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Lot 54
λ FANTI (20TH CENTURY)TWO STUDIES OF APPLES; TWO STUDIES OF QUINCES; A STILL LIFE WITH A CUP AND SAUCER WITH CHERRIESOil on boardFour signed (lower right)27 x 30cm (10½ x 11¾ in.) and smaller (5)Please note measurements do not include the frame unless otherwise stated. Condition Report: Surface dirt throughout the panels. Thick layer of varnish throughout, causing discolouration. Damage to the extreme edges to some of the panels and visible at the corners. Light surface scratches visible to some of the panels. One or two small areas of retouching visible in natural light. Condition Report Disclaimer
Lot 56
VINCENT CLARE (BRITISH 1856-1917)STILL LIFE OF FLOWERS; STILL LIFE OF FRUIT Each signed (lower right)15 x 20.5cm (5¾ x 8 in.) (2)Please note measurements do not include the frame unless otherwise stated. Condition Report: Canvas is slack. Canvas is slightly undulating to 'Still life of flowers'. Patches of craquelure scattered throughout and stretcher marks visible to the 'Still life of fruit'. Inspection under UV reveals an uneven thick green varnish but no obvious evidence of restoration or repair. Condition Report Disclaimer
Lot 61
BENJAMIN BLAKE (BRITISH 1757-1830)STILL LIFE OF GAME IN A LARDER Oil on canvas 29 x 24cm (11¼ x 9¼ in.)Please note measurements do not include the frame unless otherwise stated. Condition Report: Relined. Craquelure scattered throughout. Inspection under UV reveals light scattered retouching especially to the lower third of the work. Condition Report Disclaimer
Lot 168
λ JOHN HUMPHREY SPENDER (BRITISH 1910-2005)THE DARK GLASS Oil on boardSigned and dated 1944 (lower right)35.5 x 46cm (13¾ x 18 in.)Provenance:Redfern Gallery, LondonPrivate collection, H. E. Burrett (acquired from the above in 1944)Sandra Lummis Fine Art, London With a sketch of a still life of flowers on the reverse. Please note measurements do not include the frame unless otherwise stated.
Lot 18
CARLOS ROBERTO RUFALO (URUGUAYAN 1880-1975)STILL LIFE OF FIGS Oil on canvas Signed (lower right)35 x 54cm (13¾ x 21¼ in.)Provenance: From the Estate of the late Jean-Claude CianciminoPlease note measurements do not include the frame unless otherwise stated. Condition Report: Some minor losses to the upper left and lower left quadrants. Condition Report Disclaimer
Lot 326
A 19th century reticulated porcelain cabinet plate with gilt basket weave rim and central hand painted scene of a bird perched on an alder tree branch; together with another similar with a hand painted scene of a still life of pears, both retailed WP & G Phillips, London, both 23cms diameter (2).Condition ReportBoth plates are in good condition.
Lot 146
FRAMED STILL LIFE PICTURE,depicting a bouquet of flowers in a glass vase, with signature A.M.C., dated 1938, original hand written price label to reverse and 'F.J. Harris & Son' restorers label, dated April 1940, as well as handwritten text which reads "Exhibited at the Bath Society of artists", framed and under glass, 72cm high x 56.5cm long overallOverall decent condition some discolouration to frame. No major noticeable damage. Image added of marking on the painting.
Lot 330
GORDON BREMBLE "Nude study" still life, monochrome wash, signed lower right 50 cm x 40 cm together with another similar by the same hand, AFTER ROY PERRY "Village cricket" limited edition colour print 54/560 and ten other various prints, watercolours etc together with six various books including JOHN LOTHROP MOTLEY "The Rise of the Dutch Republic" two volumes published 1859 and ROBERT BROWN "The Races of Mankind being a popular description of the characteristics, manners and customs of the principal varieties of the human family" volume 3, published Cassell Petter and Galpin etc
Lot 89
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Cocks".Oil on canvas.Signed in the lower right corner.It has a wax seal with the signature of the author on the back.Certificate can be issued at the request and expense of the buyer.Measurements: 55 x 46 cm.He returns to Spain in 1949 after his exile. Self-taught, Viola had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
Lot 90
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Abstraction".Oil on canvas.Signed in the lower right corner.It has a wax seal with the signature of the author on the back.Certificate can be issued at the request and expense of the buyer.Measurements: 54 x 45 cm, 70 x 60 cm (frame).He returned to Spain in 1949 after his exile. Self-taught, Viola had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "From the Surrealist Revolution to Surrealism in the Service of the Revolution". However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
Lot 98
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Abstraction in yellows and blues".Oil on canvas.Signed in the lower right corner.It has a wax seal with the author's signature on the back.Certificate can be issued at the request and expense of the buyer.Measurements: 60 x 80 cm, 65 x 85 cm (frame).He returned to Spain in 1949 after his exile. Self-taught, Viola had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "From the Surrealist Revolution to Surrealism in the Service of the Revolution". However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
Lot 434
E H Stannard: oil on canvas, still life of daisies in a basket, 8 3/4" x 10 1/4", in ornate gilt frameCondition:The picture has some general light crackling to the canvas, commensurate with age, the reverse of the canvas is slightly ripped. The frame has some splits too. No major damages or restoration to the canvas.
Lot 108
Ina Colliander (Finnish, 1905-1985)'Still life of flowers in a vase', oil on canvas, signed central lower margin 'I. Colliander', framedFramed size 100 x 83cm, overall size 83 x 67cm Condition: This item has not been examined out of the frame. There is no evidence of relining and the item appears to be in fair overall condition.
Lot 133
Burns, Robert (1759-1796) Fragment of autograph letter to Robert Muir of Kilmarnock, Edinburgh, 15th December 1786 reading (lacunae supplied by Waddell):'My Dr Sir, I delayed writing you till I [was] able to give you some rational account [of myself] and my affairs. I am got under the [patronage] of the Duchess of Gordon, Countess dowag[er] of Glencairn, & John Whiteford, the D[ean of] Faculty, Professors Blair, Stewart, Gr[egory] and several others on the Noblesse & Literati. I believe I shall begin at Mr. Creech's as [my publisher]. [I am] still undetermined as to the future, and, as usual, [nev]er think of it - I have now neither house nor [hom]e that I can call my own, but live on the world [at] large. I am just a poor wayfaring Pilgrim [on] the road to Parnassus; a thoughtless wanderer [and] soujourner in a strange land. [I] rec[eived] a very kind letter from Mr A. Dalziel, [for w]hich please return hi[m] my thanks; and [tell] him I will write him in a day or two. Mr. Parker, Charles, Dr. Corsan, and honest John [Wilson? my] quondam printer, I remember in my [prayers when I pray] in rhyme. To all of [whom], till I have an oppor[tunity.... ], Edinr 15th Dec. 1786. I forgot to tell you how [...] honest-hearted And[rew] [and?] Matty. She is [noblest] of the Creator['s...]On laid paper, with extensive early repairs and marginal extensions, concomitant soiling and staining, holes along longitudinal central fold, annotated 'Fragment of a letter from Robert Burns at Edinr 1786' on section of paper watermarked [1]797, glazed both sides and framed, part of some letters and words croppedNote: Note: Published in Hately Waddell, The Life and Works of Robert Burns, 1867, vol. II p. 143: 'The above fragment, which has no address, but which manifestly, from the names and references occur in it, belongs to this series [of letters to John Muir], we carefully print from original in possession of our friend John Reid, Esq., Kingston Place, Glasgow ... In consequence of this letter, Mr. Muir seems to have interested himself on behalf of the Edinburgh edition [of Burns's Poems, published in 1787] ... In filling up the blanks ... the only two about which we have any doubt are those in the concluding sentence; but we are much disposed to believe that the parties alluded to are Andrew Bruce and his wife, or some other female relative ... who seem to have been well known to the Kilmarnock folk'.Provenance:By family repute from the collection of Claud Hamilton (1865-1919), Scottish industrialist and owner of electrical engineering firm Claud Hamilton Ltd; thence by descent.
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77111 item(s)/page