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Click here to subscribeSmall collection of modern art books: Paul Horton, In my Life, 2005, signed; Fletcher Sibthorp, Passion - Paintings, Drawings and Studies, 1998 - 2005, hardback in shell case (still sealed); Josep Domenech, Meditations/ Meditaciones, 2005, signed with print of 'Peinandose', numbered edition of 10, in shellcase, together with five other volumes of standard release; Sarah-Jane Szikora, Infatuation, 2005, Washington Jane Publications.
Six 20th century prints and paintings, to include: P. Fawell - Still life of vase of flowers (1980), oil on canvas, 45 x 34 cm; W. R. Hay - street scene with figures, etching; Marc Zimmerman - limited edition print, signed and numbered 155/200 in pencil; Hazel Burrows - floral silk painting, artist's label attached verso; After John D. Moore - 'Sydney Harbour', vintage print in birdseye maple veneered frame; together with After Henri Rousseau - 'Old Junier's Cart', print in colours framed in maple veneer frame with gilt slip, all framed (6)
FRANCIS EDWARD JAMES (1849-1920) A STILL LIFE STUDY OF FLOWERS IN A VASE, the vase sits within a ceramic bowl, signed and dated Feb 15 1913 bottom left, watercolour on paper, approximate size 26cm x 35cm, Condition Report: two spots of foxing, frame marked (provenance: The Arnold Fellows Collection)
Martin Mooney (b.1960) “Still Life with Rose Patterend Bowl and Jug” Initialled and dated 1996, oil on panel, 80cm by 45cmProvenance: Waterman Fine Art, London Some light surface dirt. The painting has slightly dropped in the frame. Two small areas of paint loss to the lower left corner and two tiny ones to the right of this within the table cloth. Areas where the texture of the panel is showing through. The odd brush bristle trapped within the paint. Some areas of fine craquelure within the lower left, a small area where the paint is lifting slightly within the left of the table cloth and one to the right side. Otherwise appears in good overall condition.
Philip Naviasky (1894-1983) Still life of jug and assorted vegetables Signed, oil on canvas, 48cm by 59cmIn an overall very good state of preservation. Very light surface dirt and discoloured varnish which is a fairly high gloss finish. There is the odd stable single fine line of cracquelure and a few possible very tiny losses in the upper left hand corner, but may just be absence of paint by execution. Not examined with a UV light. An image of the signature can be found on the website.
KÄRCHER, AMALIE (1819-1887) „STILLEBEN MIT OBST UND WESPEN“, die ersten Wespen tun sich an leicht überreifem Obst gütlich, 1872, Öl auf Leinwand, unten rechts sign. und dat. HxB: 28/34 cm (42/48 cm mit Rahmen). Altersspuren, Lwd. Einmal mit kleinem Loch, part. Farbverluste bzw. krakeliert, einmal kleine Retusche an der geschlossenen Walnuss.| KÄRCHER, AMALIE (1819-1887) "STILL LIFE WITH FRUIT AND WASPS", the first wasps feasting on slightly overripe fruit, 1872, oil on canvas, signed and dated lower right. HxW: 28/34 cm (42/48 cm with frame). Signs of age, on canvas. Once with small hole, part. Some paint losses and craquelure, one small retouch on the closed walnut.
Jenny UrquhartGoldie HornAcrylic paint on a hollow fibreglass statueMeasures: 229 x 50 x 209cmApprox weight: 57kgGoldie Horn was the first unicorn to be revealed for the Bristol unicorn trail and spent the summer at Puxton Park in Weston Super Mare, welcoming guests to their popular attraction surrounded by gorgeous plants and cheerful views. After a summer of work experience, Goldie is ready for auction with a coat of anti-graffiti paint. Jenny’s vibrant, uplifting paintings are a popular and recognisable sight around Bristol and the South West.Jenny largely works in acrylic and is completely self-taught. She said, “I never had the opportunity to do art at school, so really enjoy experimenting with different techniques, including paint, mixed media and resin. I think that’s why many of my styles are so different. I love painting landscapes, but have also tried still-life and the odd portrait (Bukayo Saka has one of my portraits, as well as the Earl and Countess of Wessex). I was really thrilled to present Sir David Attenborough with a picture of Bristol when he was given Freedom of the City back in 2013.’ UK Delivery Charges by postcode can be found here: unicorndelivery.tiiny.site
Lazaro Pardo de Lago (Cuzco, Viceroyalty of Peru, Active between 1630 - 1660)."Appearance of Christ and the Virgin Mary surrounded by angels to Saint Francis, in the Porziuncola Chapel of Santa Maria degli Angeli, in Assisi"Oil on copper. Handwritten in golden letters at the bottom margin: "Jubileo o Indulgencia de Porciuncula" (Jubilee or Indulgence of Porziuncola).29 x 22.5 cm.This painting is undoubtedly the work of Maestro Pardo de Lago. In our opinion, it can be compared to Lázaro Pardo's "Exaltation of the Cross," which is kept in the Pedro de Osma Museum in Cuzco, Peru. Additionally, the delicate features of the Virgin Mary's face and hands in this painting can also be compared to the painting of the "Immaculate Conception" also kept in the Pedro de Osma Museum.It is worth noting that themes dedicated to such an important episode in the life of Saint Francis were significant references for Pardo de Lago due to his strong connection with the Order.Another important noticeable element in this painting is the heraldic shield seen on the altar, which belongs to the Chaves family. Originating from Extremadura, with roots in Portugal and ancestral properties in Trujillo and Ciudad Rodrigo, this family also had a branch that moved to Peru. They proved their nobility in the Orders of Santiago, Calatrava, Alcántara, Charles III, and the Knights Hospitallar.Their coat of arms consists of a gules field with five gold keys arranged in a cross with their eyes looking downward. There is also a bordure (border) of gules with gold saltires alternating with the quinas of Portugal.This wonderful painting portrays the moment of the apparition when Saint Francis asked the Lord to grant an indulgence to all who visited the church dedicated to the Virgin Mary, under the title of Maria degli Angeli. The Lord accepted this request and instructed Saint Francis to go to Perugia to obtain the desired favour from Pope Honorius II. The Holy Father granted this indulgence in 1216.This indulgence is still granted today if, between August 1st and 2nd, one visits any chapel in a Franciscan convent and receives "the grace of Porziuncola, where complete forgiveness is obtained, and peace with God is established."Saint Francis of Assisi had a "great desire for the salvation of all souls," and that the faithful, with piety and devotion, would receive the indulgence by fulfilling the Church's provisions.As cited by the Real Academia de la Historia (Royal Academy of History), Lázaro Pardo de Lago was a: "Painter, gilder, and Creole or mestizo sculptor, who ranks among the first important masters who worked in the ancient Inca capital. His work was primarily linked to the Franciscan Order, and his more personal style appears to echo early Hispanic naturalism, blending the observation of immediate reality with refined formal stylisation. In 1630, Pardo painted, at the request of the Franciscan monastery of Cuzco, two large canvases depicting the Franciscan martyrs of Japan, which can be considered his masterpieces. Both scenes reveal a painter of exceptional quality, judging by the meticulous precision of his work, the luminous colour, and the strongly characterised heads of some martyrs. Deploying ingenious local expressive resources, Pardo depicted the Asian friars with features similar to those of mestizos or the mixed Hispanic and indigenous people of his time.Furthermore, Lázaro Pardo was one of the first Cuzco artists who used engravings by Peter Paul Rubens and his school as a starting point for his compositions. An example of this is the Assumption of the Virgin, executed in 1632 by order of the parish of San Cristóbal, based on a homonymous work engraved by Cornelis Galle, following the original design by Rubens.His workshop must have been one of the largest in Cuzco during his time."The coat of arms which appears on the altarpiece is the heraldic shield of the Chaves family.They came from the Extremadura province of Spain, and were originally from Portugal with ancestral properties in Trujillo and Ciudad Rodrigo. One branch settled in Peru. Their nobility was verified by the Orders of Santiago, Calatrava, Alcántara, Charles III, and the Knights Hospitallar.Arms: In the gules field are five golden keys placed saltirewise with their eyes downward; there is a bordure of gules, full of gold saltires alternating with the quincunx of Portugal.Reference bibliography:- Real Academia de la Historia. (s.f.). "Lázaro Pardo Lago". https://dbe.rah.es/biografias/70955/lazaro-pardo-lagoThis lot has been imported, therefore its exportation permit from the Ministry of Culture is guaranteed.
Attributed to Basilio Santa Cruz Pumacallao (Cuzco, Perú, 1635 - 1710)."Holy Family"Oil on canvas. Relined.131 x 152 cm.The present canvas depicts the Holy Family with Saint Anne and Saint Joachim, together with an Angel musician, to the right to the central group, and two little angels, under a still life with a fountain of pomegranates and a bird perched on it.Basilio de Santa Cruz Pumacallao, along with Diego Quispe Tito, dominated the artistic panorama during the last quarter of the 17th century of the Cuzco school. Its most relevant patron was Bishop Manuel de Mollinedo y Angulo (1673-1699), a Spanish cleric who arrived in Cuzco in 1673. Together with José López de los Ríos and Leonardo Torres, he created the iconographies of the Angels and the Arcabuceros Archangels, which are very characteristic of the Cuzco school.As indicated by the Royal Academy of History, Pumacallao's career "began around 1661, when the Franciscans of Cuzco commissioned him to paint twelve angels and an equal number of Madonnas for their church, paintings that are now lost."In his work one can perceive a strong influence of Spanish painting, as he manages to exquisitely fuse Spanish baroque with his indigenous origins, resulting in the innovative and unique mestizo style. Reference bibliography:- Wuffarden, Luis Eduardo. (n.d.). "Basilio de Santa Cruz Pumacallao". Real Academia de la Historia: DB-e. https://dbe.rah.es/biografias/54763/basilio-de-santa-cruz-pumacallao
λ ROBERT MACBRYDE (BRITISH 1913-1966) STILL LIFE OF FRUIT ON A PLATTER Monotype on silk Signed (lower left) and indistinctly inscribed (lower right) 85 x 85cm (33¼ x 33¼ in.)Provenance: Bonham's, Edinburgh, 12 April 2007, lot 84, where purchased by Robert Kime A unique design for a Hermes scarf Condition Report: Unexamined out of Perspex frame. This work is not possible to unframe without risk of damaging the silk. There is three pin-hole size holes to the right of the lower edge of the bowl and a further similar sized hole to red pigment of the left hand upper fruit. Possible crease to the lower left corner. The edge of the silk is visible at the right hand corner. The silk appears to have been folded around a mounting card. The silk does not appears to be stuck down with glue. Condition Report Disclaimer
λ ROBERT MACBRYDE (SCOTTISH 1913-1966) STILL LIFE WITH GREEN PEPPER AND WATERMELON Oil on board Signed (lower left) 74 x 49cm (29 x 19¼ in.)Provenance: Sotheby's, London, 1 March 2007, lot 292, where purchased by Robert Kime The study of three dogs on the reverse is by another hand, possibly Robert Colquhoun. Robert MacBryde (5 December 1913 - 6 May 1966) was a Scottish still-life and figure painter and a theatre set designer.MacBryde studied at the Glasgow School of Art from 1932 to 1937. Whilst there, he met Robert Colquhoun, with whom he established a lifelong romantic relationship and professional collaboration (Lot 646 exemplifies this connection). The pair would eventually become known as "the two Roberts". MacBryde studied and travelled throughout France and Italy but returned to London in 1939. Their large circle of friends included many of the well know artists of and writers of the day such as Francis Bacon, Lucian Freud, Fred Urquhart, and Dylan Thomas - and were renowned for their parties at their studio in Bedford Gardens.MacBryde was influenced by Graham Sutherland and John Piper, becoming a well-known painter of the Modernist school of art, known for his brightly coloured Cubist studies. In collaboration with Colquhoun, he created several set designs during and after the Second World War. Colquhoun died suddenly in London in 1962. Soon afterwards MacBryde moved to Ireland, but died in Dublin in 1966. Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer
NADIA BENOIS (RUSSIAN 1896-1974) Still life with flowers Oil on canvas Signed and dated '40 lower right 80cm x 65cm Condition Report : frame and canvas in good, original condition Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
FOXHUNTING: BODKIN, Thomas (intro. Munnings), 'The Noble Science John Leech in the Hunting Field', Collins, 1948. Excellent plates, boards a little tired at spine. Bell, Isaac (illus. Armour); 'Foxiana', Country Life 1st, 1929. Bookplate/lib. plate removed. Stamp for the Gibralter Garrison, 1930. One loose plate but tissue guards seem present. Spine split at front hinge. Some dustiness to boards. Generally clean internally. Some spotting. ARMOUR, G.D. (illus. & intro.), 'Hunts with Jorrocks', Hodder, 1908. Title page detached but otherwise well-bound, clean and bright with guards in place etc. Boards a little sunned. SMITH, Thomas, 'Extracts from the Diary of a Huntsman', (a 'new' ed.), Edward Arnold, 1921. Jacket has small loss, now protected. Pencil marginalia (intro. Willoughby de Broke). PLATT, Brig. J.R.I., 'Three Hundred Years of Foxhunting in South and South West Wiltshire', Berkswell, 1990. Signed by the author, VG/VG. BECKFORD, Peter, 'Thoughts on Hunting', Methuen, 1899. Good boards with gilt illus. Spotted page-ends, less so internally; well-bound. GRAHAM, Sir Reginald, Bart., 'Foxhunting Recollections', Eveleigh Nash, 1907. Illus. appear all present but a few are detached. Splitting to spine though still attached at rear. Text block clean.
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