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Lot 50
Group of ephemera related to artist Barton Stone "B.S." Hays (American, 1826-1914) and his family. Including sketches and prints by his family, newspaper clippings, a yearbook, and ephemera related to the College of St. Catherine.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's "Uncle Tom's Cabin."(Shipping dimensions) height: 3 1/2 in x width: 9 1/2 in x depth: 13 1/4 in.Condition:The art is in overall good condition with no tears or losses. Most sheets are toned. Light wear to the ephemera as expected.
Lot 49
Group of ephemera related to artist Barton Stone "B.S." Hays (American, 1826-1914) and his family. Including sketches by his family members, sympathy cards, and a register or guest book.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's "Uncle Tom's Cabin."(Shipping dimensions) height: 2 in x width: 9 in x depth: 10 1/4 in.Condition:Most sketches in good condition with no tears, losses, or restorations. Light wear including some handling marks along the edges. One sketch of a child floating a boat along a stream with creases along the corners. All sheets are toned. All are not framed. Light wear to the box containing the memorial guest register.
Lot 52
Nicholas R. Brewer (American, 1857-1949). Oil on board still life painting depicting a lovely spray of pink and white flowers in a cloisonne vase. Signed along the lower right. The vase painted in the work is offered in the following lot. A partial label from Keljik's is included.Sight; height: 23 1/4 in x width: 19 1/4 in. Framed; height: 30 in x width: 26 1/4 in x depth: 2 1/4 in.Condition:The colors are bold and bright and the surface is stable. There is vertical craquelure throughout. There are a few minor losses, mainly along the edges. No visible restorations when viewed under UV light. There is a thick varnish throughout. Light wear to the frame. Verso not inspected.
Lot 53
Chinese cloisonne vase depicting flowers and a flying bird. This vase was depicted in a painting by Nicholas R. Brewer in the still life offered in the previous lot.Height: 9 3/4 in x diameter: 5 1/2 in.Condition:There is a large section depicting a flower barely hanging on to the vase. It appears this is an old repair. There are multiple cracks to the cloisonne and small losses throughout.
Lot 46
Barton S. Hays (American, 1826-1914). Oil on board painting depicting a still life of roses beautifully blooming with white baby's breath.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's iconic novel "Uncle Tom's Cabin."Sight; height: 11 1/2 in x width: 17 1/4 in. Framed; height: 13 1/4 in x width: 19 1/2 in x depth: 1 in.Condition:The colors are bold and deep. There is craquelure throughout, along the grain of the board. There is one small loss along the right center edge. Light wear to the frame. Verso not inspected.
Lot 47
Barton S. Hays (American, 1826-1914). Group of two oil on canvas paintings depicting portraits of children.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's iconic novel "Uncle Tom's Cabin."Girl; height: 36 in x width: 28 1/2 in. Boy; height: 26 in x width: 20 in x depth: 1 in.Condition:Both paintings have darkened or discolored varnishes. There is extensive damage to the portrait of a young girl. There are several holes and tears throughout the canvas. The lower edge is heavily damaged. Areas of scuffs and accretions. The portrait of a young boy has losses along the edges. A few areas of scuffs and accretions throughout. Neither paintings are framed.
Lot 4
Robert Kilbride (American, 1924-1998). Oil on paper painting depicting a still life in cool tones. Signed along the lower right.Provenance: Stanton L. Catlin, former director of the Center for Inter-American Relations; thence by descent.Following studies in Europe, Kilbride began teaching art at the Minneapolis School of Art, followed by the Walker Art School, the University of Minnesota, and Macalester College in St. Paul. His works are held in the collections of The Walker Art Center in Minneapolis, The Minneapolis Institute of Art (Mia), The Minnesota Historical Society, and the University of Minnesota.Sight; height: 11 in x width: 17 in. Framed; height: 21 in x width: 27 in x depth: 1 in.Condition:The colors are bold and deep. There is undulation to the sheet throughout. No visible tears, losses, or restorations. The acidic mat has some wear and discoloration. Some soiling to the glass. Framed under glass; not inspected out of frame. Light wear to the frame.
Lot 257
Φ Ω A UNIQUE COLLECTION OF ITEMS RELATING TO ELIZABETH KEITH (1887-1956)20TH CENTURYComprising: 1. a woodblock print entitled 'Forbidden City, Peking', 1935, signed 'Elizabeth Keith' lower right corner, 29.5cm x 41cm;2. the original wooden key block for the above print, hand-carved with the main structural elements of the composition; the reverse also carved with the brown and green features in the image, 28cm x 42.7cm x 1.7cm;3. a copy of M C Salaman 'Masters of the colour print, vol.9, Elizabeth Keith', 1933, with a hand-written dedication by Elizabeth Keith inside reading: To Mr & Mrs de Jonghfrom Elizabeth KeithWith Christmas Greetings. 19444. a typed letter by Elizabeth Keith, with hand-written corrections and signed 'Elizabeth Keith' in ink, the letter reading:'Idbury Manor. Kingham. February 8th. Dear Mr de Jongh, I must apologise for the delay in answering you, I had to go to London yesterday, and I am always busy! No women ever take part on the Noh Stage, nor in the Kabuki either, but in the modern present day plays only. (I should not be surprised to hear that has been put a stop to now!) If you would like to get an insight into the psychology of the Japanese, read the 'Year of the Wild Boar' by Helen Mear, it is excellent.The gown worn by Kongo (red) in' Hagaromo' is of the stiffest gauze perhaps 100 years old (many of his robes were much older) it would stand by itself! He wears many garments underneath. I have seen him dressed. He is a very handsome and charming man, I could not associate him with the devils who are fighting our peoples. His son-in-law hates the Militarists. I daresay he has been executed ere this! To return to the robes, they are generally stiff. The green dress is linen, it hangs more softly. He is (Shigiyama) a comic actor, and rarely has as fine garments as Kongo. Green may fade, I do not think the red will fade much, as I have so many 'coats' or 'brushings' of red! As you will not avoid temptation I shall make you a reduction of 25% if you buy two. 'Returning from the Funeral' is almost exhausted, and ought to have gone up in price. You need not decide at once, I shall not be leaving England for some time to come - Alas! I daresay you have heard that Mr Taylor has not been well, shortage of paper and a still greater shortage of staff, make it impossible for them to undertake books for newcomers! I feel it is perhaps the Partner perhaps who is not keen on Korea. We shall go elsewhere when we are ready, I should have preferred having it done by someone we know about! I think I have answered all your questions, please forgive all the mistakes, I taught myself to type not so long ago! With kind regards to you and family, Yours sincerely Elizabeth Keith.'5. a handwritten letter by a relative of Elizabeth Keith (possibly her sister), composed shortly after the artist's death, reading:106. Randolph Avenue WG 24.4.56Dear Daniel, We thank you deeply for your warm sympathy and true appreciation of Elizabeth. Her loss to us is almost unbearable as she was really the centre of much that is left of our family life. She is mourned - truly mourned- by hundreds of friends in all parts of the world! It is good to realise that so many rejoiced in her quality of generous service to all she could help in some way. We so regret that the last years were spent on only caring really for a household instead of pursuing her art!! If only she could have had any peace at the end, but it was all so painful and had she ever left her sick-room she would have had led an invalid's life and we are grateful that she was spared that entailment of liberty. One can't picture her as helpless and she remains in one's memory as bright anyway. My brother-in-law is terribly cut up and had to keep his 90th birthday celebrations arranged for him by staff with a sad heart. Thank you both again. Affectionately yours, Rachel?. G.A.';And further newspaper cuttings relating to Elizabeth Keith. (a lot)Provenance: according to the owner, the print was purchased by his grandfather, Mr de Jongh, directly from the artist at the Beaux Arts Gallery in London in 1937, and the wood key block was gifted to him by the Keith's family after her death in 1956. By repute, many of the early wood key blocks Elizabeth Keith used were lost in the fire which destroyed the studio of her publisher Watanabe Shozaburo in the 1920s, making this one a rarity.
Lot 378
A JAPANESE CHISELLED PANEL BY KAGAWA KATSUKIYO (1894-1967) MEIJI OR LATER, 20TH CENTURYDecorated with a still life featuring a discarded kabuto helmet, a suit of armour, an open fan, books and other items; rendered in various shades of gilt and copper on the warm silver ground, signed Katsukiyo saku (Made by Katsukiyo) lower right corner; in its original wooden frame, glazed and with decorative silk tassels and cords for suspension, the panel 18.5cm x 22cm; in an tomobako wood box inscribed Bunbu. (2)The Bunbu inscription refers to the Bunbu Ryodo, the samurai ideal of being accomplished in both literary and military arts.
Lot 30
GIULIO TURCATO (1912 - 1995)UntitledOil on canvas, 100 x 138cm Signed (bottom left)Provenance: Marlborough Galleria D’Arte, Roma label verso; John Huston Collection, St. Clerans, Co. Galway; Private Collection, DublinThe life of Italian artist Giulio Turcato (1912-1995) is one that spanned the breadth of last century right up to within the grasp of the next. Indicative of many European artists of his time and place was a propensity towards transgression, collectives and the innovation of new ideas - all of which the artist subscribed to.In 1925, Turcato formally started his studies of art in Venice and first gained professional exposure as an assistant in Giovanni Muzio's architectural studio. Though he moved to Milan in 1937, it wasn't until Rome in 1943 that the artist found common fertile ground to grow, share and mature his ideas. In a 1986 interview with Claudio Verna, Turcato declared, "Art is born from the meeting of ideas, and this is only possible in the city." If Rome were the city, then Osteria Fratelli Menghi - a local inn famous for its artists, writers, and creative types - and avant-garde groups, including Fronte Nuovo Delle Arti, Art Club, and Gruppo degli Otto, would be some of the many meeting points. Keen to contribute to such groups, Turcato also later signed the manifestos for Forma and Neocubism, both in 1947. During this time, Turcato's actions reached beyond the art world when he joined the Resistance and became a member of the Communist Party. However, Turcato later left the party due to ideological disagreements. Perhaps this departure was unofficially amicable, as evident by the controversy stirred by his 1949 painting, Camizo, which was declared 'too abstract' by the infuriated Communist Party leader Pailmiro Togliatti. For an artist who continuously sought stylistic experimentation, it was only natural that he would transverse the parameters of each of these groups. As was mirrored in the artist's paintings, what began as geometric formality dissolved into free-form emotive expression.Turcato found influence in the Fauves, Surrealism and, in particular, Matisse. The latter he recalls as his favourite painter and noted the impossible task of mimicking a 'great master' artist who was so uniquely free. Merging the colour of the Fauves, the dreamlike instincts of Surrealism and reaching for his own unique freedom resulted in his post-war replacement of political subject matter with experiments of pure colour and pigment. Works indicative of this period are Untitled, Simbola di Marte, and Superfiore Bleu. In the absence of geometry and figures, each painting here distils the universal affective nature of colour. Untitled evokes open space via mid-tone cerulean blue, dashed with what feels like frozen ephemeral cirrus clouds. Brush strokes are still visible within the subtle inflection of tones, reiterating the canvas and material quality of the painting itself. With Simbola di Marte, an undefined red ochre shape dominates the frame. The absence of colour is marked by sporadic charcoal and grey - an absence that only serves to enhance the warmth each tone offers. While the painting references the rust red symbol of Mars, it also speaks of red ochre - an ancient pigment first created with the clay of the earth. Superfiore Bleu is a panoramic view of mid to deep cobalt. The darker tone blotches induce the kind of depth felt only by deep water. This painting's width-to-height ratio invites the viewer to step closer, inducing the immersive capabilities of colour.Although not intended as a triptych, the coming together of these three paintings via the late filmmaker John Huston's (1906-1987) personal art collection gestures to the most foundational elemental reference points of colour: sky, land, and water. Considering the artists' life travels (Paris, Russia, China, Morocco, Switzerland, Sweden, US, Nairobi and Egypt), this gesture to the universal language of colour may be a calculated exercise of an artwork to be understood despite borders, signs and politics.Giulio Turcato's significance in the post-war Italian art world has been repeatedly validated nationally and internationally. Nationally, through a dozen exhibitions at the Venice Biennale between 1949 and 1995, including two years with his own dedicated space. Internationally, with Documenta Kassel, State Gallery of Modern Art, Munich, MoMa and The Guggenheim, New York, and Musée de l'Athenée, Geneva, to name but a few.Simon Bhuiyan
Lot 23
A Leica IIg Rangefinder Camera, 1956, chrome, serial no. 848442, body, VG, shutter workingNotes: We believe this is a genuine IIg. The serial numbers match and if this was a 'franken-camera', we might find that the lever that interacts with the slow speed and the escapement might still be in place. That was absent as it should be. If the camera originally was fitted with a self-timer, we would expect marks on the edges of the screw holes for the self-timer. The camera has clearly been serviced during its life and there are clear signs of this. All of the screw-holes on the front plate have marks on the edges caused by the tips of screwdrivers. The metal is very soft and these marks are difficult to avoid. However, the screwholes for the self-timer are clean and it doesn’t look as if they were ever used. Blocking the hole for the slow speeds would be easy. Blocking the ST hole is difficult because of the vulcanite but could be done using an Ig shell in theory, but it's the fact that those three ST holes are clean that suggests to us that this was never a IIIg or Ig serial number if it is a converted Ig, started around 887xxx, so it can’t be that either. The above is our opinion, however, it is up to the buyer to satisfy themselves prior to bidding and is sold as per our terms and conditions laid out.
Lot 158
ARR Attributed to William George Simmonds (1876-1968)Still Life with Vase of Flowersgouache27cm x 24cm In 1919, designer and artist William Simmonds and his wife Eve moved to the tiny hamlet of Far Oakridge, Gloucestershire, where they became involved with a group of artists and craftsmen including William Rothenstein, Ernest Gimson, Sidney and Ernest Barnsley.
Lot 784
TWO MODERN STILL LIFE STUDIES, the first in the style of Andras Gombar depicts a copper mixing bowl, a jar of red pigment, glass bottle and silver pedestal dish, signed Weberne bottom right, oil on board, the second depicts fruit, nuts and a pewter tankard, indistinctly signed lower right, oil on board, approximate size 49cm x 39cm, Condition Report: small paint splash to near the lower edge of the first picture with damage to the frame, small amount of damage to the second picture
Lot 803
ANDRAS GOMBAR (HUNGARY 1946) STILL LIFE STUDY, a tabletop still life study with a copper pan, brass vessel, jar of spice, ceramic tankard and a wine bottle, signed lower right, oil on board, approximate size 29cm x 39cm, Condition Report: the painting is in good condition, frame marked in places
Lot 458
PAINTINGS AND PRINTS TO INCLUDE TWO JOHN BATES NOEL (1870-1927) WATERCOLOURS, the first depicts a pastoral scene with a shepherd walking his flock along a lane, the second depicts a landscape with two figures walking along a lane, both signed bottom right, approximate sizes 26cm a 36cm, together with a Wendy Susan Nutt painting on porcelain depicting a bird, a watercolour depicting wild flowers in a glass vase signed Stinton, approximate size 20cm x 13cm, watercolour still life flower scene by Tony Scotford, other watercolours, photographs including one depicting a WWII era RAF VR Pilot, etc
Lot 573
A QUANTITY OF PAINTINGS AND PRINTS ETC, to include a 20th century German or Austrian alpine landscape with female figure signed M. Schinzel, oil on board approximate size 18cm x 23cm, a still life study of flowers in a vase signed and dated G. Pasterny (19)42, three Julius Wegerer etchings of Alpine scenes, two Derek Hince watercolours depicting birds, with personal inscriptions dated 1979 to lower edges, a Peter Hitzinger woodblock print, Cash's woven pictures, a wax relief moulded plaque depicting the interior of an Alpine bar, assorted other paintings and prints etc (1 box + loose)
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77168 item(s)/page