We found 9178 price guide item(s) matching your search

A late 19thC mahogany piano stool, the turned cylindrical handles above a carved front and side panels, with an overstuffed seat opening to reveal a recess for sheet music, on leaf carved cabriole legs, 57cm high, 54cm wide.

A 19TH CENTURY SWISS CYLINDER MUSIC BOX walnut cased, playing eight sacred airs, tune sheet and winder No. 23946, 57cm long (for restoration; plays sluggishly, one tooth broken)

A young boy in his best suit singing a song off his sheet music. Matte finish. Goebel backstamp. Dimensions: 5.25"H x 2.25" dia.Manufacturer: Goebel HummelCountry of Origin: GermanyCondition: Age related wear.

An early 20th century sheet music filing chest, Art Nouveau handles, 89cm high, 53cm wide, 37.5cm deep

1804 A Select Collection of Original Scottish Airs for the Voice, with Introductory and Concluding Symphonics & Accompaniments for the Piano Forte, Violin & Violoncello by Pleyel Kozeluch & Haydn. Volume I entd. at Stationer's Halll. Printed & sold by T. Preston, also by G. Thomson the Editor & Proprietor, Edinburgh. Signed G. Thomson to base of title page by music publisher George Thomson. Including verses by Robert Burns, Allan Ramsay and others. Orig. full calf binding appearing rebacked to spine, edgewear to extremities & spine is loosening, rubbed at hinges and the odd mark to the boards. Binding generally firm, occ. offsetting to sheet music. Folio.

Box of various ephemera, sheet music etc

Mixed Lot: Various sheet music

A Royal Worcester Porcelain 'Jenny Lind' (Diffidence) Candle Snuffer, Modelled as Swedish Soprano Jenny Lind (1820-1887) with Nightingales Head Holding Sheet Music, In Green Dress 10cm High

An original Bonzo Dog Doo-Dah Band promotional leaflet, from the collection of Vivian Stanshall, the cover depicting Roger Ruskin Spear as a female nude (with 'Censored' sticker), together with two black and white photographs of the original female model (one cut out), used in the design by Vivian, and three original sheet music leaflets, for 'Labio-Dental Fricative', 'Mr Apollo' and 'The Equestrian Statue'. This lot, along with all others in the sale, has been consigned for sale by Vivian's son, Rupert. Please see the following article on our website for further background.https://www.dawsonsauctions.co.uk/news-item/dawsons-announce-sale-of-selected-items-from-the-collection-of-vivian-stanshall/?pc=16https://en.wikipedia.org/wiki/Vivian_Stanshall

A collection of assorted original promotional ephemera relating to The Bonzo Dog Doo-Dah Band and Vivian Stanshall, from his own collection, comprising: two leaflets (one with cover & rear photo), 'Those likeable boys, The Blow-wave set, Mephistophelean engines of pleasure, The rage of society', with internal photos and humorous biography of the band, the contact details for their Manager (Reg Tracey) on the reverse, three gloss black and white photographs of the band / Vivian, five assorted postcards, two advertising sheets for 'Vivian Stanshall's Big Grunt' and a 'Labio-Dental Fricative' sheet music leaflet. This lot, along with all others in the sale, has been consigned for sale by Vivian's son, Rupert. Please see the following article on our website for further background.https://www.dawsonsauctions.co.uk/news-item/dawsons-announce-sale-of-selected-items-from-the-collection-of-vivian-stanshall/?pc=16https://en.wikipedia.org/wiki/Vivian_Stanshall

A collection of assorted original promotional ephemera relating to The Bonzo Dog Doo-Dah Band and Vivian Stanshall, from his own collection, comprising: two leaflets (one with cover & rear photo), 'Those likeable boys, The Blow-wave set, Mephistophelean engines of pleasure, The rage of society', with internal photos and humorous biography of the band, the contact details for their Manager (Reg Tracey) on the reverse, three gloss black and white photographs of the band / Vivian, five assorted postcards, two advertising sheets for 'Vivian Stanshall's Big Grunt' and a 'Labio-Dental Fricative' sheet music leaflet. This lot, along with all others in the sale, has been consigned for sale by Vivian's son, Rupert. Please see the following article on our website for further background.https://www.dawsonsauctions.co.uk/news-item/dawsons-announce-sale-of-selected-items-from-the-collection-of-vivian-stanshall/?pc=16https://en.wikipedia.org/wiki/Vivian_Stanshall

After Hendrik Hondius I (Dutch, 1573-1650) after Maerten Van Heemskerck (Dutch, 1498-1574). Engraving on laid paper depicting a devil playing a panflute with a book of music on his back. Behind him is a congregation singing along to the music.(Sheet) Height: 5 1/2 in x width: 7 1/2 in. (Matted) Height: 7 1/4 in x width: 9 in.Condition:There are no visible tears, losses, or creases. The sheet is slightly toned. There is discoloration along the lower margin. The sheet has been trimmed. It has been affixed along the upper edge of the verso to an acidic paper board backing. There are no signs of restoration under UV light. The work is not framed.

Egan (Pierce) Life in London; or, the Day and Night Scenes of Jerry Hawthorn, Esq. and...Corinthian Tom, first edition, third issue with footnote on p.9 and first sheet of music numbered, half-title, hand-coloured aquatint frontispiece and 35 plates by Robert & George Cruikshank, wood-engraved vignettes, 6pp. engraved musical notation on 3 folding sheets (a little foxed), 8pp. advertisements and smaller 16pp. catalogue at end, some spotting and offsetting, mostly to tissue guards, with 4pp. prospectus loosely inserted, original pictorial printed boards with 5 vignettes on each cover and 2 on spine, uncut, very slightly rubbed but an excellent copy, preserved in later red calf-backed cloth drop-back box, spine gilt with roan labels, rubbed, [Abbey Life 281; Cohn 262; Tooley 196], 8vo, 1822.

GERRY MONROE signed 'My Prayer' vintage Sheet Music Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99 worldwide.

PAT BOONE signed 'Johnny Will' vintage Sheet Music Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99 worldwide.

SHEET MUSIC, signed selection, inc. Mike Sarne 'Will I What?', Glen Campbell 'Honey Come Back', The Tremeloes 'Hello World' (signed by 2), Herman's Hermits 'My Sentimental Friend' (signed by 1), Paul Anka 'Love Me Warm and Tender' & Gary Glitter 'Love Like You and Me', hole punches (1), minor paper loss to cover (1), fold (2), some staining, near G to VG, 6

SHEET MUSIC, signed selection, inc. Bobby Goldsboro 'Honey', Adam Faith 'A Message to Martha', & Sonny & Cher 'Little Man' (Sonny signed to music, Cher to separate album page), some staining (2), about G to EX, 4

POP MUSIC, signed sheet music, The Bee Gees, Massachusetts (The Lights Went Out In), signed by Maurice & Robin Gibb, black & blue inks, small corner creases, horizontal fold, G

A HARD PLASTIC FIGURE OF A GIRL READING SHEET MUSIC

A good lot of sheet music from the shows and some classical

Beatles programmes and books to inc: 'Beatles Ltd' booklet, Four Aces 1963 concert programme, three pieces of sheet music, first edition Spaniard In The Works, April 1964 issue of 'In His Own Write', 1970 hardcover copy of Yoko Ono - Grapefruit with viewer.

30 pieces of sheet music, all original Beatles recordings to inc AHDN, Hey Jude, Please Please Me etc. Condition generally good.

Approx 30 pieces of sheet music published in Sweden by 'Sonora'. Most in excellent condition, some with price stickers/

30 pieces of sheet music of artists relating to The Beatles/Apple such as the members of The Beatles (Paul McCartney/Wings, George Harrison, John Lennon/Yoko Ono and Ringo Starr), Cilla Black, Mary Hopkin, The Overlanders etc.

A collection of items relating to Paul McCartney and Wings to include magazines and newspapers with Paul-related headlines, two folders each containing the sheet music for 'Tripping the Live Fantastic' and 'Venus & Mars', the Taschen block 'Paul' by Harry Benson and two folders containing 'Club Sandwich' issues, and 'Fun Club' offers and letters.

A collection of items to include 5 folders containing postcards, greetings cards, first-day covers, sheet music, songbooks, and magazines all relating to The Beatles.

A stapled two page camera script for the Beatles' performance of 'Can't Buy Me Love' on Top of the Pops, March 19th 1964. Signed to reverse by George Harrison, John Lennon, Paul McCartney and Ringo Starr with an inscription likely by George Harrison.The two pages contain the complete lyrics for "Can't Buy Me Love" and includes the camera shots for each section of the song. A truly incredible and unique signed item from an iconic TV event. Pages measure approx 20.5 x 27.5cm. NOTE - it is the belief of independent authenticator Roger Epperson that John and George are authentic but that signatures of Paul of Ringo are likely by Neil Aspinall.Provenance: The vendor's cousin was a make-up artist for BBC Television studios and made up the Beatles on March 19, 1964 for a recording session of "Can't Buy Me Love". While in their dressing room, she obtained the autographs for the vendor and their two sisters off of the lyrical music sheet used that night for the recording. Has been in the possession of the vendor since it was mailed to them by their cousin 60 years ago. Includes a letter of provenance from the vendor.

A collection of various vintage periodicals, ephemera, commemorative newspapers, sheet music etc.

WENDT & KÜHN Spieluhr "Engelwiegengruppe" 1990er Jahre, Etikett u. Stempel auf Unterseite, Holz, gedrechselt u. geschnitzt, farbig bemalt, runder Korpus m. Darstellung d. Sternenhimmels, darauf knieende Engel neben Wiege m. Kind, daneben stehende Engel m. Flöte u. Notenblatt, mittig drehbarer Baluster m. Stern u. 5 schwebenden Engeln, H: ca. 23,5 cm. Leichte Altersspuren, unbesch.| WENDT & KÜHN music box "Angel cradle group" 1990s, label and stamp on underside, wood, turned and carved, colour painted, round body with depiction of the starry sky, on top kneeling angels next to cradle with child, next to it standing angel with flute and sheet music, central rotating baluster with star and 5 floating angels, h: approx. 23.5 cm. Slight signs of age, unmarked.

AN EARLY 20TH CENTURY MAHOGANY C. BECHSTEIN, BERLIN VA OVERSTRUNG GRAND PIANO 19564 with accompanying stool, piano with lid closed, 96cm high x 151cm wide x 202cm longIvory declaration reference - Z12511FVCondition Report:Piano is in a good general condition with minimal wear to case, sheet music holder is however lacking screws and front right caster has detached front support though is present with lot

A 1950s printed sheet music cover for the song "If You Feel Like Singing, Sing" By Judy Garland and Gee Kelly, from the motion picture Summer Stock, lithographic print, in moulded frame under glass, 29 cm x 34 cm overall

A 1930s printed sheet music cover for "Nipits Voice, Throat & Chest Pastilles" made by Teasdale's of Carlisle, in card mount and moulded frame under glass, 31 cm x 38 cm overall

A Capodimonte figurine of a seated lady with sheet music by Volta, height 21 cm

An early 20th century Italian piano accordion; Comm. Paolo Soprani e Figli, walnut cased, in original leather travel case and a selection of sheet music

Periodical Accounts Relative to the Baptist Missionary Society, 3 Vols, first edition, title-page, folding sheet music and verse, further engraved plates, later mottled calf gilt by A. Roberts, Windsor, 8vo, London: printed by J. W. Morris, 1800-1805.some pages creased and slightly trimmed, some plates with foxing and darkening, occasional spotting, volume three title page stained.

Good Selection of Early vintage Autograph Photos, includidng Sir Johnston Forbes-Robertson, Julia Neilson, Beryl Churchill, etc.together with God Save Queen Victoria music sheet.

Ephemera. A collection of magazines and sheet music, some classic and others. (1 box)

Music and Entertainment, Sheet Music, approx. 500 items, to cover a wide range of dates & music styles, 1930's onwards, noted Abba, Leo Sayer, Olivia Newton-John, Tony Christie, Jonathan King, Walt Disney Mary Poppins, Norman Wisdom, Judy Garland, Peters and Lee, Bing Crosby, Tommy Dorsey, Disco Duck, film scores etc. some with attractive covers (some with punched holes, most gd) HEAVY

Music and Entertainment, Sheet Music, approx 1300 items, 1950s to 1960s (to inc. approx 250 from 1970s and 1980s) to include The Teddy Bears, The Spotnicks, Anita Harris, The Scaffold, Kathy Kirby, Everly Brothers, The Mudlarks, Freddie and The Dreamers, Neil Sedaka, Bobby Darin, Helen Shapiro, The Swinging Blue Jeans amd many more (gen gd)

A Victorian brass music stand, the mahogany sheet music holder with a single candle sconce, upon a brass pole extending to a cast iron base with four supports and cast paw feet, 122cm high

3 Folders of prints and sheet music etc 

A collection of Victorian and later sheet music. Including Beethoven Symphonies Book II. No. 6 - 9, Augener's Edition No. 8006B, opera sheet music, etc.

A collection of music related books, magazines and sheet music. Including pocket editions of musical scores, a small collection of sheet music from the 1930s. Including Gannon & Steiner - It Can't Be Wrong, two books on Buddhism, etc.

TWO ITEMS OF SHEET MUSIC FURNITURE, comprising four drawer cabinet, three quarter gallery top, drop-down drawer fronts, ring pull handles, square supports, 83cms (h), 51cms (w), 36.5cms (d), box seat music stool, twin lower drawers, upper carry handles, tapering square supports, 62cms (h), 51cms (w), 32.5cms (d)Provenance: private collection Gwynedd

A folio album of private bound 18th & 19th Century sheet music and others the volume including: Wine cannot cure; Thomas Beilby, The Dying Negro … formed for promoting an abolition of the slave trade, London: Longman & Broderip [1776-1795]; Dibdin (Charles) Poor Jack, London: Preston & Son, n.d., circa 1790; Dibdin (Charles), Poor Tom …, London: The Author; Jackson (William), When first this humble Roof I knew, London: Preston & Son; Paisello, Whither my love ah! Whither art thou gone, London: Longman & Broderip [1776-1795]; Storace (S.) My native land I bade adieu, London: Longman & Broderip [1776-1795]; James (Charles) Melissa, London: Dale; Beilby (Thomas), The Dying Negro… formed for promoting an abolition of the slave trade, London: Longman & Broderip [1776-1795]; Manuscript score for Prince of Bale’s Minnet; Dibdin (Charles), The Tar for all Weathers, London: The Author; Dibdin (Charles), The Lucky Escape, London: The Author; Joshua, Oh, Had I Jubal’s Lyre, London: J. Bland; Arnold & Pinto, If ‘tis Joy to wound a Lover; Les Adieux de L’infortune Louis XVI a son people, London: Dale’s; Shield, W., The Heaving of the Lead, London: Longman & Broderip [1776-1795]; I know that my Redeemer Liveth, London: J. Dale; Storace (Stephen), The Lullaby, London: J. Dale; ; Dibdin (Charles), The Soldier’s Adieu, London: The Author; He was Despised, Messiah, London: G. Goulding; Kilvington (T.) His Royal Highness Prince William of Gloucester’s March, London: The Author, 1795; Gionovichi, Rondeau; O Dear what can the Matter be, London: Preston & Son; Corri, (D.) My Ain kind Deabie: A Scotch Air, London: C. & Co.; Storace (Stephen) A Plighted Faith, London: Dale’s; Jackson of Exeter, Love in Thine Eyes, London: Bland & Weller; Percy & Antoinette (Marie), The Captive, London: The Author; The Favorite Duett of Jess MacPharlane as sung at the Dillettanti Concerts by Mr Dignum and Mr Hindle; Hook, My Heart is devoted dear Mary to thee … sung by Mr Darley at Vauxhall Gardens, London: Bland; Arnold (Dr.), Oh Happy Tawny Moor, London: Preston & Son; Hook, Sweet Kate the Irish Maid sung by Mr Page at Vauxhall, London: Preston & Son; Carnaby (W.), Song on Peace, London: Sold by Rt Birchall; Haigh (T.), The favorite Air When the Hollow Drum, London: Preston & Son; Dibdin (Charles), The Siege of Troy, London: Preston; Hook, The Wedding Day: A Favourite song sung by Mrs Kennedy at Vauxhall Gardens, London: S. A. & P. Thompson; Pleyel, Tho’ pity I cannot deny: A favorite Song sung by Mrs Crouch in the Haunted Tower, London: Longman & Broderip [1776-1795]; Rimbault (S. F.) The Cottage in the Dell, London: F. Linley; pages 9-12 of A compleat delineation of the Royal procession to St. Paul’s on the 19 of December 1797; Here’s a health to those far away, London: R.t Birchall; Giordani, Queen Mary’s Lamentation sung by Sig. Tenducci at the Pantheon & Mr Abel’s Concert & c, London: J. Preston; Latour, New German Waltz, London: J. Bland; Storace (Stephen), Across the Downs this morning sung by Sig. Storace in No song, no Supper, London: Longman & Broderip [1776-1795]; Gray (J. B.), Oh! Balmy Sleep, London: Tho.s Cahusac; Knyvett, In the Dead of the Night, London: R.t Birchall; Hook, You shall be my Love … sung by Mr Darley at Vauxhall, London: Preston & Son; Sestini, The Gipsy Song; Hook, Henry & Maria or the Soldier’s Farewell, London: Preston; with further manuscript pages including composition by Mrs Siddons, How hard’s the Fate of Womankind, The Confession; Aldiborontiphoscophornio; Last May a braw Wooer; Drops of Brandy; Mozart Air; Tweedside; The Birks of Endermay; The Spectre Song; Lord of all Powers; Pleyel, It may be Love; Callicott, Epitaph; Go to the Devil and shake yourself; Whither a mile of Edinburgh; several blank musical score sheets within marbled paper boards and leather spine; together with Dussek (I.L.) A compleat delineation of the Royal procession to St. Paul’s on the 19 of December 1797, the music for the Piano Forte by I. Dussek to which is added the form of the Church Service with part of the Vocal Music sung at that celebration, London: Printed for Corri. Dussek & Co., [1798], frontispiece by T. King, folio; Introduction, The Acclamation of the People, Coronation Anthem by Handel, , (pages 9-12 bound in the larger volume), The Litany, Sanctus by Robt Hudson, The Communion Service, The Creed, A Voluntary for the Organ by Handel, God Save the King; a volume 19th century privately collated paper bound sheet music including P. Henrion, Polka, D. Magnus, Royal Schottische, Theodore Oesten, Das Alpenhorn, German Melodies, Golden Pearls, Fleurs Italiennes, G.A. Osborne Roy McGregor, Henry F. Hemy, The Sledge Bell Galop, Oscar Comettant, La Sympathie, Adrien Talexy Aurelia, Alphonse Leduc, L’Ecrin Musical, Fantasies; Away with Melancholy: A Favorite Air or Duet composed by M. Mozart, London: Bland & Wellers Music Warehouse, 23 Oxford Street, n.d. [1793-1818], folio, loose sheet music, 2 leaves, 3pp.Well used and thumbed condition, binding poor, some annotations and insciptions

Vince Hill signed 11x8 inch The Importance of your love music score sheet signature on front cover. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Johnny Tillotson signed 11x8 inch Send me the pillow you dream on music score sheet signature on front cover. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Pat Boone signed Say Goodbye sheet music booklet. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Vintage signed Florrie Ford black & white photo 6.5x4.5 Inch corner stickers onto an A4 white sheet plus small cut out of description bio. was an Australian-born British vaudevillian performer and popular singer, notable in music hall and pantomime. Dedicated. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

An early 20th century mahogany sheet music cabinet, with a galleried top above eight drawers with fall fronts, on a skirted base.  H82cm, W47cm, D52cm. 

10CC - a collection of seven LP's, to include: Look Here?, Sheet Music, self-titled, Bloody Tourists, Deceptive Bends, How Dare You!, The Original Soundtrack, and 100cc Greatest Hits Of 10cc (8)

Two 20th century framed and glazed watercolours of fun character animals, one a cat with music sheet in hand, the other a dog with bow tie, the cat having framers label to reverse and is also signed lower right FGL for FG Lewin. Some foxing, wear and loss to frame etc.

Two Lynton porcelain scent bottles painted by Stefan Nowacki, the heart shaped example with decorated central reserve, painted with a frigate moored in harbour, within a jewelled gilt border against a pale yellow ground with stars; the circular bottle having a powder pink ground, decorated with a central reserve with a tambourine, sheet music and flowers, raised beaded borders, the reverse with raised gilt flowers, both signed and fitted with screw fitting stoppers, each approximately 7cm (2) Both in good condition, some minor wear to gilding on finial of the heart shaped

A selection of 19th century and later engravings, book prints, music sheet covers and other items, some in glazed frames, some scenes of local interest, Location:

λ&nbspJOHN CLUYSENAAR (BELGIAN 1899-1986) COMPOSITION ABSTRAITE Oil on canvas Signed (lower left) 60 x 70cm (23½ x 27½ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.  

λ&nbspJOHN CLUYSENAAR (BELGIAN 1899-1986) VISAGE IMAGINAIRE Oil on canvas Signed (lower left) 60 x 50cm (23½ x 19½ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.  

λ&nbspJOHN CLUYSENAAR (BELGIAN 1899-1986) COMPOSITION ABSTRAITE Oil on canvas Signed (lower left); further signed (verso) 65.5 x 92cm (25¾ x 36 in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.  

λ&nbspJOHN CLUYSENAAR (BELGIAN 1899-1986) VISAGE IMAGINAIRE Oil on canvas Signed (lower right) 65 x 54cm (25½ x 21¼ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.  

λ&nbspJOHN CLUYSENAAR (BELGIAN 1899-1986) COMPOSITION ABSTRAITE Oil on canvas Signed (lower left) 65.5 x 54.5cm (25¾ x 21¼ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.  

AR * Fedorovitch (Sophie, 1893-1953). Young Man, circa 1937, acrylic on acetate, a design for a ballet costume, inscribed ‘young man / ?’ to lower left of image, pencil inscription to verso ‘Horoscope / musical scenes’, remnants of old tape to top of sheet to verso, bottom edge of sheet unevenly trimmed, approx. sheet size 43 x 24 cm (17 x 9 1/2 ins)QTY: (1)NOTE:Sophie Fedorovitch was a Russian-born theatrical designer who worked with ballet choreographer Sir Frederick Ashton from his first choreographed ballet in 1926 until her accidental death in 1953. In her 2012 article in Research in Dance Education, Elizabeth McLean's view was that Fedorovitch had a "formative influence" on British ballet design of the 1930s and 1940s, and that she should be considered the equal of her contemporary, Christian Bérard.Horoscope is a ballet created in 1937 by Frederick Ashton (1904-1988) with music by Constant Lambert (1905-1951) and costume design by Sophie Fedorovitch. It was premiered by Vic-Wells Ballet at Sadler's Wells Theatre in January 1938, and starred Michael Somes as The Young Man and Margot Fonteyn as The Young Woman.Provenance: From the estate of Martyn Thomas (partner of Frederick Ashton), thence by descent to the present owner.Please note, in the printed catalogue for this sale this work is listed as being by the designer Derek Jarman. Information has recently come to light that this is the work of Sophie Fedorovitch.