A page taken from a 1971 diary on which Zacron, designer of the 1970 Led Zeppelin album sleeve ‘Led Zeppelin III’ has drawn a page of doodles and sketches in ballpoint pen. On the reverse side of the page Zacron has handwritten various notes in ballpoint pen and pencil, one of which is dated 5th February 1971 and reads ‘JIMMY PAGE?’. Provenance: from the estate of Zacron, born Richard Drew 1943 – 2012. The artist known as Zacron was born Richard Drew in Sutton, England in 1943. Zacron’s artistic career was intrinsically connected to music and during his artistic training he met first Eric Clapton at Reynolds High School, Acton, London, England and then Jimmy Page whilst at Kingston College of Art. Zacron recalled how he and Jimmy became friends: ‘Jimmy visited my studio, and in his home, we discussed art and music. We decorated our guitars with experimental materials and designs, I made liquid projections using hot oils and strobes linked to the music of Jimi Hendrix’. After winning a scholarship to the Royal Academy of Arts Schools, Zacron studied drawing from January 1965 to June 1967. Soon after completing his artistic studies Zacron briefly became a lecturer at Leeds Collage of Art under Harry Phillips, before resigning the post to found the ‘Zacron Media Centre’ in London's West End. It was after a gig at Leeds University in 1970 that the members of Led Zeppelin met with Zacron to discuss the commission of an album cover for the forthcoming release ‘Led Zeppelin III’, with Jimmy Page championing Zacron’s work. The unconventional approach was also highly complex for production and disruptive, setting back the album release date by two months. It nevertheless coincided with Led Zeppelin’s zenith of fame, they were at this time considered to be the biggest band in the world, and the delay only served to fuel anticipation. Ultimately, sales in the United States alone totalled 25 million copies, making it one of the most iconic covers in rock history. During a career which spanned five decades he made an analytical spiritual exploration of the visual arts, tackling a broad range of media and themes. His work has featured in exhibitions around the world, his art has been collected by legends of the music world and is included in many significant collections. The page measures 13.5cm x 19.6cm (5.25 inches x 7.7 inches). The condition is very good plus.
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This original drawing after Al Hirschfeld (1903-2003) depicts the legendary Judy Garland in his signature caricature style. Rendered in black ink, the artwork captures Garlands' unmistakable charm and presence with Hirschfeld's masterful use of bold lines and elegant simplicity. Known for his ability to encapsulate the essence of his subjects, Garland is presented with a dynamic flair, reflecting her enduring legacy as a Hollywood and Broadway icon. A unique detail of this artwork is a reference to Hirschfeld's playful inclusion of his daughter's name, "Nina," which appears subtly hidden on the center of Garland's sleeve. Hirschfeld often incorporated "Nina" into his works as a tribute to his daughter, creating a delightful Easter egg for admirers of his art. Al Hirschfeld is one of the most celebrated caricaturists of the 20th century. Over a career spanning 75 years, he chronicled the world of entertainment, capturing its most iconic figures with wit and elegance. His works appeared in The New York Times and other major publications, earning him the title of "The Line King." Hirschfeld's practice of incorporating "Nina" into his works became a charming tradition, challenging viewers to spot the hidden name. Judy Garland (1922-1969) remains a beloved figure in entertainment history, known for her captivating performances in The Wizard of Oz, A Star is Born, and numerous live concerts. A cultural icon, Garland's portrayal in this artwork encapsulates her vibrant personality and timeless appeal. Framed in an Art Deco style black frame with a grey and black mat. Artwork dimensions: 27.50"L x 30"H. Frame dimensions: 37"L x 39"H x 1.50"W. Artwork can be unframed and rolled for shipment.Artist: (After) Al Hirschfeld (American 1903-2003)Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.
This artwork on paper captures a serene waterway scene featuring boats docked alongside picturesque dwellings. The composition conveys a dynamic interplay of light and color, with richly textured hues of blue, rust, and ocher blending to evoke the charm and tranquility of a coastal setting. The artist's expressive brushstrokes and skillful composition lend the scene a dreamlike quality, drawing the viewer into its atmospheric depth. This offset watercolor is signed in the lower left corner, confirming its authenticity. Elegantly matted with a neutral surround and rust-colored accent, this artwork is both striking and versatile, perfect for collectors or admirers of maritime themes. Signature and date on lower left. Artwork dimensions with frame: 34.75"L x 27.75 "H x 1"W. Artwork can be unframed and rolled for shipment.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.
Angela LYLE (1946) Nude Mixed media, signed, 23cm x 17.5cm, 37cm x 32cm framed. Angela Lyle, the heiress to the Tate & Lyle company, studied Fashion design at Kingston Art College in the late 1960’s. She spent several years making stage costumes for rock musicians, which led to her opening a recording studio in Wales, which was used by musicians including Freddie Mercury, Meat Loaf, Black Sabbath and Genesis. She would often cook for them and look after them while they would rehearse. At the same time she was designing clothes and fabrics for Welsh Woollen Mills and producing hand painted silk and velvet for her own collections. She moved to Cornwall in 1985 and found constant inspiration in the countryside and coastline. She also loves life drawing and enjoys using colour and composition in this work.Her work has been exhibited in Cornwall, New Zealand, Spain and the USA.
Peter Holloway, Maurice Bishop, David Andrew Rodgers, Arthur Rackham, F. Robson, and other prints, Kristan Baggaley, Brian Albridge signed prints, Mediterranean oil, Head wearing glasses, pencil drawing, 'Study of P.K. dated '91 abstract work and two Oriental pictures; F. Collier, Winter Farmhouse with Distant Church, watercolour, signed lower right, 24.5 x 35cm, two other watercolours:- Two Boxes
The Iron Giant (1999) - Richard Bazley (lead animator) - an original Warner Bros cinema lobby card, featuring a scene from the movie. Signed and sketched on by Bazley, featuring a drawing of Hogarth. Exclusive to this auction. Measuring approximately 28cm x 35.5cm.Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original sketchbook drawing of Hogarth by lead animator Richard Bazley. Signed to the bottom right corner. Measuring approximately 30.5cm x 23cm.Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley - Original sketchbook drawing of the Giant and Hogarth by lead animator Richard Bazley. Signed to the bottom right corner. Measuring approximately 30.5cm x 23cm.Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original Warner Bros cinema lobby card, featuring a scene from the movie. Signed and sketched on by Bazley, featuring a drawing of Hogarth. Exclusive to this auction. Measuring approximately 28cm x 35.5cm.Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
ROYAL NAVY – A Collection of Letters from Captain John Brand Umfreville (1784-1820)A significant collection of correspondence and autograph letters signed by Captain John Brand Umfreville, spanning from 1799 to 1820. These letters, primarily addressed to his sister Margaret and occasionally her husband, Reverend Robert Greenwood, offer a personal perspective on the Napoleonic Wars and the War of 1812. Additional letters from notable figures such as the 2nd Duke of Northumberland and Sir George Keith Elphinstone further enhance the collection.Umfreville’s Letters from Various Ships:HMS Impétueux (formerly the French ship America)Torbay, September 22, 1799 Umfreville reflects on a letter from the Duke of Northumberland, describing it as “so fine a letter, full of advice,” which he sent to his mother. He recounts the fleet's salute on the anniversary of King George III's accession and discusses the rumours of a French Admiral preparing to engage. Despite their superior numbers, Umfreville confidently writes, “Hearts of bark are our ships and jolly mates are we, although they may be a superior force to us, we will take them instead of them taking us.”Torbay, 1799 (likely September) Addressing his sister's fears, he mentions, “I should not like to be in a French two-decker when she came alongside of us, for I believe we should soon make her sheet off, as we have as heavy a broadside as the Royal George does.”HMS TonnantCawsand Bay, September 21, 1803 Writing after a four-month cruise off the coast of Spain, Umfreville reports the capture of four prizes, including an East Indiaman. He humorously adds, “Buonaparte is not so fond of smelling English powder and shot as many people suppose, for I think he would sooner be contented eating apple pies in his own drawing room than face us English on their own ground.”HM Brig ChildersNew Providence, May 26, 1814 Now in command of Childers, Umfreville writes of his hopes for capturing American vessels: “I am in great hopes of taking some prisoner particularly as the Americans have taken off the embargo... They soon began to feel the effects of their waging war.”March 3, 1815 Reporting on the aftermath of the failed expedition to New Orleans, he writes, “we had 1,946 men killed and wounded, a great loss... They have gone to attack Mobile, which I hope will fall before they can hear of [President] Madison ratifying the treaty.”Other vessels mentioned include HMS Frisgard (Plymouth Sound, 1802) and HMS Ethalion (1812-1813), with references to convoys and the Russian fleet.Additional Correspondence: The collection features other letters of military interest, including an ALS from Rear-Admiral Peter Rainier to Sir George Keith Elphinstone, dated 24 October 1796. Rainier discusses the complex relations between the King and the East India Company, expressing confidence in Elphinstone’s ability to prevent “confusion or injustice to the officers & seamen" regarding the question of the huge booty taken by Rainier's squadron at the capture of Amboyna and Banda Neira earlier in the year. Also included are ALS from the 2nd Duke of Northumberland, dated 17 December 1798, commenting on Umfreville's promising start in the navy.Historical Notes: The 2nd Duke of Northumberland took a personal interest in Umfreville’s career, sponsoring his entry into the Navy at age 14. Umfreville rose to the rank of Captain, serving under Lord Exmouth and commanding HMS Childers from 1813 to 1815. He took part in the attack on Fort Bowyer in 1814. Following his naval service, he became a Freeman of Newcastle in 1815. He died at age 36 and was buried in Hexham, in the tomb of the Umfrevilles, Earls of Angus.This collection offers a rich insight into Umfreville’s naval career and personal life, set against the backdrop of significant historical events.
A 9ct white gold diamond hinged bangle, with round brilliant cut diamonds illusion set to the top, into a plain D section lower half. Indistinct hallmark, stamped 9k, stated diamond weight 2.21ct. Inner diameter 61mm, 11.90gCondition ReportBangle in overall good condition.On inspection, diamonds are drawing colour and tinted, however not particularly noticeable when worn.Clasp secures.Minor marks and scratches to surfaces.
Charles Schulz Production Animation Cel and Drawing (5) total items including a 1973 production cel having laser printed background and set-up drawing 'Joe Cool' depicting Snoopy from 'There's No Time for Love, Charlie Brown' matted behind acrylic and framed together, having Peanuts Film Gallery COA signed by Bill Melendez and Circle Fine Art label verso; together with Disney 'Big Top Pals' from 'Dumbo' #122/500, 'Walt's Drawing Board' #157/950, 'Moving Day' from 'Goofy Delivery' having original carton, all having Disney COAs, all matted behind acrylic in wood frames and a 1997 Disney Collectors Society 'Magician Mickey' replica production drawing Property from: an Estate, Chicago (Edison Park), Illinois Height: 9 1/4 inches, Width: 11 1/4 inches (Schulz cel and drawing, each)Frame Size: 18 inches by 33 inches Condition: no damage to artwork noted, frames having light wear Disclaimers: not examined out of frames Category: Collectibles > Disneyana Estimated Sale Time: 12:01 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7Photograph #8Photograph #9Photograph #10Photograph #11Photograph #12Photograph #13Photograph #14
20th century school Watercolour drawing Shooting scene with figures and dogs, unsigned, framed and glazed, mount aperture 23.5cm x 18.5cm, together with an etching of a spaniel's head by Robert Linnell Armitage (1898-?) entitled "A Loyal Friend", signed and titled within margin, framed and glazed, mount aperture 19cm x 14cm (2)
![David Waterson R.E. [1870-1954]Original Pencil & pastel drawing titled "In the Sand Dunes" Frame- 40x55cm.](https://cdn.globalauctionplatform.com/b1e19db6-f9e8-4677-be17-b28300fe7300/81144dcf-de33-4208-83e7-b28400bd0829/468x382.jpg)
Francis Picabia (Paris, France, 1879 - 1953)"Female nude"Charcoal drawing on paper. Signed.29,5 x 22,5 cm.The paper is quite darkened by sunlight. The white margin shown in the last picture shows the original colour of the paper. Francis Picabia was a French avant-garde artist of Spanish origin who stood out, as noted by the Museo Thyssen-Bornemisza in its artist profile, "for his free spirit and great versatility in changing styles according to his own impulses." Thus, throughout his nomadic artistic career spanning France, Spain, the United States, and Switzerland, he engaged with and left an impact on multiple contemporary styles such as Impressionism, Orphism, Surrealism, and the Dada movement. He had connections with figures like Alfred Stieglitz, Tristan Tzara, Hans Arp, André Breton, and Marcel Duchamp, with whom he formed a close friendship.His versatility is not limited exclusively to styles: he experimented with various techniques, including figurative painting, drawing, and collage. His art is characterized by shifts in themes, yet it consistently remains within the realm of "the imaginary and symbolic," as stated by the CCCB (Centre de Cultura Contemporània de Barcelona). Furthermore, his artistic exploration extended beyond painting into other disciplines, such as set design—for instance, his work on René Clair's film Entr'acte —and literature, where he collaborated with several magazines and founded others, like the magazine 391 in Barcelona.The Museo Nacional Centro de Arte Reina Sofía has numerous paintings by the artist in its collection. Countless exhibitions of his work have been held in museums worldwide, as can be seen on his official website (https://www.picabia.com/ ). Reference bibliography:- Museo Nacional Thyssen-Bornemisza. (s.f.). “Francis Picabia”. https://www.museothyssen.org/coleccion/artistas/picabia-francis- Centre de Cultura Contemporànea de Barcelona. (s.f.). “Francis Picabia”. https://www.cccb.org/es/participantes/ficha/francis-picabia/12170- Fundació Tàpies. (s.f.). “Francis Picabia. Máquinas y españolas”. https://fundaciotapies.org/es/exposicio/francis-picabia-maquinas-y-espanolas/
Namban Lacquered Chest. Japan. Early 17th century.Crafted in black lacquered pinewood (urushi), adorned with gold and silver powder decoration (makie), and inlaid with mother-of-pearl (raden) and the interior lacquered in red.13,5 x 30 x 15 cm. With regard to the technique used on this piece, it is very interesting to read the explanations by Professor Yayoi Kawamura, especially his index cards for the different Namban objects kept in the Museo de Artes Decorativas in Madrid: “this is a piece of furniture in which very small-sized decoration of a horror vacui character based on vegetation and floral motifs is developed on a base of black lacquer (urushi). The decoration is made with the technique of drawing with gold and silver powders (maki-e) and mother of pearl incrustations (raden).The furniture belongs to what is known as Namban style, which encompasses a series of furniture made from 1580-1630 in Japan with Japanese urushi lacquer destined to be exported to the European world, mainly Spain and Portugal”.The Japanese made this type of furniture exclusively for exportation, to the taste of Spanish and Portuguese merchants who arrived there and traded through the routes of the galleons that travelled mostly between Japan and Manila and from there to New Mexico, before arriving in Europe.Between 1545 and 1649 lacquer-worked chests arrived in the West and began to form part of the collections of royalty and the nobility, although on occasions they were donated to convents and churches, where they were used as reliquaries or eucharist chests for Maundy Thursday.In Spain, apart from the namban pieces kept in the Museo de Artes Decorativas in Madrid and others, such as the marvellous lectern which is kept in Salamanca, in the Dominican Museum of the Convent of San Esteban, Navarra is the province that has the greatest number of pieces of Namban art, possibly thanks to the relationship between Saint Francis Xavier and the Jesuits with Japan. Bibliographic reference:- Kawamura, Yayoi. "La laca japonesa de exportación en España. Del estilo Namban al pictórico." Archivo Español de Arte LXXXII, 325 (209): 87-93.- Kawamura, Yayoi (dir) AA.VV, "Lacas Namban. Huellas de Japón en España: IV centenario de la embajada Keicho", Ministerio de Educación y Cultura, Madrid, 2013, pages.378-381, number. 19 and pages. 388-389, number. 21
Namban” lacquer writing box, possibly in suzuribako wood. Momoyama period (1573-1615). Late 16th - early 17th century. 19 x 14,5 x 3 cm. Made for the European market. With regard to the technique used on this piece, it is very interesting to read the explanations by Professor Yayoi Kawamura, especially his index cards for the different Namban objects kept in the Museo de Artes Decorativas in Madrid: “this is a piece of furniture in which very small-sized decoration of a horror vacui character based on vegetation and floral motifs is developed on a base of black lacquer (urushi). The decoration is made with the technique of drawing with gold and silver powders (maki-e) and mother of pearl incrustations (raden).The furniture belongs to what is known as Namban style, which encompasses a series of furniture made from 1580-1630 in Japan with Japanese urushi lacquer destined to be exported to the European world, mainly Spain and Portugal”.The Japanese made this type of furniture exclusively for exportation, to the taste of Spanish and Portuguese merchants who arrived there and traded through the routes of the galleons that travelled mostly between Japan and Manila and from there to New Mexico, before arriving in Europe.Between 1545 and 1649 lacquer-worked chests arrived in the West and began to form part of the collections of royalty and the nobility, although on occasions they were donated to convents and churches, where they were used as reliquaries or eucharist chests for Maundy Thursday.In Spain, apart from the namban pieces kept in the Museo de Artes Decorativas in Madrid and others, such as the marvellous lectern which is kept in Salamanca, in the Dominican Museum of the Convent of San Esteban, Navarra is the province that has the greatest number of pieces of Namban art, possibly thanks to the relationship between Saint Francis Xavier and the Jesuits with Japan. Bibliographic reference:- Kawamura, Yayoi. "La laca japonesa de exportación en España. Del estilo Namban al pictórico." Archivo Español de Arte LXXXII, 325 (209): 87-93.- Kawamura, Yayoi (dir) AA.VV, "Lacas Namban. Huellas de Japón en España: IV centenario de la embajada Keicho", Ministerio de Educación y Cultura, Madrid, 2013, pages.378-381, number. 19 and pages. 388-389, number. 21
Karl Gerich - Deck of 32 playing cards, Milanese, with original box. Mr Rayner states in his notes: 'Pack drawing heavily on the influence of the Milan pattern, with 'sea monster' aces. Said to be limited to 6 copies - Tregear reference. 2nd image is from WOPC and repeats just 6 packs made.Provenance: The Christopher Rayner Collection
*Pietro Annigoni (1910-1988) red chalk drawing, head of a man, signed, 14cm x 9.5cm, in glazed gilt frameProvenance: Frost & Reed. Brandler Galleries, 1976 The work has not been removed from the frame and therefore we are unable to state if it has been laid down or not, although it seems unlikely. A pin hole along the top edge, otherwise good original condition and ready to hang.
Julia Paula, Denarius, 219-20, draped bust right, rev. Concordia seated left, holding patera in extended right hand, star in field, 2.09g/12h, (RIC Elagabalus 211; RSC 6a); Julia Soaemias, Denarius, 218-22, draped bust right, rev. Venus, diademed and draped, standing left, holding apple in extended right hand and sceptre in left hand, star in field, 3.51g/6h (RIC Elagabalus 241; RSC 8); Julia Maesa, Denarii (2), 218-22, draped bust right, rev. Pudicitia seated left, drawing veil over face with right hand and holding sceptre in left hand, 3.28g/12h (RIC Elagabalus 268; RSC 36); similar, rev. Felicitas standing left, sacrificing with patera over lighted altar and holding long caduceus, star in right field, 2.91g/7h (RIC Elagabalus 271; RSC 45) [4]. Fine or better £120-£150 --- Provenance: Third bt Alan Cherry
Otacilia Severa, Antoninianus, 244, diademed and draped bust right, rev. Pietas, veiled, standing front with head left, holding out offering, 4.47g/1h (RIC 120b; RSC 30); Æ Sestertius, 246, diademed and draped bust right, rev. Concordia seated left, holding patera and double cornucopia, sc in exergue, 22.64g/1h (RIC 203a); Herennia Etruscilla, Antoninianus, 250, diademed and draped bust right, rev. Pudicitia seated left, drawing veil from face and holding sceptre, 3.99g/6h (RIC 59b; RSC 19) [3]. Fine or better £100-£120
Trajan Decius, Antoninianus, 250-1, radiate, draped and cuirassed bust right, rev. Dacia, draped in long robe, standing left and holding standard, 3.02g/7h (RIC 37c; RSC 32); Herennia Etruscilla, Antoninianus, 249-51, diademed and draped bust right, on crescent, rev. Pudicitia seated left, drawing veil with right hand and holding sceptre, 3.65g/5h (RIC Trajan Decius 59b; RSC 19); Mariniana, Antoninianus, 257, veiled and draped bust right, on crescent, rev. peacock, looking right, tail spread, 3.67g/7h (RIC 4; RSC 4); Gallienus, Antoninianus, Lugdunum, 258-9, radiate and cuirassed bust right, rev. trophy between two captives, 3.61g/5h (RIC 18f; RSC 308) [4]. First very fine, others fine £120-£150
A framed and glazed abstract watercolour on paper by Leslie William Orriss, signed and dated 1963 to the lower right, along with an ink drawing on paper by Peter Campbell (1931-1989), figures in a rural landscape, signed to the lower right in a glazed gilt frame with a sketch and a label to the reverse. H.46 W.37cm
A GROUP OF AUSTRALIAN INTEREST ITEMS comprising a ceramic sculpture of a large red kangaroo in a leaping position, etched 'Studio Australia' to the base height 31cm x length 34cm, a hand painted souvenir boomerang in aboriginal style, length 47cm, a hand painted plate depicting a fish in an aboriginal style, height 22cm x width 29cm, and a framed drawing of an aboriginal style turtle on slate, height 14cm x width 14cm, retail sticker to the reverse (4) (Condition Report: overall fair condition)
HELEN STEINTHAL (1911-1991), a group of pictures comprising two drawings the first depicts nude female figures frolicking in the sea, unsigned pencil on paper, approximate size 21cm x 27cm, the second depicts nude female figures surrounded by foliage, unsigned pencil on paper, approximate size 27cm x 41cm, (the first drawing has some foxing), and a picture showing three abstract figures, depicting a female nude in repose on the land, a nude female figure in the sea and a winged nude figure in the sky, initialled bottom right, mixed media on paper, approximate size 39cm x 27cm, together with a nude figure on a horse verso, mixed media on paper, approximate size 39cm x 29cm, (dirty marks to the drawing verso, frame marked in places), together with four female figure studies, comprising a seated nude leaning on her arms, signed top right black ink on paper, approximate size 26cm x 35cm, a seated nude resting on one arm, blue ink in paper, a standing nude depicted from behind, blue ink on paper and a seated nude wearing a cloak, blue ink on paper, all signed to the upper edge, (the seated nudes have some foxing), together with a painting attributed to Helen Steinthal 'Mythical Figures', two mythical figures are surrounded by multiple human figures and foliage, mixed media on paper, attribution verso, approximate size 49cm x 40cm, frame size 67cm x 58, (small chips and marks to the frame) (8) (Condition Report: most obvious damage is mentioned in the description)
A stunning framed oil painting by Santos Leina, dated 1995, capturing a tranquil urban street scene with remarkable attention to architectural detail and human activity. This piece features a warm, atmospheric palette dominated by earthy tones of ochre, sienna, and umber, complemented by soft, muted grays and subtle golden highlights. The composition is rendered in a romantic, impressionistic style, with skillful brushwork that brings out the texture of the historic buildings and cobblestone streets. The interplay of light and shadow creates a dramatic depth, drawing the viewer into the winding alleyways and toward the imposing church tower in the background. Figures scattered throughout the scene add life and movement, enhancing its narrative quality. Signed "Santos Leina '95" on the lower left. The artwork is professionally framed with a textured gilt border and a rust-toned mat, accentuating its timeless appeal. Measures Framed: 29"L x 41"H. Artist: Santos LeinaDimensions: See DescriptionCondition: Age related wear.
A striking color lithograph on paper by Theo Tobiasse, titled titled Je Suis Si Pres De Tes Desirs (I Am So Close to Your Desires) that showcases the artist's signature style, blending figurative and symbolic imagery with bold colors and expressive forms. The central figure, adorned with intricate patterns and a radiant palette, dominates the composition. The work features playful secondary elements, such as floral motifs, abstract symbols, and rich textures, embodying Tobiasse's mastery of storytelling through art. Theo Tobiasse was an Israeli-French artist celebrated for his deeply personal and emotional works that often reflected themes of exile, Jewish identity, and the human condition. Born in Jaffa in 1927, Tobiasse and his family fled to Paris in 1931, later enduring the harrowing years of World War II in hiding. Following the war, he pursued a career in graphic design before dedicating himself fully to painting in the 1960s. Tobiasse's work is characterized by its narrative quality, bold use of color, and symbolic imagery, drawing from his memories, heritage, and imagination. His artistic influences range from Marc Chagall to Pablo Picasso, and his unique style merges elements of expressionism, surrealism, and folk art. Today, his works are held in prestigious collections worldwide and continue to resonate with collectors for their emotional depth and distinctive aesthetic. The lithograph is numbered 214/250 in the lower left and signed by the artist in the lower right, confirming its limited-edition status. The work is framed under glass with a complementary gold-tone frame and linen mat, enhancing its presentation. Artwork dimensions with frame: 45.25"L x 59"H x 2"W. Artwork can be unframed and rolled for shipment. Artist: Theo Tobiasse (Israeli-French, 1927-2012)Issued: 20th centuryDimensions: See DescriptionCountry of Origin: Israel-FranceCondition: Age related wear.
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66492 item(s)/page