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Lot 6
KOROVIN, KONSTANTIN (1861-1939) Street in the South of France , signed and dated 1923. Oil on canvas, 60.5 by 80 cm. Provenance: Private collection, UK. Authenticity of the work has been confirmed by the expert V. Petrov.Painted by Konstantin Korovin in 1923, Street in the South of France is one of the earliest works from the period which followed his voluntary exile from the Soviet Union. It is part of the cycle of brilliant, masterly pictures that the artist created over a number of years on his trips to the sea. His contemporaries recall that he could interrupt a stroll at any corner or bring his driver to a halt with the words “Stop! I want to paint!” and then on the spot he would sketch a scene, which to those around him would appear unremarkable, but in Korovin’s hands would unexpectedly acquire integrity as a subject worth portraying. In Korovin’s French and Crimean landscapes it becomes especially apparent that the painting is more important to the artist than the subject, and the fragmentary, sometimes incidental composition is only a pretext for creating a veritable poem of light and colour. Street in the South of France is one of these impetuous works which preserve for us Korovin’s mastery of the painter’s art and the maxim that guided his creative effort: “more gladness, more brightness”. Genre paintings such as this were a rarity in Korovin’s oeuvre at the time. The features of the street scene – with its lush gardens and women passers-by all bathed in a midday torpor – call the mind towards the everyday details, which are characteristic of the artist’s earlier productions. The sunlight, dappled with pink and the purple shadows on the road are typical of the artist’s palette. Korovin’s mastery of the brush and outstanding sense of colour, both of which are displayed to full effect in this painting, was aptly described by a contemporary, who said that “All the colours of the world smiled at him.
Lot 44
COOTE, MICHAEL; a signed, 3/4 length portrait of a red haired woman and a sketch of the same woman on the reverse Coloured pastel and wash on paper 76cm x 57cm Michael Coote studied as a photo lithographer, and is often credited as 'colour illustrator' on contemporary Sherlock Holmes publications.
Lot 63
COOTE, MICHAEL; a signed watercolour on paper scene from Bold Robin Hood and a pen and ink sketch on paper of the same scene Watercolour inscribed: "Friar Tuck laid about him with lusty strokes" Both 56cm x 38cm Michael Coote studied as a photo lithographer, and is often credited as 'colour illustrator' on contemporary Sherlock Holmes publications.
Lot 67
COOTE, MICHAEL; x 7 sketches on 5 pieces of paper. Signed scenes from Bold Robin Hood. Pen and ink drawings on paper 4 x 38cm x 56cm Unsigned small sketch: 13cm x 20cm Michael Coote studied as a photo lithographer, and is often credited as 'colour illustrator' on contemporary Sherlock Holmes publications.
Lot 202
Francesco Bartolozzi (RA): engraving of Leonardo da Vinci's Leda and the Swan, 19 by 14cm and a 19th century roundel print of female profile portrait, 7cm diameter, F Bartolozzi: a 19th century oval engraving of a female nude and putti, hand tinted, 24 by 29cm and a pencil sketch of putti, unsigned, 17 by 10cm.(4)
Lot 289
Frederic Remington (American 1861-1909); a cartoon, 'Many Happy Returns To H(oward) Pyle from F R', a study of a lady 'When we haven't got a gun!', further cartoon of a man smoking 'Grip', all ink studies, and a pencil sketch of a Native American Indian, monogrammed, on lined paper, framed as one, 44 by 43cm.
Lot 1088
Packet collection of autograph letters including BENNY HILL (1924-1992), ALS, BOB PENDER, ALS, dated July 2 1934, content re CARY GRANT and his apprenticeship with Bob Pender's Troupe and subsequent career, PATRICK MOORE (1923-2012), Autographed postcard with MS sketch by Moore and inscrbd verso "I can't draw!!!", + NORRIS MCWHIRTER (1925-2004), AP, signed + NORMAN EVANS (1901-1962), ALS dated 10 July 1936 + AC 1955 + HUGH WALPOLE (1884-1941), AC dated April 1928 + A P HERBERT (1890-1971), AC + DULCIE GRAY (1915-2011) 5 ALS all to "Herbert" + BERYL REID (1919-1996), typed interview questions with two sheets of MS replies
Lot 1228
An Old Album circa 1913-1919 containing 45+ pges of MS prose, autographs, numerous pen and ink and watercolour sketches etc, many entries and sketches Great War interest/other patriotic nature, including pen and ink sketch depicting Kaiser Wilhelm in full military regalia, apparently lost captioned "It's a Long Way to Paris" + chromolitho Union Jack captioned "Britain For Ever" + assorted sigs, Great War soldiers + pge titled "10th Middlesex Battalion DCO" with six names of soldiers and their respective ranks dtd September 1915 with small photo at bottom of pge depicting five of the soldiers pasted in, one of the names being Donavan Robert Claude Dunn, TF3020 Lance Corporal Dunn Middlesex Regiment died 8/8/1916 and is commemorated at Hanwell City of Westminster Cemetery, old full cf gt worn, contents loose
Lot 1235
Packet assorted ephemera including an Inland Revenue MS book circa 1907 concerning brewing of beer and associated legislation in preventing defrauding of Inland Revenue by adding sugar solutions to beer, also some entries regarding spirits, tobacco, coffee etc + E M W, a Victorian sketchbook circa 1873, containing 45+ pgs of orig pen and ink comic/satirical sketches/ills with MS captions and text beneath each sketch, old hf cf gt crudely reinforced spine etc etc
Lot 1289
2700-2400 BC. A flat-section rectangular slate plaque with central hole, chamfered edges, incised text to the upper face; accompanied by a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: Stone Slab with Sumerian Inscription (from photo). This is a nearly square slab with a hole in the middle. To the left of the hole (or above as the Sumerians would have read the text) is an inscription in one column of eight lines: To (the goddess) Inanna, / (on behalf of) Lugal-ezen, / administrator of Kesh, / Igi-gi-....-zi, / high priestess / of (the god) Enki, gave a / ......... Three further lies begin a second column, but cannot be read so far, save that the second of the three is Inanna. Stone Slabs with holes in the centre were traditionally used for relief plaques, not for inscriptions. In all probability this is the trial sketch of an inscription which would be later carved on the gú. GIGIR (which we have left untranslated). This dates to c. 2700-2400 B.C. and is not so far known from any other source. Not only does it have one so far unknown word, but the name of the giving lady has one sign which, while noted elsewhere rarely, has no so far known value. Inanna, also known as Ishtar, was the most important goddess of ancient Mesopotamia. Her Sumerian name is derived from Nin-ana meaning Lady of Heaven. She was believed to be the daughter of the moon god Nanna and Utu, the sister of the sun goddess, and was closely associated with the city of Uruk. She was regraded as the goddess of love and sexual behaviour. She is also associated with warfare and the battlefield is described as the playground of Ishtar. In this role she is depicted standing next to kings offering them her protection as they fight. She was also associated with the planet Venus and in the poem Inanna's Descent to the Underworld she describes herself as Inanna of the Sunrise. In art she is depicted as a warrior goddess, often winged and heavily armed and surrounded by a nimbus of stars, and either standing on, or next to, a lion. 1.4 kg, 22.5 x 25cm (8 3/4 x 9 3/4"). Property of a lady; acquired in the late 1970s on the London art market. Fine condition.
Lot 284
Daniel Graves, American b.1949- Door knocker design; etching, signed and dated 81, and numbered 107/200 in pencil, blind stamp, 7x5.5cm: Kate Dicker, British b.1953- "A Midsummer Night's Dream" to include "Pyramus and Thisbe", "Bottom & Titania", "Puck" and one other untitled; woodcuts, all signed, titled, dated '83 and A/P in pencil, one numbered 6/75, 24.5x18cm max, (5): European School, 20th Century- "Demon- Notre Dame"; etching, signed indistinctly, titled and Artist Proof in pencil, 15.5x18cm: together with an artist's sketch for a label design in pen, 25x15cm, (8) (unframed) (may be subject to Droit de Suite) CONDITION REPORT: All items unframed all prints in good condtion expect the last two - the demon print has some staining round the edge and yellowing on the edges, but otherwise in good conditon and the label design is slightly creased.
Lot 970
Liam C Martin (Ireland 1934 - 1998). Jigginstown Castle, Naas. Watercolour, signed I.r., titled verso. 35cm x 42cm. Martin was a regular contributor of illustrations for the Irish Independent. Since 1967 he had created a weekly sketch in 'Liam Martin's Ireland' for the Evening Herald and the Irish Times. He also published several books of drawings of Dublin landmarks.
Lot 5
A LARGE HARDBOUND LEDGER, (water damaged), for February 1917 onwards showing several entries for equipment supplied to the Ministry of Munitions, together with a copy of the Daily Sketch - Naiden Voyage of RMS Queen Mary, dated May 27th 1936, together with a large gold coloured Alloy Crest with enamelled Crown, possibly George VII
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32316 item(s)/page