Daphne MCCLURE (1930) Still Life with Birds Oil on card, signed, 27.5 x 39cm. Together with one other work by the same hand. (2).Provenance: From the estate of Allahn McRae.Still Life with Birds - There is some dirt present on the surface of this piece (please see additional images). Along with this there are a number of marks present, the largest is located in the lower third of the piece and measures 1cm in size. There are two bumps present to the bottom and top left hand corners (please see additonal images). Other work by the same hand - There is some dirt present on the surface of this piece (please see additional images). Along with this there are some slight bumps to the corners. This piece appears to have originally had a second layer which is no longer attached, hence the signs of glue marks and rectangular shape present in the centre of the piece which shows the original green colour of the paper.
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Jean JOVENEAU (1888-?) Still Life with Violin Oil on canvas, labels to verso, 54x80cmThere is some minor craquelure present on the surface of paint, this particularly can be found in the lighter shades of paint, the whites and lighter greys (please see additional images). Although this is apparent, the paint appears stable. There is one area of paint loss, which can be found in the lower left hand corner of the piece (please see additonal image).
**RICHARD SHIRLEY SMITH (British, b 1935): a large framed acrylic on canvas study 'Dish still life with hand', circa 1985 (66cm x 81cm). This original work illustrated (pg 86) in the limited edition (69/140) hardback volume Richard Shirley Smith: The Paintings and Collages 1957-2000. With a preface by Sir Roy Strong. The book comes complete with two etchings/engravings held in the back cover leaf (also limited edition 69/140) signed Richard Shirley Smith and dated 1961. The work, book and engravings come together with Maas Gallery 15a Clifford St, London W1 exhibition literature, dated 12th-24th May 1992.
A large selection of WW2 and later, medals, badges, and other items related to 1624562 Warrant Officer William Porteous R.A.O.C, his brother and others.To include: a WW2 medal group (mounted for wear) comprising of the 1939-45 Star, The Burma Star, Defence Medal, and the 1939-45 War medal, 2 x R.A.O.C cloth shoulder titles, brass shoulder titles, buttons, Warrant Officer brass sleeve rank badges (one mounted on a leather bracelet).Plus, another seemingly unused set of WW2 medals (still in paper wrappers), comprising of the 1939-45 Star, the Africa Star, the Defence Medal, the 1939-45 War Medal.Various WW2 and later military badges, including 2 x RAF 17 squadron badges, an enamel Burma Star association badge, 2 x RSW (Returning Service Women) enamel badges, a Gordon Highlanders cap badges, a WW2 chrome RAF propeller sweetheart brooch, a silver watch chain with affixed with a T-bar and medallion for the London Midland & Scottish Railways (approximately 20g), an enamel badge relating to the LMS railways, a bronze Royal Life Saving medallion, and a 1957 dated Rolls Royce long service award certificate.Condition: generally good to most pieces - some normal light service wear commensurate with age.
* IAN SCOTT ELLIOT (SCOTTISH 1946 - 2021), STILL LIFE WITH STRAWBERRIES AND GRAPES watercolour on paper, signedmounted and unframedimage size 26cm x 34cm, overall size 51cm x 59cm Note: Ian Elliot was born in Glasgow in 1946. He attended Glasgow School of Art. Ian visited, and gained much inspiration from, the island of Mallorca and from Italy and France, sharply contrasting environments from that of his native shores. He is known for incorporating the strong colours of the Mediterranean in all his landscapes. Ever a growing force, exhibiting in the RSW Exhibition, Edinburgh, the Royal Glasgow Institute (RGI), the Paisley Art Institute (PAI), the Aberdeen Artists’ Society (AAS), The Affordable Art Show, Battersea, The Glasgow Art Fair, The Scottish Show Thompson’s Gallery, Marylebone, The Scottish Show Richmond Hill Gallery, the Eton Gallery, The London Art Fair along with successful displays in regular exhibitions in a variety of Scottish galleries and charity events, with English galleries showing an ever increasing interest. Ian, apart from one man shows, was also involved regularly in a variety of group shows. Besides Britain, has works hanging in Eire, Germany, Spain, Belgium, Canada and The United States, amongst others. Ian Elliot’s work appeared in the prestigious International Artist magazine as one of ten finalists in their (global) landscape competition. His work has been widely reproduced as prints, calendars and as greeting cards.
Kühn, Heinrich -- Still Life with Cat Figure and Hydrangeas. Circa 1920. Oil transfer print on Japan. 29,7 x 21,5 cm (33,5 x 28 cm). Signed by the photographer in pencil in lower right in the margin.Minimal foxing, otherwise in very good condition.Lit.: Rudolf Kicken (ed.). Eine Ausstellung von hundert Photographien. Cologne 1981, ill. p. 56.
AUGUSTUS JOHN (BRITISH 1878-1961)STUDY OF IDA - recto; SKETCH OF SEATED FIGURE - versoblack crayon - recto; brush and ink - verso25.5 x 17.5cm; 10 x 6 3/4in (sheet)framed: 49 x 38.5cm; 19 1/4 x 6 3/4in Provenance:William Rothenstein, London (a gift from the artist)By descent from the above to the present ownerIda Nettleship (1877- 1907), a fellow student at the Slade School of Art, married Augustus John, against her parent’s wishes, on 12th January 1901. Ida sacrificed her own artistic career to become a wife and mother, but domestic life soon lost its shine. Augustus moved Ida to the countryside while he spent time in London where he fell in love with Dorelia McNeill. Gwen John (1876-1939), Augustus’s sister, fellow artist and friend of Ida, took Dorelia off around Europe in an attempt to diffuse the situation. However, Augustus was so besotted by Dorelia that Ida eventually invited Dorelia to move to the countryside to live with her and Augustus in an attempt to improve her husband's temperament. Dorelia soon fell pregnant and the three moved with the children to live in a caravan on Dartmoor. There the children were brought up together - Ida had 5 sons in 6 years and Dorelia had two children while Ida was still alive. But once again the boredom of domesticity set in, although this time it was Ida and Dorelia who relocated to Paris leaving Augustus to follow thereafter. Ida tragically died in Paris at the age of 30 soon after the birth of her fifth son. Dorelia and Augustus went on to spend the rest of their lives together having another two children. We are grateful to Rebecca John for confirming the authenticity of this work, who dates it to circa 1898, prior to Ida's marriage to Augustus John. ARR may applyARR may apply
GEORG FREDERIK ZIESEL (DUTCH 1756-1809) A PAIR OF STILL LIFE PAINTINGS EACH DEPICTING SUMMER FLOWERS IN A GLASS VASE ON A MARBLE LEDGE, ONE WITH A BIRD'S NESTboth signed G. F. Ziesel F lower left both: oil on paneleach: 43 x 34cm; 17 x 13 1/2ineach: 54.5 x 47cm; 21 1/2 x 18 1/2in (framed) (2)Property of a Lady, SussexProvenance: W.H. Patterson Fine Arts, London (no. 302)Thomas Hillary Rutter (purchased from the above)John Shiel Rutter, Guernsey (son of the above)Thence by descent to the present owner (niece of the above)Georg Frederik Ziesel was born in Hoogstraeten in Flanders in 1756 and spent much of his life in Antwerp. He became an established still life painter and miniaturist. During his career he lived and worked in Paris for several years and exhibited at the Salons of 1802, 1805 and 1809.
CECIL KENNEDY (1905 - 1997)Still life with FlowersOil on canvas, 25 x 17cm SignedCondition Report: Painting itself very goodOne small possible repair to the right hand side of the vase but hard to see unless inspecting closely (see image)Painting re-stretchedGlass would benefit from a cleanA number of losses to frameSee images
H. BARNARD GRAY (1844-1871)Still Life with a Basket of Grapes, Pumpkin, Apples and Nuts and a Venetian Goblet on a Matted TableOil on canvas, 50.8 x 61cmSigned lower rightIn a fine period frameProvenance: Gray Exhibited 12 works at the Royal Hibernian Academy, Dublin 1851-1863; The Royal Academy, London; The British Institution; The Royal Society of British Artists
FOLLOWER OF PIETER DE RINGA STILL LIFE OF FRUIT, A CHEST AND A GOBLET ON A DRAPED TABLEOil on canvas110 x 90.5cm (43¼ x 35½ in.)Provenance:Sale, Christie's South Kensington, London, Old Master & 19th Century Art, July 8, 2011, lot 99Condition Report: The canvas has been relined. Surface scuffs and several surface scratches and dirt throughout. Some scattered spots of flaking and associated loss, as well as craquelure throughout. Area of possible repair of approx. 7 cm lower centre. Inspection under UV reveals a heavy varnish which is presumed to be masking further retouching. Measurements including frame: 126,5 x 107 cm. Condition Report Disclaimer
ATTRIBUTED TO JAN FRANS VAN SON (DUTCH 1658-1718) A STILL LIFE WITH ORANGE BLOSSOM IN AN URN ON A STONE LEDGEOil on canvasSigned 'J. van Son' (lower right)44 x 31cm (17¼ x 12 in.)Condition Report: The canvas has been lined, and re-varnished. Stretcher marks and craquelure visible throughout. A number of surface scuffs and scratched throughout. Inspection under UV reveals light retouching throughout, with some heavier in-filling along the right hand side edge. A green cloudy varnish also present. Overall in good restored condition.Condition Report Disclaimer
* Hughes (Edward James, 1930-1998). English poet, translator and children's writer. Autograph Letter Signed, 'Ted', Court Green, North Tawton, Devon, 21 January 1985, to Charles [Monteith], thanking him for the salutations and continuing, 'Whatever drawbacks there may be to this new job there seem to be lots of small pleasures to begin with. It seems to be about the nicest thing I've given to my old friends - or could have given. And that's a pleasure. And we've kept it in the firm. When I accepted I still assumed that Philip [Larkin] had refused. Must have refused. One vote in my decision was "If he's refused and I refuse - it will leave the firm". (I don't know how many votes there were in all - secret ballot). I hope we shall indeed be able to share a glass of sack... ', 1 page, 4to, together with a second Autograph Letter Signed, Court Green, North Tawton, Devon, 29 September 1990, to Rosemary [Goad] thanking her for the fly box and saying that he only has plastic makeshifts that fall apart, 'Now I can select a new fly in the most fastidious company, or offer a change of fly to the noblest', telling that the rain is pounding down and is the first he's seen since the season started, saying that he loved the Faber evening which they 'really did it awfully well, bless them' and saying that if she is ever out west to visit them, 2 pp., 8vo, together with an Autograph Letter Signed from Hughes's widow Carol, Court Green, 7 February 1999, to Rosemary, 'Thank you for writing so generously about Ted. He was, is, such a large and unique being, who seemed to be able to make everyone else feel special. The public acclaim for Birthday Letters is a fitting tribute and yet makes it quite difficult to mourn - and even to come to terms with his death, no doubt one reaches a quietness in one's soul about that eventually. His illness, death and posthumous life are all too overwhelming - bleak times as you say, but the sun will shine again, 1 page, 4to, both with paperclip impression to upper margin from previous filing, plus 2 uncorrected proof copies of Seneca's Oedipus adapted by Ted Hughes, Faber & Faber, 1969, one with pencil ownership signature of 'Miss Goad' to upper wrapper, slim 8voQTY: (5)NOTE:Provenance: from the library of Rosemary Goad, the first female director of Faber and Faber.The first letter to Charles Monteith, director at Faber, concerns Hughes's appointment as Poet Laureate in December 1984. The sherry references in the closing paragraph refer to the long-standing tradition whereby the sherry producers of Jerez in Spain giving the newly-appointed Poet Laureates a barrel (butt) of sherry. It was first given to Ben Jonson in 1630, the last being given in 1790 when Henry James Pye relinquished his cask for a payment of £27.
Cunningham (Joseph Davey). A History of the Sikhs, from the Origin of the Nation to the Battles of the Sutlej, 1st edition, London: John Murray, 1849, folding map frontispiece (with outline colour), folding table, armorial bookplate of Douglas M Hogg to front pastedown, lacking other map, title and half-title supplied in facsimile, lacking final advertisement leaf, final 3 advertisement leaves with upper right-hand corner clipped, toned, endpapers renewed, hinges repaired, later prize calf gilt, later title labels, rubbed, 8vo, with ALS to Cunningham included, signed by Cunningham to versoQTY: (2)NOTE:'In 1837 he was selected by Lord Auckland to join Colonel Claud Wade, who was then the political agent upon the Sikh frontier, as assistant, with the special duty of fortifying Firozpur, the agent's headquarters. This appointment brought him into close connection with the Sikhs, and, as he spent the next eight years of his life in political employments in this part of India, he was able to obtain that thorough knowledge of their manners and customs which makes his History of the Sikhs one of the most valuable books ever published in connection with Indian history. In 1838 he was present at the interview between Lord Auckland and Runjeet Singh, the great Sikh chieftain; in 1839 he accompanied Colonel Wade when he forced the Khyber Pass, and he was promoted first lieutenant on 20 May in that year; in 1840 he was placed in charge of Ludhiana, under G. Russell Clerk, Colonel Wade's successor, and as political officer accompanied Brigadier-general Shelton and his army through the Sikh territory to Peshawur on his way to Cabul, and then accompanied Colonel Wheeler and Dost Muhammad, the deposed ameer of Afghanistan, back to British territory; in 1841 he was sent on a special mission to the principality of Jammu; in 1842 he was present at the interview between Lord Ellenborough and Dost Muhammad and the Sikhs… He spent four years on [the History], and on its publication in 1849 it was received with the greatest favor by the English press, a verdict which posterity has ratified, for it is universally recognized as the one authority upon the subject. But though this history made his name as an historian, it brought him into deep disgrace with his superiors. In his last chapter he treated of the history of the first Sikh war, and in it he made use of the knowledge he had obtained while acting as political agent with the army in the field, and distinctly asserted that two of the Sikh generals, Lal Singh and Tej Singh, were bought. Both Lord Hardinge and Colonel Henry Lawrence, who had acted as political agent after the death of Major Broadfoot, asserted that there had been no private negotiations with any of the Sikh leaders; but the confidential position which Cunningham had held, and still more his disgrace which followed, are strong arguments that such negotiations did pass'. (DNB)
Sunil Das (Indian, 1939-2015)Untitled (sketch of a Bull)charcoal on paper90x58Provenance: Private UK Collection Footnotes: Sunil Das was an expressionist Indian artist, born in Calcutta in 1939. He joined the Government College of Art & Craft, in Kolkata, in 1955, before winning the French Government Scholarship to study at the École des Beaux-Arts in Paris. During this period he had the chance to travel to Spain, where he spent a couple of months and developed his passion for horses and bulls. Hardly ever painting in loud or warm colours, Sunil Das uses soft brown, mauve and white in the background to bring out the drama of life. Das is the only Indian artist to have won a National Award (the Shiromani Kala Puraskar) while still an undergraduate at the Government College of Art and Craft, kolkata. Besides having been featured in several exhibitions, his works are also a part of the collections of renowned museums such as the National Gallery of Modern Art, New Delhi, the Glenbarra Art Museum, Japan, and the Ludwig Museum, Germany.
Sunil Das (Indian, 1939-2015)Untitled (sketch of a Bull)charcoal on paper90x58Provenance: Private UK Collection Footnotes: Sunil Das was an expressionist Indian artist, born in Calcutta in 1939. He joined the Government College of Art & Craft, in Kolkata, in 1955, before winning the French Government Scholarship to study at the École des Beaux-Arts in Paris. During this period he had the chance to travel to Spain, where he spent a couple of months and developed his passion for horses and bulls. Hardly ever painting in loud or warm colours, Sunil Das uses soft brown, mauve and white in the background to bring out the drama of life. Das is the only Indian artist to have won a National Award (the Shiromani Kala Puraskar) while still an undergraduate at the Government College of Art and Craft, kolkata. Besides having been featured in several exhibitions, his works are also a part of the collections of renowned museums such as the National Gallery of Modern Art, New Delhi, the Glenbarra Art Museum, Japan, and the Ludwig Museum, Germany.
Sunil Das (Indian, 1939-2015)Untitled (sketch of a Bull)charcoal on paper90x58Provenance: Private UK Collection Footnotes: Sunil Das was an expressionist Indian artist, born in Calcutta in 1939. He joined the Government College of Art & Craft, in Kolkata, in 1955, before winning the French Government Scholarship to study at the École des Beaux-Arts in Paris. During this period he had the chance to travel to Spain, where he spent a couple of months and developed his passion for horses and bulls. Hardly ever painting in loud or warm colours, Sunil Das uses soft brown, mauve and white in the background to bring out the drama of life. Das is the only Indian artist to have won a National Award (the Shiromani Kala Puraskar) while still an undergraduate at the Government College of Art and Craft, kolkata. Besides having been featured in several exhibitions, his works are also a part of the collections of renowned museums such as the National Gallery of Modern Art, New Delhi, the Glenbarra Art Museum, Japan, and the Ludwig Museum, Germany.
Trixon Floor Tom with original skin on top. (Phil Seamen) late 1950s/early 60s. Last remaining piece of the 'Seaman' drum kit.Legendary Drummer who even taught the great Ginger Baker.Phil Seamen English jazz and rock drummer, born 28 August 28 1926 in Burton-on-Trent, Staffordshire, England, died 13 October 1972 in London, England (aged 46).One of Britain's best bebop drummers, he later played a pivotal role in Joe Harriott's free quintet. Resident drummer at Ronnie Scott's between 1964 and 1968. Played with virtually every major British jazz figure, including Tubby Hayes, Kenny Baker, Stan Tracey, Ronnie Scott, Dick Morrissey, Harold McNair, Don Rendell, Victor Feldman, Dizzy Reece, Tony Coe, Tony Lee, and George Chisholm.In his later years he also played with blues and rock units led by Alexis Korner and Ginger Baker.Up for sale is the original Phil Seamen Floor Tom with original top skin still intact. Alas the decal of Trixon has been lost on the drum but is an original. The bottom skin has been replaced.Following is the vendors story in his own words of how he came to own this drum.English jazz and rock drummer, born 28 August 28 1926 in Burton-on-Trent, Staffordshire, England, died 13 October 1972 in London, England (aged 46).One of Britain's best bebop drummers, he later played a pivotal role in Joe Harriott's free quintet. Resident drummer at Ronnie Scott's between 1964 and 1968. Played with virtually every major British jazz figure, including Tubby Hayes, Kenny Baker, Stan Tracey, Ronnie Scott, Dick Morrissey, Harold McNair, Don Rendell, Victor Feldman, Dizzy Reece, Tony Coe, Tony Lee, and George Chisholm.In his later years he also played with blues and rock units led by Alexis Korner and Ginger Baker.Year 1973. I was 9 years old. My mum used to go to a local prize bingo at Burton on Trent Working Men's Club every Tuesday evening. I used to go with her most weeks.I diverse a little, from an early age (4-5) I loved watching people play drums (Top of the Pops etc). I used to put cushions on the floor, find a couple of pencils as sticks and off i'd go. I used to tap out rhythm's on absolutely anything, it used to drive my parents crazy. At the age of 9, my parents bought me an old drum kit. The manufacturer was 'President'. It consisted of Bass Drum, Tom Tom (on the bass), Snare drum, Hi-hat and 1 cymbal on the Bass drum, all pig skin drum heads. It didn't have a floor tom. Anyway, going forward again to 1973. Burton working mens club, Tuesday evening, as usual I went with mum to the bingo. We sat at a table. There was lady who had started to go a few months previous. She seemed a bit of a loner and seemed to always find a table to sit on her own. This particular week, there were no spare tables. She came and sat with me and mum. There wasn't much conversation between us until she saw me doing my usual 'tapping rhythms on the table'. This sparked conversation. She told us her son played drums. At this point we still had no clue who she was, just a lovely old lady. I told her i had a drum kit at home. She asked if I had a floor tom tom. As i mentioned earlier, the kit hadn't got a floor tom. She said 'I have one you can have if you'd like it? Of course, I said yes. My dad went to pick the tom tom up from Outwoods Street where she lived and brought it home on the cross bar of his bike. It was a Trixon tom. It was in a hard tom case with labels on which had 'Oslo, Frankfurt', two of the cities the drum had been. We were still none the wiser to who this drum belonged and who the lady was.The following Tuesday, i went to bingo with mum again. The old lady came and sat with us again. She took this brown crumpled up paper bag out of her shopping bag and gave it to me. Inside were 2 small chinese cymbals (about 8 inch i think they were). She said 'You can have these too if you can use them, but if not I'd like to keep them as they have a sentimental value'. I couldn't take them. They were obviously precious to her. Later that evening, a chap called Dave Farmer who organised the bingo each week came up to me and mum and said 'Do you know who that lady is? It's Mrs Seamen. Phil Seamens mum'. My mum was amazed, me at that stage not so much, as i was 9 years old and hadn't really heard much about him. We were told her Son, Phil had died in London(1972). This drum was part of a Trixon kit he toured with, and as drummers do, over time he had another kit. This kit was set up at his home for him to practice on.Over the next few years, i have to say the floor tom was a welcome addition to my President Kit. I played percussion with Stan Schofield's Accordion Band hence the orange labels of mine on the tom case. In 1975 after my grandfather died, i was bought a brand new kit. My president kit was sold on, but i kept Phil's drum as i'd promised Mrs Seamen i would. It sat in the spare room of my parents house for years.Over time, and doing some research into who Phil was, the importance of the tom started to sink in a little.Recently, i was made aware of a book launch of a biography on Phil's life written by a local chap called Peter Dawn from Woodville. I was asked if I could take the drum along to the launch for people to see. I took it. The response was amazing. People were touching the drum head, kissing their hand then touching it. Some were getting quite emotional. I can't explain how much this got to me. The penny dropped further of just how famous and important Phil actually was. It almost brought me to tears. Whilst at the launch I met another guy 'Arthur Roe' who also knew Mrs Seamen.We shared a few stories. There was one which was indentical. Phil's mum had almost begged both of our mums, not to allow us to go to London to play. This was where her beloved Phil had died of drug related illness. He also told me Mrs Seamen was so heart broken and angry that the thing which Phil loved doing the most, in her mind had led to his death', she threw the rest of his kit in the back of the weekly dust cart collections apart from it's floor tom.I also found out Phil's dad 'Joe' died the following year, in 1973 of cancer. Today, I realise just how hard it must have been for Mrs Seamen to part with the drum but It feels like it was meant to be that it came to me. She'd lost both her husband and son very close together. It kinda explained why she was so quiet at the bingo. Mrs Seamen passed away in 1981. My parents have now both passed away and i feel it's time to sell Phil's tom tom onto someone else who will enjoy it, owning a piece of Jazz music history. Thank you Mrs Seamen and Phil for allowing me to own and play your drum. It's been a privilege. Photocopy and an email can be sent of pictures of Phil playing this actual drum.
A Group of Mini-Cine Still Projectors, including five Mini-Cine projectors, two missing winders, various slide strips, titltes including The Ugly Duckling, Wonders of Insect Life, Uncle Remus Tales, Puss in Boots and many others, a Disney Land mini cine projector, with various slide strips, a Dux Kino 68 projector, with six Dux Kino film strips, a Mickey Mouse toy lantern and other items
MARTHA REEVES - NO ONE THERE 7" (TAMLA MOTOWN - TMG 843). A superb 45 by Martha Reeves to include No One There / (I've Given You) The Best Years Of My Life (Tamla Motown TMG 843). In VG+ condition with a few marks and scuffs. The centre label is sharp and clean with the 4-prong centre still intact.
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