 November 1918 carried a report of Eley’s death, recording that he had been severely wounded in the head and had died in hospital. He had apparently only served for about six months and had been in France for three weeks, but that during that time he had taken a full share in the fighting before he laid down his life. William James Hardman served in the 1st Battalion, Monmouthshire Regiment.
A fine Second World War Pathfinder’s D.F.M. group of eight awarded to Master Engineer A. J. White, Royal Air Force, who completed over 50 operational sorties in Halifaxes and Lancasters of No. 35 and No. 635 Squadrons, often as a member of the Master Bomber’s crew, before notching up many hours in the Berlin Airlift and seeing further active service in Cyprus and Borneo Distinguished Flying Medal, G.VI.R. (1403524 F./Sgt. A. J. White, R.A.F.); 1939-45 Star; Air Crew Europe Star, clasp, France and Germany; Defence and War Medals 1939-45; General Service 1918-62, 1 clasp, Cyprus (M. Eng. A. J. White (1403524) R.A.F.); General Service 1962, 1 clasp, Borneo (M. Eng. A. J. White (1403524) R.A.F.); Royal Air Force L.S. & G.C., E.II.R. (M. Eng. A. J. White (1403524) R.A.F.), together with metalled Path Finder Force Badges (2), and Warrant Officer’s Crown rank insignia, one or two edge bruises, otherwise generally very fine or better (11) £4,000-£5,000 --- D.F.M. London Gazette 27 March 1945. The original Recommendation states: ‘This N.C.O. has participated in many attacks against heavily defended enemy objectives, including Berlin. His cheerfulness, courage and confidence, coupled with his sound knowledge of his own particular role, have been most inspiring.’ Alan John White commenced his training as a Flight Engineer in summer of 1943 and, having converted to Halifaxes, joined No. 35 (Path Finder Force) Squadron at Graveley, Huntingdonshire, at the year’s end. Having then participated in strikes against Berlin and Schweinfurt, he joined the crew of Squadron Leader E. K. Creswell, D.F.C., in March 1944, when the unit was re-equipped with Lancasters and, over the coming six months acted as the latter’s Flight Engineer in a flurry of operations, often as Deputy or Master Bomber - Creswell would add a D.S.O. and Bar to his accolades in the same period. Completing their first sortie together on 18 March, when they were compelled to return early from Frankfurt owing to a fire in the port outer engine, they acted as Primary Visual Marker in a return trip to the same city a few nights later, and in a similar capacity in strikes against Berlin and Nuremberg before the month’s end, the latter trip resulting in an emergency landing at Ford owing to ‘petrol shortage and enemy action’. In the last week of April, Creswell’s crew flew no less than five sorties, one of them as Primary Visual Marker to Karlsruhe, another as Deputy Master Bomber to Laon, and the others as Master Bomber to Villenouve, Friedrichshaven and Acheres - thereafter, with one exception, it was always as Master Bomber until White’s transfer to No. 635 Squadron in August. Thus four such sorties against French targets in May, including Boulogne, and three more in June, including Rennes. Indeed targets in support of the Normandy landings were very much on the agenda throughout this period, including two daylight strikes in the Caen battle area on 7 July and a night operation against Tours on the 12th, from which White’s Lancaster returned on three engines; for further details see Creswell’s manuscript in the archive collection of the Imperial War Museum (Catalogue No. 8286), in which he describes his time in No. 35 Squadron in the period March-July 1944. This latter operation having marked the end of Creswell’s tour of operations, White flew two more sorties to France with different pilots before being posted to newly formed No. 635 Squadron, another Lancaster and Path Finder Force unit, at Downham Market, Norfolk. Here, having flown sorties against Le Havre, Gelsenkirchen and Kiel, he joined the crew of Wing Commander H. J. F. Le Good, A.F.C., in mid-September - another distinguished Path Finder Force C.O. who would add the D.S.O. and D.F.C. to his accolades before the War’s end. Opening their account with a strike against Calais as ‘Supporter’ on 20 September, White and his crew went on to share in the trial and tribulations of at least 25 sorties before the year’s end, several of them of a daytime nature and latterly in the role of ‘Visual Backer Up’, including strikes against Cologne and Duisburg on three occasions, and Gelsenkirchen and Sterkrade on two occasions. White was recommended for his D.F.M. on 20 December 1944, by which date he had flown 49 sorties, but he added further operations against Cologne, St. Vith, Troisdorf, Hanau and Gelsenkirchen to his tally before being grounded and ‘rested’ in January 1945. Post-war, White attended a conversion unit at Dishforth in September 1948, prior to attending a Long Range Course and being posted to No. 59 Squadron in January 1949, and between then and September he completed numerous trips as Flight Engineer in the unit’s Yorks during the Berlin Airlift. And he witnessed further active service in Shackletons of No. 37 Squadron in Cyprus in the mid-1950s and in Argosy aircraft of No. 215 Squadron in Borneo in the early 1960s, prior to his retirement in May 1966. Sold with a complete run of the recipient’s original R.A.F. Flying Log Books, comprising Navigator’s, Air Bomber’s and Air Gunner’s, Form 1767 types (3), with entries covering the periods October 1943 to July 1950, August 1950 to March 1957, and April 1957 to September 1962, together with Aircrew Flying Log Books, Form 1767 Types, covering the periods September 1962 to September 1965 and October 1965 to May 1966, a letter confirming his qualification for the Path Finder Force Badge, dated 6 July 1944 and one or two career photographs.
Ephemera, South and West Africa, to include sweetheart brooch 'Hampshire Yeomanry Carabiniers South Africa 1900-1', 2 late 19thC albums 'Views of South Africa', 2 share certificates 1934 'West Rand Consolidated' and 1921' West African Enterprise Syndicate', South African Airways boarding pass, 4 1870s dated newspapers (may be reproductions) etc. (gen gd)
λ John Wonnacott (British b. 1940)View from Lloyds Building I, DaytimeOil on boardSigned (verso)95 x 136cm (37¼ x 53½ in.)John Wonnacott is one of Britain's most celebrated portrait painters, with The Royal Family and Prime Ministers amongst his most notable commissions. However, these immersive portraits would not be possible without his exploration into how we physically see and experience the world around us and in turn how he, as a painter can capture this moment; this experience.The present works form part of a series of London landscapes painted from the glass elevators of the Lloyd's Building. Although these paintings are topographically accurate, placing the onlooker unmistakably above the city of London skyline, Wonnacott uses the glass lift to construct a dynamic space that draws the viewer into the canvas and suspends them hundreds of feet above the ground. The dramatically foreshortened perspective of the intricately congested cityscape in View from Lloyds Building I, Daytime contrasts with the expansive open sky above giving that feeling of joyous vertigo as one is propelled into the air by the glass elevators. Through his masterful use of palette, perspective, and pictorial construction Wonnacott has brought a wonderful immediacy to these pictures that allows us, the viewer, to share his experience both physically and emotionally.Condition Report: Examined under ultra violet light there is no fluorescence. The painting appears to be in excellent condition. Condition Report Disclaimer
λ John Wonnacott (British b. 1940)View from Lloyds Building IV Night TimeOil on board105 x 133.5cm (41¼ x 52½ in.)John Wonnacott is one of Britain's most celebrated portrait painters, with The Royal Family and Prime Ministers amongst his most notable commissions. However, these immersive portraits would not be possible without his exploration into how we physically see and experience the world around us and in turn how he, as a painter can capture this moment; this experience.The present works form part of a series of London landscapes painted from the glass elevators of the Lloyd's Building. Although these paintings are topographically accurate, placing the onlooker unmistakably above the city of London skyline, Wonnacott uses the glass lift to construct a dynamic space that draws the viewer into the canvas and suspends them hundreds of feet above the ground. The dramatically foreshortened perspective of the intricately congested cityscape in View from Lloyds Building I, Daytime contrasts with the expansive open sky above giving that feeling of joyous vertigo as one is propelled into the air by the glass elevators. In View from Lloyds Building IV, Night Time Wonnacott subverts this feeling into one of a sensory claustrophobia. Reflections of the city and the Lloyds Building behind bounce off the glass elevator, enclosing the onlooker as the surrounding buildings crowd in. Through his masterful use of palette, perspective, and pictorial construction Wonnacott has brought a wonderful immediacy to these pictures that allows us, the viewer, to share his experience both physically and emotionally.Condition Report: Examined under ultra violet light there is no fluorescence. The painting appears to be in excellent condition.Condition Report Disclaimer
Vincent Cartwright Vickers (British 1879-1939)Google BirdsA set of six watercolour and pen and inkOne signed with initials (lower right)Various sizes, the largest 49.5 x 32cm (19¼ x 12½ in.) (6)Provenance:The artist's grandsonThese eccentric drawings were executed in the first decade of the 20th century by a talented amateur artist who was better known as a leading economist. He produced these drawings for pleasure and to share with his children and nephews and nieces. Some would later be published with accompanying rhymes in The Google Book.The Google Book, a kind of children's monster and rhyme book, was published in 1913. Its Surreal illustrations of various fictitious birds and whimsical verses were all created by its author, the economist Vincent Cartwright Vickers. His extended family-owned Vickers Limited and he wrote The Google Book while serving as a director of the Bank of England. Vickers was born in 1879 and educated at Eton and Magdalen College, Oxford. He was a Deputy Lieutenant of the City of London, a director of Vickers for twenty-two years and a director of the London Assurance from which he resigned in 1939. In 1910 he became Governor of the Bank of England, resigning this appointment in 1919. He later became President of the Economic Reform Club and Institute. He wrote extensively on economics and monetary reform. After a long illness he died in 1939.The Google of the title is a strange pond dwelling monster living in a beautiful garden. At night in prowls the land where the different birds live. The birds themselves have many exotic names such as the Great Skull-Headed Stone Trot, the Swank, the Blue-Billed Ork and the Shivver-Doodle.It is not known whether Vicker's Google had any influence on the naming of the current famous American Internet company.Condition Report: Image 6 has been unframed. The work is watercolour on card and has been taped to the backing mount at the centre of each edge. All the works are under glass. The other five have not been examined out of glazed frames. There is some light scattered foxing most noticeably to areas where the original card is on show. Image 4 showing the two swooping birds, there is evidence of pencil marks either behind the sheet or as part of the original design which was the changed. There is a small cluster of brown marks to the left hand edge of the sheet. Otherwise each work appears to be in good original condition. Condition Report Disclaimer
An album containing various vintage share certificates, etc., to include Manchester Carriage Company Ltd, Charles Laffitte and Company for £20, the Silkstone & Dodwortfl Coal company, various others, Australian Console, gold and copper miner's share certificate, various others, etc. (1 album)
GILT-BRONZE FIGURE OF A LAMA 銅鎏金喇嘛座像 cast seated on a double lotus throne, his right hand in bhumisparsha mudra, left in dhyana mudra, he wears an elaborate robe wrapped around the body and covering his folded legs, the hem incised with details, his face with a pensive expression and a subtle smile flanked by two pendulous ears, the base sealed with a plaque carved with a double dorje(16.7cm high; 2.19kg)Footnote: Note: The figure is possibly depicting the First Panchen Lama, Lobsang Chokyi Gyaltsen Pelzangpo. A comparable gilt-bronze Panchen Lama, was sold in 'Portraits of the Masters', Bonhams New York, 14 March 2017, lot 3293. The two share similar facial features, hand gestures, robes, and pointed lotus petals
A letter by King Miguel I of Portugal to the Dr. António Joaquim Ribeiro Gomes AbreuMIGUEL, Dom (Rei de Portugal).- 1 Autographed letter (2p;20cm.).Letter addressed to Coimbra University Professor Dr. Antonio Joaquim Ribeiro Gomes d’Abreu, staunch absolutist, that had resigned his University chair for refusing to swear fidelity to the legal institutions and to Queen Maria II: …The honour, indifference and firmness of character with which you have resigned the Chair of Lecturer at the Faculty of Medicine at the University of Coimbra, that you had won through your study and knowledge should be a model to follow; Justifying the impossibility of providing any assistance continues: …Finding myself in exile living from the assistance of my friends I do not have resources to reward you; and to prove how honouring your conduct is however, you must count that I will share with you ever, that bread of tears that I shall have, as from this day onwards, I will regard you as a member of my family and as another son of mine”It is curious to refer that this vow did indeed materialize as King Miguel I did invite Dr. Gomes de Abreu to Bronnbach as tutor of his children in exileSigned and dated Nauheim 3rd July 1856Carta dirigida ao Prof. da Universidade de Coimbra Dr. Antonio Joaquim Ribeiro Gomes d'Abreu, absolutista convicto, que se havia demitido da cátedra por não querer prestar juramento de fidelidade ás instituições vigentes e a D. Maria: "..A honra, desinteresse e firmeza de carácter com que renunciastes a Cadeira de Lente Substituto da Faculdade de Medicina na Universidade de Coimbra, que vos tinheis ganho com o vosso estudo e saber devem servir de modelo"; Justificando a impossibilidade de prestar qualquer ajuda diz: "...Achando-me no exílio e vivendo do Obolo dos meus amigos não tenho com que vos possa remunerar; é provar quanto a vossa conducta he honroza, porém, vós deveis contar que eu repartirei convosco sempre, desse pão de lágrimas que eu tiver, porque de hoje em diante, vos considero como hum membro da minha familia, e agora mais hum filho". Estas palavras levaram a que o Dr. Gomes Abreu aceitasse o lugar de preceptor dos filhos de D. Miguel. Viveu o resto da sua vida em Bronnbach, acabando por morrer ali seis meses após o seu soberano.20x13 cm
GLORIA JONES - LP COLLECTION. Top bundle of 6 x LPs from The Queen Of Northern Soul who was beloved by Marc Bolan. Titles are Come Go With Me (1966 US Uptown original, T-5700 - very fine Ex condition record showing only a couple of very light and fine surface hairline marks/VG+ some foxing that is certainly not unusual to see of these US sleeves from this period), Vixen (including 2 UK copies, first copy with Factory Sample Not For Sale stickers on the label and sleeve - top Ex+ condition record/Ex sleeve, also the 'stock' copy - Ex/VG), Share My Love (including US promo copy, M 790V1DJ - Ex+/VG+ original promo sticker, also US stock copy M-790V1 - Ex/VG) and Windstorm (SW-11854 - Ex/VG).
Irini Bachlitzanaki The Duck Oil Pastel on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Inspired by material culture and the biographies of objects Irini Bachlitzanaki builds upon a world that is known and familiar to examine our relationship to the objects we share our lives with and the spaces they inhabit, and to explore things as a means of knowing-and ever discovering-the world around us. Within a practice that is primarily sculptural, she combines processes like casting with ceramics, embroidery, printmaking and photography to interrogate not only the relationship of sculpture to other forms of representation but also the relationship of making works of art to other forms of production, artefacts and commodities. Education Bachlitzanaki studied History of Art at UCL and Fine Arts at Chelsea College of Art & Design and the Royal Academy Schools.
Lola Luk Orange Is The New Prozac Sculpture/Resin Approx. 15 x 5cm About Through years I explored various fields in different creative industries, developed skills and found a passion for wide range of design techniques which led me to become an independent artist. Education London University of Arts (Set Design for stage and Screen) Select Exhibitions/Awards 2021 The Other Art Fair Virtual Edition Brooklyn Expo Centre 2021 Affordable Art Fair Amsterdam, Netherlands Platform Project 2021 The Other Art Fair London, Truman Brewery 2021 Affordable Art Fair, Battersea, London (bestseller artist) 2020 Affordable Art Fair, Battersea, London (bestseller artist) 2019 Affordable Art Fair, Battersea, London 2018 Affordable Art Fair, Battersea, London 2017 Affordable Art Fair, Battersea, London 2017 The Old Truman Brewery, Brick Lane, Group Exhibition 2013 Group Show, Orange Revolution, Arsenal Centre, Kiev Ukraine Press: Domino, May 2021 Gallery Representation Gallery 040 Hamburg Statement about AOAP Submitted Artwork I put a lot of personal statements in the flavours of the lollies, which some of them are emotional expressions / double meaning pun, some combinations of real ice-cream names twisted with contemporary slang and humour, most of them reflects everyday life that we all share, referencing music, movies and books, some pieces are the combination of the visual and verbal context hovering between comedy and tragedy.
Lola Luk I Am Fine Sculpture/Resin Approx. 15 x 5cm About Through years I explored various fields in different creative industries, developed skills and found a passion for wide range of design techniques which led me to become an independent artist. Education London University of Arts (Set Design for stage and Screen) Select Exhibitions/Awards 2021 The Other Art Fair Virtual Edition Brooklyn Expo Centre 2021 Affordable Art Fair Amsterdam, Netherlands Platform Project 2021 The Other Art Fair London, Truman Brewery 2021 Affordable Art Fair, Battersea, London (bestseller artist) 2020 Affordable Art Fair, Battersea, London (bestseller artist) 2019 Affordable Art Fair, Battersea, London 2018 Affordable Art Fair, Battersea, London 2017 Affordable Art Fair, Battersea, London 2017 The Old Truman Brewery, Brick Lane, Group Exhibition 2013 Group Show, Orange Revolution, Arsenal Centre, Kiev Ukraine Press: Domino, May 2021 Gallery Representation Gallery 040 Hamburg Statement about AOAP Submitted Artwork I put a lot of personal statements in the flavours of the lollies, which some of them are emotional expressions / double meaning pun, some combinations of real ice-cream names twisted with contemporary slang and humour, most of them reflects everyday life that we all share, referencing music, movies and books, some pieces are the combination of the visual and verbal context hovering between comedy and tragedy.
Lola Luk Vanilla Fuck Them All Sculpture/Resin Approx. 15 x 5cm About Through years I explored various fields in different creative industries, developed skills and found a passion for wide range of design techniques which led me to become an independent artist. Education London University of Arts (Set Design for stage and Screen) Select Exhibitions/Awards 2021 The Other Art Fair Virtual Edition Brooklyn Expo Centre 2021 Affordable Art Fair Amsterdam, Netherlands Platform Project 2021 The Other Art Fair London, Truman Brewery 2021 Affordable Art Fair, Battersea, London (bestseller artist) 2020 Affordable Art Fair, Battersea, London (bestseller artist) 2019 Affordable Art Fair, Battersea, London 2018 Affordable Art Fair, Battersea, London 2017 Affordable Art Fair, Battersea, London 2017 The Old Truman Brewery, Brick Lane, Group Exhibition 2013 Group Show, Orange Revolution, Arsenal Centre, Kiev Ukraine Press: Domino, May 2021 Gallery Representation Gallery 040 Hamburg Statement about AOAP Submitted Artwork I put a lot of personal statements in the flavours of the lollies, which some of them are emotional expressions / double meaning pun, some combinations of real ice-cream names twisted with contemporary slang and humour, most of them reflects everyday life that we all share, referencing music, movies and books, some pieces are the combination of the visual and verbal context hovering between comedy and tragedy.
Lola Luk Pink. Try Me Bitch. Sculpture/Resin Approx. 15 x 5cm About Through years I explored various fields in different creative industries, developed skills and found a passion for wide range of design techniques which led me to become an independent artist. Education London University of Arts (Set Design for stage and Screen) Select Exhibitions/Awards 2021 The Other Art Fair Virtual Edition Brooklyn Expo Centre 2021 Affordable Art Fair Amsterdam, Netherlands Platform Project 2021 The Other Art Fair London, Truman Brewery 2021 Affordable Art Fair, Battersea, London (bestseller artist) 2020 Affordable Art Fair, Battersea, London (bestseller artist) 2019 Affordable Art Fair, Battersea, London 2018 Affordable Art Fair, Battersea, London 2017 Affordable Art Fair, Battersea, London 2017 The Old Truman Brewery, Brick Lane, Group Exhibition 2013 Group Show, Orange Revolution, Arsenal Centre, Kiev Ukraine Press: Domino, May 2021 Gallery Representation Gallery 040 Hamburg Statement about AOAP Submitted Artwork I put a lot of personal statements in the flavours of the lollies, which some of them are emotional expressions / double meaning pun, some combinations of real ice-cream names twisted with contemporary slang and humour, most of them reflects everyday life that we all share, referencing music, movies and books, some pieces are the combination of the visual and verbal context hovering between comedy and tragedy.
A RARE BRONZE RITUAL WINE VESSEL, GU, SHANG DYNASTYChina, 14th-13th century BC. The vessel has a plain trumpet-shaped neck and spreading foot, and the bulbous mid-section is cast with two taotie masks with boss-like eyes divided and separated by slender notched flanges and set between raised bow-string borders, the lower of which is interrupted by a cruciform aperture.Provenance: Roger Keverne, London, 16 October 2009. A British private collection, acquired from the above and thence by descent. Note that Roger Keverne's pricelist for this exhibition states a purchase price of GBP 18,000 (approx. GBP 26,350 today after inflation) for the present lot.Published: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics Winter Exhibition, London, 2009, no. 1. Condition: Excellent condition, commensurate with age. Minuscule nicks to edges and small dents. Few minor signs of erosion. Old wear. Superb, naturally grown patina with various tones of malachite as well as some cuprite and azurite encrustation.Weight: 516.2 gDimensions: Height 19 cmExpert's note: The present vessel belongs to the latter stage of the Erligang phase. Robert W. Bagley in Shang Ritual Bronzes in the Arthur M. Sackler Collections, volume 1, The Arthur M. Sackler Foundation, Washington, D.C., 1987, illustrates a series of bronze gu that span this transitional period, pages 218-219, figures 25.1-6. In these illustrations one can see the gradual change in the shape from the broader silhouette of the earlier examples, figures 25.1 and 25.2, to the taller and more slender silhouette of the later examples, figures 25.5 and 25.6, and notes that the thickened waist is seen only occasionally during this period. Furthermore, all of these vessels, along with the present vessel, share similar cruciform apertures left by the casting process.Literature comparison: For related examples, see Jan Fontein and Tang Wu, Unearthing China's Past, no. 7, p. 37-38, and note particularly fig. 5, excavated at Minggonglu, Zhengzhou, Henan Province, which has a very similar decorative band and a cruciform aperture, and see Hubei Provincial Institute of Cultural Relics and Archaeology, The Panlongcheng Site Report of Archaeological Excavation from 1963-1994, vol. 2, color pl. 30, fig. 1 (PYWM 4:6), pl. 36, fig. 1 (PWZM 1:4), and pl. 87, Fig. 2 (PYWM 11:5). 商代青銅觚中國，公元前十四至十三世紀。此器敞口呈喇叭形，長頸，腰腹收窄，斜坡狀圈足；器身紋飾分為三段，口部到頸部素面無紋，至中部兩道凸弦紋，中部饕餮紋，兩條扉棱對稱分佈，腹部與圈足之間飾兩道凸弦紋，底足部素面。整器線條優美流暢，銅質富光澤，金屬厚重。來源：倫敦Roger Keverne 2009年10月16日；英國私人收藏，購於上述藝廊並保存至今。請注意Roger Keverne當時的展覽價格單上價格為GBP 18,000 (相當於現在的 GBP 26,350)。 出版: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics Winter Exhibition, 倫敦2009年, 圖 1. 品相：狀況極佳，與年齡相稱。 邊緣有微小的刻痕和小凹痕。少量輕微的侵蝕跡象，以及舊時磨損。 自然生長的包漿，帶有各種色調的美麗鏽斑。重量：516.2克 尺寸：高19 厘米 專家注釋: 此拍品來自於二里崗後期。見Robert W. Bagley 在 Arthur M. Sackler 收藏中的青銅禮器，第 1 卷，Arthur M. Sackler 基金會，華盛頓特區，1987 年，展示了跨越這一過渡時期的一系列青銅器，第 218-219 頁，圖 25.1-6。在這些插圖中，我們可以看到從早期例子（圖 25.1 和 25.2）的較寬輪廓到後面的例子（圖 25.5 和 25.6）的更高和更細長的輪廓的形狀在逐漸變化，腰部加粗，也可以在此期間偶爾看到。此外，所有這些青銅器，連同本器，在鑄造過程都留下的類似的十字形孔。 文獻比較: 一件相近青銅器，見Jan Fontein and Tang Wu, Unearthing China's Past, no. 7, p. 37-38, 請注意特別是圖 5、出土於河南鄭州明公路，裝飾帶與十字形孔極為相似；另見 湖北省文物考古研究所The Panlongcheng Site Report of Archaeological Excavation from 1963-1994, 第 2冊，彩圖 30, 圖 1 (PYWM 4:6), 圖 36, 圖1 (PWZM 1:4), 以及圖 87, 圖2 (PYWM 11:5)。
A RARE GILT BRONZE FIGURE OF A BUDDHIST DISCIPLE, POSSIBLY ANANDA, MING DYNASTYChina, 16th-17th century. Finely cast standing atop a double lotus pedestal above a beaded edge, wearing a monastic robe cascading in voluminous folds, the hems decorated with lotus scroll, two corners of the robe looped into a distinct circular clasp at the left shoulder held by a ruyi-shaped buckle and below a three-stranded knotted rope, the two hands clasped one over the other and held in front of the chest, the undergarment also with an embroidered hem of zigzag motifs from which the two feet in cloth shoes protrude.Provenance: From an old Viennese private collection.Condition: Good condition with some old wear, particularly to the lacquer gilding, small nicks, few minuscule losses, minor dents, light scratches.Weight: 3,605 g Dimensions: Height 35 cmHis serene face with heavy-lidded downcast eyes, curled brows and beard, and full lips forming a calm smile, flanked by long pendulous earlobes, the tonsured hair arranged in tight curls.A luohan is a disciple of Buddha who has attained Enlightenment and has achieved the status of the perfected being, but chooses to postpone his accession to Nirvana and remain in the world to aid all sentient beings. The luohan achieves enlightenment through instruction rather than through his own insight and meditation, and as a result, ranks just below the bodhisattva. The term luohan, or 'arhat' in Sanskrit, means 'worthy' or 'venerable' and refers to the Buddha's original disciples, and by extension, to any holy figure who upheld and defended the Buddhist dharma. Originally only four, their numbers increased to sixteen, then eighteen and ultimately to five hundred.The present figure depicts either Ananda or Kasyapa, two of Buddha's ten principal disciples, and was likely one of a pair (with the other) or triad (both flanking Buddha). When Kasyapa first met Buddha, he was already in his late eighties. He was a teacher in his own right and had a large following. After an encounter with Buddha, Kasyapa recognized Buddha's superior wisdom and converted along with all of his disciples. He is often portrayed with Ananda, each standing on either side of Shakyamuni Buddha. Ananda was one of Buddha's first cousins, and as such is often depicted as a young man with hands held in anjali mudra.Literature comparison: A bronze figure of a monk dated to the 17th century, with closely related features to the present lot, is in the collection of the British Museum, accession number 1990,0529.1.Auction result comparison: Compare a related gilt bronze figure of Ananda, 52 cm high, also dated 16th-17th century, at Bonhams Hong Kong in Fine Chinese Ceramics and Works of Art on 29 November 2016, lot 30, sold for HKD 1,740,000. Compare also a related gilt bronze figure of Kasyapa, 42 cm high, at Bonhams New York in Chinese Works of Art and Paintings on 10 September 2018, lot 132, bought-in at an estimate of USD 50,000-70,000. Note that both figures share their cascading robes with hem decoration, the circular clasp at the left shoulder held by a ruyi-shaped buckle, and the distinctive lotus pedestals with their naturalistic overlapping petals above stylized lappets with the present lot.明代罕見銅鎏金佛陀弟子像，或爲阿難尊者中國，十六至十七世紀。尊者雙目微合，面帶微笑，雙手合十，表情虔誠。身著寬袍廣袖僧衣，衣紋流暢，法相莊嚴肅穆。雙足立於蓮花寶座之上。通體鎏金保存較好，袈裟及衣擺紋飾突出，技法高超。來源：維也納私人老收藏。 品相：狀況良好，有一些舊磨損，尤其是漆面燙金、小劃痕、微小缺損、輕微凹痕、輕微劃痕。 重量: 3,605 克 尺寸：高 35 厘米 拍賣結果比較：比較一件相近的銅鎏金阿難尊者，高 52 厘米，十六至十七世紀, 見香港邦翰思 Fine Chinese Ceramics and Works of Art 2016年11月29日 lot 30, 售價HKD 1,740,000。比較一件相似鎏金銅迦葉尊者，高 42 厘米，見紐約邦翰思Chinese Works of Art and Paintings 2018年9月10日 lot 132, 估價USD 50,000-70,000。請注意，這兩位尊者的僧袍都帶有下擺裝飾，左肩上的圓形搭扣由一個如意形的搭扣固定，以及帶有自然主義重疊花瓣的獨特蓮花座與本拍品的荷葉相似。
Handkerchief. The Railways in Great Britain, also the Line of Navigation From the principal Sea Ports to both home and Foreign Stations, 1840s, cream cotton handkerchief, printed in red with map of England, Wales, and part of Scotland and Ireland, with railway lines and navigation routes picked out in black, titled top right, enclosing a vignette of a steam train on a viaduct, with factories in the background and a 'Railway Despatch' stagecoach in the foreground, floral border to edges, selvedges to sides, hems to top and bottom edges stitched by hand, some brown staining, several small holes (notably south of Exeter), 56 x 61cm (22 x 24ins), together with Map of Europe cotton handkerchief, 1914, 49 x 63cm (19.25 x 24.75ins) Qty: (2)Footnote: A rare commemorative handkerchief, produced around the time of Railway Mania, when investment in the railway network increased at a frenzied pace until the share price crashed and the bubble burst.
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas.Period frame.Measurements: 62 x 47 cm; 71 x 54 cm. (frame).The figure of the dead Christ was very common in the Spanish Baroque iconography. Murillo made several versions in which, as in the important painting that we show here, the imposing image of the Crucified Christ is outlined on a dark background of twilight lights in contrast with the powerful focus of light that models his powerful anatomy. This is a Christ with three nails, in which the master avoids excessive pathos and, on the contrary, prioritises atmospheric capture, the softness of the forms and chromatic nuances, in order to procure a contemplative immersion for the believer. What is important is to emphasise the magical moment in which humanity is redeemed by the suffering of the Saviour. The composition, the bold iridescence of light and the rapid brushstroke In composition and language this work is very close to Murillo's Christ Crucified in the Museo del Prado. Specialists have pointed to the influence of the Christ that Van Dyck painted for the church of Dendermonde. Dated around 1667, it was possibly bought by Philip V's wife, Isabella of Farnese, and was in her collection in 1746, appearing in her collection three years later in the Palace of Aranjuez, from where it was transferred to the Prado in 1818. Here, too, the cross is a vertical part of the composition, and the body acquires sculptural volume thanks to the masterly handling of the light. The landscape of Golgotha is reduced to an atmospheric impression, establishing a chiaroscuro dialogue with the suffering flesh tones. Here too, the skull and some of the instruments of the Passion are depicted at the foot of the cross. The stylistic and formal correspondences between these two paintings and others from Murillo's mature period lead specialists to believe that they share the same authorship.Little is known about Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, which is why he was taken into the care of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, most likely with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship lasted about six years, as was customary at the time. After his marriage in 1645 he embarked on what was to be a brilliant career that gradually made him the most famous and sought-after painter in Seville. The only trip he is known to have made is documented in 1658, when Murillo was in Madrid for several months. It is conceivable that while at court he kept in touch with the painters who lived there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all the artists who passed through the court. Despite the few documentary references to his mature years, we know that he enjoyed a comfortable life, which enabled him to maintain a high standard of living and have several apprentices. Having become the city's leading painter, even surpassing Zurbarán in fame, he was determined to raise the artistic level of local painting. In 1660 he decided, together with Francisco Herrera el Mozo, to found an academy of painting, of which he was the main driving force. His fame spread so far throughout Spain that Palomino states that around 1670 King Charles II offered him the chance to move to Madrid to work there as a court painter. We do not know whether this reference is true, but the fact is that Murillo remained in Seville until the end of his life. Works by Murillo are now in the most important art galleries in the world, such as the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York and the National Gallery in London.
JAN VAN KESSEL I (Flanders, 1626-1679) and LUIGI PRIMO IL GENTIL (Belgium, 1605-1667)."William Raymond Moncada visiting the Queen of Aragon", ca.1663.Oil on copper.Signed by Van Kessel in the border (left side margin).Scene signed by Primo Il Gentil in the lower right corner.Regency frame, 19th century.Size: 54 x 68 cm; 76 x 90 (frame).This work belongs to a select cycle of twenty coppers that narrate the exploits of two Sicilian noblemen of Spanish origin: the brothers Guillermo Ramón Moncada and Antonio Moncada. The historical scene in the present copper was painted by Luigi Primo il Gentile (five were commissioned), and Jan van Kessel was the author of the decorative border framing the scene of the twenty episodes. Collaboration between painters was common in the Low Countries given their specialisation in different genres in which they were masters: Kessel was a master of virtuoso rendering of flowery garlands, birds and other elements from the animal and plant kingdoms, while P. il Gentile was an outstanding exponent of the historical genre and portraiture. In the Museo Thyssen-Bornemisza in Madrid there are two coppers from the same cycle, in this case painted by Kessel (the garland) and David Teniers II (the scene). The present scene is dedicated to Guillermo Ramón Moncada, as the cartouche at the top, painted by Kessel, states, accompanied by the heraldic coats of arms of the family. Kessel endows the birds with volume and agility (there are a wide variety of exotic species), so that in a trompe l'oeil effect they seem to escape from the two-dimensionality of the painting, as if fluttering among the tangled foliage. Flowers with fleshy petals, chests with gold fittings and pieces of porcelain resting on venereal-shaped corbels share this same struggle to transgress the limits of painting. The courtly costumes, the fine embroidery and the many gauzes that envelop the bodies of the maidens in the scene painted by Gentile also display a supreme delicacy. Like other episodes in the series painted by Gentile ("Guillaume-Raymond Moncada visiting the King of Aragon", ca.1660, private collection), the composition is governed by the arrangement of the groups (with Guillaume occupying the pre-eminent place) around kings and princesses who receive them in their chambers. It is also very similar to the composition Teniers chose in his representation of a solemn reception before the queen's throne. The episodes depicting these two members of the Moncada family took place in Sicily between the end of the 14th and the beginning of the 15th century. The paintings are executed with a structure similar to that of tapestry cartoons. In fact, those dedicated to William R. Moncada were used for this purpose. They were probably woven in Flanders. The remaining coppers dedicated to the Moncada brothers, apart from those in the Thyssen Museum, are to be found in private collections and among the descendants of the Marquis of Villafranca.Luigi Primo Gentile (c.1605-1667), a Flemish painter, worked in a style that combined his Flemish roots with the profound influence of Italian art. Some of the altarpieces he painted between 1633 and 1657 for churches in Rome (Madonna presenting the Child to Saint Anthony of Padua, 1655, Saint Mark's, Rome). According to some sources, Gentile painted small devotional paintings on copper for Pope Innocent X between 1646 and 1652. In 1635 he joined the confraternity of the Church of St. Julian of the Flemish. In 1650 he entered the Accademia di San Luca.Jan van Kessel I was a Flemish painter, grandson on his mother's side of Jan Brueghel the Elder and nephew of Jan Brueghel the Younger and David Teniers II, whose pupils he was. Like his grandfather, he painted in a wide variety of genres, including still lifes and flowers, animals, landscapes, allegories and religious works.
A small collection of banknotes and cheques, comprising; a USA Virginia treasury one dollar note July 1862, a USA $20 cheque 'OTSEGO county bank Cooperstown' dated dec 9th 1836, signed 'J.Fenimore Cooper', a British Midland bank cheque dated 1954, a German one thousand mark banknote dated 1910, six modern foreign banknotes and a share certificate 'The Baltimore and Ohio Railroad Company', dated 1926 Note- Fenimore Cooper was author of 'Last of the Mohicans'
Cream 'White Room' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 56 x 76 cm. Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger. These posters were later produced by John Judkins but share the same flair and style of the early artwork.
David Bowie and the Spiders from Mars 'You Are Not Alone' - Original hand painted artwork on thick paper by John Judkins, signed and dated 75, flat, 56 x 65 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Led Zeppelin 'Houses of the Holy' - Original hand painted artwork on thick paper by John Judkins, signed and dated 75, flat, 56 x 69 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Bob Dylan 'Highway 61 Revisited' - Original hand painted artwork on thick paper by John Judkins, signed and dated 67, flat, 56 x 76 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.
The Rolling Stones 'It's Only Rock & Roll but I like it' - Original hand painted artwork on thick paper by John Judkins, signed and dated 77, flat, 56 x 70 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.
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