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Lot 10
ROCKLINE, VERA (1896-1934) Vue de Tiflis , signed "V. Rockline", also signed "Schlesinger" in Cyrillic. Oil on canvas, 97.5 by 75.5 cm. Provenance: Anonymous sale; Important Russian Pictures, Christie’s London, 28 November 2007, Lot 425.Private collection, UK.Exhibited: Rétrospective Vera Rockline, Galerie Drouart, Paris, 1984 (label and stamp on the stretcher).Femmes et Muses des Impressionnistes aux Modernes, Tokyo, Osaka and elsewhere, 1996-1997, No. 47.Elles de Montparnasse, Musée de Montparnasse, Paris, 12 April-4 August 2002.Literature: Exhibition catalogue, Femmes et Muses des Impressionnistes aux Modernes, 1996, p. 77, No. 47, illustrated, titled Paysage de Tiflis.Vue de Tiflis is one of the very few known works of Vera Rockline’s Russian period. The artist developed a passion for painting Cubist townscapes in the late 1910s under the influence of Alexandra Exter, her tutor in Kiev, whose studio the young artist, still bearing her maiden name Schlesinger, joined in 1918 after her parents moved there from Moscow. Before this, the young woman had been studying in Moscow at Ilya Mashkov’s studio of drawing and painting where, according to her contemporaries, she painted Neo-impressionist work of which little is now known.In the years 1918-1919, still under the name of Schlesinger, the artist took part in the Moscow Fellowship of Artists’ 24th exhibition; the 2nd exhibition of pictures by the Artists’ Union, the exhibition of Jewish artists’ painting and sculpture; and the 5th National Exhibition of painting From Impressionism to Non-objectivity. In the same year, however, the artist married and left with her new husband for Georgia. In 1919-1920 Rockline lived in Tiflis, where she created a small series of paintings and drawings of the city.In these works, the images of Tiflis are created using precise, sculpturally shaped volumes, and it seems as if all it would take is just one detail, one component, to be removed for gaps to open up and the whole thing to collapse. However, Rockline’s Cubism never crosses the line into complete freedom of form. Her paintings of this time are restrainedly Cubist and somewhat unreal: although possibly less free in their structure than the compositions of Exter, they are finer and more delicate in palette and closer in manner to Cézanne. In the landscapes that she painted in Georgia, the contraposition of masses is not quite so forceful as in her work as a student following in Exter’s footsteps. The connection between the masses is through Cézanne-like transitions that even out the light and dismember volumes into a mosaic of planes turned towards the viewer. In this period Rockline was striving to depict the space between objects rather than accentuating their convexity in the empty space of traditional perspective. She was interested primarily in the materialisation of that new urban architectural space which she felt in the Georgian capital. For this reason Rockline invariably brings mountains or the Kura River into her urban compositions of Tiflis, acting as a spatial caesura and providing a rhythmic prop for the viewer.In the present lot, painted in wonderfully harmonious dark blue-greens, browns and blacks, the caesura is the broad watery expanse of the Kura. But in her portrayal of water Rockline’s vision remains Cubist - she breaks down the river’s mass into elements and planes and portrays the restless motion of the water by colliding small flat areas of colour and geometrically compact shapes, rearranged and squeezed together by the strict sculptural and decorative rhythms of the spans of Mikhailovsky Bridge stretching out to Madatovsky Island.Like the majority of landscapes from this cycle, Vue de Tiflis is deserted, but in no way dead. Although there are no human figures, the boats in the foreground and the chimneys in the distance are evidence of life going on around. The main emphasis is on the sculptural expressiveness of the shapes. Buildings are vigorously cut up into shining facets, allowing them to be seen from various viewpoints at the same time. Rockline makes maximum use of opportunities to flatten out space, as ever restricting the depth in perspective of her Cubist structures by a succession of walls or the crested ridge of a mountain. All this makes Vue de Tiflis one of the most expressive and significant works of Rockline’s early period.
Lot 33
* SUDEIKIN, SERGEI (1882-1946) Porcelain Figures and Flowers , signed. Oil on canvas, 92.5 by 71.5 cm. Authenticity of the work has been confirmed by the expert I. Geraschenko.Literature: G. Romanov, Mir iskusstva. 1898-1927, St Petersburg, 2010, p. 967, illustrated.Porcelain and flowers: the decorative potential of this combination had at one time been appreciated for its full worth by the Flemish painters. With the passage of time, however, this kind of still life fell out of favour and was glimpsed only rarely in the pages of art history, until a new wave of enthusiasm for porcelain and floral motifs engulfed the culture of Art Nouveau. The vulnerable frailty of picked flowers and fine china literally became an obsession in passéiste culture as the 20th century moved from its first decade into its second. Their fragile beauty was forever being rhapsodised in Symbolist and Acmeist poetry and they were depicted in a flood of still life work by the recent Blue Rose and World of Art painters.The most vivid and coherent embodiment of the theme of porcelain and flowers can be found in the creative work of three outstanding Russian painters of the period: Sergei Sudeikin, Nikolai Sapunov and Alexander Golovin. The exquisite, almost ornate, images they painted, inspired by the desire - in Abram Efros`s well-turned phrase - “to depict beautiful things beautifully”, always bore the recognisable stamp of each artist’s individual creativity.This composition of Sergei Sudeikin’s Porcelain Figures and Flowers is one of the most original and refined images of this group. In painting his canvas it is as if the artist were weaving the objects depicted into a fanciful pattern, thereby emphasising the decorativeness and deep symbolic significance of the composition. The vase with two artificial roses and the little porcelain figures are portrayed against the background of a piece of wallpaper, or upholstery material, in the Chinoiserie style. The density and impasto of the brushwork in the background, however, differs from that used for the objects, which makes the surface of the painting start to vibrate, and the delicate lilac gauze, its tints soaking up the white of the glazed china, creates a special magnetic, contemplative atmosphere. If in other compositions by Sudeikin, such as Saxon Figurines (1911, The State Russian Museum), Flowers and Porcelain (1910, private collection), Flowers and Statuette (1900s, The State Tretyakov Gallery) or the Still Lifes (1909 and 1911, both in the State Russian Museum) the objects often conceive a game among themselves, and the china marquises and shepherdesses play out scenes that are almost theatrical, then in this composition lethargy reigns in a static and enchanted slumber. The porcelain figurines sleep in each others’ arms, the naked nymph who only a second before had been pulling on her stocking is motionless, as though pricked by a spindle, the water in the tumbling, sparkling stream painted on the backcloth has frozen, and the paper flowers in the vase exude a passionless, timeless beauty. Through this painting Sudeikin transmits the quintessential aestheticism of the World of Art - an illusory world populated by ephemeral images. Their life is only a magical dream created by the artist’s fantasy - enchanting precisely because of its impermanence, and ready to vanish like a sleeping vision. The artist casts a sort of haze over these still lifes, a gauze that insists the painting be perceived as a beautiful reverie.The way the painting is resolved in terms of structure rests on the play between plane and depth, pattern and object. On the one hand the artist affirms the substantive reality of a flower, using every means to define it, but at the same time he creates a certain feeling of deception to the flowers in their arrangement and colour, a sort of sense of mystification. This makes the still life seem like magic exposed, a conjuror’s trick with its artifice laid bare. Sudeikin creates a world of image in which artificiality, fabulous invention and the exposure of these qualities act in uninterrupted communication and become the intrinsic idea and content of the entire composition.
Lot 44
Time Stamp Clock "Dey Time Register", c. 1930 American time recorder by "Syracuse, NY", architectural oak cabinet, cast-iron wheel, glass side panel, porcelain dial, working, complete with keys! - Important socio-historical collector`s item and exhibition piece which downgraded every worker to a no-name "number" ... Stechuhr "Dey Time Register", um 1930 Klassische amerikanische Stechuhr in Eichengehäuse, 74 x 89 x 45 cm. Separate Wählscheibe aus Messing für das Drei-Schichten-System. Uhr läuft gut, gut erhalten, mit Schlüsseln. - Wichtiges Sammlungsstück aus der Geschichte der Arbeitswelt, das durch die Art der Bedienung seinen Namen bekam. - Selten guter Zustand. - Symbolträchtigstes und sozialgeschichtlich interessantes Gerät, das den Arbeiter erstmals zur namenlosen "Nummer" degradierte ... Condition: (3+/2) Starting Price: €380
Lot 889
A mixed lot of proof coinage comprising The Official Commonwealth Games Silver Piedfort Collection, boxed, two Battle of Britain £5 silver proof coins, a Classic Locomotives stamp and coin presentation pack and a 40th Anniversary of The Coronation of Her Majesty Queen Elizabeth II coin and stamp presentation pack.
![Frontispiece ([Untitled - Frontispiece]), Le Sorti … Giardino de Pensieri…, ca. 1540. 7.8 x 9.8”. (BW) This](http://lot-images.atgmedia.com/SR/36385/2862480/6-2012510165143_468x382.jpg)
Lot 6
Frontispiece ([Untitled - Frontispiece]), Le Sorti … Giardino de Pensieri…, ca. 1540. 7.8 x 9.8”. (BW) This elaborate woodcut engraving is the frontispiece to Francesco Marcolini`s famous fortune-telling book, Le Sorti...Giardino de Pensieri (The Fates...Garden of Ideas), one of the earliest known documents about cartomancy (divination with cards). Engraved by Giuseppe Porta, whose imprint appears at bottom right, the scene was closely copied from an engraving by Marco Dente. Whereas Dente`s original engraving depicted a gathering of scientists with a book depicting stars and planets in the foreground, Porta altered the image to show pages from Marcolini`s book with a pack of playing cards beside it in order to represent a group of fortune-telling enthusiasts. The three women in the foreground are believed to be the three Parcae, or Fates, who were the female personifications of destiny. A nice dark impression with trimmed margins, still adequate for framing. Library stamp on verso. (A)
Lot 614
Switzerland, Geology (Livret-Guide Geologique Dans Le Jura et les Alpes de la Suisse…), 1894. 5.8 x 8.3”. (PC) This rare geological excursion guide was issued in conjunction with the International Geological Congress of 1894, which met in Zurich, Switzerland. The volume contains 2 maps and 10 profiles and cross sections of the Jura mountains and the Alps. In addition to the maps and profiles are numerous other illustrations and tables included in the text, describing particular excursions and geologic features. 307 pp., hardbound in brown cloth covered boards with gilt title and stamp on front cover. Maps are clean and bright and are generally very good to fine. The geologic map has a few short splits at fold intersections. Plates were originally housed in pockets attached to the front and back covers, but the pockets are now perished. Text is generally good with some light toning and brittle endpapers. The hinge is starting and the covers are somewhat bumped and worn. (+B)
![Geography Books ([Lot of 2] Comprehensive Geography [and] Monteith`s Physical Geography), Monteith, [1872-76]. 9.5 x 12”](http://lot-images.atgmedia.com/SR/36385/2862480/906-2012510171537_468x382.jpg)
Lot 906
Geography Books ([Lot of 2] Comprehensive Geography [and] Monteith`s Physical Geography), Monteith, [1872-76]. 9.5 x 12”. (PC) A. Comprehensive Geography, published 1872, (10.2 x 12.3"). Includes over 50 printed color maps, 116 pp. and a 6 pp. supplement on Nebraska. The complete book details both historical and physical geography of all the regions of the world. Quarter-bound brown leather with pictorial paper covered boards. Condition: Maps are in near fine condition with sporadic light toning. Covers are worn and bumped and spine is slightly chipped. The previous owner`s penciled signature is on the front endpapers. (A) B. Monteith`s Physical Geography, published 1876, (9 x 11.5"). Includes 10 maps in the text, 5 of which are in color. Complete, 54 pp. book details the physical geography of the world. Hardbound with pictorial paper covered boards. Condition: Text and maps are in very good condition with some light toning. Covers are worn and bumped and spine is slightly chipped. There are pencil notations and a library stamp in the front endpapers. (B+) See description. ()
![Exploration and Surveys ([Lot of 2] Astoria, or Anecdotes of an Enterprise Beyond the Rocky Mountains Vol. 1 & Vol. II),](http://lot-images.atgmedia.com/SR/36385/2862480/908-2012510171543_468x382.jpg)
Lot 908
Exploration and Surveys ([Lot of 2] Astoria, or Anecdotes of an Enterprise Beyond the Rocky Mountains Vol. 1 & Vol. II), Irving, Philadelphia, 1836. 5.5 x 9”. (BW) This is the first edition, first state of this "classic account of the first American attempt at settlement of the Pacific Coast" (Howes). Irving`s history of John Jacob Astor`s attempt to bring American fur trade to the Pacific was based on revised transcripts of the journals of Robert Stuart , Wilson Price Hunt and Ramsay Crooks. Among these were " journals and letters narrating expeditions by sea, and journeys to and fro across the Rocky Mountains by routes before untraveled, together with documents illustrative of savage and colonial life on the borders of the Pacific." Included in the 2nd volume is the map Sketch of the routes of Hunt and Stuart. While there is not much detail, Wheat says, "for what it purports to be it is an excellent map." The title pages have a stamp of the "Philermenian Society" which was a Brown University Literary Society. First edition, with the copyright notice and "Henry W. Rees, Stereotyper" on the verso of the title-page of volume one. Volume 1 contains 285 pp. and volume 2 has 279 pp. Both volumes are bound in their original half leather with marbled paper boards. Gilt title on embossed spine. Ref: Howes I-81; Wheat (TMW) no.419. The map has some light foxing and minor extraneous creasing near the folds, as well as several archivally repaired fold separations and short tears. The text pages are lightly foxed and the covers are somewhat worn, but the books are still quite presentable. (B)
Lot 636
Caledonia Stevedoring Company Ltd. MV `Clan Macdougall`. Shipping locomotives at Birkenhead, 17/19 January 1929, a presentation album containing eleven tipped in gelatin silver print photos by Stewart Bale, Liverpool, each with photographer`s embossed stamp lower right and neat ink captions beneath, images 23.5 x 29cm, orig. wrappers with cloth spine tie, upper cover lettered in ink and belonging to Captain John Rome in Glasgow, soiled and frayed with loss, oblong folio (1)
Lot 764
*World War I. Gloire aux Allies, Paris, Faucon, 1915, folding paper fan, with chromo. illust. signed B. Bataille, of Victory and a cannon in the centre, with flags of the allies on either side, `Souvenir Hotel Mirabeau` ink stamp on verso, mounted on tricolour wooden sticks, 22cm (8.75ins) (1)
Lot 772
World War I Art. A collection of 28 well-executed pen & ink drawings by Sydney Robert Jones (1881-1966), depicting army encampments, trenches, graves of soldiers of both sides, French towns and Chateaux including Arras, Nelse, Lucheux, etc., ruined buildings, views of Field Marshal Haig`s HQ at Montreuil, Royal Flying Corps biplanes at the aerodrome at Estress-en-Chaussee, a cellar a St Cren in which the artist lived for a period, some pieces of a more stylised nature captioned `headpiece`, all signed and dated 1917 or 1918, some with army censor stamp and official markings to the versos, including both landscape and portrait format views, sheet size 340 x 253 mm, some laid onto card, together with two unrelated drawings by Jones and an unrelated book illustrated by him. Sydney R. Jones (1881-1966) studied at the Birmingham School of Art and worked for The Studio and The Sphere, as well as illustrating numerous books. These illustrations may have been used in the 1919 publication `England in France: Sketches mainly with the 59th Division` by Charles Vince. It seems that during the war his artistic skills were utilised by the army as some sheets have Jone`s wartime rank written to verso as 2nd Lieutenant R.E., Field Survey Battalion R.E. (31)
Lot 82
*Early Aviation. A group of six signed real photo postcards of early aviators with their aircraft, c. 1913, including Robert Slack, E. Marty, Gustav W. Hamel, Claude Grahame-White, F.P. Raynham and Frank Goodden, printed details in the negative to lower margins, all somewhat faded, all mounted on thick card with old glue marks and fraying to mounts, together with a signed photograph of Dukinfield Jones in the cockpit of a biplane, c. 1912, embossed stamp of the photographer F.N. Birkett lower right, 23.5 x 29cm, old mount with glue marks to borders, plus four other contemporary aviation interest photos, one of a Zeppelin (R101), framed and glazed (glass cracked), various sizes (11)
Lot 103
*Saunders-Roe Ltd., Cowes, Isle of Wight. A good collection of manufacturers, press and publicity b & w photographs of seaplanes and flying boats etc., mostly c. 1930s, approx. 350 images, many by Beken of Cowes, including five fine large sepia images of RAF Saro Cutty Sark with two Gypsy II engines, photographer`s embossed stamp to lower right hand corner of each, approx. 23 x 28cm, mounted in folder, other images show aircraft in the air or on the water, aircraft under construction, cockpit and interior views, components, factory interiors and a group of ten large-format b & w photographs by Chas. M. Hiller showing Mr Yoshihara taking delivery of a single engine Cutty Sark built for the Japanese government, many postcard size b & w images by Beken of Cowes, a few miscellaneous snapshots, etc., together with manufacturer`s brochure for the Saro `London` flying boat Mark A27 and five other related publicity brochures (approx. 356)
Lot 367
*A scarce Great War sweetheart brooch, `The Allies Aeroplane`, manufactured as a silver aircraft representing the Allied Nations of Great Britain, Belgium, France, Japan and Russia, titled and stamped `Sterling` together with manufacturer`s stamp for `W. Wright, 6 East Street, Brighton`, registration number `644982`, 4.3cm long (1)
Lot 416
*Turnill (L. E.). Two passports, No. 14315 issued by the Government of Bermuda 3rd May 1944, with endorsements for use in the USSR and `All Countries in South America`, immigration stamps for Canada, Bermuda, with embossed American Consulate stamp signed by the Consul General William H. Beck, other visas for Canada, the USA, the Netherlands, Venezuela, France, New Zealand, Italy (via Wellington Consulate dated 1939), India, Burma, Greece, Portugal, Nigeria and many other Nations, the visas in many cases bearing National postal type stamps recording fees paid, the second passport no. 120015 issued by the Commonwealth of Australia with Passport and Consular Service postage-type stamps bearing the portrait of King George V, Vittorio Emanuel, and King Feisal of Iraq and many others similar, fascinating documents recording the travels of an aeronautical engineer, together with a collection of Imperial Airways `Terms of Service` and other letters including permission to marry the Staff Manager, another from Imperial Airways/British Airways Ltd, stating `... for sending such a capable and likeable engineer`, and other correspondence of similar interest, contained in an album (-)
Lot 40
After Canova: A pair of terracotta reclining lions circa 1900 with indistinct circular manufacturer stamp Manifattura di Signa 122cm.; 48ins long Manifattura di Signa produced copies of antiquities and renaissance models in terracotta from the late 19th century. The company had outlets in Florence, Rome and Turin and catered for wealthy patrons doing the Grand Tour of Italy. The manufactory was active at a time when remodelling English gardens, often in an Italian classical or renaissance style was particularly fashionable. These lions are illustrated in the Manifattura di Signa catalogue no 945 and 946
Lot 81
Enzo Plazzotta, Italian, 1921-1981 Dieter’s Foal Bronze Signed and numbered 6 from an edition of 9 with Foundry stamp 155cm.; 61ins high by 131cm.; 51½ins long Enzo Plazzotta was born in Maestre, near Venice in 1921 and died aged 60 after having worked in London for more than half his life. He always maintained his links with Italy and had a home in Pietrasanto in Tuscany from 1967. Initially a student of architecture and sculpture, he decided to specialize in sculpture and studied at the Accademia di Brere in Milan. He gradually established himself as a portrait sculptor and also, like Degas, . Developed an interest in the portrayal of ballet dancers. Nureyev, Fonteyn, Sibley and Dowell were among the many dancers who came to his studio. This fascination with the human form manifested itself in a number of interpretations of the naked female form. His works can be found in many public and private collections including the Vatican. It has also been widely exhibited by many galleries including Wildenstein and Co and most recently in 2007 at the Robert Bowman Gallery in London. See Enzo Plazzotta A catalogue Raisonne, Copyright Carol Plazotta and Richard O Conor, 1986.Pges 142 and 167
Lot 768
GB, Victoria, stamp range: 1840, penny black, `LE`, slightly cut into at bottom right & touching top left, otherwise two margins, with pale red MX cancel, 1840, twopenny blue, `JD`, cut into at bottom & bottom right, otherwise two margins, with full red MX cancel & others, various, all used, in three special folders & on stock cards (17)
Lot 769
GB, Victoria to EII pre-decimal stamp collection, inc. 1840 penny blacks: plate 1b, `IH`, four margins with red MX cancel, `BB` & `HF`, no margins & both cut into & `FH` on letter, slightly cut into at two sides, otherwise two margins with pale red MX cancel, penny red imperfs. (10), inc. three on letters with `1841` date stamps, one of latter damaged, otherwise various margins, 1841, twopenny blues (8), inc. horizontal pair, various margins, Edward VII, 2/6d & 5/- (2), mainly with heavy cancels, all Vic. to GV used, GVI to EII mint & used, plus some covers, in album (small lot) Care! High International Shipping Costs
Lot 770
GB, Victoria to EII decimal stamp collection, inc. 1840, penny black, plate 5, `KC`, small tear to right hand side, otherwise four margins with pale red MX cancel & penny red, imperf., `KC`, small touching cut at bottom right, otherwise four margins, although close in places with black MX cancel, 1840 penny black, `OC`, small tear to bottom, otherwise two narrow margins with full red MX cancel, 1841, twopenny blues (6), inc. `MC`, fine used, with four margins & `MD` to `MF` strip, with some faults, penny red imperfs. (7), inc. horizontal pair, `LI` & `LJ`, four margins, 1867-83 5/-, 1883-84, 2/6d & 5/-, Edward VII, 5/-, George VI, high values & EII, pre-decimal & decimal issues, latter mainly mint, inc. decimal face value, u/m, approx. £144 (calculated before April increase), otherwise mainly used, in binder (small lot) Care! High International Shipping Costs
Lot 771
GB, Victoria to EII decimal stamp collection, inc. 1840, penny black, plate 5, `BK`, three margins & penny red imperf. `BK`, right hand side slightly cut into, otherwise three margins, both with black MX cancels, 1840, penny black, `RJ`, on piece, cut into at right hand side, otherwise three margins with good red MX cancel, penny red imperfs. (7), inc. two horizontal pairs, one four margins, otherwise various margins, 1841, twopenny blues (9), inc. horizontal strip of three, various margins, 1883-84, 2/6d, 5/- & 10/-, latter with fairly heavy multiple cancels, George VI, 1948, £1, RSW, mint, with other high values, used, all Vic. & EVII stamps used, GV to EII decimal, mint & used, inc. decimal face value, u/m, approx. £213 (calculated before April increase), in three binders (lot) Care! High International Shipping Costs
Lot 773
GB, Victoria to EII decimal stamp collection, inc. 1840, penny black, `HA`, top left hand corner missing, otherwise two margins with heavy black cancel & some GVI & EII definitives, mint, otherwise used, with EII, first day covers (101), in eight binders (lot) Care! Very High International Shipping Costs
Lot 774
GB, Victoria to EII decimal stamp collection, inc. 1840, penny black, `GI`, slightly ragged to right hand side, otherwise four margins with red MX cancel, Victoria, 1883-84, 2/6d & 5/-, Edward VII, 2/6d (2), one perfin & 5/- & George V, 10/- `seahorse`, EII decimal face value, mint, approx. £162 (calculated before April increase), otherwise used, with sundry covers (18), in seven binders & loose (lot) Care! Very High International Shipping Costs
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