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Lot 69045
Leon Jean Basile Perrault (French, 1832-1908)The apple picker, 1879Oil on canvas41 x 31 inches (104.1 x 78.7 cm)Signed and dated on the wall at lower right: L Perrault / 79 PROVENANCE:Richard Green Fine Paintings, London;Sale: Selkirk's, St. Louis, Missouri, September 21, 1997, lot 113 (as Young girl seated on a stone ledge with apples);Christie's, New York, February 12, 1998, lot 24 (as The apple picker);Sotheby's, New York, May 5, 1999, lot 87;Private collection, acquired from the above;Thence by descent to the present owner. HID12701242017
Lot 6341
Spoerri, Daniel -- Eaten by Marcel Duchamp (Le mégot de cigare de Marcel Duchamp).Farbserigraphie auf Leinen, auf Hartfaserplatte kaschiert. 62 x 69 cm. Signiert "Daniel Spoerri", datiert, betitelt und bezeichnet e.(preuve d`) a.(rtiste). 1964-1990.Daniel Spoerris "Fallenbilder" ("tableaux pièges") gelten als Markenzeichen des Künstlers und machen ihn zu dem bedeutendsten Vertreter der „Eat Art“. Das Hinterfragen der menschlichen Essgewohnheiten, Traditionen und Sinneswahrnehmungen wird in seinen Reliefs aus Essensresten und Tischutensilien immer wieder zum Thema gemacht. Von 1964 bis 1965 lebte Spoerri im Chelsea Hotel in New York. Während dieser Zeit stellte er die Ausstellung „Eaten by… - 31 Variations on a Meal“ in der Allan Stone Gallery zusammen. Mit seinen Tischassemblagen ließ er das Publikum an 31 intimen Momenten verschiedener Personengruppen teilhaben, die sich den Tisch geteilt hatten. Unsere Farbserigraphie nimmt darauf Bezug und wurde 1990 von der Galerie Beaubourg herausgegeben. Exemplar außerhalb der Auflage von 100 numerierten Exemplaren. Prachtvoller Druck. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lot 220
Eddie Van Halen signed 10x8 inch colour photo. Edward Lodewijk Van Halen ( January 26, 1955 – October 6, 2020), was an American musician and songwriter. He was the main songwriter, guitarist and keyboardist of the rock band Van Halen, which he co-founded in 1972 with his brother, drummer Alex Van Halen, alongside bassist Mark Stone and singer David Lee Roth. He is regarded as one of the all-time greatest guitar players in rock history and was well known for popularizing the tapping guitar solo technique, allowing rapid arpeggios to be played with two hands on the fretboard. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 92
Mark Ronson signed 12x8 inch colour photo. Mark Daniel Ronson (born 4 September 1975) is an English-American DJ, songwriter, record producer, and record executive. He is best known for his collaborations with artists such as Duran Duran, Amy Winehouse, Adele, Lady Gaga, Lily Allen, Robbie Williams, Miley Cyrus, Queens of the Stone Age, and Bruno Mars. He has received seven Grammy Awards, including Producer of the Year for Winehouse's album Back to Black and two for Record of the Year singles Rehab and Uptown Funk. He received an Academy Award, a Golden Globe Award and a Grammy Award for co-writing the song Shallow (performed by Lady Gaga and Bradley Cooper) for the film A Star is Born (2018). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 95
Angus Young signed ACDC 10x8 inch colour photo. Angus McKinnon Young (born 31 March 1955) is an Australian musician, best known as the co-founder, lead guitarist, songwriter, and sole constant original member of the Australian hard rock band AC/DC. He is known for his energetic performances, schoolboy-uniform stage outfits, and his own version of Chuck Berry's duckwalk. Young was ranked 24th in Rolling Stone magazine's 100 greatest guitarists of all-time list. In 2003, Young and the other members of AC/DC were inducted into the Rock and Roll Hall of Fame. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 40
Jack Butler Yeats RHA (1871-1957)The Bridge at Skibbereen (1919)Oil on canvas, 46 x 61cm (18 x 24")SignedProvenance: Sold by the artist to Dr Carey, London, 1950; Victor Waddington, London; With Theo Waddington Fine Art; Private Collection, DublinExhibited: Dublin, August 1920, Society of Dublin Painters; Limerick, September 1945, Goodwin Galleries; New York, November 1971, Coe Kerr Gallery, Centennial Exhibition; Dublin, September/October 2004, Douglas Hyde Gallery, Jack B. Yeats Amongst Friends, cat.no. 3; Dublin, October 2010, IMMA ‘The Moderns’; Skibbereen, Co. Cork, July/October 2018, Uillinn, West Cork Arts Centre, Coming Home: Art and the Great Hunger.Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonne of the Oil Paintings, Andre Deutsch, London 1992, No. 116, vol.1In the summer of 1919 Jack B Yeats visited Skibbereen, in Co. Cork, drawing and sketching the surrounding landscape. He wrote to the American collector, John Quinn, telling him that ‘There was good painting ground near to the town. All the creeks and islands of the bay were delightful…’.[1] Yeats produced several oil paintings based on the scenery of Skibbereen and Schull. The Bridge, Skibbereen is the largest and most ambitious of these works and was exhibited at the inaugural show of the newly formed Society of Dublin Painters in 1920.Two boys and two young women stand on a bridge overlooking the river Ilen. Below them is an expansive view of the surrounding hills and the undulating flow of the water through the countryside. Two horses stand in the field below. The bridge is the old metal bridge which spanned the Ilen river and which was removed in 1963 and replaced by the more modern John F. Kennedy Bridge, the following year. The bridge was located beside the West Cork Hotel, a popular destination for tourists.[2] Its stone capstone and metal railings separate the figures from the view, creating an unusual and modern composition. The fashionably dressed young women seem to belong to the more urbane world of travel and fashion than that of the wild nature that extends before them. Their genteel poses are counteracted by those of the youths, one of whom has his arm around his companion’s shoulders, emphasizing their shared elation at observing the horses.The height of the surrounding hills has been exaggerated to create a more dramatic environment but one in which a sense of calm prevails. The outskirts of the town are visible on the hill to the left, with smoke emanating from the chimneys and walled gardens extending down the bank. The distant mountain is made of tones of green and blue and the sky is streaked with salmon pink and grey clouds. This palette is subtly picked up in the pink and blue costumes of the women in the foreground, completing a tightly composed work in which all the components of form and colour subtly compliment and enrich each other.Dr. Roisin Kennedy, May 2022[1] Letter of Jack B. Yeats to John Quinn, 8 October 1919, quoted in H. Pyle, Jack B. Yeats. A Catalogue Raisonne of the Oil Paintings, 1992, I, p.102.[2] I am grateful to Finola Finlay for this information.Dusk is gently setting in, the evening light drawing out and casting pale pink highlights across the clouds. The sunsets’ reflection is captured in the still waters of the river below, while deep blue shadows fall across the rolling hills in the distance. A street of houses stretches off to the left-hand side of the composition and bends swiftly out of view. Smoke can be seen rising slowly from the small townhouses of Skibbereen village. The two boys standing with their backs to us on the bridge appear animated, looking down on a scene below. Their excitement is wonderfully captured in the young boy reaching his arm across his companion to share in his delight. We notice a smile on the other boy’s face with his cheeks lifting in amusement. The boys’ interest seems to be directed at the two horses who are seen grazing in the field beyond. They pay no heed to these on lookers, continuing their evening meal, necks bowed gracefully. The face of the white horse is beautifully rendered by Yeats, the ears tucked back, large eyes searching in the long grass. He even manages to capture the tension of the muscles in the horse’s jaw while eating. Yeats has a wonderful ability to suggest or gesture towards moments in his compositions without fully revealing the whole scene. We are not aware of any relationship between the figures, it seems as they have all by chance happened upon the same vantage spot. The two boys may be visiting the village on holidays, excited by seeing horses in the wild for the first time. Or are local to the town and thrilled at being allowed to stay out later than usual in the summer evenings, stopping by the bridge to visit the paddock. Their excitement does not seem to have affected the two female figures who gaze calmly out into the distance, enjoying the sunset. This work is an excellent example of this earlier period in Yeats style dominated by Romantic depictions of the West coast of Ireland, of its landscape and people. There is a strong use of line in the work and it reflects his time working as an illustrator, sketching in ink and watercolour the experiences of both rural and urban Irish life. While his style will become much more abstracted in the immediate years following this work, in this example the figures are painted with great attention to detail. In particular the features of the woman’s profile, the sharp angle of her jaw and nose, a glimpse of her red hair peeking out from under her hat. For the other figure who is turned away from us, her hat is adorned with a beautiful arrangement of blue summer flowers. He expertly handles the drapery of both women’s coats, showing the cut and folds of the fabric. They complement each other, standing side by side in dusky pink and pale blue. Although the scale of work is extensive, he uses a closely contained composition, placing the figures in the foreground of the picture plain, to create a greater sense of depth and distance to the surrounding landscape. The upright pillar of the bridge juts dramatically out into corner of the work directing our eyeline across the middle of the composition to the town and hills in the distance. There is an openness and breath to the painting. By using the bridge as horizontal plain, Yeats has provided us with a similar vantage point to that of the figures, as if we are standing behind them revelling in the shared twilight spectacle. Niamh Corcoran, May 2022
Lot 543
Sasha Stone (Aleksandr Serge Steinsapir), Akt (aus der Serie: Femmes)Vintage, Gelatinesilberabzug. 29,9 x 39,8 cm. Unten links mit roter Tusche signiert. Rückseitig mit Photographenstempel, darin mit roter Tinte beziffert. - Leichte Gebrauchsspuren. Unter Passepartout montiert.ProvenienzRobert Miller Gallery, New York (Passepartout mit rückseitigem Etikett); Nachlass Harry H. Lunn Jr., Paris
Lot 274
A VICTORIAN GOLD QUARTER REPEAT HUNTER POCKET WATCH, JOSEPH PENLINGTON, LIVERPOOL, CIRCA 1861 key wound three-quarter plate free sprung English lever movement with diamond end stone, repeating on two gongs, signed 'Joseph Penlington & David Hutton / Liverpool' and numbered 11297, the white enamel signed dial with Roman numerals and subsidiary seconds dial, engine-turned case with vacant roundel to the sprung cover, the milled band with repeat slide, thrice numbered 11297 and 18 carat gold hallmarked for James Walter Stock, London, 1861, with later box and key 5.1cm diameter (3)
Lot 275
A VICTORIAN GOLD HALF-HUNTER POCKET WATCH, CIRCA 1885 keyless wind three-quarter plate English lever movement with diamond end stone, signed for the retailer 'Percy Edwards & Co. / 71, Piccadilly', 'TO THE ROYAL FAMILY' under a crown and numbered 2932, white enamel dial with Roman numerals, the mid size circular case with sprung cover enamelled with black Roman numerals surrounding the aperture, the back engraved with Gothic entwined initials, 18 carat gold hallmarked for Henry Joseph Webb, London, 1885 3.9cm diameter
Lot 311
TWO DIAMOND RINGS comprising: a ring claw set with three circular diamonds and a ring vertically set with two circular stones between single-cut diamond shoulders sizes N and E½ respectively ++Central stones gauges approximately 0.25 carats, H/I colour, chip to girdle VS1, sides 0.13 carats similar colours one with slightly off round symmetry and cavity to girdle. Indistinct stamp to the back of the shank, light wear. In good condition. Two stone ring 2 x 0.3 carats (measuring approximately 5.5mmx4.7mmx2.4mm) I/VS one of the stones has a surface cavity Si1)
Lot 1510
A French majolica pottery timepiece case, late 19th/early 20th century, modelled as a naturalistic stone campanile, relief decorated with blossom branches and surmounted by three birds, the rectangular base having a circular timepiece movement, incised 'Renade' to side and impressed factory marks to reverse and base, height 30.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
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400965 item(s)/page