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Lot 467
A Victorian cranberry and uranium glass tinted tazza, together with a cranberry and opaque spun handkerchief bowl, a set of six cranberry glass custard cups, a cranberry spirit decanter with clear stopper and other pieces of cranberry glass including vases, covered jar, rummer etc (a quantity)
Lot 134
2 Live Steam stationery engines. An early 20th century 2-cylinder steam engine with boiler mounted above. Spirit fired with 6 burners, mechanical water pump, regulator, sight glass, etc. Mounted on a wooden plinth (length approx 420mm). Together with a simple spirit fired hot air engine (length 460mm). Both AF-QGC, value gear is free moving however they require substantial restoration. £40-60
Lot 204
7 Franklin Mint Rolls Royce Cars. 1907 Silver Ghost in silver. 1911 Tourer in white with black line detailing. 1925 Silver Ghost in silver and black. 1929 Phantom 1 in black and dark blue. 1929 Phantom 111 in maroon. 2x Corniche IV, one in Royal Blue and the other in white. All contained in plastic/resin display cases. Vehicles VGC-Mint, one radiator Spirit of Ecstasy missing to Corniche. £100-175
Lot 182
A pair early 19th century cut glass decantersWith star cuts and knot rings to neck, together with a tapered 19th Century spirit decanter with spot cut design and a further goblet. CONDITION REPORT: No chips or cracks although the decanter differs slightly in dimensions. Tallest 21cm with longer stopper.Not quite a pair.
Lot 349
Diecast - a Eddie Stobart 1.76 scale Volvo FH trailer by Atlas Editions, Tekno 1.50 scale diecast model advertising Nestle Rolo with mirrors, EFE Bedford TK dropside truck # 36302, Eddie Stobart AEC Mk V 8 wheel platform lorry 1.50 scale # 26404 and a Matchbox diecast 1.50 scale truck adveryising Beefeater, the spirit of London, This lot MUST be paid for and collected, or delivery arranged, no later than close of business on Tuesday. Please do not bid if you are unable to comply
Lot 78
Adam & Charles Black A collection of twenty-four illustrated books published by A. & C. Black, European subjects, comprising: Florence, 1905; Cote d'Emeraude, 1912; The Italian Lakes, 1912; The Spirit of Paris, 1913; Belgium, 1908; France, 1918; Venice, 1916; Normandy, 1905; The Basque Country, 1921; Holland, 1904; Switzerland, 1917; The Stones of Italy, 1927; Rome, 1905; Hungary, 1909; Brittany, 1905 (two copies); Malta, 1910; Germany, 1912; Provincial Russia, 1913; Naples, 1904; Bruges & West Flanders, 1906; Liege & the Ardennes, n.d.; Northern Spain, 1906; Russia, 1913; various illustrators & writers, mostly first editions, all in original decorative/pictorial cloth (24)
Lot 32
NORAH NEILSON GRAY R.S.W. (SCOTTISH 1882-1931) 'EXOTIC' Signed, oil on canvas 113cm x 87cm (44.5in x 34.25in) Exhibited:Royal Glasgow Institute of the Fine Arts 1924, no.283, Ill.48 Kelvingrove Museum and Art Gallery, Glasgow Girls - Women in Art and Design 1880-1920, 1990-91, Illustrated fig. 315 Note:The model for the painting was Rita McIlraith but the artist did not want to use her name in the title and hence it was called 'Exotic.' Norah Neilson Gray was a Scottish artist known for her striking portraits, and remarkable ability to capture the essence of the sitter. She achieved international status and recognition during her lifetime, and was one of the most esteemed female painters of the early twentieth century. Born in 1882 in Helensburgh, Gray began her artistic career at 'The Studio'; a private drawing studio where young ladies received artistic instruction before they were granted entry into the schools of art. The studio received notable visits from 'Glasgow Boy' artists, such as Alexander Roche and John Lavery. Soon after, in 1901, Neilson gained entry to the Glasgow School of Art. Impressively, whilst still a student, she exhibited at the Salon in Paris, as well as the Glasgow Institute and the Royal Academy, where she was to continue to show until 1926. After graduating in 1906, she stayed at the school to teach fashion and design. By 1910 Gray had her own studio, and held her first solo show at Warneuke's Gallery in Glasgow. Following the outbreak of the First World War, she went to France to work as a Voluntary Aid Detachment nurse for the Scottish Women's Hospital. During her limited free time she continued to paint, and used her experience to produce some of her most emotionally powerful work. After the end of the war she returned to Glasgow where she quickly began to receive a large number of commissions for portraits, many from well-known Glaswegians. In the spirit of Gustav Klimt, Gray was known for giving prominence to flowers, textiles and other decorative elements. In 1921 her talent was further recognised when she became the first women to be appointed to the hanging committee of the Royal Glasgow Institute of Fine Arts. Following this, her successful career continued, and she regularly exhibited in Scotland, London and Paris. At the time of her early death in 1931, she was considered 'the foremost Scottish female painter'. Exotic (1923) was painted at the height of Gray's artistic career - the same year she won her second Bronze Medal at the Paris Salon. The painting was kept as a 'masterpiece' work, on show in her studio to demonstrate her skill to potential patrons. Gray's talent and experience as a design teacher is reflected in the sitter's exquisite yellow dress, fashionable necklace and matching bright earrings. Surrounded by an array of flowers, which subtly echo the patterns on her clothing, the image reinterprets notions of orientalism and the exotic. She is depicted against a stark background which allows the viewer to focus and marvel at her beauty. The dress reveals the sitter's shoulders and pale skin, which is complimented by her dark hair and striking red lips. Depicted sitting down with her hands clasped, her direct gaze confronts the viewer, whilst her rather sombre expression juxtaposes with the bright and colourful clothing. The piece is an excellent example of Gray's masterful handling of paint, and remarkable talent as a portraitist.
Lot 92
Literary & Scientific Institution. Elihu Burritt, Esq. United States Consul at Birmingham, will deliver a Lecture In the Assembly Room... "Our Benevolent Associations: Their Spirit and Power", printed poster, a few small holes, slightly browned, 285 x 220mm., 1867.⁂ Elihu Burritt (1810-79), American diplomat, philanthropist and social activist.
Lot 212
JOHN PAUL II: (1920-2005) Pope of the Roman Catholic Church 1978-2005. Canonized in 2014. T.L.S., + Karol card. Wojtyla, one page, 4to, Cracow, Easter 1970. On the document bearing the printed heading 'Carolus Cardinalis Wojtyla - Archiepiscopus Metropolita - Cracoviensis', Wojtyla sends his wishes on the occasion of the Easter day 'Accept, please, my cordial wishes for this blessed Easter Day: May the spirit of Christ´s Resurrection fill your heart with peace, joy and happiness and inspire all your works'. With a printed statement 'Haec dies quam fecit Dominus: exsultemus et laetamur in ea (Antiphona paschalis)'. EX. £200-300
![[RUSSIAN SOLDIER]: An interesting A.L., one page, 8vo, removed from a book diary, n.p., n.d., [1855-60], written by a Russian](https://cdn.globalauctionplatform.com/6dceb611-002d-4b1a-b6ff-a8d500c5ee0e/2852d38c-668f-4410-a466-88f6713320de/468x382.jpg)
Lot 666
[RUSSIAN SOLDIER]: An interesting A.L., one page, 8vo, removed from a book diary, n.p., n.d., [1855-60], written by a Russian soldier, in Cyrillic. The Russian soldier stating `I believe in the promise of God to the believers as it is said: My soul adores how God and my spirit shall glory in my Lord…´ further saying `..with this faith I shall…return home safe.´ To the verso showing some interesting colour drawings, figures, and short explanations regarding artillery maneuvers. Overall age wear, more intense to the edges, with an extremely small area of paper loss to the upper left edge, not affecting the text. F £80-100
Lot 408
Mid 20th Century steam powered pond liner, red painted below the water line, black above of two masted steam/sail design, with raised deck and six lifeboats, the funnel and observation deck lifting to reveal spirit fired boiler, 99cm long Condition: We would advise viewing in person, wear, cracks and some losses to superstructure, wear to the paintwork etc, engine has not been tested, no certificate - **General condition consistent with age
Lot 409
Mid 20th Century Bassett-Lowke steam-powered wooden model river launch or pleasure cruiser, red painted below the water line, cream painted above with simulated planked deck and superstructure, lifting to reveal spirit-fired boiler, 96.5cm long Condition: We would advise viewing in person, wear, cracks and some losses to superstructure, wear to the paintwork etc, engine has not been tested, no certificate - **General condition consistent with age
Lot 22
* SAPUNOV, NIKOLAI(1880-1912)*Night-Time CelebrationTempera and charcoal on canvas, 58 by 85 cm.Executed in 1907–1908. Provenance: Collection of Maria Alekseeva (1878–1942), a sister of Konstantin Stanislavsky, from 1911–1912 (label on the reverse). A gift from the above to her husband Stepan Balashov (1883–1966), an opera singer (label on the reverse). Collection of S. Balashov, Leningrad. Thence by descent to the previous owner. Important private collection, Europe. Authenticity certificate from the expert I. Gofman. Literature: Exhibition catalogue, Vystavka proizvedenii N.N. Sapunova (1880–1912). Katalog, Moscow, 1963, p. 27, listed as Teatralnyi siuzhet. Osen, park, gruppa nariadno odetykh guliaiushchikh. Related literature: For similar works, see I. Gofman, Nikolai Sapunov, Moscow, Novosti, 2003, pp. 92–97, illustrated. In the 1900s, Nikolai Sapunov created a whole suite of colourful “nighttime festivities”, which came to be the supreme embodiment of the theatrical element in his work. The first works started to appear in 1902, when the artist assisted his teacher, Konstantin Korovin, in painting stage sets and earned enough money to make a trip to Europe, taking in Italy, Germany and Austria-Hungary. Today it is impossible to say whether Sapunov was inspired to create his “night-time festivities”, but all of them — Night-Time Celebration (1902, State Russian Museum), Night-Time Celebration (1907–1908), now presented for auction, and the Night-Time Celebrations of 1907–1908 from the collections of the Saratov, Kiev and Yerevan museums — are undoubtedly united by a common theme and a special, fascinating rhythm. In the work now offered, Night-Time Celebration, there is a resemblance to Korovin’s paintings, especially his night-time Parisian landscapes: this similarity can be seen both in Sapunov’s execution of a dark background with flashes of bright spots, which highlight the figures moving demurely or sitting in the darkness of a night-time park, and in his clear desire for mastery of the brush. But, at the same time, this canvas, like others in Sapunov’s series of festivities and masquerades, shows his high regard for the retrospectivism, so characteristic of the World of Artmovement. In the ghostly, surreal light of the “theatre scene”, one can see the outlines of a park’s marble colonnade in the spirit of Watteau’s The Pleasures of the Ball (c. 1715–1717), in front of which people taking a stroll are depicted — ladies in splendid, old-fashioned dresses and even a little dog. A motley crowd, filling the whole foreground, as if entranced by some kind of inaudible music, have taken their seats in pairs, waiting for the dancing to commence. The very space of the park is theatrical and conventional. The artist’s attraction to the theatre was by no means random: sketches for productions, both those that took place and those that did not, predominate in the artist’s legacy. It allowed him to draw closer to the ideal of great synthetic art in his easel compositions too. There is, in their decorative effect, the throb of life — not of real life, but of a mirage, illuminated by the fiery imagination of the painter, placed on the stage and lit up by the footlights. Sapunov’s festivities give rise to a special genre of painting. They are executed with tempera and distemper, yet they definitely measure up to oil paintings in terms of the subtlety of their colour relationships. In a multicoloured kaleidoscope of sweeping, opulent brushstrokes — red, dark blue, yellow and green, with many shades and half-tones — the figures and objects seem to melt away into an exquisitely organised pictorial chaos of barely defined, vague shapes that can hardly be associated with anything specific. It was during that period that Sapunov jotted down in his notebook: “Yes, I am peculiar; paint and sound are my idol, my religion; in this lie my joy and my suffering ... I have new words, new harmonies.” The picture’s “theatrical” provenance is also noteworthy. It was purchased at an exhibition in 1911 or 1912 by Maria Alekseeva, the younger sister of the world-famous director Konstantin Stanislavsky, and was kept in the family of her descendants for many years.
Lot 31
* NISSKY, GEORGY(1903-1987)*Reclining Nude, signed with a monogram.Oil on canvas, 93.5 by 92.5 cm.Executed c. 1959. Provenance: A gift from Nissky to the artist Max Birstein, Moscow. Important private collection, USA. Authenticity of the work has been confirmed by the expert Yu. Rybakova. Authenticity has also been confirmed by the expert T. Ermakova. Exhibited: Georgy Grigorievich Nissky. Zhivopis, akvarel, guash, Academy of Arts of the USSR, Moscow, 1963. Niu v sovetskom izobrazitelnom iskusstve, Exhibition Hall of the Moscow Union of Artists, Moscow, 1995. Literature: Exhibition catalogue, Georgy Grigorievich Nissky. Zhivopis, akvarel, guash, Moscow, Academy of Arts of the USSR, 1963, p. 25, listed under the works from 1959. M. Kiselev, Georgy Nissky, Moscow, Izobrazitelnoe iskusstvo, 1972, p. 154, listed under the works from 1959. The painting Reclining Nude, by the famous Soviet landscape painter Georgiy Nissky’s, now presented for auction, is an extremely rare example of his exploring the genre of nude. Both at the anniversary review exhibition of the artist’s work in 1963 and in the latest inventory of his output, Reclining Nude is the sole example of this genre. Although this work is primarily a study, its artistic qualities and history are most remarkable. Nissky, who hardly ever made sketches and very rarely resorted to studies while working en plein air, preferred to create on the canvas a complete, thought-through image. Therefore, it is safe to assume that the idea behind Reclining Nude was by no means coincidental. Nissky painted the work in his studio at the “Artists’ Colony” in Verkhniaia Maslovka Street, probably in a single sitting. He also invited an old friend who now had his own studio next door, Andrei Goncharov, to paint his “real-life study”. Today Goncharov’s Nude Model. In G. Nissky’s Studio (1958) — which is similar to Nissky’s work — is in the collection of the Moscow Museum of Modern Art. It is quite fascinating to compare these two works. Goncharov’s composition, more traditional and painted from an angle, enables him to convey in full detail the complexity of his arrangement. His viewing angle encompasses not only the nude model, but also a ceramic jug on the floor, a small casting of Rodin’s The Thinker on a stool, and the whole variety of fabrics and drapes surrounding the model. Conversely, Nissky chooses a panoramic view from above, as is typical of his landscapes, an arrangement which allows him to include the whole corner of the studio. The nude model is in the centre of the composition, but the actual depicted space expands, drawing in a bookcase, an entire bed, and even a rug over the bed that cannot be seen at all in Goncharov’s work. Although the colour in Nissky’s picture somewhat reflects colour in real life, it has an ornamental function, rather than being an actual, objective representation. The colour planes contrast with each other, while the objects are juxtaposed, lending the canvas a particular flamboyance and dynamism. Speaking of his method, the artist once confided: “I always... want to paint clearly, concisely, simply. I work and literally fall in love with a picture, and I don’t leave it until I finish it.” It seems like, tackling a genre quite far removed from a landscapist’s home turf whilst competing with an artist friend, Nissky got quite involved and, spurning all unnecessary detail, created a generalised and succinct image, imbued with the spirit of his time.
Lot 7
DEINEKA, ALEXANDER(1899-1969)Woman in a Yellow Dress, signed and dated 1955.Oil on canvas, 65 by 83 cm.Provenance: Private collection, Europe. Authenticity certificate from the expert T. Zeliukina. Related literature: For the work Mayakovsky’s Verses, see V. Sysoev (ed.), Alexander Deineka, Leningrad, Aurora Art Publishers, 1982, p. 13, mentioned in the text. Deineka. Zhivopis, Moscow, Interros, 2010, p. 165, illustrated and listed; p. 334, No. 261, illustrated. The portrait Woman in a Yellow Dress, which MacDougall’s is now presenting for auction, was painted by Alexander Deineka in 1955. The artist was, at that time, focusing particularly on female images, and he created several portraits that were seen by his contemporaries as expressing the spirit of the age. In these works the artist is looking in individual features for those that are typical; he seeks not only to convey the appearance of a particular model, but also to create a generalised portrait of the woman of his times. The Portrait of the Architect Tamara Mileshina (1955) and Mother and Sister (1954) are apposite examples, as well as a whole series of portrait or genre-and-portrait compositions in which the principal female figures are unnamed and act as typical representatives of Soviet womanhood at work (The Milkmaid, 1959; Peaceful Construction, 1959–1960; At the Seaside, 1957), on holiday (In the Crimea, 1956; Bathers, 1952) and in sport (The Snow Maiden, 1954; The Race, 1958–1959). This enables the viewer to see each of Deineka’s female subjects as a particular social role — that of mother, young professional, peasant, student or middlebrow housewife — to get a feeling for their personality and hear a familiar personal “history”. Deineka himself is keen to use the “typecast” nature of his subjects, using them for appropriate roles in his large multi-character genre compositions. Accordingly, the present model, slightly self-conscious and focussed, here sitting against the carpet backdrop, also appears as one of the central protagonists in Deineka’s picture Mayakovsky’s Verses (1955, National Gallery of Armenia, Yerevan). But while the portrait is delicate and imbued with lyricism, and the sitter who came round to Deineka’s studio wearing a smart, brightly coloured dress, with her hair and nails done for the occasion, seems to be merely a “neighbour” and one the of his contemporaries, her representation in the picture Mayakovsky’s Verses is pure social satire. Deineka painted the picture at the peak of his powers, when he had long been lauded as one of the foremost masters of Soviet painting and had under his belt commissions for the famous showcase mosaics at metro stations, as well as monumental compositions for Soviet pavilions at international exhibitions. Nevertheless, here he draws on his lengthy earlier experience as a magazine illustrator, deliberately accentuating the features of the sitter. She is endowed with a few extra attributes — a small gold watch and a coquettish topknot on her forehead, protruding from underneath a headscarf, and turns her into an amiable, inquisitive, petty bourgeois woman from Soviet comedy films, who munches her sandwich in a suburban train, while young people in the seats nearby enthusiastically recite Mayakovsky’s poems. But this is merely a tribute to the artist’s concept of the work, whose other protagonists he borrows from his other compositions spanning many years. The portrait presented here is, conversely, an embodiment of another artistic quest. Deineka describes its magnitude in his article Moi raznye sovremenniki (My Various Contemporaries): “I particularly like to focus on the greatness of common people and to discover bigger human qualities in their faces… To be honest, the artist strives to depict the beautiful, wherever it may manifest itself. I find completely uncongenial those… portraits by Western artists in which moronic characters, revolting specimens of the human race, are elevated to the status of art that lays claims to the creation of new concepts of beauty… For my works, I would find my contemporaries in the most diverse conditions. In mines, fields, aboard ships and aircraft, as well as in many, many other places… These encounters were compact encapsulations of life stories. They enriched me. They encouraged me to make discoveries in portraiture. It sometimes happens that you pass along a whole street, and afterwards remember not a single face. This is the fault of the artist: it means that he failed see in the faces something new, unique, relevant…”
Lot 209
Cast paper on wood titled 'Spirit F'. Signed 'Cheung Yee'. 93cm x 123cm Cheung Yee (Zhang Yi born 1936) is a pioneer of the modern art movement in Hong Kong. He was born in Guangzhou and graduated at the Fine Art of Taiwan Normal University. The only artist in the history of Hong Kong to have been invited to conduct three solo exhibitions in the prestigious Hong Kong Museum of Art, his creations have also been shown in more than one hundred international exhibitions. His art is characterised by large wooden sculptures, metal high-relief panels and, of course, his famous cast paper murals of which this is a fine example
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