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Lot 340
Jon Buck (b.1951) "Dancing to Time" Signed and numbered 2/10, enamelled bronze, 53cm highExhibited: Jon Buck, "Without Words", Gallery Pangolin, London, 9 June - 18 July 2014Born in 1950, Jon Buck studied at Nottingham and Manchester Art Schools. By 1983 he had become both a Fellow in Sculpture at Cheltenham Art College and the first member of Thamesdown Borough Council as an artist. He is also a member of the Royal West of England Academy, and his work is regularly exhibited in both private and public collections including Gallery Pangolin, London. Jon Buck’s works are considered forms of visual poetry, described as “songs without words” intended to capture both the feeling of elation and the resilience of the human spirit. Buck’s works titled “Without Words” were created in response to a poem “Everyone Sang” by the anti-war poet Siegfried Sassoon:“Everyone suddenly burst out singing;And I was filled with such delightAs prisoned birds must find in freedom,Winging wildly across the whiteOrchards and dark-green fields; on-on and out of sightEveryone voice suddenly lifted;And the beauty came like a setting sun:My heart was shaken with tear; and horrorDrifted away … O, but EveryoneWas a bird; and the song was wordless; the singing will never be done.”Buck said that Sassoon’s words resonated with him, expressing “what it is to be free and alive.” For him, “it is the end of the poem that is most crucial: it becomes a timeless declaration of the resilience of the human spirit – feelings beyond words”, a sentiment that inspires his recent works.
Lot 342
A Papua New Guinea Wood Spirit Board (Gope), of slightly convex elongated rectangular from, the fascia carved with vertical undulating bands highlighted in yellow, ochre and cream pigments, the reverse with two integral carved hanging brackets, 169cm by 33cm; an Indonesian Amber Type Resin Necklace, composed of graduated compressed globular beads; an African Quiver, covered in decorative leather and containing a small number of arrows; a Pair of Australian Aboriginal Clapsticks, carved from soft wood (5)
Lot 583
A Royal Doulton Figure The Goose Girl, HN 559, designed by Leslie Harradine, introduced 1921, withdrawn by 1938, green printed factory mark, painted The Goose Girl and H.N. 559, impressed 5.24 and 290,21cm highThis figure is based on the fairy tale by the Grimm Brothers, in which a Princess is forced to change places with her maid and become a goosegirl, while the maid marries the Prince. She is eventually rescued from this plight by the spirit of her horse, Falada, is restored to her rightful position, and lives happily ever after with the Prince.Tiny chips to back of left hand fingers.
Lot 23
Alpha Wilson‘Levi’Vinyl wrap and spray paintApprox max dimensions: 100cm x 31cms x 92cmLevi, a baby unicorn, enchanted the forest with his joyous spirit. He played, explored, and brought happiness to all. With a gentle touch, he healed and protected others. Levi's magical presence left an everlasting mark in their hearts.Levi has spent the summer living in the official Unicornfest shop in Cabot Circus all summer before being prepared for auction. Please note, this is an unvarnished model. Alpha Wilson is a digital artist living and working in Bristol. UK Delivery Charges by postcode can be found here: unicorndelivery.tiiny.site
Lot 60
Marta Zubieta‘StarHopper’ Acrylic paint on a hollow fibreglass statueMeasures: 229 x 50 x 209cmApprox weight: 57kgThis unicorn is a psychedelic celebration of the Latin community that enriches Bristol and at the same time a symbol of protection and life guidance for the challenging situations we face in life. It is inspired by the multicoloured spirit animals from Latin American culture, called “alebrijes” that are known for giving good omen guiding and helping us to tap into our inner intuition.StarHopper spent the summer welcoming guests to AirHop. After a summer of hard work, StarHopper has been returned to its pristine best and finished with a coating of anti-graffiti varnish.Marta Zubieta is a multidisciplinary artist, illustrator, muralist and graphic designer who explores visual languages through a combination of retro and topical references where the creepy and cool collide. UK Delivery Charges by postcode can be found here: unicorndelivery.tiiny.site
Lot 26
Holy Moly‘Homer’Acrylic paint on a hollow fibreglass statueMeasures: 229 x 50 x 209cmApprox weight: 57kgArtist Holy Moly said, ‘Meet Homer, a vibrant celebration of the diverse spirit of Bristol. Wildly creative, fiercely independent, often weird but, always wonderfully so! A place where I feel most myself, a place that I am blessed to call home!’Holy Moly spent the summer in Victoria Square in Clifton before returning to auction in pristine condition, finished in a coat of anti-graffiti varnish. HOLY MOLY is a creator of high quality & vibrant digital art from the UK. Artist / Illustrator / Art Director. UK Delivery Charges by postcode can be found here: unicorndelivery.tiiny.site
Lot 51
Colonial school. Mexico. 18th century."Life and Miracles of Father Saint Francis Caracciolo"Oil on copper.30 x 21.5 cm.Distributed over fifteen cartouches, including the central one, the painting describes the life, miracles, preaching, and priestly life of Father Francis Caracciolo.In the midst of the 16th century, after a difficult childhood plagued by illnesses, including a skin disease, he vowed to offer his life to God were he cured. A miracle indeed cured him.He prepared for the priesthood in Naples, and shortly after his ordination as a priest, he joined a group dedicated to ministering to prisoners in jails.In 1588, John Augustine Adorno decided to establish a religious community that would devote half of its time to prayer and the other half to proselytism, and he did so with Father Francis.The new community was named the "Clerics Regular Minor."In the central window of the painting, we see him during his daily prayer hour, nourishing his spirit.He drove away the demons that pursued him with constant fasting, blessed many of his followers who, upon meeting him, abandoned their wealth and joined as equals, he visited jails and hospitals, and "blessed with the certainty that his mere gesture of raising his hand filled them with God and healed them."He had the gift of healing. Many times, with the sign of the cross, he restored health to the sick.He also founded communities in Madrid, Valladolid, and Alcalá in Spain.In 1607, he resigned from all his positions and devoted himself to prayer and meditation.In his room in Naples, he was found several times on the floor, with his arms outstretched in a cross, in ecstasy, praying and gazing at the crucifix in rapture.A clear example of a devotional-catechetical painting that invited people to follow his life, and that may well have belonged to a member of his order.
Lot 38
Attributed to Luis González. 17th - 18th centuries."The Immaculate Conception in the Light of the Holy Spirit, surrounded by Saint Francis Xavier and Saint John the Baptist, surrounded by a choir of angels."Magnificent relief in sculpted, polychromed, and gilded Huamanga stone. Saint John of Huamanga (Ayacucho), Viceroyalty of Peru.24 x 18 cm. This magnificent relief bears similarities to works created in Huamanga stone by Luis González, as evidenced by the facial features of the characters and the polychrome. It's worth pointing out that the relief has retained all of its original polychrome. The sculptural treatment is the work of a great master, as demonstrated by the multitude of small and intricate folds that form Mary's mantle and the various physiognomies and expressions of the characters. Huamanga stone is a type of white alabaster with delicate transparencies, and sculptures made from it are named after their place of origin, Huamanga, which is in the Ayacucho region currently. This region gave rise to interesting production of sculptures and reliefs, typically dedicated to the Virgin, Christ, and the Saints.A true sculptural school emerged between the 16th and 17th centuries, influenced by artists from Navarre and Aragon, who were involved in the creation of altarpieces and church altars.A composition very similar to this one, with the Immaculate Conception on an identical crescent moon, surrounded by the symbolism of the litanies, and with the same floral garlands, is kept in the Colonial Art Museum of Bogota. Similar examples can also be found in the Pedro de Osma Museum in Lima. With exquisite craftsmanship, beautiful polychroming, and masterful carving, we contemplate the Virgin as "electa ut sol, clara ut luna," the contemplative and devotional vision of the two Saints. Saint Francis Xavier, who continuously repeated this prayer asking for chastity: "Oh Lady, I commend myself to you and to all the saints now and at the hour of my death, that you may guard me from the devil, from the world, and from the flesh, which are my enemies..." (Document 15, No. 27. Goa, May 1542). He carries the lily of virginity, an iconographic symbol by which he was recognised before his canonisation in 1622. Since then, he has been depicted with the apostle's cross, and the lily became the attribute of another younger Jesuit, Saint Aloysius Gonzaga.Interestingly, Saint John the Baptist appears with a lion emerging from the moon under Mary's feet, a symbol often used to represent Saint Mark. But it makes sense, as he is the first evangelist who speaks of the Precursor and places him at the beginning of his Gospel, "when John the Baptist speaks of a roar in the desert that some relate to the roar of a mighty lion." The artist, it seems, had biblical knowledge in addition to powerful skills in carving and painting.Reference bibliography.: MAJLUF, Natalia y WUFFARDEN, Luis Eduardo: “La piedra de Huamanga: lo sagrado y lo profano” Lima: 1998.
Lot 177
A vintage 19thC style B & Co silver plate on copper five piece tea/coffee set of bulbous form with decoratively cast fruiting vine ornament, elevated on scrolled feet, comprising a spirit kettle on stand, tea and coffee pots, a milk/cream jug and twin handles sugar basin, on a matching rectangular serving tray 29" x 19"
Lot 76
Eight 1/50 scale diecast North American brewers truck models from Corgi and Matchbox to include Corgi 50702 Mack LJ Schaefer Brewing Co and 52304 Mack B Ballantine's Ales & Beer, 2 x Corgi Canadian Collection limited edition models, Matchbox limited edition 32110-0911 1948 Budweiser Diamond T Tractor Trailer and KS201/A-M "The Spirit Of Budweiser 18-wheeler etc. All models in mint condition with accessory packs where originally included, CoA's etc, boxes vary, please refer to photos
Lot 134
A collection of Chinese ephemera, 1913 - 1930s, including Lowe Chuan-Hua, 'A Layman's Interpretation, Christians everywhere, cooperate! You have nothing to lose but your hypocrisy; R. H. Tawney, 'The Condition of China, being the fifteenth Earl Grey Memorial Lecture'. 1933, 1st. ed. pamphlet; Margaret C. Knight, Hong Kong Journal 1949. Pamphlet and various items on postal history Full lot includes:(a) Lowe Chuan-Hua, 'A Layman's Interpretation, Christians everywhere, cooperate! You have nothing to lose but your hypocrisy. You have a new world to gain.' Pamphlet, 1926, 1st. ed. Published at Wuchang, Hupeh, China. Formerly ring-bound with holes in the margin. With presentation inscription on the front cover: 'Dr. and Mrs Bliss, Compliments of Lowe Chuan-Hua'. The author, also known as Chuan-Hua Gershom Lowe, was a Chinese Kuomintang diplomat under Chiang Kai-shek, a Christian and an academic. HIs friend Dr Edward Lydston Bliss (1865-1960) for whom he signed the pamphlet, was an American missionary doctor in China from 1892 to 1932. A very scarce signed example of a Chinese imprint.(b) R. H. Tawney, 'The Condition of China, being the fifteenth Earl Grey Memorial Lecture'. 1933, 1st. ed. pamphlet. The author's talk was delivered at Armstrong College, Newcastle-upon-Tyne.(c) Margaret C. Knight, Hong Kong Journal 1949. 1950, 1st. ed. Oxford: 'printed for the author at the Classic Press'.(d) Postal history: French military mail from China to France, 8 January 1938, scarce letter and original envelope (cover), with corner cachet to both cover and letter, 'Flotille du Yang-Tse-Kiang/ Canonnière Doudart de Lagrée', used with French military post marking and decorative cachet, 'Marine Française, Service à la Mer'. With Toulon and Marseille arrival postmarks. The 'Doudart de Lagrée' was a French gunboat. The writer of the letter, a sailor with the Forces Navales d'Extrème Orient, describes guarding the French concession of Hankou and a bombardment. His gunboat was to be chased out of Shanghai by invading Japanese forces five weeks later, when it had to retreat to Nanking.(e) Lung-Tsing-U-Hai Railway - Government of the Chinese Republic - Gold Loan 5%, 'Super-Petchili'. 5% Gold Bond of £20, Brussels 1913. Bond No. 140936, reference 2182 at top left. With signed ink inscription in French regarding yields at top margin. c.20 x c.11 inches (50.5 x 28 cm). Complete with 40 vouchers of the original 42. Highly decorative item printed at Anvers, Belgium in red, blue, blue/green and black.(f) Christian missionaries in China, 1914-1930s. c. 300+ illustrated pages from magazines (including 'The Spirit of Missions'), previously ring-bound and with holes in the margin, reflecting turmoil and bloodshed at a time of warlords, civil war and the Kuomintang Party. Including articles on the siege of Wuchang; anti-Christian agitation in China; looting and murder in Nanking; the rise of Chiang Kai-shek and the Kuomintang; the opening of the Church General Hospital, Wuchang; and missionary work and social factors in other cities and regions including Shanghai, Chekiang, Fukien, Hankou, Changsha and Wuhan. There are also a few articles on Christian missionaries in Japan.
Lot 115
A collection of Sir Roger Moore's books relating to biography and autobiography To include: HEPBURN FERRER (SEAN) Audrey Hepburn, An Elegant Spirit, 2003, inscribed to Sir Roger ('Dear Roger A few memories of your friend. With much love,...')-- SOTHCOTT (Jonathan) The Cult Films of Christopher Lee, 2000, signed and inscribed to Sir Roger by the author ('To Roger Moore - the world's greatest movie star, who wrote the best part of this book. With very best wishes & more admiration than I can express Sincerely...')-- MANKIEWICZ (TOM) and CRANE (ROBERT) My Life As A Mankiewicz: An Insider's Journey Through Hollywood, 2012, inscribed and signed by Sir Roger ('MONACO - DUBLIN 16 June 2012 / DUBLIN - MONACO 19 June 2012), etc., (qty)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 159
AN EGYPTIAN POLYCHROME PAINTED WOOD SARCOPHAGUS PANEL BELONGING TO A WOMAN MIDDLE KINGDOM, 12TH DYNASTY, CIRCA 1991-1962 B.C. Bearing a horizontal band of blue painted hieroglyphic text invoking "Osiris, foremost of the Westerners for a goodly burial in the necropolis in the West, for the Ka of the blessed spirit, Hathor-hetep", with further text in two vertical columns below, one bearing the name of Nut; the back of the panel with traces of three horizontal rows of hieroglyphic text: a row of seated deities above; the name of Hathor-hetep repeated below and representations of offerings, with approximately 54 columns along the bottom of the panel, giving the hieroglyphic of each offering, a band of black painted hieroglyphic text on one end and five peg holes, made from three sections held together by four modern metal joints 28.4cm maximum height, 140cm long , 3.2cm deep Provenance:Private collection.Charles Ede Ltd., London, acquired from the above in September 1976Christie's, London, 25 October 2006, lot 203, where purchased by Robert Kime Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Modern metal joints secure the three panel sections, with the middle and right-hand panel base edge preserved, while the upper edge is incomplete on all panels and the bottom edge of the left panel also missing. Some overall chips and wear.Front: The blue painted decoration is finely preserved except for some wear on the text to the right of the middle panel and on the right-hand vertical text.Back: Most of the decoration is worn but the preservation is better at each end, particularly the left-hand section, with only traces of white paint remaining above the column delineation running along the bottom; Please see additional images for visual references to condition which form part of this condition report. Dreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this sale All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Lot 255
JAMES FERRIER PRYDE (BRITISH 1866-1941) THE HOUSE Oil on canvas Signed (lower left) 91 x 74cm (35¾ x 29 in.)Painted in 1917 for the Red Cross. Provenance: Private Collection, Jeremiah Colman Private Collection, William H. Miller Arthur Tooth & Sons, London Private Collection, The Lord Parmoor, Sutton Verney Private Collection, Viscount Bearsted, M.C. T.D Sotheby's, Gleneagles, 31 August 2005, lot 970, where purchased by Robert KimeExhibited: London, The Fine Art Society, Spring, 3 May - 3 June, 1988, no. 45 London, The Redfern Gallery, An Exhibition of Paintings and Drawings by James Pryde, 22 September - 26 October 1988, no. 4 Edinburgh, The Scottish National Gallery of Modern Art, James Pryde, 14 August - 11 October, 1992, no. 91, p. 106, pl. XXIII illus. Literature: Derek Hudson, James Pryde, Constable and Company Ltd., London, 1949, p. 97 This dramatic and imposing work was ultimately a result of the terrifying war years during which it was painted. 'The House' was completed in 1917, commissioned by the Red Cross. Flashes of red material are seen cascading down the facade of the house owing to the 'Red Cross' and possibly the representation of blood shed during the war years. James Pryde was born in Edinburgh in 1866. From a young age Pryde was influenced by the Glasgow School of painters looking towards artists such as James Guthrie for inspiration. After school Pryde went onto study Fine Art at the Royal Scottish Academy and felt deeply connected to Scotland throughout his life. It was his later works which were particularly influenced by Edinburgh in particular. It was the architecture, history and spirit of the city which fascinated him. Pryde became renowned for his architectural capriccios and depictions of ruins which weaved together elements of fantasy and reality to create whimsical compositions that challenged the concept of architectural representation. His compositions combined elements from different architectural styles, blending historical references and dreamlike interpretations, pushing the viewer to become immersed by the landscape and step inside the architectural form. Whilst pursuing his career as an artist Pryde worked as a part time actor. He became close friends with Sir Henry Irving and designer Edward Gordon Craig. In 1930, Pryde was commissioned to design the set of Paul Robeson's Othello. It is clear to see the mixture of influences in the present lot combining architecture, set design and sheer imagination. Condition Report: Not relined. Inspection under UV reveals no obvious evidence of restoration or repair. Appears to be in good original condition commensurate with age. Condition Report Disclaimer
Lot 262
AN OAK CENTRE TABLE IN ARTS AND CRAFTS MANNER, THE ORIGINAL DESIGN ATTRIBUTED TO SIR ROBERT LORIMER, PROBABLY MADE BY ROBERT KIME LTD The six faceted octagonal columns with Gothic corbels linked with a flat stretcher 74.5cm high, 156cm diameter The present table is based on a model attributed to architect Sir Robert Lorimer (1864-1929). Lorimer was a leading designer of Scottish vernacular furniture, combining Scottish Baronial, Gothic Revival and Arts and Crafts influences. He is known to have designed two tables of related design for Edinburgh University Library which were made by Scott Morton. A third related Arts and Crafts table of this design with the reputed provenance to the Earls of Moray was offered at Christie's, South Kensington, 16th May 2006, lot 202 and again at Christie's, Style and Spirit, South Kensington, 16th September 2014, lot 11. For a related table of recent manufacture see Christie's, South Kensington, An English Look: Robert Kime, Piers von Westenholz, David Bedale and James Graham-Stewart, 8th July 2009, lot 66. Condition Report: Overall there are some scratches, marks, knocks, cracks and abrasions consistent with it's recent manufacture and use.There are some losses, restorations and observations including:The top has some scratches, marks and two knocks to the edge, with some scratches to the underside of the table.There is some foot scuffing to the stretcher especially the outer edge.Please see the additional condition report photographs as a visual reference of condition. Condition Report Disclaimer
Lot 56
λ DAVID JONES (BRITISH 1895-1974) SPIRIT IN AN ORCHARD Pencil, watercolour and bodycolour Signed and dated 26 (lower left) 38 x 55cm (14¾ x 21½ in.)Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele. The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24) As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted. Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer
Lot 58
ERIC RAVILIOUS (BRITISH 1903-1942) NEW YEAR SNOW Watercolour and pencil Signed (lower left) 46 x 56cm (18 x 22 in.)Painted in 1938. The present work was painted in Capel-y-Ffin, Breconshire. Provenance: Private Collection, Sir Duncan Oppenheim Sale, Christie's, London, The Collection of the Late Sir Duncan Oppenheim, 6 June 2003, lot 91, sold by order of the executors, where purchased by Robert Kime Exhibited: London, Arthur Tooth & Sons, Recent Watercolours by Eric Ravilious, 11 May-3 June 1939, no. 1 (18 guineas) Sheffield, Graves Art Gallery, Eric Ravilious, An Exhibition of Watercolours, Wood Engravings, Illustrations, Designs, 1958, no. 94, lent by Mr & Mrs D. Oppenheim London, Arts Council of Great Britain, Eric Ravilious Memorial Exhibition, 1948-9, no. 1 Colchester, The Minories, Eric Ravilious, 1972, no. 22; and touring London, Imperial War Museum, Eric Ravilious Centenary Exhibition, 2003, illus. in exhibition catalogue Literature: Freda Constable, The England of Eric Ravilious, Scolar Press, London, 1982, pl. 21 Helen Binyon, Eric Ravilious, Memoir of an Artist, Lutterworth Press, London, 1983, p.105, illus. Anne Ullmann et al, Eric Ravilious: Landscape, Letters and Design, Fleece Press, 2008, ill. p. 437 Alan Powers, Eric Ravilious, Imagined Realities, Imperial War Museum, Philip Wilson Publishers, 2012, pl. no. 46 illus James Russell, Ravilious in Pictures, A Travelling Artist, Mainstone Press, 2012, p.4, illus. Susie Hodge, Eric Ravilious, Masterpieces of Art, Flame Tree Illustrated, 2015, p. 54 illus This atmospheric watercolour depicts a picturesque valley in the Welsh borders and at the same time shows us a master at work.Early in 1938 Ravilious travelled to Capel-y-Ffin, a hamlet in the Honddu valley not far from the ruins of Llanthony Priory. Having concentrated on illustration and design for a couple of years he was at last free to paint watercolours, and to take his time doing so. He had booked a room in the hamlet's solitary farmhouse for two months, and looked forward to exploring a landscape that was wilder than his native Sussex.Steeped as he was in the English watercolour tradition, Ravilious was well aware that JMW Turner, John Sell Cotman and other luminaries had painted the valley before him, although those earlier Romantic artists had tended to focus on the ruined abbey. A more recent visitor was artist-poet David Jones, who stayed with Eric Gill and his entourage in Capel-y-Ffin in the 1920s. Ravilious admired the strong modern line and delicate palette of Jones's watercolours, which present subjects similar to this but in a very different style (see Lot 56 David Jones 'Spirit in an Orchard'In New Year Snow Ravilious presents a recognisable view south-east along the valley, towards the distinctive buttress of Loxidge Tump. He was no topographer, however, and here he has redirected the course of the river so that it bends across the composition, roughly mirroring the curve of hills against the sky. Water, land and clouds are painted with remarkable economy, with only the lightest of washes across the hilltops. Mostly the watercolour has been applied in single strokes, whether taut and wiry or roughly scuffed with a dry brush. White paper showing through suggests here the texture of grassland dusted with snow and there the shimmer of moving water, while simultaneously conveying a feeling of light-heartedness and freedom.In place of the ruins sought out by Turner's generation, we have the kind of man-made object that delighted Ravilious: a sheep feeder on wheels set centre stage and at a precarious angle. This positioning and the clarity of the draughtsmanship lend a slightly dreamlike quality to the scene. In May 1939 Ravilious held his third exhibition of watercolours at the prestigious London gallery of Arthur Tooth and Son, the show that cemented his reputation. In The Observer, Jan Gordon praised Ravilious's extraordinary technique, which made the most mundane object 'appear as something magic, almost mystic, distilled out of the ordinary everyday.' Ravilious chose twenty-seven watercolours for the exhibition; in the catalogue New Year Snow is No. 1.James Russell Art Historian, Author and Curator Condition Report: Examined out of glazed frame. The sheet is laid down to the backboard. There is a small loss to the sheet at the centre of the right edge, not visible when framed. There is a very small spot of what appears to be paper stuck to the lower left of the feeder, visible in the catalogue illustration. There is some discolouration and acid-staining to the extreme edges and a few spots of dirt along the upper edge. Staining to the back board verso. Otherwise, there are no obvious condition issues or any evidence of restoration or repair. Condition Report Disclaimer
Lot 100
GLEN KEITH 1985 30 YEAR OLD LOMBARD JEWELS OF SCOTLAND SPEYSIDE SINGLE MALT Built by Seagram in the late 1950s, Glen Keith provided malt whisky for the Chivas, Passport and 100 Pipers blends until it was eventually mothballed in 1999. By 2001, the company was acquired by French conglomerate Pernod-Ricard, who refurbished the distillery and pressed it back into service in 2013. In addition to providing blending stock, the distillery is home to the Chivas Brothers lab, who’s experiments have included the production of a heavily peated spirit known as Glenisla. Official releases from Glen Keith are extremely thin on the ground, so the best plan for those keen to sample the seldom seen single malt is to hunt down some of the excellent indie releases. "Whinnie the Pooh would love this, all runny honey sweetness" – Whisky Magazine #133 Scored 8.8/10 Lombard Tasting Notes - Superb honey, fruity sweet nose. Compact marzipan, almondy and pine. Spice explosion with lovely orange liqueur and dried ginger on the palate. The finish is fab with its brilliant fruity tannins. Love it … Distilled: 03/05/1985 Bottled: 01/04/2015 Matured in Casks #12299-12302 Bottle Number: 171 / 389 41.9% ABV / 70clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
Lot 101
GLEN KEITH 1985 30 YEAR OLD LOMBARD JEWELS OF SCOTLAND SPEYSIDE SINGLE MALT Built by Seagram in the late 1950s, Glen Keith provided malt whisky for the Chivas, Passport and 100 Pipers blends until it was eventually mothballed in 1999. By 2001, the company was acquired by French conglomerate Pernod-Ricard, who refurbished the distillery and pressed it back into service in 2013. In addition to providing blending stock, the distillery is home to the Chivas Brothers lab, who’s experiments have included the production of a heavily peated spirit known as Glenisla. Official releases from Glen Keith are extremely thin on the ground, so the best plan for those keen to sample the seldom seen single malt is to hunt down some of the excellent indie releases. "Whinnie the Pooh would love this, all runny honey sweetness" – Whisky Magazine #133 Scored 8.8/10 Lombard Tasting Notes - Superb honey, fruity sweet nose. Compact marzipan, almondy and pine. Spice explosion with lovely orange liqueur and dried ginger on the palate. The finish is fab with its brilliant fruity tannins. Love it … Distilled: 03/05/1985 Bottled: 01/04/2015 Matured in Casks #12299-12302 Bottle Number: 172 / 389 41.9% ABV / 70clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
Lot 102
GLEN KEITH 1985 30 YEAR OLD LOMBARD JEWELS OF SCOTLAND SPEYSIDE SINGLE MALT Built by Seagram in the late 1950s, Glen Keith provided malt whisky for the Chivas, Passport and 100 Pipers blends until it was eventually mothballed in 1999. By 2001, the company was acquired by French conglomerate Pernod-Ricard, who refurbished the distillery and pressed it back into service in 2013. In addition to providing blending stock, the distillery is home to the Chivas Brothers lab, who’s experiments have included the production of a heavily peated spirit known as Glenisla. Official releases from Glen Keith are extremely thin on the ground, so the best plan for those keen to sample the seldom seen single malt is to hunt down some of the excellent indie releases. "Whinnie the Pooh would love this, all runny honey sweetness" – Whisky Magazine #133 Scored 8.8/10 Lombard Tasting Notes - Superb honey, fruity sweet nose. Compact marzipan, almondy and pine. Spice explosion with lovely orange liqueur and dried ginger on the palate. The finish is fab with its brilliant fruity tannins. Love it … Distilled: 03/05/1985 Bottled: 01/04/2015 Matured in Casks #12299-12302 Bottle Number: 173 / 389 41.9% ABV / 70clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
Lot 103
GLEN KEITH 1985 30 YEAR OLD LOMBARD JEWELS OF SCOTLAND SPEYSIDE SINGLE MALT Built by Seagram in the late 1950s, Glen Keith provided malt whisky for the Chivas, Passport and 100 Pipers blends until it was eventually mothballed in 1999. By 2001, the company was acquired by French conglomerate Pernod-Ricard, who refurbished the distillery and pressed it back into service in 2013. In addition to providing blending stock, the distillery is home to the Chivas Brothers lab, who’s experiments have included the production of a heavily peated spirit known as Glenisla. Official releases from Glen Keith are extremely thin on the ground, so the best plan for those keen to sample the seldom seen single malt is to hunt down some of the excellent indie releases. "Whinnie the Pooh would love this, all runny honey sweetness" – Whisky Magazine #133 Scored 8.8/10 Lombard Tasting Notes - Superb honey, fruity sweet nose. Compact marzipan, almondy and pine. Spice explosion with lovely orange liqueur and dried ginger on the palate. The finish is fab with its brilliant fruity tannins. Love it … Distilled: 03/05/1985 Bottled: 01/04/2015 Matured in Casks #12299-12302 Bottle Number: 186 / 389 41.9% ABV / 70clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
Lot 104
GLEN KEITH 1985 30 YEAR OLD LOMBARD JEWELS OF SCOTLAND SPEYSIDE SINGLE MALT Built by Seagram in the late 1950s, Glen Keith provided malt whisky for the Chivas, Passport and 100 Pipers blends until it was eventually mothballed in 1999. By 2001, the company was acquired by French conglomerate Pernod-Ricard, who refurbished the distillery and pressed it back into service in 2013. In addition to providing blending stock, the distillery is home to the Chivas Brothers lab, who’s experiments have included the production of a heavily peated spirit known as Glenisla. Official releases from Glen Keith are extremely thin on the ground, so the best plan for those keen to sample the seldom seen single malt is to hunt down some of the excellent indie releases. "Whinnie the Pooh would love this, all runny honey sweetness" – Whisky Magazine #133 Scored 8.8/10 Lombard Tasting Notes - Superb honey, fruity sweet nose. Compact marzipan, almondy and pine. Spice explosion with lovely orange liqueur and dried ginger on the palate. The finish is fab with its brilliant fruity tannins. Love it … Distilled: 03/05/1985 Bottled: 01/04/2015 Matured in Casks #12299-12302 Bottle Number: 187 / 389 41.9% ABV / 70clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
Lot 105
GLEN KEITH 1985 30 YEAR OLD LOMBARD JEWELS OF SCOTLAND SPEYSIDE SINGLE MALT Built by Seagram in the late 1950s, Glen Keith provided malt whisky for the Chivas, Passport and 100 Pipers blends until it was eventually mothballed in 1999. By 2001, the company was acquired by French conglomerate Pernod-Ricard, who refurbished the distillery and pressed it back into service in 2013. In addition to providing blending stock, the distillery is home to the Chivas Brothers lab, who’s experiments have included the production of a heavily peated spirit known as Glenisla. Official releases from Glen Keith are extremely thin on the ground, so the best plan for those keen to sample the seldom seen single malt is to hunt down some of the excellent indie releases. "Whinnie the Pooh would love this, all runny honey sweetness" – Whisky Magazine #133 Scored 8.8/10 Lombard Tasting Notes - Superb honey, fruity sweet nose. Compact marzipan, almondy and pine. Spice explosion with lovely orange liqueur and dried ginger on the palate. The finish is fab with its brilliant fruity tannins. Love it … Distilled: 03/05/1985 Bottled: 01/04/2015 Matured in Casks #12299-12302 Bottle Number: 188 / 389 41.9% ABV / 70clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
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