PIETER COECKE VAN AELST (follower) 1502 - 1550: THE HOLY FAMILY WITH AN ANGEL Second quarter of 16th century Oil on wood panel 95 x 42 cm Marked lower center with metal plate on frame: "COLLECTION PRINCE/ ESTER HAZY/ BUDAPEST." Label on back: "PRINCE ESZTERHAZY/ BUDAPEST" and seals This unique panel painting of the Holy Family is a work of exceptional quality that impresses with its deliberate composition outline, harmoniously balanced color, and excellently executed brushwork in the fabric. The individual figures are also charmingly and soulfully portrayed. The figure of the Virgin Mary, as the closest intermediary to God, is here the personification of motherhood, humilityand dedication, sitting at the table dressed in a red cloak and on her lap holding the naked Christ Child, who is clutching at her. The background is divided into two halves. On the right half Joseph is leaning towards the pair through a window that offersa view of the landscape.Pieter Coecke van Aelst was an excellent Flemish painter, sculptor, architect, and designer of wood engravings, goldsmith work, stained windows and tapestries. He worked in Antwerp and Brussels and was appointed court painter to Charles V. He was also a polyglot, translating ancient Roman and modern Italian architectural treatises about architecture into Flemish, French and German.His books played a pivotal role in the dissemination of Renaissance ideas and contributed to the transition from the late Gothic style in Northern Europe. From Italy he returned to Antwerp, where he inherited his father’s very productive workshop. The original The Holy Family with an Angel (right-angle panel, portrait orientation, 95 x 72 cm) is in a private collection. This work by his follower is also of high painterly quality. The subject of the painting was very popular and frequently repeated in various smaller iterations, with various backgrounds, architecture or landscapes or a different interpretation of Mary’s shroud (as documents at the Rijksbureau voor kunsthistorische Documentatie in The Hague demonstrate). The painting accurately characterizes the style of Pieter Coeck, with an ample landscape with tree avenues, a path and houses in the background. The painting's important provenance further increases the value of the painting: it is originally from the Esterhazy collection. Consulted with PhDr. Hana Seifertová.Restored.
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MARIE ČERMÍNOVÁ - TOYEN 1902 - 1980: A TEXTILE DESIGN Cca 1935 Unbleached textile, color pattern 260 x 206 cm This fabric design, which apparently was meant to be used as a curtain, was created by Toyen for the Josef Sochor textile factory in Dvùr Králové. On an ecru background she created a coral-like design in orange, green, blue, yellow and dark brown. The pattern was an inspiration for Zika Ascher, who after seeing this piece started to work with well-known artists (Picasso, Miró and others).
ZDENĚK BURIAN 1905 - 1981: THE MATCH 1930s Gouache on paper 26 x 19 cm Signed lower left: Z. Burian This exemplary gouache painting is by an outstanding Czech painter and illustrator who received international acclaim for his animated films and perfectly detailed drawings. The motif most likely refers to the Czech publication of the Jules Verne novel Twenty Thousand Leagues Under the Sea (pub. 1937) at Vilímek Publishing House, where Zdeněk Burian imprinted his indelible charm on titles issued under the legendary edition Vilímkovy knihovny mládeže dospívající, the Jules Verne edition, and the Dobrodružný svět edition.
KAREL SOUČEK 1915 - 1982: IN THE PASSAGEWAY 1947 Oil on paperboard 23,5 x 28,2 cm Signed lower right: "K. Souček 41" Karel Souček is one of the most distinctive figures of the generation of artists who came of age in the 1940s. Following his difficult beginnings in Kladno, he joined Group 42 and its program, which was focused on the modern world and poetry of the city. As a resident of working-class Kladno and coming from a family of humble means, he was absolutely enchanted with big-city life, as symbolized in its store windows, shop-lined passages, alleys, cafeterias and fast-food stands, cafés and hairdressers. After the war his small paintings increasingly expanded in size, often taking the form of triptychs and polyptychs that went on to become parts of larger series, most of which were dedicated to the theme of passageways.Following the Communist Putsch of 1948 his work no longer matched the ideals of Socialist Realism and Souček was marginalized. However, he and his Group 42 colleague Jan Kotík were among those contributing to the Czechoslovak pavilion winning the Gold Medal at Expo 58 in Brussels. This brought him official recognition and he was given a professorship at the Academy, briefly holding the office of dean in the late 1960s.
OTAKAR SCHINDLER 1923 - 1998: ADAM AND EVE IN PARADISE 1940s-50s Mixed media, drawing, oil, metal, wood, violin pegs and strings 31 x 47 x 9 cm The object Adam and Eve in Paradise has an original foundation – a drawer from the artist’s studio, demonstrating the exceptional imagination and versatility of artist Otakar Schindler, who is primarily known for his work in the theater. After the end of World War II he established the amateur theater Kytice (“Bouquet”) in Ostrava, which became the professional Petr Bezruè Theater in 1955. In 1959 it welcomed a group of graduates of Prague’s Academy of Performing Arts led by director Jan Kaèer. Over time Schindler became a sought-after stage designer not only in Ostrava, but also in Brno, Cheb, Liberec, Pilsen and Prague. In 1975 he relocated to Prague and settled there permanently, creating a successful team with Luboš Pistorius at the Realist Theater. In addition to stage design, Schindler also focused on painting. He created surprising Surrealist collages in his sets and costumes, using fragments of discarded objects found at garbage dumps and in prop departments at theaters. His most well-known stage designs were for Nezval’s Schovávaná na schodech (Petr Bezruè Theater Ostrava, 1964, dir. Kaèer), Chekhov’s Racek (The Seagull, Èinoherní klub Prague, 1975, dir. Kaèer) and Giraudoux’s Ondina (Ondine, Realist Theater Prague, 1982, dir. Pistorius). By 1968 he had contributed to 50 television productions, created 15 stage designs for puppet theater, and exhibited in many countries throughout Europe. Otakar Schindler’s place of birth – the gamekeeper’s lodge at Stará Plesná 87/91 – still stands to this day.
ZBYNĚK SEKAL 1923 - 1998: UNTITLED 1989 Bronze 20,6 x 31 x 12,2 cm Marked on back: "ZS 2/6" Sekal was a member of the Sixties generation of Central European modernist artists. His oeuvre spans the period from the late 1930s/early 1940s to 1997, when he was no longer able to work just a few short months before his death. As an artist who was fully part of the period unfolding after the end of World War II, when he found youthful inspiration in Surrealism, he is a part of the broad post-avantgarde movement. However, he did not completely identify with any movement, tendencies or groups, and remained a major independent figure. After studying at the Academy of Arts, Architecture and Design in Prague under Professor František Tichý, he soon was among the most interesting Czech artists of the 1950s and 60s. He defected in the late 1960s and from 1970 he lived in Vienna, where his work underwent further remarkable development.
VINCENC MORSTADT 1802 - 1875: THREE VISTAS OF PRAGUE Cca 1830 Colored etching on paper 35 x 53 cm 1. Prague Castle District (Hradèany)2. New Town, Vyšehrad, Smíchov3. LetnáThis collection of three vedute were made by Vincenc Morstadt, an acclaimed Bohemian painter and illustrator who was primarily known as a landscape and veduta artist and for his numerous prints and albums. Morstadt's work is based in the traditions of drawing-based vedute of cities in the Empire style, with primary characteristics including objectivity, descriptiveness, restraint, minute detail and a faithful recording of the image. His prints, which display his perfect mastery of technique and skill, became highly popular among publishers and buyers; hardly an album appeared that did not feature his name.Originally from a German family, Vincenc Morstadt came to Prague when he was eleven to study at Charles University’s Faculty of Law. As a graduate he worked at the Regional Court in Loket (Elbogen) in 1834-1850; this is the source of his oldest prints of the landscape around Loket, Carlsbadand the surrounding area, including the Svatoš rock formations (Hans-Heiling-Felsen) on the Ohøe (Eger) River. He continued his legal career at the courts in Trutnov (Trautenau) and Hradec Králové (Königgrätz). He lived out the rest of his life in Prague, where a plaque is dedicated to him on Tomášská Street in Prague’s Lesser Quarter. He maintained contacts with František Palacký, Václav Vladivoj Tomek and other leading figures in the Czech National Revival and continued to make sketches in the streets of Prague until shortly before his death.Morstadt depicted the major buildings, streets and public spaces of important Bohemian cities and towns, filling them with genre figures of burghers, craftsmen and tradesmen. Most of his works were made during his legal career; originally pencil drawings, he usually had them transferred to etchings and colorized by printmakers or lithographers. These prints were then assembled into albums.
STANISLAV LIBENSKÝ 1921 - 2002: A VASE WITH A HORSE MOTIF 1953 Etched colorless glass 16,5 cm Marked on underside: "K RYBÁČEK 1953". Inscription along rim: "X. JEZDECKÝ DEN - STÁTNÍ HŘEBČÍN KLADRUBY N.L." (10th Annual Riding Day - State Horse Breeding Farm in Kladruby nad Labem) This funnel-shaped vase featuring an etched horse motif by Karel Rybáček, who at the time was director of the glass school in Kamenický Šenov, builds on the compositional and technical style from Stanislav Libenský's time in Železný Brod in the late 1940s (S. Petrová, české sklo, Academy of Arts, Architecture and Design Prague 2018, p. 35). Libenský is perhaps the most important Czech glass artist and teacher of the second half of the 20th century. In addition to teaching, he also pursued his own art and became a legend in his own time. Glass art created over the course of nearly a half century in close collaboration with his colleague and partner Jaroslava Brychtová transformed Stanislav Libenský into a worldwide authority in the field.
ANTOON CLAEISSENS - CIRCLE 1536 - 1613: DAVID RETURNING IN TRIUMPH WITH THE HEAD OF GOLIATH Late 16th/early 17th century Oil on wood panel 72,5 x 103 cm King David, who is the subject of many legends, was the shepherd and warrior who went on to become the statesman and unifier of Israel. A versatile figure as well as a musician and the author of the Book of Psalms, in Christian art he is also important as the model of Christ (according to Matthew, he is his direct ancestor). The most frequent subjects are scenes either from his battle with Goliath or David’s triumphal return, holding Goliath’s head in his hand. In his fight against the giant he refused to use armour, choosing instead just five stones to use with his slingshot. After hitting Goliath in the head and killing him, he cut off his head with a sword. In the painting he is striding forward, dressed in a red cloak with a shepherd’s pouch and a sword resting on his shoulder; in his other hand he holds his trophy, the head of Goliath. He is surrounded by Israelite women, who came out playing timbrels and lyres, praising him and singing:“Saul has slain his thousands, and David his tens of thousands.”(1 Samuel 18: 6-7). This famous episode, understood in Christianity as the model for Christ’s entrance to Jerusalem, is masterfully depicted by an artist based in the style of Antoon Claeissens (c.1536–1613), who came from a line of painters in Bruges.Consulted with PhDr. Hana Seifertová. Restored.
GIUSEPPE BARISON 1853 - 1931: THE READER 1880s Oil on canvas 54 x 44 cm Signed upper right: "G. BARISON – VENEZIA" The Reader is an exceptional example of the work of Giuseppe Barison, an artist born in Trieste to a family of modest means.Barison found a patron in the aristocratic Anna De Rin, who placed him in apprenticeship in private studios and then enrolled him in the Academy of Fine Arts in Vienna. In 1872, Barison began to take lessons from the Nazarene painters Karl von Blaas and Eduard Von Engerth. He returned to Trieste in 1876 and later participated in the Esposizione di Belle Arti with a canvas depicting Isabella Orsini, which earned him a two-year scholarship in Rome. After Rome, he spent some years in Venice. Barison spent World War I in the home of Roberto Amadi in Pegli, Liguria.After the war he returned to Trieste, and along with contemporaries Guido Grimani and Ugo Flumiani he continued to paint landscapes, often en plein air.
JAROSLAV ŠPILLAR 1869 - 1917: VENICE 1892 Oil on paperboard and wood panel 15,5 x 23 cm Signed lower left: "JAR. ŠPILLAR/ VENEZIA/ 1892" In Venice, painter Jaroslav Špillar beautifully captures a glimpse through a bridge on one of the canals, with typical gondolas and the busy palace embankment in the background.Špillar, also known by the nickname Trávníèek, was a painter from the Chod region who was focused on historical and ethnographic subjects. His younger brothers Karel and Rudolf Vojtìch Špillar were also fine artists. He was one of the first students at the School of Applied Arts in Prague (1885–1887 under František Ženíšek and Jakub Schikaneder), and subsequently spent five years at the Academy of Fine Arts with Maxmilián Pirner.In 1888he developed an interestin the Chod region and settled there in 1891.Initially he lived in Postøekov, where he lived in the part of town called Trávniky; later, in 1902, he built a villa in Pec pod Èerchovem. At his first collected exhibition at Topiè Salon (1899) he presented 86 works. Špillar decorated the assembly hall at the Italian Court in Kutná Hora and his work is represented in the permanent exhibition of Jaroslav and Karel Špillar Paintings at the Špillar Brothers Gallery in Domažlice.
L'UDOVÍT CSORDÁK 1864 - 1937: FOREST EDGE WITH SUNSET 1890s Oil on canvas 89 x 66 cm Signed lower right: "L. Csordák Praha" Forest Edge with Sunset is, in a professional assessment by PhDr. Nadìžda Blažíčková-Horová: “… an unquestionable and beautiful work by Slovak painter Åudovít Csordák. He lived in Munich in 1883-1889, when he received his first lessons in Munich romantic landscape painting and he became acquainted with the Baroness of Melczer, who enabled him to study landscape painting under Julius Maøák at the Academy of Fine Arts in Prague in 1889-1895. Maøák had a fundamental influence on all of Csordák’s work in terms of motifs, painterly expression and color palette. A fondness for forest interiors and love for the technique of charcoal drawing also connected Maøák and Cordák. Maøák’s influence on Cordák remained evident even after he left Prague in 1912 to permanently settle in his native Košice. This painting is a very attractive and typical example of Csordák’s work, which I believe was made during the painter’s studies in Prague. … Csordák’s romantically-toned paintings appear only rarely on the Prague art market, yet they are among the very high quality expressions of Czech and Slovak art from the late 19th and early 20th centuries.”
GUSTAVE LOISEAU 1865 - 1935: CLIFFS IN ÉTRETAT 1901 Oil on canvas and paperboard 63 x 80 cm Stamp on back: "Coll . Dr. Stefan Ossusky/ 17 Av. Charl. Floquet/ Paris" Cliffs in Étretat is a unique example of French Post-impressionism and represents the oeuvre of one of its leading exponents, Gustave Loiseau. Works by this artist, attractive for collectors and viewers alike, appears only rarely on the Czech art market.Since the 1890s the name of this exceptionally sensitive landscape artist has been connected with the Brittany artists’ colony surrounding Paul Gauguin, known as the Pont-Aven School. However, Loiseau never built on its modern artistic vision and new directions (Synthetism and Cloisonnism); on the contrary, he remained faithful to Impressionism in its purest form. He continued the tradition of outdoor landscape painting, discovering the fleeting magic of the landscape in its transience, transformations in color, and light and dark moods in an effort to capture its natural beauty, as seen in paintings by Claude Monet and Camille Pissarro. He gradually created his own specific style of pointillist painting, the characteristic application of pure spots of color one next to another, emphasizing the essential interaction of light, clear, bright and yet unburdened color, and the airy mood of the depicted scene. He developed these principles in seemingly everyday scenes of the Breton and Norman landscapes, where he spentthe summer months. Loiseau is often called a natural talent who did not follow the directions of the period or the recommendations of others, instead carving his own path of unique sensual experience from the seen world. His extraordinary talent and painterly qualities earned him many admirers in 1890s Paris, including the prominent gallerist and primary patron of the French Impressionists Paul Durand-Ruel. He fully defended his uniqueness in around 1910, when he sparked a sensation with his special method of cross-like brushstrokes reminiscent of hatching (“en treillis” / “touche croisée”).The painting offered here, from the collection of an important Czechoslovak diplomat during the First Republic and ambassador in Paris, Stefan Osuský, may be considered a beautiful, profoundly poignant and highly valuable work that corresponds to a unique understanding of Impressionism in all respects, corresponding to the artist’s expression “I am led by instinct and I am proud that I am not like the others.”
VOJTĚCH PREISSIG 1873 - 1944: UNTITLED After 1910 Pen and ink on paper In cutout 110 x 100 mm Signed lower left: "PV"; label on back from the Waldes Gallery, no. 1424 After returning from a study residence in Paris in 1905, Vojtìch Preissig worked independently and established the Bohemian Prints edition. In 1909 he published his own book, Barevný lept a barevná rytina (Color Etching and Color Engraving). But when his print workshop went out of business, he left Prague in 1910 and travelled to the United States, where his most important stopovers included The Art Students League of New York (1912) and the Teachers College of Columbia University. It was in the United States where he first saw linocut and other special printmaking techniques. In 1916–1918 he worked as a printmaker in Boston, heading up the School of Printing and Grafic Arts at the Wentworth Institute. This drawing, originally an ex libris, likely dates from his time in the United States.Provenance: art collector, patron and industrialist Jindøich Waldes, who supported Preissig through his financial difficulties.
PABLO PICASSO 1881 - 1973: RIDER 1921 Lithograph print on paper 25,5 x 31,5 cm Signed and numbered on print and lower left in pencil: "22/ 50 Picasso" After Picasso left Juan-les-Pins in 1920, he drew a group of figures on the seacoast in lithographic pencil in the spring of the following year. The motifs – Rider, Wrestlers, On the Beach – burst with the power of life, with minimal outlines embracing all of the vital fullness of the nude bodies (in 1921, while residing in Fontainebleau for the summer, which was a particularly fruitful period, he painted Standing Woman – held by the National Gallery in Prague).Provenance: The print is from the estate of Professor Diviš, who purchased it in Kahnweiler’s Galerie Simon.
JOSEF INGRIŠ 1880 - 1960: DANCE OF LIFE 1924 101 x 81 cm Painter Josef Ingriš trained at the Academy of Fine Arts in Prague under Professor Vojtìch Hynais. His work is categorized as part of the Czech academic painting movement from the first half of the 20th century (Marie Rakušanová, Bytosti odjinud, Academia 2008), which includes painters who are less researched and cited alongside renowned names in the Czech modernism and avant-garde movement. Ingriš’s preserved nudes are remarkable for their special sense of poetry and harmony influenced by the period Art Deco style, enhanced by the use of pastel colors and pink accents. In Dance of Life, Ingriš adds further contextual meaning to this expressive period dancerreminiscent of the playful nudes of dancers and their shadows in Drtikol’s photographs from the same period.
JOSEF DOBROWSKY 1889 - 1964: IN FRONT OF THE CATHEDRAL 1920s Oil on canvas 39 x 29 cm Lower right: Dobrovski (illegible) The artist who painted In Front of the Cathedral is painter of German origin Josef Dobrowsky, a native of Carlsbadwhom Austrians view as one of their most significant artists of the interwar period. He painted portraits, landscapes and scenes influenced by the style of Dutch genre painter Pieter Bruegel the Elder.Dobrowsky's art studies at the at the Academy in Vienna were interrupted by the war, but he successfully returned and completed his studies under professors Christian Griepenkerl and Rudolf Bacher. His classmates included Anton Faistauer, Sebastian Isepp, Ferdinand Kitt, Anton Kolig, Anton Emanuel Peschka, Egon Schiele and Franz Wiegele. He was also a close friend of Ernst Huber. Over the following years he was a member of the Wiener Secession, Hagenbund and Prager Secession. He received the Grand Austrian State Prize for fine arts in 1962. In 2014 a large retrospective exhibition of his work was held at the Oberes Belvedere. In the Czech Republic his works can be found at the Regional Art Gallery in Liberec.
ALFRED ZOFF 1852 - 1927: BEACH WITH BOATS IN BELGIUM 1920s Oil on canvas 27 x 30 cm Signed lower right: "A. Zoff" This painting with a fishing boat and a figure on the beach is an example of the unique painting of Alfred Zoff, one of the leading figures of Austrian Mood Impressionism in the early 20th century. In 1869 Zoff took landscape painting classes at the State Drawing Academy in Graz. By 1880 he had decided on art as a career and was enrolled at the Academy of Fine Arts in Vienna, where he studied under Eduard Peithner von Lichtenfels. After his father's death in 1882, his mother moved to Klagenfurt and he would visit often to paint. It remained a favorite location for the rest of his life.He also made occasional trips to Italy and Belgium. He completed his studies in 1890 at the Academy of Fine Arts in Karlsruhe under Gustav Schönleber, who acquainted him the Barbizon School. After that, he lived in Munich and Krems an der Donau. From 1907, he was a Professor of landscape and still-life painting at the Academy in Graz. He received numerous awards, including a bronze medal at the Exposition Universelle (1900). Member of the Künstlerhaus Wien (from 1883) and the Hagenbund (from 1900).
VÁCLAV ŠPÁLA 1885 - 1946: THE BEROUNKA RIVER AND HILLS 1925 Oil on canvas 54 x 73 cm Signed lower left: "V Špála 25"; numbered on back: 116.C. As PhDr. Rea Michalová, PhD explains in her expert assessment, “The painting under assessment, The Berounka River and Hills, is an original, exceedingly typical, melodic landscape painting by Václav Špála, one of the foremost exponents of the Czech avant-garde movement and a member of the Group of Fine Artists, the Tvrdošíjní (“Stubborn Ones”) art group, and Mánes Union of Fine Artists. His painting was direct and vibrant, expressing sensual urgency. … From the very outset his Fauvist inclinations set him apart from his colleagues in the Osma group, whose work was oriented more towards Expressionism.Špála’s paintings always uniquely reflected a sense of immediacy and unrestrained joy from the painting process, as well as an essential sense for order, a feeling for pure color tone, and emancipation from agonizing existential questions. Through his new interpretation of the landscape and still lifes with flowers or fruits, Václav Špála became the main exponent of Bohemian painters’ affinity for the sensual hedonism of the ‘Golden’ Twenties. In his search for a striking, immediately potent expression, Špála did not hesitate to apply the principles of Post-Cubist deformation of form and to reduce the colors to two or three contrasting tones without denying his elementary relationship to the real natural world. His 'green period' lasted from 1923 to 1926, followed by his blue period in 1927–1930, when he painted in shades of aquamarine and Prussian blue, although this color retained its heraldic significance in his work until the end of his life. Špála’s hymn to nature is exemplarily reflected in his landscape paintings, which he approached with a sense of monumentality. One such painting is The Berounka River and Hills, an enchanting specimen from Špála’s famed 'green period'that, in line with the period movements of the 1920s, marked a peak in his renewed contact with the reality of the seen world. Karel Teige aptly called Václav Špála a 'lyricist of nature … a broadcaster of the sun and life' intoxicated from the colors of joy. The most characteristic and most coherent group from this vitalist direction in terms of expression are his paintings from the area around Srbsko, a village on the Berounka River that the artist painted in 1925–1926. The painting was executed face-to-face with nature, en plein air. The Berounka River and Hills is an unusually pure and generous painting in which Špála masterfully captured the majesty of the cliffs, the smoothly flowing river, and the lush vegetation surrounding the meander under an azure summer sky. It is the fascinating visual rhythm of land, sky, and water, transformed in the natural order of the painting. (…)"In the painting under assessment, the artist achieved an entirely original modification of the principles of Fauvist painting. The style uses the compelling rhythm of aggregate forms, defined by pure color which Špála treats as an element, interacting through its intrinsic, immanent light qualities; it is not the medium of light seen in Impressionism, where objects dissolve and vaporize.In this colorful arche he intentionally leaves traces of his masterful brushwork. The precise, succinct yet curt expression with the brush is the thread connecting the deep harmony of his senses with the power of natural phenomena."The Berounka River and Hills gives beautiful voice to Špála’s distinctive creative testimony, which rests in the inimitable synthesis of 'high'avant-garde expression with the 'humble', but all the more so passionate world of Home." Provinence: originally owned by Hugo Rottenberga (1896-1944), a Jewish art and rug dealer who moved from Krakow to Prague in around 1915.
JAN SLAVÍČEK 1900 - 1970: FROM THE FRENCH RIVIERA 1925 Oil on canvas 54 x 96 cm Signed lower left: "Jan Slavíček" This is an original, enchanting and very rare work by Jan Slavíček, an artist who is one of the characteristic exponents of the generation born around 1900. This generation brought an avant-garde spark and a new sensual relationship towards reality to Czech art. As PhDr. Rea Michalová, PhD. explains in her expert assessment, “Slavíèek’s oeuvre is divided into landscape art, still lifes, and a number of smaller as well as monumental paintings of Prague. In his landscapes he drew inspiration from the Eagle Mountains (Orlická Rybná) and his frequent trips abroad. This painting represents one of the brilliant results of Slavíèek’s residence in Cagnes-sur-Mer on the Côte d'Azur in the spring of 1925. This was the first of the famous foreign tours undertaken by Otakar Nejedlý’s landscape painting class. (...) It is beautiful evidence of the crystallization of Slavíèek’s artistic style, in the spirit of his belief that ‘the greatest poetry and beauty is stored in facts, in nature, in reality – it is only necessary to discover it there and know how to express it in a painting’. In France the artist fully surrenders to the charm of Mediterranean nature, but he tames his intense painterly temper with artistic order, fully balancing matter and graduated plains of terrain. The refined landscape format gives full voice to the motif he has chosen, captured with a mastery of color and application that is reminiscent of the French classics Corot, Courbet, and especially a painter current at the time, André Derain. From the French Riviera is an immensely beautiful work by Slavíček, exuding inner peace and human harmony with a landscape of ‘almost magical color … and pious devotion’ (J. Slavíček).”Restored.
PRAVOSLAV KOTÍK 1889 - 1970: RECUMBENT 1929 Oil on canvas 27,5 x 41 cm Signed lower right: "P. Kotík 29" Pravoslav Kotík’s Recumbent is a fine example from a period in his career that is highly valued among collectors, the period when the influence of Cubism following his study trips to Paris was reflected in his work. A woman recumbent on a sofa, turning her face provocatively towards the viewer, hints at Picasso’s Demoiselles d'Avignon and African period – art highly sought after by the Paris avant-garde. The statuesque body emphasized by a bold line bears echoes of Neoclassicism, a style also favored by Rudolf Kremlièka, a fellow artist from the Mánes Union of Fine Artists who shared Kotík’s interest in Social Art.Kotík studied at both the School of Applied Arts and the Academy of Fine Arts in Prague in the 1920s and joined the country’s major art associations – Mánes Union of Fine Artists and Umìlecká Beseda. It was here where he met artists Karel Holan, Miloslav Holý and Karel Kotrba, who in 1924 co-founded Ho-Ho-Ko-Ko Social Group focused on realistic subjects and social themes. Many layers can be found in Kotík’s oeuvre, from Expressionism and Fauvism in his early work andCubism and Neoclassicism in the Twentiesto touches of Surrealism in the Fifties. His paintings unfurl stories of lovers in cafés, toiling villagers, and people coming to terms their existence in the face of modern civilization.
JOZEF TEODOR MOUSSON 1887 - 1946: IN THE YARD 1920s Oil on canvas 74 x 81 cm Signed lower left: T. Mousson The work of this Slovak painter of French origin captures the landscape of Eastern Slovakia, including the habits and lives of the region’s people. His life and work is closely tied to Michalovce. In 1905-1909 he attended the Hungarian University of Fine Arts in Budapest (studying under Professor Ballo), and in 1913 he went on a study trip to Italy. He was a member of the Kunstverein and Union of Fine Artists in Slovakia. He created unique, remarkable compositions with female figures in folk costume placed in the center. This painting, full of life and capturing an authentically depicted scene, superbly represents the work of this artist, who was a member of the Nagybánya artists’ colony of plein air painters. In 1911 he settled in the Zemplín region, specifically in Michalovicíe, where he found his own paradise, with a landscape and rich native culture reminding him of his beloved Italy. His boldly portrayed scenes capture the diversity and enchanting colorfulness of local traditional life. This masterpiece full of action, magnificent details and glowing opulence excellently documents the local situation in the late 1920s, and the sensitive painterly execution is a quality example of the artist’s work.
LADISLAV BENEŠ 1883 - 1956: SPEED, STRENGTH, RESISTANCE 1921 Bronze, marble 70 cm Marked on back: "L. BENEŠ" and debossed mark of Brothers Barták Prague. Inscriptions along sides of plinth: "RYCHLOST/ SÍLA/ ODPOR/ VÍTĚZI SOUTĚŽE SPOLEHLIVOSTI ČESKOSLOVENSKEM 1921 - MINISTERSTVO NÁRODNÍ OBRANY" ("Speed / Strength / Resistance / Winner o Sculptor Ladislav Beneš, together with Jan Štursa and Otakar Španiel, can unquestionably be included among the most important exponents of their generation, applying a new understanding of classicism to their work. Beneš composed the sculpture, which was commissioned by the Czechoslovak Ministry of National Defense, in the spirit of a new philosophy as an allegory of movement as represented by female nudes of Speed, Strength and Resistance. The modern era can also be sensed from the automobile, from which the towering sculpted figures are thrust forward.Ladislav Beneš, who studied under Professors Celda Klouèek and Stanislav Sucharda, was a member of the Mánes Union of Fine Artists in 1907–1934 and Umělecká Beseda from 1911. Although unfairly forgotten in his home country, his work has been exhibited in Cologne, Zagreb, Belgrade, Ljubljana, Munich and Vienna.
AN ART DECO DESK Cca 1930 Bird's-eye elm, brass and leather 80 x 80 x 166 cm This bird’s eye veneered desk presents the synthesis of elegance, functionality and refined design. The design of the storage areas, drawers, and lower and side sections of the desk correspond to the designs of the important architect and designer Jiøí Kroha, who focused on Cubist, Functionalist and Machinist projects during the interwar period.
NO RESERVE Maritime.- Spiers (Capt. George) The Wavertree: Being an account of an ocean wanderer...around the Horn in 1907-1908..., Foreword by Alan Villiers, one of 500 copies signed by the author, original red rexine, gilt, slip-case, New York, 1969 § White (G.W.Blunt) "White Mist" to Rio: The 1953 South Atlantic Ocean Race, inscribed by the author "To Alan Villiers whom we always like to see, and who comes to Mystic far too seldom. Blunt" on title, original cloth-backed boards, spine browned, Mystic. Ct., 1953 § Villiers (Alan) By Way of Cape Horn, fourth impression, signed and inscribed by the author "For Jack and Bea from Alan Villiers. an early book which did well" on front free endpaper, 1952 § Wilson (Edward) Diary of the Discovery Expedition to the Antarctic Regions 1901-1904, edited by Ann Savours, reprint, inscribed by the editor to Nancy and Alan Villiers on front free endpaper, Poole, 1975, illustrations, the last two original boards with dust-jackets, slightly rubbed; and 7 others, similar, 4to & 8vo (11)
Monmouth's Rebellion.- Scott (James, Duke of Monmouth, soldier and politician, rebelled against James II, 1649-85).- [Narrative of the last days of the Duke of Monmouth], manuscript, 3pp., slightly browned, folds, sm. 4to, 1808.⁂ ?Published for the first time in 1828.An account of the last days of the Duke of Monmouth in which he wrote to James II a letter begging for mercy, or at least a few days delay of execution. The messenger took it to James II but was intercepted by Lord Sunderland who swore to deliver it and never did, and therefore the duke was executed without delay. After the king had been exiled to France he asked Col. Scott if the story was true, to which he replied in the affirmative, "upon which the king then said; 'Colonel Scott as I am a living man I never saw that letter, nor did I even hear of it 'till within these few days.'"
NO RESERVE Maritime.- Villiers (Alan) The Western Ocean, first edition, inscribed by the author to his son "Kit's own copy, from Dad. Seamen used to call the N.Atlantic the Western Ocean Dad" on title, 1957; Vanished Fleets, first edition, inscribed by Villiers to his first wife "To Daphne, who helped so much with this, and all my other projects..." on title, New York 1931; Convict Ships and Sailors, signed by the author and with note "This grossly mis-edited edition of my 'Vanished Fleets' was never authorised by me, nor consented to, nor even known of before its publication" on front free endpaper, Philip Allan & Co., 1936; By Way of Cape Horn, third edition, with manuscript note on dedication to Ronald Walker "Lost at Sea while a seaman in the ship" and other annotations and underlinings, 1939; Cruise of the "Conrad", reprint, 1940, the last two inscribed by Villiers to his second wife, Nancie, on front free endpaper, some illustrations, original cloth with dust-jackets, all but the first rubbed and frayed, the second torn and severely defective; and c.70 others by Villiers, several in translation, many duplicates, a few signed, 8vo & 4to (c.75)
NO RESERVE Trials.- The life, trial, and execution, of Henry Weston, who was executed, before Newgate, July 6, 1796, for forging the name of Patrick Tonyn to a power of attorney with intent to defraud the Bank of England of £5000...with some account of the life and trial of John Roberts, his fellow-sufferer, trimmed, affecting text to varying degrees, modern marbled wrappers, 8vo, Printed for Robert Turner, [1796].⁂ Exceedingly rare, with ESTC recording only a copy at Harvard Law Library.
NO RESERVE Maritime.- Conrad (Joseph) The Rover, first edition in book form, one of 377 copies signed by the author, with A.L.s. from Conrad to Sidney Colvin concerning translators loosely inserted, portrait by Muirhead Bone, original pictorial boards, gilt, t.e.g., others uncut, glacine wrapper, dust-jacket, spine slightly rubbed and faded, Garden City, N.Y., 1923 § Bone (David) The Brassbounder, signed and inscribed by the author to Joseph Conrad on front free endpaper, morocco-backed cloth, New York, 1921 § Conrad (Jessie) A Handbook of Cookery for a Small House, Preface by Joseph Conrad, new impression, signed by Alan Villiers and with his manuscript note "Book given to Alan Villiers late 1979. Came from one of the Conrad homes", original cloth, soiled, 1923 § Miazgowski (B.) Dar Pomorza, signed and inscribed to Alan Villiers by Cdr. Kosianowksi-Lorenz "...to the great sailor Alan Villiers, who deeply touched the Polish hearts by naming his own beautiful sailing ship 'Josef Conrad'..." on title, with T.L.s. from him and booklet in English loosely inserted, illustrations, original cloth, dust-jacket, rubbed and frayed, Warsaw, 1959; and 2 others by Villiers, 8vo & 4to (6)⁂ The first was first published in the Pictorial Review in New York; this limited edition was issued prior to the American trade edition and the first English edition. The letter from Conrad is undated but was presumably written during the First World War as he writes that the usual translators "are all serving now and the original distribution of work has been altered. The war has upset the arrangements and delayed the whole thing...".
NO RESERVE Horology.- Gould (Lt.-Cdr. Rupert T.) The Marine Chronometer: Its History and Development, reprint, 1960 § Quill (Humphrey) John Harrison the Man who found Longitude, first edition, 1966 § Chamberlain (Paul M.) It's About Time, reprint, 1964, illustrations, original cloth, dust-jackets, slightly rubbed, the first torn and crudely repaired, the first & last Holland Press; and another by Gould on Harrison, 8vo & 4to (4)
NO RESERVE Biagio Rebecca (1735-1808) Studies for a ceiling design; Portrait of a clericTwo works, pen and ink with watercolour, on laid paper without watermarks, the former approx. 85 x 117 mm. (3 3/8 x 4 5/8 in), the latter 157 x 130 mm. (6 1/8 x 5 1/8 in) (unframed) (2)Provenance:Ex-collection of Edward Croft-Murray (Keeper of the Department of Prints and Drawings at the British Museum from 1954-1973)⁂ 'Rebecca studied at the Accademia di San Luca, Rome, and while there he met the painter Benjamin West, who remained his lifelong friend [...] he was especially skilled in decorative painting and became one of the most prolific and talented of the Adam school, working not only for the Adam brothers but also for James and Samuel Wyatt and Henry Holland'. [Oxford DNB]
A Diamond Set Ring, of bombe design detailed as a clover leaf set with red, white and blue, inside shank inscribed "Adelina Patti to P.R. March 26 1885 S.F.", in an old ring box. *Adelina Patti (1843-1919) was an Italian-French opera singer, born in Madrid to Italian parents, going to be referred to as "perhaps the finest singer who had ever lived" by Giuseppe Verdi. In much later life she restricted herself to an occasional performance at her personal theatre built at her residence Craig-y-Nos Castle in Wales. She died in 1919.
* AUGUSTUS JOHN OM RA (BRITISH 1878 - 1961), THE PORTRAIT OF SUNITA oil on canvas, signed 53.5cm x 43cm Framed and under glass. Note: This lot is accompanied by a hand written letter of authentication (dated 4th March 2019) from Rebecca John, artist, grand-daughter of Augustus John and the leading authority on the work of her grandfather. Inscribed on canvas verso: "Property of Sophie Fedorovitch, 22 Bury Walk, Chelsea SW3, London". Sophie Fedorovitch was a Russian born theatrical designer who worked with ballet choreographer Sir Frederick Ashton from his first choreographed ballet in 1926 until her accidental death in 1953. Fedorovitch died in a gas explosion at her home (known as "the Gothic Box") at 22 Bury Walk on 25th January 1953. Two old printed labels verso, one explaining the background to the portrait and the other stating the picture to be "Property of Mary Smeaton or Scott". Augustus John became acquainted with Jacob Epstein at the New English Art Club after Epstein moved from Paris to London. He produced several drawings of Epstein and two etchings. Epstein later modelled a bronze head of John’s son Romily, which is part of the Garman Ryan Collection followed by a stone version and a Bronze head of Augustus in 1916. Although the two artists encouraged each other, they had a prickly friendship which animated their portraits of each other. This was probably further exacerbated by John’s reputation of having a fiery and rebellious temperament, prone to violent mood swings. Augustus John lead a notoriously promiscuous lifestyle and "fathered numerous children with nearly as many different mothers". "Sunita" was originally from Kashmir, a Muslim who married Ahmed Peerbhoy, a millionaire of Bombay, but sometime in the early 1920s she came to England with her son Enver and younger sister Anita Patel. The sisters joined a troupe of magicians known as the Maysculine Brothers. Sunita developed a persona as an Indian mystic and fortune teller and became widely known as Princess Sunita. Jacob Epstein may have met Sunita at the British Empire Exhibition, where the exotic foreign displays intrigued him, or possibly through his friend Matthew Smith (1879 - 1959). In 1925 Epstein invited Sunita, Enver and Anita to live at his home at Guilford Street in London with the full agreement of his wife Margaret. Mrs Epstein was trying to end her husband's affair with Kathleen Garman by encouraging him into affairs with other women. Sunita had become Epstein's favourite model and she posed, often alone but sometimes with her son, for numerous drawings and sculptures by Epstein until 1931. Jacob Epstein was apparently furious that John had encouraged "Sunita" to sit for a portrait and when John told him that he wanted Sunita to sit for him again, Epstein refused to allow it. "Augustus was celebrated first for his brilliant figure drawings, and then for a new technique of oil sketching. His work was favourably compared in London with that of Gauguin and Matisse. He then developed a style of portraiture that was imaginative and often extravagant, catching an instantaneous attitude in his subjects."
* WINIFRED MCKENZIE (SCOTTISH 1905 - 2001), FLORAL STILL LIFE oil on canvas, signed 51cm x 41cm Framed. Note: Winifred McKenzie was a painter and wood engraver who studied at The Glasgow School of Art, and in 1932-33 studied wood engraving at The Grosvenor School of Modern Art under Iain Macnab. The School operated from Macnab's home at 33 Warwick Square, Pimlico, London and even though it only existed for 15 years, it did much to revive the interest in print making. Those artists now known as "The Grosvenor School" include Macnab, Claude Flight, Lill Tschudi, McKenzie, Cyril Power, Sybil Andrews and Dorrit Black. During the second world war McKenzie taught wood engraving to service men and women at St. Andrews University, and was part of the St. Andrews Group of Wood Engravers which included her sister Alison, Annabel Kidson and Jozef Sekalski. Her paintings rarely appear at auction.
* GEORGE MELVIN RENNIE (SCOTTISH 1874 - 1953), ON THE SPEY, NEAR CRAIGELLACHIE oil on canvas, signed 46cm x 60cm Framed and under glass. Artist label verso. Note: George Melvin Rennie studied at Gray’s School of Art and Aberdeen School of Design. In the late 19th and early 20th century he became one of Scotland’s most popular landscape painters and was granted routine access to the Balmoral Estate. Over the next 25 years he painted many iconic views of the Scottish residence of the British Royal Family and its 50,000 acres of surrounding Aberdeen-shire countryside. Numerous landscapes by Rennie still remain in some of the properties on the Balmoral Estate but a great many crossed the Atlantic during the first half of the 20th century having been purchased by American visitors to Scotland. Rennie painted many of Scotland's great Salmon rivers often commissions from wealthy tourists who wanted paintings of their favourite beats or pools. The Spey around Craigellachie is one of the better known stretches for fishing and remains so today.
MARIE VOROBIEFF MAREVNA (RUSSIAN 1892 - 1984), REVOLUTION oil on board, signed and dated 1970 67cm x 90cm Framed. Provenance: This painting was gifted to Mrs Nina Barnes of Ainsdale Road, Ealing, London by the artist. Mrs Barnes used the professional name of Nina Walker and was Chorus Master, Royal Choral Society, Repetiteuse and Chorus Master at Royal Opera House, Covent Garden and Recitalist with Caballe. Nina Barnes and Morevna became friends through their attendance at Ealing Abbey which they both lived close to. Nina Barnes passed away in November 2018 and this painting is being sold by her family. Notes: Born Marie Bronislava Vorobyeva-Stebelska (????? ????????????? ?????????-???????????) in Cheboksary, Russia. Marevna is internationally known for convincingly combining elements of cubism (called by her "Dimensionalism") with pointillism and – through the use of the Golden Ratio for laying out paintings – structure. She has been accredited with being the first female cubist painter. Though she lived the greater part of her life abroad – her formative years as a cubist painter in France and her mature years in England – she is usually referred to as a "Russian painter". In 1910 she went to Moscow to study at the Stroganov Art Academy, but in the following year left for Italy. On the island of Capri she was introduced to Maxim Gorki who nicknamed her "Marevna" (after a Russian fairy sea princess). She adopted the nickname and was widely known as Marevna for the rest of her life. A petite blue-eyed blonde, she was said not to have been a conventional beauty; but an outgoing nature paired with the proverbial depth of the Russian soul seems to have given her a charm which made her "special" to all who knew her. She moved to Paris in 1912 as an aspiring twenty year old. It was there that she became friends with some of the greatest artists and writers of the early twentieth century then resident in Montparnasse and especially at La Ruche, among them were Pablo Picasso, Georges Braque, Marc Chagall , Jean Cocteau, Ilya Ehrenburg, Max Jacob, Moise Kisling, Henri Matisse, Amedeo Modigliani and Chaim Soutine. It was while a resident of La Ruche that Marevna met the gifted Mexican cubist and later muralist artist Diego Rivera. Diego Rivera was nearly 30 at the time and at the zenith of his phase, having already exhibited his works at three exhibitions. Marevna herself discovered cubism as an eminently suited vehicle for her own talent. Rivera was a known womanizer of fiery temper and began a relationship with Marevna while he was still in a common-law marriage with the Russian artist Angelina Beloff who was pregnant with Rivera's son. Despite Diego Rivera's assurances of his love for Marevna, their relationship ended soon after the birth on 13 November 1919 in Paris of their daughter Marika. It's probable that Marevna never fully recovered from the break up of her relationship with Rivera and it's reported that after her death her ashes were laid in the Rivera mausoleum in Mexico. Marevna exhibited widely in France and Europe throughout her career, as well as at the Guggenheim Museum in New York in 1968; and more recently a major retrospective was held at the Russian State Tretyakov Gallery in Moscow, in 2004. A small collection of her work is held at Athelhampton House in Dorset where she lived with her daughter during the 1950’s. Her work is also in several museums including a substantial collection at the Musée Petits Palais in Geneva. When her daughter's marriage ended Marevna moved to the London suburb of Ealing with her daughter and two grandsons. Her work was unfashionable for a period and a substantial number of her paintings were bought by international collector Oscar Ghez in 1967. Marevna died in London on 4th May 1984. Her work can command high prices at auction including Nu allongé (1930), at Aguttes, Paris lot 34 19/6/2009 sold for 266,966 EUR (premium) and Hasidic Dance During Chanukah Celebration (1970), at Sotheby's, New York lot 125 26/4/2006 sold for 228,000 USD (premium).
Low, J. L. - "F.G. Tait -A Record, Being His Life, Letters, And Golfing Diary" 1st ed in the original pictorial red and gilt cloth boards and spine, with the original frontis and various photograph illustrations - ex John Stafford Reid Byers library label and interesting family annotation to the front free end plate describing the time that the owners Uncle was taught how to swing a club by Freddie Tait whilst working in the office until disturbed by his father who was not amused - spine faded and general wear to the extremities otherwise internally clean hence overall (F)
Rare 1947 Ryder Cup Golf Tournament banquet menu belonging to Reg Horne and signed by both teams to the front cover - with personal remarks from both Walter Hagen (US Honorary Capt) and Henry Cotton - played at Portland Golf Club Oregon USA - the first Ryder Cup played since the outbreak of WWII in 1939 - the US team Ben Hogan (Playing Captain), Sam Snead, Byron Nelson, Lloyd Mangrum, Herman Barron, Ed Oliver, Lew Worsham, "Dutch" Harrison, and Jimmy Demaret (faded), Herman Keiser (faded) - GB team Henry Cotton (Playing Captain), Fred Daly, C.H Ward, Eric Green, Jimmy Adams, Max Faulkner, Arthur Lees, Dai Rees, Sam King, plus the host U.S R.A Hudson (Portland businessman who paid the expenses of the both teams and chaired the event), GB team manager R.C.T Roe - Note neither Reg Horne or Eric Green were selected to play hence the quite generous remarks by Walter Hagen "To Reg a great golfer but if it had been me he too would have lost on 18th-17th" signed Walter Hagen and Henry Cotton "To Reg Horne great credit to the Golf Profession Henry Cotton 11/11/47" - a remarkable and personal piece of Ryder Cup History
Brass Boxing Snuff Box - Depicting Bare Knuckle Champion Tom Spring v John Langen. The most famous of his fights was with John Langan, an Irishman who was much heavier than Spring and also slower in the ring. Some 30,000 spectators turned up for their first match at Worcester Racecourse in 1824, but unfortunately the grandstand was not up to the task and many people were injured when it collapsed. The fight itself went on for a crippling seventy seven rounds, and finally even the bloodthirsty crowd were sickened and bade for it to be ended. Spring's hands were badly injured, and Langan was a complete mess! A few months later they met again in Chichester, although Spring's left hand was still virtually useless he gave Langan another pasting - it was a testament to his kind character that instead of flattening Langan when he was done for, he merely pushed him to the ground.
1930s England International Cricket Cap awarded to Bill Voce: navy blue cricket cap c/w England 3 Lions embroidered crest and c/w makers label W V Brown Hosier Eton having Voce in Ink pen Note. The cap has been handed down through the family which came from long term benefactor of Derbyshire cricket club who was a very private and reclusive figure who didn't leave his house for the last ten years of his life - and the family would like to respect his privacy and to remain anonymous.
MCC and England Signed Cricket Team Sheet Selection to incl 1972/73 MCC Tour to India, Pakistan & Ceylon, 1974 MCC Tour to West Indies, 1974/75 MCC Tour to Australia & New Zealand, 1976/77 MCC Tour to India, Sri Lanka and Australia, 1977/78 Tour to Pakistan and New Zealand, 1978 England Tour to New Zealand, 1978/79 England Tour to Australia and 1979/80 England Tour to Australia & India - all in ink on various head paper, very good condition. From the personal collection of Bernard Thomas, who was the physiotherapist for the England team between 1970 and 1985 (8)
MCC and England Signed Cricket Team Sheet Selection to include 1976 West Indies Tour of the UK, 1978 MCC Headingley Test Match, 1981 MCC Tour of West Indies, 1981 England, 1981 England, 1983 Trent Bridge, 1983 MCC Prudential World Cup, 1984 Headingley Test Match, 1985 Cornhill Test Series 1st & 3rd Test - all in ink on various head paper, very good condition. From the personal collection of Bernard Thomas, who was the physiotherapist for the England team between 1970 and 1985 (10)
Rare T. Rose, 98 Cleveland St London (1853-1895) Patent Folding Handle Ex-Wide Drum crank wind brass salmon reel - 4" x 2.25" dia with raised check housing, with spring locking handle stamped with makers details to the crank arm - good sound check - rare maker who remained in business for only 42 yrs.
John Herbert Crawford (1908-1991) Signed Postcard a real photo card by E. Trim signed in ink to the front' Yours Sincerely Jack Crawford 1934', slight fading apparent, together with another unsigned real photo card depicting Crawford, both in good condition. An Australian Tennis player who was World No.1 in 1933 and inducted into the International Hall of Fame in 1979 (2)
Jenkins, George Henry (British c.1890's) "On The Banks Of The River Plym - Bickleigh Vale Near Plymouth May 11th 1891" signed oil on canvas with details on reverse - image measures 16" x 26" overall 19" x 29 Note George Henry Jenkins was a West Country artist who painted extensively throughout Devon and Cornwall
Early G. Nicoll "F.G Tait Cleek" smf iron - with a period style replaced hide grip with thick underlisting Note F.G Tait (b. 1870-1900) was a revered amateur golfer who lost his life in The Boer War and was robbed of potentially of glorious amateur career having already won Amateur Championship in 1896 and 1897
Hartough, Linda (After) signed: "1990 Open Golf Championship - The 17th Hole of the Old Course Royal and Ancient Golf Club St Andrews" signed ltd ed colour print number 151/850 c/w details on the verso - overall 19" x! x 30.5" won by Nick Faldo for the 2nd time Note Linda Hartough one of most notable golf landscape artists who in conjunction with the R&A was commissioned to produce a series of Open Championship Golf Course paintings and this was the 1st in a series to celebrate the Open Championship venue for the next 9 years
‡Fredda Brilliant (Polish, 1903-1999)The Three GracesAll signed and dated 1976All BronzeEach 75cm high (4)With a book: Fredda Brilliant, Biographies in Bronze (New York: Shapolsky Books, 1986)Although originally designed to be three mourners consoling each other, these actually emerged more as three dancing figures using the artist herself as a model. Brilliant conspired with engineer John Yardley, who was in charge of the team who first put a man on the moon, to make six feet figures of the three graces glide around a ten foot pool to the music of Bach.
‡Fredda Brilliant (Polish, 1903-1999)Fatehsinghrao Prataprao Gaekwad (1930-1988), The Maharaja of Baroda (1951-1988)Signed and dated 1954Bronze69cm high (3)With a framed photograph of Brilliant and the Maharaja with the bust, also with a book: Fredda Brilliant, Biographies in Bronze (New York: Shapolsky Books, 1986)The Maharaja was a politician and a cricketer who represented Baroda in the Ranji Trophy between 1946 and 1958, he also wrote the book The Palaces of India in 1980. Brilliant was entranced by his combination of masculinity and beauty and felt him to be an incarnation of Apollo and found a close resemblance to a greek marble of Alexander the Great.
‡Fredda Brilliant (Polish, 1903-1999)Pandit Nehru (Jawaharlal Nehru) (1889-1964), freedom fighter and the first Prime Minister of India; Mohamed Ali Currim Chagla (Indian, 1900-1981), jurist, diplomat, and Cabinet Minister who served as Chief Justice of the Bombay High Court; Unknown SikhOne signedResin and two plasters37cm high; 57cm high; 51cm high (5)With a framed photograph of Brilliant and Nehru with the bust, also with a book: Fredda Brilliant, Biographies in Bronze (New York: Shapolsky Books, 1986)
‡Fredda Brilliant (Polish, 1903-1999)Terry Thomas (1911-1990), comedian and actorSigned and dated indistinctlyBronze48cm high (2)With a book: Fredda Brilliant, Biographies in Bronze (New York: Shapolsky Books, 1986)Fredda's husband made a film with Thomas and notes that in his private life he was an intellectual - a serious, cultured person, never using a joke in personal conversations and states that she has captured the Terry who is the one in reality, not the professional comedian~.
The Northumberland Fusiliers:- a parchment Discharge Certificate to Pte Ralph Harrigate, 1st Battalion, Northumberland Fusiliers who Attested 13th September 1877, served in South Africa and was Discharged 12th September 1889; three albums and six card mounted photographs of First World War period photographs relating to RQMS JOHN BOYD, 6th Battalion, with research; an original portrait photograph of Sgt Renwick, 1st Vol. Battn, Northumberland Fusiliers, circa 1904; a number of copy photographs of an Officer and NCO's, 1st Vol. Battn., circa 1904, in a small book and a similar card mounted portrait, Second World War; an Identity Card issued to Mrs Stephenson as a Y.M.C.A. Tent Worker at a Military Camp, Northumbrian Division; an Earl Grey's Competition Medal (qty)
An RAF Uniform to Flight Lieutenant Thomas ''Tommy'' McCarthy, comprising two peaked caps, a pair of trousers and a jacket with EII staybrited buttons, Navigator breast wing, medal ribbons for Distinguished Flying Cross, 1939-45 Star, Air Crew Europe Star with rosette, Defence and War Medal, Mess Dress jacket, waistcoat, trousers and Mess wellingtons, together with photographs, Bomb sighting book, Instructor's notes on bombing, Pilot's Handbook, photocopies of Aircrew, The Story of the Men Who Flew The Bombers in which he is mentioned, Record of Service, and a postagram congratulating him on the award of the DFC when a Pilot/Officer 21.10.44 Footnote:- Thomas McCarthy enlisted in the RAF 18.4.41, and with his crew, he attacked some of Germany's most heavily defended targets with courage and skill, he retired from the RAF 25.12.77
A Second World War British Merchant Navy Officer's Jacket, with gilt buttons and gilt lace rank cuffs, to Chief Officer John James Kenneth Lamb MN (1908 - 1942), who served aboard the S.S. Reynolds, together with a wedding photograph and his Mercantile Marine Service Association Membership Card. Footnote:- The unescorted S.S. Reynolds was hit by two torpedoes from U-504 on 31st October 1942 when approximately 210 miles east of Durban, South Africa en route to Karachi, India with general cargo. She was hit amidships and in the stern, capsized and sank within seconds. The master, thirty nine crew members and seven gunners were lost at sea.
A First World War/India Group of Seven Medals, awarded to Captain R.H.Penrose-Welsted, Indian Army, comprising 1914-15 Star (LT.R.H.PENROSE-WELSTED, 1 / 4 /RAJPUTS.), British War Medal and Victory Medal (MID) (MAJ.), General Service Medal 1918-62, with clasp S.PERSIA, India General Service Medal with clasp WAZIRISTAN 1921-24 (CAPT.R.H.PENROSE-WELSTED 2-7 RAJPUT R.), Jubilee Medal 1935 and Coronation Medal 1937, bar mounted, together with a War Medal 1939-45 and India Service Medal; also, a French Croix de Guerre 1914-18 with laurel leaf and a Memorial Plaque to SAMUEL RICHARD PENROSE-WELSTED, who was a Squadron Leader with the Royal Flying Corps/Royal Air Force, and brother to the above recipient, with two associated letters
A Memorial Plaque to Thomas Garrett Elkington, who served as 2nd Lieutenant 2nd Bn.,The Suffolk Regiment, together with medal slip and research material including photocopies of Attestation of Short Service, Medal Index Card, National Archive Material and Biography. Footnote:- Thomas Garrett Elkington was killed in action on 4th March 1916 at the age of 23 years. He is buried at Lijssenthoek Military Cemetery, Belgium. He was the second of three sons who attended Bromsgrove School. His father was Hyla Garrett Elkington, a member of the well known West Midlands manufacturing industry
A Second World War Royal Navy Trio, posthumously awarded to Steward William Richard Gwynne Humphreys, C/SR 8652, H.M.S.A.S. Afrikander, Royal Navy, comprising 1939-45 Star, Atlantic Star and War Medal, with medal slip, his buttons and rosary, also, ephemera relating to his sister's husband Ernest Paul Laurente of Jersey, who was on Consular Service in China between the wars, including his passport, Chinese Maritime Customs Memo.of Service, telegraph and a War Office Map of Yun-Nan, 1908
The Henderson Family of Aberdeen, a large collection of medals, research and ephemera, comprising:- two presentation medallions in bronze and silver to Arthur Edward Henderson 1893 and 1912; a First World War group of five medals awarded to Captain Walter Lewis Henderson 15th Lancers I.A.R.O., comprising 1914-15 Star (un-named), British War Medal, Victory Medal, General Service Medal 1918-62 with clasp S.PERSIA and MID oak leaf, and Volunteer Long Service Medal named CAPT.W.L.HENDERSON, 18 RANGOON BN., I.D.F., with numerous documents and related letters and a gold and black japanned tin travelling deed box, the cover inscribed in white W.L.HENDERSON, RANGOON, the stitched leather outer case with remains of Orient Lines, Cabin label; a silver London & Middlesex Archaeological Society medallion to Theodore Arthur Newsam Henderson, 1955, who was a Sub-Officer in the London Auxiliary Fire Service 1939-45,(his wife served with the British Red Cross), together with his NFS cap badge, dog tags, Defence Medal and hand painted presentation watercolour to N.F.S. 'B' Company Overseas etc; also relating to 74719 Flight Lieutenant J.A.M.Henderson RAF No.257 Squadron, a dedication album, newspaper cuttings, a piece of relic aircraft metal, photocopies of service records, photographs etc; and a folder of research material for compiling a Family Tree (qty)
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