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Lot 222
A GROUP OF 18TH AND 19TH CENTURY BRITISH CERAMICS, comprising a late 18th Century Derby porcelain figure of a cupid as a bird vendor, incised 'No.202' to the base, height 10cm, an early 19th Century Coalport porcelain boat shaped teapot on rectangular stand, unmarked, circa 1825, an early 19th Century William Smith & Co moulded earthenware plate printed with a scene of a 17th Century couple in the grounds of a castle, impressed WS & Co's WEDGEWOOD, diameter 18.2cm and a 19th Century Morgan Wood & Co pearlware plate, printed with a still life of fruit, printed M.W & Co bee mark, diameter 23cm (5) (condition: cherub has a few losses to decoration on the tricorn hat, restoration to arms, bird, wings and cage, teapot on stand has wear to the gilding, star crack to the base, the cover crazed and cracked to one edge and a hairline, stand has wear to the gilding, William Smith plate has light glaze scuffs and staining, the Morgan Wood & Co plate has crazing in the glaze)
Lot 160
‡ Sir Matthew Smith CBE (1879-1959) Still Life with Gothic Figure Signed with initials Oil on canvas 51 x 61cm Painted in 1944 Provenance: Mrs Dudley Tooth Literature: John Gledhill, Catalogue Raisonné of the Oil Paintings of Matthew Smith with a Critical Introduction to his Work (Lund Humphries, 2009), p. 233, no. 619, illustrated (where dated 1945) Exhibited: The Arts Council of Great Britain, London; The Royal Academy of Art, Diploma Gallery, London, 1960; Arthur Tooth & Sons Ltd, London, Homage to Matthew Smith, 1960, no 11 (illustrated); Waddington Galleries, London, Ivon Hitchens & Matthew Smith, 1998 (illustrated)
Lot 244
Igor Nikolaevich Avramenko (Russian b.1964) Sunset on the Caspian Sea; Street scene Each signed with initials Mixed media 40.7 x 46.8cm; 49.9 x 39.8cm Both unframed Together with A. Makhonin (Russian 20th Century), Still life with lilacs in a vase, signed and dated 1953, oil on card, 36.7 x 32.8cm, unframed (3) Provenance: Avramenkos with Seasons of the Year Gallery, Moscow, 2008, where acquired by the current owner; Makhonin acquired from a Moscow private collection; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 226-227, 230-231, 274-275 (all illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.
Lot 256
Emin Mamedov (Russian 20th Century) Still life with a vase Inscribed to verso Oil on canvas 90.5 x 70cm Unframed Together with Breezhatyk (Russian 20th Century), Mother and Child, signed and dated 98, oil on canvas, 80.2 x 50.3cm, unframed (2) Provenance: A Private Collection of Soviet, Russian and Azerbaijani Art Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.
Lot 260
Leonid Vasilievich Markov (Russian 1926-1988) Still life with a vase of roses Signed and titled to verso Oil on board 41.8 x 23.4cm Unframed Provenance: Acquired from the artist's family by the current owner, 2010; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 276-277 (illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.
Lot 420
A F Hill, a pair of rural river landscapes, each signed, oil on canvas, both 31 x 46cm, together with a collection of pictures: a print after Doris Zinkeisen, an oriental reproduction print, a chromolithograph still life, a mezzotint of an 18th century nobleman, a print after Waterhouse, a print after Watteau and four silhouettes.
Lot 441
A large 19th century Nicole Freres cylinder lever-pull music box, the case with a rosewood veneered cover inlaid with a musical still life in mixed veneers, set within strung boxwood borders above simulated rosewood sides enclosing a 13" brass cylinder, playing over twelve airs, with a card numbered 'L. No 788, G No 52537, S. No 5349, with a 62 tooth comb, beneath a hinged glazed panel, raised on bracket feet, 17 cm high, 63.5 x 25 cm.
Lot 231
Royal Worcester teacup and saucer dated 1925 painted with still life of peaches and grapes against a typical mossy ground, with gilt lined exterior to the cup, the cup artist signed W. Austin, saucer signature indistinct, printed factory marks, teacup 9cm diameter, saucer 14.5cm diameter (2)
Lot 1263
A Grace Kelly large archive of correspondence10 Autograph Letters, a Typed Letter, an Autograph Note, and an Autograph Postcard, signed ('Grace'), 40 pp recto and verso, various sizes (12mo to 4to), various places including Monaco, Paris, Philadelphia, Gstaad, and London, late 1956 to October 4, 1974, to Donald Buka, on various monogrammed and royal stationeries, some with original autograph transmittal envelopes. WITH: 36 Christmas/New Years cards, many with Grimaldi family photographs, approximately 1960 to 2001, many signed ('Grace,' 'Rainier'); a Typed Letter and an Autograph Letter Signed ('Rainier'), 4 pp recto and verso, 8vo, Monaco, February 17, 1980 and April 24, 1983, to Donald Buka, on royal monogrammed stationery, one with original autograph transmittal envelope; together with correspondence such as birth announcements, wedding invitations, snapshots, programs, and notes; a complete list is available upon request.When actress Grace Kelly sailed on the SS Constitution from New York to Monaco to marry Prince Rainier in 1956, only her closest friends shared the voyage with her. One of them was actor Donald Buka, with whom she enjoyed a deep friendship until her death in 1982. Over the years, they corresponded and shared intimate details of their lives. In 1958 letters when Grace was still relatively new to the workings of Monaco life, she gives details of Rainier's rocky relationship with his rebel sister, Princess Antoinette (known as Tiny), discusses friends' weddings and divorces, and remarks on a trip to Philadelphia to help care for her ill father: 'I miss Rainier and the babies very much ... you will fall madly in love with Caroline when you see her–and as for that Albie, we will have to beat the girls away!' Most poignant are the rare letters from Prince Rainier, one written shortly after Grace's death: 'I do hope that I was able to make her achieve her 'utmost happiness.' Time does not help much or even sooth [sic] the pain of such a terrible loss.' 11.5 x 15 x 2 in.
Lot 14
NO RESERVE Dutch & Flemish Art.- Ebert (Bernd) Simon und Isaack Luttichuys: Monographie..., Berlin & Munich, 2009 § Koslow (Susan) Frans Snyders, Brussels, 2006 § Bergström (I.) Dutch Still-Life Painting in the Seventeenth Century, 1956 § Müllenmeister (K.J.) Roelant Savery: Die Gemälde mit Kritischem Oeuvrekatalog, Freren, 1988 § Vroom (N.R.A.) A Modest Message as intimated by the painters of the 'Monochrome Banketje', 2 vol., Schiedam, 1980, illustrations, many colour, original cloth, the first two with dust-jackets, the last two with slip-cases; and 12 others on Dutch & Flemish still-life painting, some pamphlets, 4to & 8vo (18)
Lot 33
NO RESERVE Spanish Art.- Gudiol (José) El Greco 1541-1614, translated by Kenneth Lyons, 1973; Zurbaran 1598-1664, 1977 § Trapier (Elizabeth du Gué) Velazquez, New York, 1938 § Tufts (Eleanor) Luis Meléndez: Eighteenth-Century Master of the Spanish Still Life with a Catalogue Raisonné, Columbia, MO., 1985 § Martinell (C.) Gaudí: His Life, His Theories, His Work, translated by Judith Rohrer, Barcelona, 1975, illustrations, many colour, original cloth or boards, all but the third with dust-jackets, the second slightly frayed; and c.25 others on Spanish art, v.s. (c.30)
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77111 item(s)/page