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Lot 83
A SILVER SPIRIT FLASK, maker's mark D & A, Birmingham 1929, the screw action hinged cover with original cork inner, the solid body with removable "cup", 4 3/4" high overall, 8ozs 5dwts gross, the original stitched soft leather case gilt stamped "En Route" (Est. plus 21% premium inc. VAT)Good, no engraving, matching marks, case good
Lot 38
KIRCHNER, ERNST LUDWIG1880 Aschaffenburg - 1938 Frauenkirch/DavosTitel: Leipziger Strasse, Kreuzung. Datierung: 1914. Technik: Lithografie auf festem, gelben Papier. Maße: 61 x 50,5 x 69 x 58cm. Bezeichnung: Signiert und bezeichnetRahmen/Sockel: Modellrahmen. Auf der Rückseite befindet sich ein Abzug des III. Zustandes mit starker Überarbeitung mit Terpentinätzung. Hier bezeichnet oben: No 16(?), 4260 Leipziger Straße Kreuzung (207) 1913/14, 18(eingekreist).Provenienz: - Galerie Kornfeld, Bern 1988, Los 36- Galerie Kornfeld, Bern 1993, Los 67- Galerie Ferdinand Möller, Berlin (verso Stempel)- Sammlung Prof. Dr. Thomas Olbricht, EssenAusstellungen:- Kunstverein Jena 1914 (verso ausgestrichener Stempel). Vom Künstler für die Botho Graef Stiftung für diese Ausstellung ausgewähltes Exemplar.- Kunstverein für die Rheinlande und Westfalen, Düsseldorf 1960, Nr. 34- Galerie R. N. Ketterer, Campione bei Lugano 1964, Nr. 141 - Karl und Faber, München 1971, Nr. 42, Abb. - Allan Frumkin Gallery, Chicago 1972, Nr. 35- Kunsthalle Basel 1979/80, Nr. 194, Abb.- Galerie Aurel Scheibler, Berlin 2013Literatur:- Dube, Annemarie und Wolf-Dieter: Ernst Ludwig Kirchner - Das graphische Werk, Bd. I Katalog, München 1991 (3. Aufl.), WVZ.-Nr. L 250- Gercken, Günther: Ernst Ludwig Kirchner - Kritisches Werkverzeichnis der Druckgraphik, Bd. III, 1912-1916, Nummern 543-847, Bern 2015, WVZ-Nr.?????????????Kirchners Straßenszenen verdichten - hier im wahrsten Sinne - Hektik, Enge und Anonymität der Großstadt. "Die agierende Menschenmenge auf der Straße, die in Bewegung befindlichen Droschken, Autobusse, Automobile - so z.B. in der Lithographie "Leipziger Straße, Kreuzung" - führen Kirchner zu herausragenden Bildlösungen." (Magdalena M. Moeller: Die Straßenszenen 1913-1915, München 1993, S. 25) Ernst Ludwig Kirchner hat seine Lithographien auf einer ihm gehörenden Presse gedruckt. Da er den Stein eigenhändig einrieb, stellt jeder Abzug einen "Zustand" dar im Range eines Unikats. Diesen Vorgang kann man an dem vorliegenden Exemplar besonders gut beobachten: Kirchner hat zunächst einen Abzug geschaffen und dann den Stein für einen weiteren Druck vorbereitet. Dabei überarbeitete er die Zeichnung durch eine Terpentinätzung und setzte damit andere, neue Akzente. Beidseitig bedruckte Blätter, die diesen Arbeitsvorgang über zwei Stufen hinweg festhalten, sind selten. Wir danken Herrn Prof. Dr. Dr. Gerd Presler für die freundliche Unterstützung. Erläuterungen zum KatalogErnst Ludwig Kirchner Deutschland Expressionismus Die Brücke Moderne Kunst Grafik 1910er Straßenszene Druckgrafik Lithografie Figur / Figuern KIRCHNER, ERNST LUDWIG1880 Aschaffenburg - 1938 Frauenkirch/DavosTitle: Leipziger Strasse, Kreuzung. Date: 1914. Technique: Lithograph on strong, yellow paper. Measurement: 61 x 50,5 x 69 x 58cm. Notation: Signed and inscribedFrame/Pedestal: Craftman's frame. Verso is a proof of the third state overworked heavily with white spirit etching. Here inscribed top: No 16(?), 4260 Leipziger Straße Kreuzung (207) 1913/14, 18 (circled).Provenance: - Galerie Kornfeld, Berne 1988, lot 36- Galerie Kornfeld, Berne 1993, lot 67- Galerie Ferdinand Möller, Berlin (verso stamp)- Collection Prof. Dr. Thomas Olbricht, EssenExhibition:- Kunstverein Jena 1914 (verso crossed out stamp). Artist selected copy for the Botho Graef Stiftung for this exhibition.- Kunstverein für die Rheinlande und Westfalen, Düsseldorf 1960, number 34- Galerie R. N. Ketterer, Campione near Lugano 1964, number 141 - Karl und Faber, Munich 1971, number 42, ill. - Allan Frumkin Gallery, Chicago 1972, number 35- Kunsthalle Basel 1979/80, number 194, ill.- Galerie Aurel Scheibler, Berlin 2013Literature:- Dube, Annemarie und Wolf-Dieter: Ernst Ludwig Kirchner - Das graphische Werk, vol. I Katalog, Munich 1991 (3. label), cat. rais. no. L 250. Explanations to the Catalogue
Lot 118
A ‘Happy Spirit’ diamond ring by Chopard, the round bezel glazed and supporting a loose mounted collet set brilliant-cut diamond, within a similarly mounted polished hoop surround, the glass signed ‘Chopard’ and the sides of the bezel signed ‘Happy Spirit’, mount signed, stamped ‘Au750’ and numbered ‘3278403’, in signed Chopard case and box, accompanied by Chopard booklet and Certificate of Origin, dated 28th August 2014, ring size K½. £900-£1,000
Lot 464
A PAINTING OF BUDDHA, QINGChina, 19th century. Colors and gilding on paper. Imposing depiction of Buddha Avalokiteshvara seated in dhyanasana on a lotus throne, wearing a magnificent jifu dragon robe. Mounted as a scroll.Condition: Superb colors. Some losses to paper, creasing. Very minor repairs to background as visible on the photos.Provenance: An Austrian private collection, acquired c. 1980 from an important German collection. Old collector labels to scroll ends.Dimensions: The painting 160 x 80 cm.Inscriptions: 'The spirit tablet of the believer Li Hekai' and 'All living beings are sublime'.
Lot 3
Matthew Radford(b.1953)Red Bus, 2018 Giclee print edition of 35, signed 75 x 89 cm. Fascinated by crowds since childhood, painter and printmaker Mark Radford’s subject is the city as a place of constant motion and flux, of surging and receding human tides. Peter Ackroyd, author and ‘biographer’ of London, says of Radford: “He is pre-eminently an urban artist entranced by the life of the city all around him. He understands the variety of the city and he also comprehends its darkness. His work is concerned with the movement of crowds and with the great general drama of the human spirit. He has a sense of energy and splendour, of ritual and display, and he shares the sublime indifference of the city itself.” After graduating from Camberwell School of Art London, Radford has held teaching posts both there and at the Slade School of Art in London, the New York Studio School and Camberwell Art School, UAL. He lives and works in south-east London. Radford has exhibited widely in the UK and has also had solo shows in Los Angeles, New York, California, and Germany. His work is in many private and public collections, including the Victoria and Albert Museum, the Metropolitan Museum of Art, the New York Public Library and the Yale Centre for British Art.
Lot 49
Beswick pottery, a Standing Meerkat and a Sitting Meerkat, exclusive for UK Doulton Fair 1996, special edition of 1250, both boxed Three Beneagles ceramic Whiskey Jugs, Rutherfords Robert Peel 5cl Decanter, two other ceramic Bust Decanters, both empty, a pair of Beneagles Sgian Dubh Decanters, one empty, a pair of Rutherfords Thistle Decanters, one empty, and a Cries of London Barrel Four Peter Thompson Beneagles Whiskey Decanters modelled as Loch Ness Monster, all empty, two as Grey Seal, Otter, Badger and Squirrel Rutherford & Co, six ceramic Spirit of Scotland Whiskey Decanters in the form of Books, two similar Castles of Britain by Drambuie, four Peter Thompson Beneagles ceramic Whiskey Barrels (three unopened) and two Rutherford ceramic Whiskey Barrels (unopened)
Lot 91
A large collection of brasswares including three Indian brass niello cobra candlesticks, each 14cm high, a set of three niello vases, 15cm and 21.5cm and a pair of vases with fluted rims, chased with elephants, 8.5 by 7.5cm high, thirty three horse brasses, a spirit warmer, and a pair of candlesticks with twist stems, 16cm high. (1 box and 1 bag)
Lot 147
Beswick and Royal Doulton Horses on wooden plinths including: Arab, Desert Orchid, Spirit of the Earth, Black Beauty & Foal, One Man etc (8) (a.f). Arab with restoration to one ear; Orchid with possible restoration / re sprayed; Black beauty with chip to one ear; the other models appear in overall good condition. Please specific a model for a more detailed report.
Lot 2057
A British Empire Exhibition 1924 Certificate of Honour, awarded to The Perapedhi Wine & Spirit Association, framed and glazed 45 x 34cm, together with one other 1925 example to the same recipients, 34 x 43cm, a 1951 Festival of Britain certificate for Moulded Rubber Products Limited, 39 x 56cm, a Smithfield Club 1904 certificate Presented to C. Howson as Feeder of The Champion Prize Best Pen of Short Woolled Sheep, 46 x 38cm and a Mark Lane Express 1902 National Exhibition and Market of the Brewing, Malting, Distilling and Allied Trades Barley for Seed certificate awarded to Mr W. Breeze, Occold Hall, Eye, 47 x 36cm. (5)
Lot 2474
Attributed to Jean Warin (Flemish 1607-1672) - a bronze medal commemorating the appointment of Antoine Ruzé as French Superintendent of Finance in 1629, the obverse depicting a bust of Ruzé facing right, wearing a lace collar and ribbon with the cross of the Order of the Holy Spirit, his armour decorated with a lion's head to the shoulder, the reverse depicting Atlas placing the burden of the world on to Hercules' back, Hercules' lion pelt and club on the ground to the right, dia.6.5cm.Antoine (Coëffier) Ruzé (1581-1632) adopted his uncle Martin Ruzé's, the Superintendent of Mines, name to gain access to the French court. Under Richelieu's guidance, he became marquis of Longjumeau and Effiet, and negotiated the marriage of Charles I of England to Louis XIII's sister Henrietta Maria in the role of Ambassador in London. He further rose to the roles of Superintendent of Finances and Marshal of France.Condition report: Complete.Some surface marks.Otherwise good with modest wear only.
Lot 399H
Bols liqueur: A young grain jenever (the literal translation of Jonge Graanjenever) from Bols, low in malt wine making it is a crisper and cleaner spirit than traditional jenevers. It's packaged in a Delft Blue ceramic bottle, a traditional Dutch speciality that's often used to package up special jenevers, 70cl, boxed.
Lot 148
§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) PALMA, MAJORCA Signed, dated on a label verso 1933, oil on board(61cm x 51cm (24in x 20in))Footnote: Provenance: Sir William and Lady MacTaggart and thence by family descent Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.
Lot 149
§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) CASSIS Signed, oil on board(48cm x 38cm (18in x 15in))Provenance: Lady MacTaggart and thence through the familyFootnote: Exhibited: 1922 Group Edinburgh, 1924 Scottish National Gallery of Modern Art, Sir William MacTaggart Retrospective Exhibition 1968, no.4 Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.
Lot 150
§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) FLOWERS AT NIGHT Signed, oil on canvas(76cm x 61cm (30in x 24in))Footnote: Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.
Lot 151
§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) STILL LIFE Signed, oil on canvas(76cm x 56cm (30in x 22in))Footnote: Provenance: Collection of Dugald McTaggart Lindsay. Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.
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