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Lot 91
An Aynsley Pembroke part tea service, foliate patterned, (23 pieces). CONDITION REPORT: All pieces in this lot are in extremely good condition with no damage, repairs or restoration. The only piece showing any rubbing to the gilding is on the handle areas of the large plate. The only piece that we think is a later addition to the set is the single slightly larger plate which has a blue back stamp.
Lot 377
Area ItalianaLotti e Collezioni1926-32, insieme composto da oltre 115 lettere di grande formato, assicurate o raccomandate, recanti alte affrancature di cui la maggior parte con francobolli commemorativi, comprendente "Milizia", "San Francesco", "Filiberto" con valori da 5 lire, ed altre serie commemorative, rare affrancature con valori gemelli, ecc. (Accluso anche un interessante libretto degli anni 30 della Stanley Gibbons "Colour Guide for Stamp Collectors"). Merita esame. (Non foto)
Lot 351
Puerto RicoBritish Post OfficeSan Juan1860, Jan 13. Entire letter datelined in Humacao, dispatched at San Juan and directed to New York, franked, for the inland rate, with 1857 1r. green, tied by "parrilla" cancel with blue c.d.s. alongside, together with red "Paid/At/San Juan Porto Rico" crowned circle, 1 shilling crayon notation, and "Steamship 10" due marking on receipt, backstamped with British datestamps of San Juan and St. Thomas. Two filing folds, one affecting the adhesive. Several features make this a remarkable cover: the very rare combination of this stamp on mail through the British P.O., the unusual destination for this consular mail, and the infrequent application of the crowned circle in red combined with local stamps. Edifil Ant.8. Ex Borromeo d'Adda.
Lot 321
ColombiaClassic Issues1859, 5c. blue, stone A, together with 20c. blue, stone A, both being very fresh and largely margined, on envelope featuring embossed oval of the British Consulate at Cartagena on reverse, matching the endorsement in Spanish at lower left on front by the sender, addressed to Juan Antonio Calvo at Mompós, Governor and first President of the State of Bolívar, both stamps tied by "Cartagena/Franca" oval handstamp, with the 25 centavos paying the triple weight rate from 15 to 20 grams of this large envelope for a distance between 150 and 450 km., carried along the Dique Channel to Calamar, thence along the Magdalena River to destination. Faint vertical fold passing through the 20c. adhesive, and not being apparently impinging on the stamp. Of the only five covers recorded bearing this combination franking, this is unique by exhibiting these different values in this very similar, virtually same shade, this being an exceptional feature which make them come into view as identical denominations in colour; in addition, the only item known from a British consulate in the first issue. Scott 2, 6. Ex Londoño and Frohlich.
Lot 146
CubaLots and Assemblies1861-66. Four franked covers from Paris (2), London and Liverpool to Havana, the French items carried at 1fr.50c. rate by British packet with 1854 80 c. (one stamp missing), the other at 80c. with pair of 1862 40c.; the British due charged at 1s.6d. and 2s. rates with three 6d. and two 1s. Three items bearing framed "NE2" receiving "Empresa" postmarks. Despite aging and other imperfections, a very scarce group. (No photo)
Lot 355
Uruguay1868-72, 15 c. yellow, Montevideo Printing, a well margined copy applied at Montevideo on cover originating from Buenos Aires carried privately to Montevideo, where posted (May 2, 1873) to Valparaíso (Chile), with endorsement "Steamer". Stamp tied by barred oval and "25" Chilean due handstruck (unique thus) applied for a letter of 1/2 oz of weight. A delightful cover to an elusive destination. Cert. Hernández Rocha. Ciardi 32A.
Lot 331
ColombiaAirmails1921-40, assembly comprising 1923-28 5c. to 5p., complete set of 14 values including the registration stamp, in marginal singles and superb blocks of four from the lower left corner of the sheet, with full original gum; unused 20c. olive aerogram; 15 complete sheets with Scadta 1921 5c., 10c., 15c., 20c. (two, one with very rare double perforation variety), 50c., very rare 1923-28 40c., 1932-39 5c., and 8 further examples from the 1932-40 issues. (No photo)
Lot 358
Venezuela1859, 1r. blue, fine printing, two examples showing complete to large margins, used on 22 July 1861 entire letter from La Guaira to Genoa (Italy), paying the single weight not exceeding ½ ounce as stipulated for carriage between Venezuela and St. Thomas, following involvement of British packet from St. Thomas to England, being backstamped in London, each stamp cancelled by "0" numeral handstamp, with alongside dispatch c.d.s., framed "GB/1F 60c" Anglo-French accountancy marking, French entry at Calais, and handstruck on arrival with "20" due marking in manuscript. Arrival on reverse. A pair or two single stamps represent the highest franking of the 1 real fine printing, with fewer than five examples so far recorded, this being one of just two transatlantic covers known with two examples of this value. Cert. Moorhouse.
Lot 162
CHINESE SILVER SQUARE SHAPED TEA CADDY with hinged cover and inner removable cover, overall repousse decorated with continuous designs of chrysanthemum heads. Engraved vertical signature to base with purity stamp: 950. 15ozs Troy approx. 13cm high x 10cm across.(B.P. 24% incl. VAT) CONDITION REPORT: Basically good condition, a little dented and misshapen in places with wear, small dents to base, some tarnishing.
Lot 144
JOSEPH HERMAN, R.A., (Polish, 1911-2000, extensively exhibited and worked in Wales), 'Cockle Gatherers', a limited edition lithograph, 7/150, signed in pencil, and with printer's embossed back stamp. The image: 49.5cm x 64cm.(B.P. 24% incl. VAT)*ARR CONDITION REPORT: Some minor discolouring in places, but no obvious damage noted. Metal frame and mount.
Lot 172
A transitional-period key-wind musical box, by F. Nicole, retailed by Keith Prowse,Circa 1838, Ser. No. 17311,Playing six airs including marches and a quadrille, F. Nicole stamped single-section comb on Nicole Frerés stamped plain brass bedplate, Frerés Nicole tunesheet, in beautifully figured polished mahogany case with retailer’s stamp to front and lid – 16” wide, the cylinder 10.1/2”.Condition: E II 2
Lot 174
A two air key-wind hooked-tooth Rzebitschek musical movement,Circa 1851, Ser. No. 1859/21378, For restoration, with automatic snail set to 1-2-1-2 programme-per-revolution, patent see-saw start/stop paddle, comb now of three parts through repairs with extreme bass section with part of maker’s stamp visible, on plain brass bedplate, governor present but endless not engaged – bedplate length 6”, the cylinder 4”; and a small late single-air movement for an automaton, with chain-drive pulley on cast bedplate. (2)Condition: II f(iii>)
Lot 336
Limited Patrons Copy, 50 Copies Only & With An Original Watercolour Sex (Susan) & Sayers (B.) Irelands Wild Orchids, lg. Atlas folio, Patrons Copy 39 (50) Signed by Both, 35 full page plts. & numerous cold. illus. hf, mor. cloth, gilt lettered label, cloth slipcase; together with the Portfolio of cold. plts. loose, 39 (50) Ltd. Patrons Set; in a similar design cover case; also Irelands Wild Orchids, a Field Guide, 8vo ring binder; and An Original Watercolour by Susan Sex of a Bluebell, used by An Post" for 65 pence stamp, a wonderful collection. (4)
![Yeats (Jack B.) An Autograph Note on his headed paper, from 18 Fitzwilliam Square, 14 January 1951 [recte 1952?], to the writ](https://cdn.globalauctionplatform.com/a1235de0-ae2f-4b31-9734-a76000fab544/4b8a683f-71e8-4b22-c283-aaeb06241813/468x382.jpg)
Lot 399
Yeats (Jack B.) An Autograph Note on his headed paper, from 18 Fitzwilliam Square, 14 January 1951 [recte 1952?], to the writer Donagh MacDonagh, wishing him 'all happiness in 1952 and all the years to come', signed with his monogram JBY. With stamped envelope (one stamp removed), confusingly postmarked '1 Jan 1942', addressed to MacDonagh and signed twice with Yeats' monogram. Presumably the envelopes got mixed up at some point. Yeats for many years was in the habit of sending short New Year messages to his friends. As a m/ss., w.a.f. (1)
![Hyde (Dr. Douglas) 'An Chraoibhin Aoibhinn'. The Mermaid's Three Laughs [translated from the Irish]. Quarto, pp. 13-15 (s](https://cdn.globalauctionplatform.com/a1235de0-ae2f-4b31-9734-a76000fab544/79987d85-c57e-4a90-eec4-510fe5dff0dc/468x382.jpg)
Lot 409
Hyde (Dr. Douglas) 'An Chraoibhin Aoibhinn'. The Mermaid's Three Laughs [translated from the Irish]. Quarto, pp. 13-15 (single folded sheet], Weekly Freeman Christmas Sketch Book, illus. With a postage stamp at rear, addressed in Hyde's hand to 'Miss Kurtz / Seapoint House / Blundell Sands / Liverpool'. Attractive item, rare. (1)
Lot 587
The Author's First Separate CollectionHeaney (Seamus). Eleven Poems. Festival Publications, Queen's University of Belfast [1965], wrappers with light purple nine-point star device on upper cover, FIRST ISSUE of his first separate collection, a key title for Irish poetry. A very little spotting on upper and lower cover, faint price-stamp on rear cover (6?), otherwise An Excellent Copy of this Great Rarity, which opened a new era in modern Irish literature. It features four or five poems which have become modern classics, including the title poem of his first commercial publication Death of a Naturalist [1966].There are at least three separate issues, but this is undoubtedly the first. A fragile item, rarely found in decent condition. (1)
Lot 709
Cuala Press: Yeats (John B.) Passages from the Letters of John Butler Yeats: Selected by Ezra Pound. Dundrum 1917. Lim. Edn. 350 Copies; Miller 25; also Further Letters of John Butler Yeats: Selected by Lennox Robinson, Dundrum 1920. Lim. Edn. 350 Copies. stamp on title, both orig. cloth backed blue boards, lettered in black, paper labels (some staining). Miller 29. (2)
Lot 797
Signed by the AuthorGregory (Lady A.) A Book of Saints and Wonders. Put down here by Lady Gregory according to the Old Writings and the Memory of the People of Ireland, 8vo L. (Murray) 1907 - First Edn. Signed in Pencil on title page, and with rubber stamp of Moyne Park Ballyglunin, Co. Galway. Orig. grey cloth backed boards, paper label, & orig. grey printed wrappers., top of spine nicked, otherwise a very good copy. Scarce. (1)Provenance: Moyne Park, Ballyglunin, Co. Galway.
Lot 893
ERNEST HENRI GRISET (1844-1907) FrenchThe Curse Has Come Upon Me Cried The Lady of ShallottWatercolourSigned, inscribed with title and bearing blind stamp for Harding, 45 Piccadilly W, inscribed to verso27.5 x 15.5 cm, framed and glazed CONDITION REPORTS: Generally in good condition, expected wear, some staining.
Lot 58
William Scott CBE RA (1913-1989) BLUE STILL LIFE, 1969-1970 oil on canvas signed, titled and dated on reverse with Hanover Gallery, London; Where purchased by Richard Davis, New York, 8 September 1970; Thence by descent to the previous owner; Christie's, 16 November 2007, lot 72; with Richard Green, London, 2008; Collection of George and Maura McClelland 'William Scott: Paintings, Drawings and Gouaches 1938-71', Tate Gallery, London, 19 April to 29 May 1972, catalogue no. 101; 'William Scott', Martha Jackson Gallery, New York, January to February 1973; 'William Scott', Gallery Moos, Toronto, October to November 1973; Art |39| Basel, 4-8 June, 2008, with Richard Green In a review of the major one-man show in New York in 1973, that included Blue Still Life, Hilton Kramer - the influential and provocative critic of the New York Times - described William Scott as "an artist of uncommon distinction - not only the best painter of his generation in England, but one of the best anywhere."(1) The show was to mark Scott's sixtieth birthday, but recognition for his particular contribution to Modernism had been growing over the years, leading to his inclusion to represent Britain at the Venice Biennale in 1958, a major retrospective at the Tate Gallery in London in 1972, and the reproduction of his Berlin Blues 1 painting on an Irish postage stamp in 1973. Scott was, however, continuing to innovate, and the New York show comprised recent works taking his interests to a new level of resolution, including those like Blue Still Life eloquently employing the "rich Mediterranean blues" that had become a signature dimension of his work. Kramer perceptively summarized the paintings in the exhibition as "abstractions based mainly on still-life motifs." While Scott had addressed other subjects from time to time over the years, including landscape, portraiture and the nude, still life was the enduring thematic interest for the artist from an early stage and throughout his career. He asserted his preference for man-made objects over nature, and the contours of still life were interesting in themselves as well as providing a significant basis for his evolving propensity towards abstraction. They were reminiscent also of the domestic environment of his working class origins; as he explained "the objects I painted were the symbols of the life I knew best."(2) Born in Greenock, Scotland in 1913, Scott moved with his family to his father's native Enniskillen in 1924. Initially he learned the skills of sign-writing from his father and attended art classes with Kathleen Bridle who introduced him to Modernist art and to the writings of Roger Fry that would resonate with Scott, not least in highlighting the importance of representing familiar objects over more narrative-based subject matter. Later, Scott went to the Belfast School of Art and then the Royal Academy Schools in London. Following his marriage, he and his wife, artist Mary Lucas, spent time on the Continent - including to Mediterranean towns in the south of France - travelling, seeing art and teaching, before returning to Britain where he later took up a role at the Bath Academy of Art. Scott became a regular visitor to St Ives, and knew many of the artists there. In 1953, a visit to New York brought him into contact with Mark Rothko, Jackson Pollock and Willem de Kooning. While in Paris with his wife, Scott saw his first Matisse painting, a still life with drapery that entranced him reflecting a burgeoning interest and the direction his own work was to take.(3) On a later visit to Paris, in 1946, Scott was captivated by the exhibition A Thousand Years of Still Life Painting, where he "was overwhelmed by the fact that the subject had hardly changed for a thousand years, and yet each generation in turn expressed its own period and feelings and time within this terribly limited narrow range of the still life."(4) While his earliest still life paintings are the most naturalistic, Scott's interest in stylization and in abstracting are evident throughout his career as a painter; his focus on the structure and contours of composition and forms predominate over illusionism and mimesis, demonstrating his interest in primitivist forms and an austere aesthetic. The clustered still life objects of the late 1950s increasingly gave way to abstraction evolving to the celebrated Berlin Blues series in the mid 1960s. In the words of Clive Bell, Scott evinced a "truly remarkable gift of placing",(5) a capacity that became especially evident as Scott pioneered the representation of ordinary subjects on large canvases, with an almost classical presence, as in the commanding scale of Blue Still Life. The late still lifes, as this work demonstrates, comprise emblems on the cusp of abstraction; the familiar contours of utensils are distilled to pure flat forms dispersed on the canvas in a finely tuned arrangement, remote from the practical groupings of the kitchen from which they once derived. Mitigating their potential asceticism, however, Scott had expressed a desire "to animate a still life in the sense that one could animate a figure. I chose my objects … objects without much glamour"(6) indicating their humble origins and enduring personal relevance. His achievement is reflected in Kramer's comments in his New York Times review that Scott "invests this radically delimited imagery with a distinct mode of feeling" explaining that while highly simplified, the works evoke a "remarkable poetic resonance … and suggest a very personal emotional atmosphere." In Blue Still Life, the soft blurring of the familiar contours and the 'haloes' around selected objects balance the cool austerity of uncluttered space, the sparsely populated kitchen repertoire of the working class household in interwar cities. But there is no sense of deprivation, and the image 'breathes' with the space of sufficiency rather than indulgence. Close inspection shows too the flecks and drizzles of paint that, far from the machine aesthetic of Minimalism, reveal the handcraft of construction, abstraction animated by reality. Kramer appropriately summarized the 1973 show that included this painting. (7) "This is a beautiful exhibition, full of wonderful painterly subtleties and the kind of pictorial eloquence we would expect only from a mature artist in complete control of his medium." Dr Yvonne Scott, May 2017 (1) Hilton Kramer, 'Painterly Subtleties Fill Work of Scott', New York Times, 6 January, 1973, p.25. The show was at the Martha Jackson Gallery, New York early in 1973 to mark the artist's sixtieth birthday. (2) Lawrence Alloway, Nine Abstract Artists, their work and theory, London 1954, p.37, quoted in Norbert Lynton, William Scott, London 2007, p.30. (3) Norbert Lynton, William Scott (year), p.23. (4) Alan Bowness, 1964, quoted in Lynton, p.61. (5) Clive Bell, quoted in Lynton, p.42. (6) William Scott, quoted by Theo Crosby, 1957, reproduced in Lynton, p.76. (7) Kramer, op.cit. 48 by 72in. (121.9 by 182.9cm)
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165598 item(s)/page