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Click here to subscribeWorld issues, Niger 1926, SG33-29-32-30, mint and used, Italy, Honduras, New Hebrides set mint UPU 1949, Nicaragua from 1862 low values, Monaco, mint, Malta George & VI used, Sudan, Spain, Mexico, San Salvador, Morocco, Montserrat (14 selection cards); A junior comet stamp album A-Z. Junior improved stamp album A2. Hundreds of stamps. Brown envelope of EII used & some mint & large envelope of FDs & covers
RAMON CASAS CARBÓ (Barcelona, 1866 - 1932)."Portrait of a lady.Mixed media on paper.Signed in the lower right corner.With "Pèl i Ploma" stamp in the lower right-hand corner.Size: 31 x 22 cm; 55 x 46,5 cm (frame).Drawing made by Ramon Casas for the artistic and literary magazine "Pèl i Ploma", of which 100 issues were published between 1899 and 1903. Casas himself financed its publication and was its artistic director and main illustrator, while Miquel Utrillo was in charge of the literary section and Emilio Galcerán was in charge of the administrative side. It was one of the most representative magazines of Catalan Modernisme, a driving force behind this movement and a platform for the dissemination of modern art. In this work Casas depicts an elegant lady dressed in the bourgeois fashion of the turn of the century, with a bright white collar. It is an image charged with instantaneity, typical of the female representations of the Catalan school of the late 19th century. It combines the formal sensuality of the sinuous and expressive line, typically modernist, with the great realism with which a strictly contemporary image has been captured. It is a work closely linked to the graphic design of the period; the expressive linearity, the sobriety of the colours and the attention to current themes coincide with the features of posters and illustrations for magazines.An outstanding painter and draughtsman, Casas began painting as a disciple of Joan Vicens. In 1881 he made his first trip to Paris, where he completed his training at the Carolus Duran and Gervex academies. The following year he took part for the first time in an exhibition at the Sala Parés in Barcelona, and in 1883 he presented a self-portrait at the Salon des Champs-Elysées in Paris, which earned him an invitation to become a member of the Salon de la Societé d'Artistes Françaises. He spent the following years travelling and painting between Paris, Barcelona, Madrid and Granada. In 1886, suffering from tuberculosis, he settled in Barcelona to recover. There he came into contact with Santiago Rusiñol, Eugène Carrière and Ignacio Zuloaga. After a trip to Catalonia with Rusiñol in 1889, Casas returned to Paris with his friend. The following year he took part in a group exhibition at the Sala Parés, together with Rusiñol and Clarasó, and in fact the three of them continued to hold joint exhibitions there until Rusiñol's death in 1931. His works of this period are halfway between academicism and French impressionism, in a sort of germ of what would later become Catalan modernism. His fame continued to spread throughout Europe, and he held successful exhibitions in Madrid and Berlin, as well as taking part in the Chicago World's Fair of 1893. Casas settled permanently in Barcelona, immersed in the modernist atmosphere, although he continued to travel to Paris for the annual salons. He financed the café Els Quatre Gats, which was to become a point of reference for the Modernists, and which opened in 1897. Two years later he organised his first solo exhibition at the Sala Parés. While his fame as a painter grew, Casas began to work as a graphic designer, adopting the Art Nouveau style that came to define Catalan Modernisme. In the following years his successes followed one after another: he presented two works at the Universal Exhibition in Paris in 1900, won a prize in Munich in 1901, several of his works were included in the permanent exhibition at the Circulo del Liceo, he held several international exhibitions and, in 1904, won first prize at the General Exhibition in Madrid. He was represented in the Prado Museum, the Museo Nacional de Arte de Cataluña, the Museo Nacional Reina Sofía, the Thyssen-Bornemisza, the Museo de Montserrat, the Cau Ferrat in Sitges, the Camón Aznar Museum in Zaragoza and the Museums of Contemporary Art in Barcelona and Seville, among many others.
JOSEP LLIMONA BRUGUERA (Barcelona, 1864 - 1934)."Modèstia", 1891.Sculpture in polychrome stucco.Signed.With Esteva & Cia. stamp.Work catalogued in "Una passejada per l'obra de Josep Llimona, 150 anys", MEAM, 2015, Barcelona, p. 104.Size: 42 x 36 x 22 cm.The sculpture "Modèstia" is evidence of Josep Llimona's most personal characteristics: naturalistic idealism, an inclination towards the gentle side of reality and, above all, a great delicacy and beauty in his female figures, always slender and innocent, enveloped in a veil of mystery.Josep Limona is remembered as the most important Catalan sculptor of Modernisme. Trained at the Escola de la Llotja in Barcelona, he obtained a pension to go to Rome in 1880. During his stay in Italy he was influenced by Florentine Renaissance sculpture. With the works he sent from there he already won prizes (gold medal at the Universal Exhibition in Barcelona in 1888), as well as a great reputation. With his brother Joan he founded the Círculo Artístico de Sant Lluc, a Catalan artistic association of a religious nature (the two brothers were deep believers). By the mid-1990s his style was already drifting towards full modernism. He received the prize of honour at the International Exhibition of Fine Arts held in 1907 in Barcelona. From 1900 onwards he concentrated on his famous female nudes, and in 1914 he created, in collaboration with Gaudí, his impressive "Risen Christ". His artistic genius also manifested itself in large public monuments such as the equestrian statue of Saint George in Montjuic Park in Barcelona, as well as in works of funerary imagery, such as the pantheons he created for various cemeteries. In addition to exhibiting in Barcelona and other Catalan cities, he exhibited his work in Madrid, Brussels, Paris, Buenos Aires and Rosario (Argentina). He was president of the Barcelona Museum Board from 1918 to 1924, and again from 1931 until his death in 1934. Throughout his life he received numerous decorations, including those awarded by the French and Italian governments. He was also awarded the Gold Medal of the City of Barcelona in 1932, in recognition of his extraordinary work in the development of museum activity. Llimona's work can be found in the Monastery of Montserrat, the National Art Museum of Catalonia and the Reina Sofia Museum, among others.
L.S. Lowry R.A. (British 1887-1976) "St. Luke's Church, Old Street, London, E.C.", signed and numbered 582/850 in pencil in the margin, published in 1973 by G.R. Mellor, with publisher's blind stamp, limited edition colour print.image size 61.5cm x 46cm (24.25in x 18in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition with strong colours. There is some very light time staining and browning around the edges of the margins near the mount board most notably along the top edge of the print where the paper has dropped slightly within the mount. The print is framed and glazed. The frame has some minor scuffs and scratches commensurate with age.
L.S. Lowry R.A. (British 1887-1976) "Britain at Play", signed in pencil in the margin, with Fine Art Trade Guild blind stamp, published by Mainstone Publications, Norwich, printed by Beric Press, London, limited edition colour print.image size 45cm x 60cm (17.75in x 23.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. The colours have faded across the print. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
L.S. Lowry R.A. (British 1887-1976) "Three Men and a Cat", signed in blue biro in the margin, with Fine Art Trade Guild blind stamp, limited edition colour print.image size 24.5cm x 16.5cm (9.75in x 6.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition with strong colours. There are some very minor spots of foxing in the lower margin. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
L.S. Lowry R.A. (British 1887-1976) "The Cart", signed in pencil in the margin, with Fine Art Trade Guild blind stamp, from an edition of 850, printed by Max Jaffé, Vienna, published by Adam Collection Ltd., limited edition colour print.image size 49.5cm x 40cm (19.5in x 15.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition with strong colours. There is some very light time staining and browning of the paper in the margins near the mount board. The print is unframed.
Royal Copenhagen - porcelain figure of a girl and swan, model no. 527, factory stamp and numbered to the underside also initialled FH, 9.25" high; together with a Royal Copenhagen figural group of two kingfishers, model no. 1769, 7" high (at fault, damaged head); also a Royal Copenghagen porcelain pendant on chain, boxed (3)
A MIRROR PAIR OF SHUICAI ‘SHOULAO AND BOYS’ PORCELAIN HAT HOLDERS China, Circa 1900s-1920s Each inscribed with a poetry. Each base impressed with an identical red stamp mark. H: 27,7 cm 一对镜面水彩寿佬及童子瓷帽架 中国，约1900-1920年 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A 19th Century Copeland Tete-a-Tete coffee service comprising pair of coffee cups, saucers, sugar bowl, milk jug and coffee pot, with guilloche banding with raised enamelled decoration, the bodies painted with trailing roses above vertical geometric gilt decoration on torquoise section, gilt handles, blue factory stamp to base COPELAND CHINA ENGLAND, incised marks Further details: all pieces appear to be in good condition, the teapot is 13cm high overall
An early 20th Century Royal Worcester small ewer, shape no: 1048, gilt neck and handle with winged serpent terminal, the body painted with Storks within a desert oasis at watering hole, with palm trees and mountain landscape beyond, the grasses to the fore heightened in gilt, signed by W Powell to left side of handle terminal, the underside with puce factory stamp, shape no, date code for 1912, AW in red and numbered 145.34., overall height 12cm Further details: good original condition
An early 20th Century Royal Crown Derby quatrefoil shaped desert dish, cobalt blue ground decorated with gilt arabesques, the oval reserve painted with a bouquet of flowers, signed by A Gregory, gilt heightened, red factory stamp, pattern no: 8221. date code for 1912, impressed marks, 27.5cm long (1)
An early 20th Century Coalport two handled vase and cover, bell shaped body with cobalt blue body painted with gilt scrolling foliage, the front with oval reserve painted river landscape within yellow and gilt shaped oval border/frame, the handles with Lion's head terminals, the body on four gilt paw feet, the cover with stylised coronet finial, black factory stamp to case and inside cover, the base painted with shape no: V6969/1st 200 and numbered 148, 16cm high overall (1) Further details: restoration to knop and one handle plus restored gilding
Political / Harold Wilson Interest: A Victorian silver salver, the border chase with rocaille and foliate border, on lappet feet, the centre with engraved presentation inscription surrounded by facsimile signatures, the silver maker's mark P.W/W?, London, 1897, with retailer's stamp: Bravington London, 23 ozt. 35cm diam at widest point the central inscription reads: To mark the opening of Ruxley Towers as the Head Office of the N.U.G. M. W this salver was presented to the Prime Minister the RIGHT HONOURABLE HAROLD WILSON O.B.E., M.P., and to MRS HAROLD WILSON, by the General Secretary and the General Council on behalf of the member of the NATIONAL UNION OF GENERAL AND MUNICIPAL WORKERS 17th MAY 1967Provenance: A Prime Minster's Life - The Harold & Mary Wilson Collection, sold in these Rooms, Bishton Hall, 10th May 2019, lot 5
A late Victorian Royal Worcester reticulated vase on stand, baluster shaped top section with flared trumpet rim above scrolling foliage and floral decorative section, all highlighted in gilt, above four stylized gilt winged Swan supports on scroll feet, their necks supported by a collar section punctuated with shield shaped decorative stamps with torquoise borders, the underside with incised factory stamp and date code for 1883, 30cm high (1)
An Elizabeth II silver matched five piece silver tea and coffee service to include: teapot, sugar bowl, milk jug, hot water jug and coffee pot, each with gadroon, foliate and shell upper border, plain geometric bodies on raised feet, fruitwood handles and finials, hallmarked by Garrard & Co., London, 1964, the hot water pot 1961 & coffee pot 1963, retailer's stamp to base, gross weight 83.57 ozt (2,599.3 grams)
A pair of Georgian style large oval sauceboats, gardroon border on three shell and hoof feet, S-scroll handle with acanthus thumbpiece, hallmarked by H Pidduck & Sons, Sheffield, 1932, with retailer's stamp, pattern no: X432 1/2., approx 20.46 ozt (636.6 grams) Further details: marks crisp, overall condition good commensurate with age and use
A 19th Century Copeland Tete-a-Tete coffee service comprising pair of coffee cups, saucers, sugar bowl, milk jug and coffee pot, upper guilloche style with raised enamelled banding above bodies painted with pink roses and other flowers and foliage, signed by Charles F Hurton, all gilt heighted, blue factory stamp to base COPELAND CHINA ENGLAND (the milk jug with hairline fracture to base) Further details: all items in good condition except a star crack to the bottom of the creamer; the gilding is in 1st rate condition
A pair of early 20th Century Royal Crown Derby vases and covers, cobalt blue grounds painted with whimsical gilt star and foliate decoration, the front with bouquet of flowers within raised gilt cartouche border, the covers with gilt finials, red factory stamp (circa 1891-1921), inscribed 8260 Hs 1550 (2).,23cm high overall Further details: finial re-fixed on one vase and collar chipped on the 2nd
A pair of late 19th Century Copeland (1851-1895) porcelain cups and saucers, cerise pink grounds with gilt wreath interlocking cartouches, each painted with a water bird either Kingfisher, Ducks or Swans with a water lily between, factory stamp to bases (4) Further details: saucers in good condition however one small chip glaze flare to rim 1mm, both cups with wear to cerise ground, 4 x Registered
Hochfeine Louis XV-Kommode, gestempelt „F. Rubestuck“ und „JME“Höhe: 83 cm. Breite: 82 cm.Tiefe: 48 cm. Rechte vordere Zarge gestempelt: „F. RUBESTUCK“ für François Rübestück (1722 – 1785, Meister ab 1766) sowie der Schlagstempel JME für Jures Menuisiers Ébénistes (Zunftstempel). Paris, um 1740.Auf vier elegant geschweiften Beinen der zweischübige, dreiseitig bombierte sowie reich intarsierte Eichenholzkorpus sans traverse. Aufwendig in Edelhölzern u.v.a. furniert, intarsiert und teilweise brandschattiert. Reicher, teilweise durchbrochen gearbeiteter Bronzebesatz, feuervergoldet. Das mittlere Feld reich dekoriert mit Blumenschale, aus der vielerlei Blumenarten entspringen. Reste von Kolorierung. Die Füße mit feinen Sabots. Abschließende alte, wohl original Marmorplatte in Rouge Griotte. Rest., erg., Alterssch. Platte best. Alte massive Eisenschlösser.Literatur: Vgl. Pierre Kjellberg, Le Mobilier Francais du XVIIIe siecle, Paris 1989, S. 744ff. (12901434) (10)Very fine Louis XV commode, stamped “F. RUBESTUCK“ and “JME“Height: 83 cm.Width: 82 cm.Depth: 48 cm.Front right apron stamped: “F. RUBESTUCK” for François Rübestück (1722 – 1785, master since 1766), and embossed stamp JME for Jures Menuisiers Ébénistes (guild mark).Paris, ca. 1740. Literature:cf. Pierre Kjellberg, Le Mobilier Français du XVIIIe siecle, Paris 1989, p. 744ff.
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