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Click here to subscribeA late 19th Century metal oil lamp in the Aesthetic taste, together with another oil lamp; the base formed as the Three Graces, an early 20th Century gilt metal foliate wall light fitting, a later 20th Century wall light fitting and a painted turned wooden table lamp, S/D. (5)From the estate of the late Richard Beer
A two tier bracket shelf together with a small Victorian overmantle mirror and two rectangular mirrors, all in a later painted marbled green or yellow finish and a side table in a distressed green painted finish, height 79cm and width 57cm. (5)From the estate of the late Richard Beer
An early 20th Century mahogany bedside table of rectangular form, with line inlaid detail, fitted with a single drawer above a stretcher frame, width 35cm, together with a later scalloped edge wine table on a tripod base, diameter 29cm, S/D. (2)From the estate of the late Richard Beer
An early 20th Century mahogany occasional table of circular form, with a wrythen turned central column and three turned spindle supports, all over three outswept acanthus carved legs and claw and ball feet, height 56cm and diameter 35cm.From the estate of the late Richard Beer
A large late 19th Century Moore Brothers table centre, the central pedestal comport flanked by two standing cherubs holding onto garlands of cacti and flowers, printed Orb mark, height 34.5cm together with two small Moore Brother posy holders each with similar flower buds, tallest 12cm, all A/F. (3)
A mid 19th Century carved walnut library table of large proportions, the tooled red leather inset top bordered by carved English roses, shamrocks and thistles, the ends with candle holes and covered with removable detachable circular bosses, above a frieze centred with a scallop and flanked by carved books within lozenge mounts and Latin titles below, surrounded by trailing vine leaves and bunches of hanging grapes, on detailed cabriole legs terminating in paw feet, length 216cm x height 76cm x width 114cm
A 19th Century Japanese dressing table tray decorated with two cranes in flight amidst wisteria, with Mount Fuji in the distance, three character painted mark, 35.5cm x 28cm together with a Japanese belt buckle half decorated with birds in flight against a mountainous landscape. (2)
A large late 19th Century Stevens & Williams clear crystal jewelled posy bowl of fluted and compressed ovoid form with wave rim, internally decorated with vertical bands of compressed air bubbles, engraved Rd mark, together with a matched pair of jewelled table salts in ruby. (3)
William Scott (1913-1989). Gouache on paper titled Still Life, White and Blue on a Green Background. Painting is signed along the lower left and dated '68, and inscribed "Theme Blue and Green no. 1" in pencil along the verso. We would like to thank the William Scott Foundation for confirming the authenticity of this work, Archive Number 2346.Provenance: Private Collection, Minnesota.Biography: William Scott was born in Scotland in 1913. He shortly afterward moved to Northern Ireland with his family, where he began his artistic education with Kathleen Bridle, a local art teacher. He went on to study at the Belfast School of Art, and then later at the Royal Academy in London, where he initially studied sculpture before switching to painting.After his graduation, he and his wife Mary Lucas, who he had met in art school, moved to France to open an art school with Geoffrey Nelson, a fellow painter. This school allowed Scott to pursue his artistic career in France while also focusing on teaching, a lifelong passion of his. During this time, Scott began to achieve artistic success, displaying his paintings--at this point, primarily still lifes--at the Paris Salon d’Automne.At the start of World War II, Scott and Lucas moved back to Britain, where Scott enlisted in the army. In the army, Scott served in the Royal Engineers as a lithographic draftsman, putting his art skills to patriotic use. Following the war, Scott went to teach at the Bath Academy of Art. During this period, his success continued to grow, with multiple solo exhibitions, as did his network of other important artists. He was closely tied to the St. Ives Group of artists and also built friendships with abstract expressionists such as Mark Rothko and Willem de Kooning. It was during this period when Scott first began experimenting with abstraction in his works.As he continued to gain success, he left his position at the Bath Academy of Art and painted full time. He represented the United Kingdom at the Venice Biennale and the São Paulo Biennale, where he won the prestigious Sanbra Purchase Prize. In the 1960s, Scott traveled the world with his art, exhibiting throughout Europe and Asia and doing a yearlong residency in Berlin. He lectured for the British Council in Australia, Mexico and India. His work also received great acclaim within Britain, with a retrospective exhibit at the Tate in 1972, which showed 135 of his works and many other major exhibitions. In addition, he was conferred honorary doctorates from Trinity College Dublin, Queen’s University Belfast, and the Royal College of Art in London, as well as being elected to the Royal Academy.This piece is an important demonstration of the major art themes of Scott’s life, showing his still lifes on their slide into abstraction, containing both abstract and representational elements. The objects, while still recognizable, are flattened, and seem almost to hang off a horizon line rather than sit on a table. Scott’s subtlety in his blending of colors creates vibrance in an otherwise stiff composition, retaining the mood of his earlier still lifes.Dimensions: Height: 22 3/4 in x width: 30 1/2 in.Condition: Good condition; for a detailed condition report, please contact us.
A Large Brass Sextant Collimator C.1900, English, unsigned, with a heavy brass table on adjustable screw feet, with collimator telescope tube, mirror (worn) on adjustable feet, three adjustable stands for the sextantPlease Note: the sextant is not included in this lot. It is there just to show how the collimator is set up
A group of furniture comprising a tilt top table, a Victorian pine washstand, a later pine pot cupboard, a reproduction bedside chest, a similar bedside table, three occasional chairs including one with painted decoration, a cane work rocking chair, a stool and an occasional table (11)
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