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Click here to subscribeA pair of 19th century Grand Tour type Sienna marble style silhouette portraits of Roman Emperors, in brass frames, 13 x 9 cm (2)sienna tyle marble on a red marble ground, naming is engraved/scratched on, look okay which you should be able to see in the images, both frames with solder marks to the back
17th century | height: 21 cm | region: Rome | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This 17th century Roman albarello is an excellent example of faience pottery of the time. It is decorated with blue underglaze painting with rich ornamental motifs, typical of Italian ceramic production of the time. The albarello has a traditional bulbous shape with a narrowed neck, which facilitated the storage of medicines. The inscriptions on the jar, which are part of its decor, refer to the contents that were kept in the albarello. Decorative elements such as floral patterns and heraldic emblems enhance the aesthetic value of this jar, which served both practical and decorative purposes in the apothecaries of the time. | condition: restored | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1jjvFlbkrnAhqEKX1ID1dZfBdaJd4ozpg?usp=sharing
17th century | height: 22 cm | region: Rome | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This 17th-century Roman albarello is an example of masterful faience pottery used in pharmacies at the time to store medicines. The jar is decorated with a typical blue underglaze painting, which includes rich floral ornaments and decorative elements, characteristic of Roman ceramic production of the time. The albarello has a traditional slender shape with a widened neck and a gently bulbous body, which facilitated the handling and storage of apothecaries. This historical artifact represents not only a functional object, but also an aesthetic object that was part of the pharmacy interiors of the time, and is highly valued among collectors of antique ceramics. | condition: restored | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1smDUR7iqs2GMFAo5BqYMN2ZwWF5ydGpc?usp=sharing
Novo-Hispanic School. Mexico. Late 17th century. Nicolás Correa Juárez Circle."The Mass of Saint Gregory"Oil on copper. 29,5 x 23,8 cm.An exquisite and very unusual, unique depiction of the well-known Mass of Pope Saint Gregory, as the vision of the Blessed Souls being rescued from Purgatory by angels and taken to heaven also appears in the scene. The composition is designed to save space, as it could have been distributed over two sections of a small diptych. To the right of the scene, as is customary, we see a door with a landscape and figures, and/or members of the papal entourage or donors joining in the main act of the Eucharistic miracle. The ‘pray for the souls, present and absent, and pray for their tribulations’ scene is depicted with a great deal of light in order to attract attention. The painter depicts the apparition of Christ to Pope Saint Gregory the Great while he is celebrating mass on Christmas Day in the Roman Basilica of the Holy Cross in Jerusalem with detail and finesse. His assistants also appear, one carrying the cross to guide them and the other with a halo, who also participate in the miracle. Christ, surrounded by the symbols of his Passion, shows his stigmata to assuage the doubts of some of the people present or the Pope's own doubts about Transubstantiation. In some paintings blood appears to flow from the arma christi and is collected in a chalice, but not in this case.Due to its small format, the painting could have been a devotional copper commissioned by a member of the Church, with the aim of moving his soul to devotion and capturing the essence and depth of the Eucharistic celebration at all times, and, at the same time, the vision of hell/purgatory. With it, following the catholic doctrine, he would not forget the sacrament of forgiveness and mercy and would save all souls from their sins and evils that keep them in a constant purgatory. In short, a small copper that embodies the symbol of the Eucharist as a renewal of Christ's sacrifice to save humanity.
Castillian School. Circa 1500."Saint Quiteria and Saint Barbara"Oil or tempera with gold background on panel. Fragment of an altarpiece, possibly belonging to a predella.37,5 x 40,5 cm.Even though we have not been able to recognise the master behind these two saints, his great artistic skill is evident. The faces of both saints are delightful and of unfathomable sweetness.An exceptional panel that shows the splendour of the Aragonese Renaissance, both in the colour palette, with those shimmering tones on the tunics, as well as in the physiognomy of the models and the flesh tones on their faces and hands in tempera and oil. It is also evident in the perfect gold ground-covered surface for the backdrop, decorated with plant motifs and pointillé, a decorative technique used on gold which consisted of engraving different drawings with small chisel strokes or pricks, thereby pushing down the smooth gilded surface or the stucco mass. There is no doubt as to which saints they are, as they are named on their limbs, Quiteria and Barbara.Quiteria was alive during the 2nd century A.D. The daughter of a pagan Roman governor, her mother gave her up for adoption, along with her eight siblings, to prevent her honesty from being questioned and to preserve her virginity. According to Christian doctrine, this adoption brought her closer to God. Always linked to prayer, as she appears reading a book of hours, she would eventually meet her parents. Tradition has it that her father, as soon as he learned of her profession of faith, had her head cut off.Barbara came from Nicomedia, on the Anatolian Peninsula, in the late 3rd and early 4th centuries AD. Highly intelligent, she was the daughter of Diocorus, a wealthy pagan man. Through her reading and studies she questioned her paganism, and because of her religious concerns, she was instructed in the catechism and converted to the Christian faith. Because of her physical beauty, she had no shortage of suitors, but she kept herself a virgin in order to consecrate herself to God. Her father had a tower built to keep her from the eyes of strangers. On one of her father's journeys, she herself ordered the workmen to build a third window (she only had two) to honour the Holy Trinity. She was tortured for her faith, but she did not die as she received help and care from heaven. As she refused to worship the pagan gods, her father finally cut off her head. After decapitating her, her father was struck by lightning and no trace of his body was left.In the panel, she is shown holding her most characteristic attribute, the tower in which she was imprisoned, at a reduced scale on her hand, as if it were a model. A moulding runs along it and frames it in the manner of the Gothic lines to strengthen a wall or window, in which verticality predominates over horizontality, underlining the mysticism of the figures it contains. This panel would clearly have formed part of the ‘flos sanctorum’ of the lower predellas or side sections of an altarpiece.Finally, it is interesting to note that marks of the gouge can still be seen on the back of the boards which are assembled horizontally and which form the panel, and the remains of rabbit glue dissolved in water as a grout can be seen, erasing imperfections and smoothing out the pine boards, the most advanced material used at that time for this type of work.
Castilian school. 16th century.‘Temperance’ and “Justice”.Pair of carved, walnut wood reliefs. 47,5 x 42,5 cm. each. This pair of incredible quadrangular white walnut wood reliefs representing Temperance and Justice must have originally belonged to a liturgical piece of furniture which would also have contained the other two Cardinal Virtues, i.e. Fortitude and Prudence. It is most likely that they were part of a set of Renaissance pews - without categorically ruling out their belonging to a cupboard or a door - as representations of the Virtues were quite common in the pews of this period due to their moralising character, as we must bear in mind that the moral conduct of the Human Being rested on them.Given the technical characteristics of both reliefs, the remarkable skill and finesse with which they are carved, and the fact that sculpting in walnut and the making of pews and other ecclesiastical furniture were not commissioned from just any master, it seems clear that their sculptor was a relevant sculptor of the Castilian school and that they were carved around the second third of the 16th century.Both Virtues have been depicted, as is often the case, as women of classical appearance, almost like Roman matrons or noble maidens with sophisticated headdresses. They wear wide, fine garments completely covered with small pleats that make the edges of the garments extremely faceted.The wet cloth technique is simulated in some areas, with which not only the plastic and volumetric values of the reliefs are highlighted but also the voluptuousness of the women, since through these fine garments the rounded forms of their bodies are suggested. As a general rule, they are worked in bas-relief, but in the most relevant areas, such as the heads, hands and attributes, the relief acquires greater volume, close to being in the round, but never quite reaching it.The heads are small, round and have expressive faces, serious in the case of Justice and more serene in that of Temperance. They have slanting eyes, carved with great detail both in the iris and the eyelids, and above them, sharp curved eyebrows that give them personality, as well as a chiaroscuro in the area of the eye sockets that enhances their volume. The facial features comprise smooth foreheads, broad, elongated noses, marked nasolabial folds, small open mouths with thick lips and bulging cheekbones. The ears are not visible due to the elaborate headdresses that almost completely obscure their hair. In the case of Justice, we can see a scarf that leaves free a couple of snaky locks that slide down her temples, and a ribbon that the anonymous sculptor models with great skill, creating a series of curves and counter-curves while displaying it from different profiles with multiple folds. For her part, Temperance also wears a kind of veil that leaves free a pair of locks of similar characteristics to those of Justice. Above the veil, the end of which seems to be moved by the wind, is a winged head of a putti, one of the most characteristic elements of Renaissance vocabulary. This same putti is found on Justice's neckline, almost like a brooch. Finally, Temperance wears a kind of cloth hanging from the ends of the buckles that cover her ears.Both women are perfectly identified both by the Latin signs carved on the upper part of the panels - ‘TEMPERATIA’ and ‘IVSTICIA’- and by the attributes they hold in their hands. Thus Justice elegantly holds a scale in her right hand - the allegory of the equality with which she must act - while in her left hand she wields a sword - the symbol of the strength with which she imposes herself - whose long blade occupies the entire height of the panel. Temperance, on the other hand, is seen pouring water from a jug over a wide goblet filled with wine in order to temper what is too stimulating.The conception of the two figures differs from each other, for while Temperance presents a closed composition, withdrawn in on itself, as well as having a calmer character as it embodies the Virtue it is representing, Justice is conceived with an open composition -see the arms- and shows a more decisive and dynamic spirit. Both differences in state, tranquillity and impetuosity, can be seen in another specific detail that they both share: the way in which the wind moves or waves the scarf or ribbon that covers their hair. We would like to thank Dr. Javier Baladrón, doctor in Art History, for the identification and cataloguing of this work.
Attributed to Luis Juarez (Mexico, circa 1585 - 1639)"Saint Augustine of Hippo and Saint Gregory the Great, Fathers of the Church, and The Four Evangelists"Set of six oils on copper.22.5 x 17 cm (2) each, and 21 x 16 cm (4) each.A magnificent collection of 6 paintings on copper depicting the Evangelists with their iconic symbols and two of the four Fathers of the Church. Matthew with the angel, a man with wings highlighting the humanity of the Son of God; Mark with the lion, a symbol of strength, courage, and royalty; Luke with the bull, a beast of burden, calm and humble, and John with the eagle, the mystic who sees the world from the heights.The two Fathers of the Church depicted are Saint Gregory the Great and Saint Augustine of Hippo. (Possibly the other two, Saint Jerome of Stridon and Saint Ambrose of Milan are missing to complete the octet).Faux ovals contain phrases from their writings, representative of the Gospels or Roman liturgy: "Book of the Genealogy of Jesus, Son of David"; "Behold, I send an angel before you"; "who is famous among all the churches for his preaching of the gospel"; "In the beginning was the Word, and the Word was with God"; "Order our days in Your peace"; and "No one should pass without penance."With vibrant and lively colours, creating a cheerful and dynamic rhythm, the paintings display meticulous attention to detail, as well as soft light and shadows. The figures exhibit an idealised yet "almost real" beauty, balanced and serene, capturing the viewer as a contemplative observer of the saints of the church to imitate and follow.
1731 | PUBLISHER: Vetero - Pragae, Matthias Hoger | NUMBER OF PAGES: 456 + 212 + 304 | LANGUAGE: Latvian, German, Czech | DIMENSIONS: 250 x 200 mm | THE FULL TITLE OF THE WORK: Rituale Romano - Pragense. Jussu et Authoritate Reverendissimi ac Celsissimi Principis, domini, domini Ferdinandi e Comitibus de Khunburg, Dei et Apostolicae sedis gratia Archi - Episcopi Pragensis, Legati Nati, Sacri Roman Imperij Principis.Inclyti Bohemiae Regni Primatis, nec con Carolo Ferdinandeae Universtatis Pragensis perpetui Cancellarij. | NOTE: full - page copperplate engravings | CONDITION: last 12 pages manuscript, pages 89 - 130 missing, light insect damage | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
A hardstone intaglio necklace, intaglios Roman, 1st-3rd century AD and later, set with a sequence of thirteen ancient Roman and 18th century intaglios, each in a gold collet setting, to a double back chain, the intaglios including: Hermes in profile and lady in profile, carnelian, both 18th century; Hercules tearing a youth from horseback, amethyst, 18th century; a nude warrior bearing arms, possibly Achilles, chrome chalcedony, 1st-3rd century AD; a young satyr with hunting stick (pedum), bloodstone, Roman, 1st-2nd century AD; the Nemean lion, carnelian, 1st-2nd century AD; two juxtaposed satyr masks, carnelian, 2nd-3rd century AD; an old satyr in profile, carnelian, 18th century; a charioteer in biga, carnelian, 2nd-3rd century AD; a figure of Victory seated on a cuirass holding a wreath, chrome chalcedony, 1st-2nd century AD; a seated lion, bloodstone, 18th century; a standing lion within an orlo etrusco border, carnelian, Late Etruscan/Italic 2nd-1st century BC; and Cupid kneeling with an offering before a statue of Priapus, Roman, 1st-2nd century AD, largest intaglio 1.2 x 1.8cm, necklace length 41cm
A gold and enamel fob watch and chain, late 19th/early 20th century, the fob watch with a white enamel dial and Roman numeral indicators, the reverse applied with painted enamel depicting Cupid with a rake, tending a rose garden, accented with rose-cut diamonds, suspended from a later brooch modelled as a fish in multicoloured enamel, on a fancy link watch chain in 9ct gold, watch 3.2cm including suspension hoop, French assay marks for gold, numbered 5948, brooch length 2.4cm, watch chain length 46cm, British hallmarks for 9ct gold
Ebel, a lady's gold wrist watch, 'Beluga', ref. 866960, the circular cream dial with gold Roman numeral indicators and hands, to an integrated gold link bracelet with deployant clasp, case width 2.4cm, bracelet length 15.5cm, quartz movement, signed Ebel, numbered 866960 and 42100523, Swiss assay marks for 18ct gold
American Watch Co., a gold pocket watch, late 19th century, full hunter, the case intricately engraved with foliate scrolls and engine turned patterning, a bird and a pastoral scene on the front and back respectively, opening to reveal a white enamel face with black Roman numeral indicators and a subsidiary seconds dial with blue steel hands, length 6.3cm including suspension hoop, dial signed American Watch Co., case interior stamped PD&K, Patent June 9th 1874, numbered 62656, stamped maker's mark, movement signed American Watch Co., Riverside, Waltham Mass., numbered 821670, gross weight 67 grams
Josef Herman (1911-2000) Watercolour on paper “Man on the Shore”, with copy of the Albany Gallery postcard receipt, 19cm x 23cm From the collection of the late Maurice Costley Josef Herman was a Polish/British contemporary artist. Herman was one of the last European expressionists. He was a figurative artist who painted working people. He came to Great Britain in 1940 and had his first exhibition in Scotland. In 1943 he moved to London and had his first London exhibition with L S Lowry. In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990.
Norman Clark glass vase, flattened oval with abstract design, iridescent blue on red and yellow mottled ground, etched signature to edge of footrim, with Peter Dingley Gallery label verso, 17cm high From the collection of the late Maurice Costley Condition ReportOverall in good order, very minor surface wear.
Josef Herman (1911-2000) Watercolour on paper “Miners”, 20cm x 25cm From the collection of the late Maurice Costley Josef Herman was a Polish/British contemporary artist. Herman was one of the last European expressionists. He was a figurative artist who painted working people. He came to Great Britain in 1940 and had his first exhibition in Scotland. In 1943 he moved to London and had his first London exhibition with L S Lowry. In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990. Condition ReportCrease to lower left corner. Crinkle to left of foreground figures. Slight crease/warp to top left corner. Another slight crease/crinkle to lower centre left. Faint line to lower left corner, maybe a mark.
Carel Weight CBA RA (1908-1997) Oil “Freezing boy”, signed, Fosse Gallery label and with label 'Sincerely Carel Weight', and with Fosse Gallery receipt dated 1999 and inscribed 'Provenance: Artist's Studio', 41cm x 13cm From the collection of the late Maurice Costley Carel Weight was born in Paddington, London of German and Swedish descent. He studied firstly at the Hammersmith School of Art and then Goldsmiths College. During WWII he was an official war artist travelling to Italy and Greece, depicting the work of the British Army restoring everyday life after the war ended. Known for his suburban scenes, often with distorted figures striding out of the canvas, he also painted landscapes and portraits. He talked about his paintings being concerned with all the human emotions. He was a senior member of the Royal Academy and taught at the Royal College of Art. His work can be found at the Tate, Victoria and Albert Museum and the Imperial War Museum.
Ian Houston (1934-2021) Oil on board “Summer Clouds, Southwolds”, signed, Mandell's label verso, 51cm x 76cm With Mandell's Gallery receipt dated 1981. From the collection of the late Maurice Costley Condition ReportRecto: Good condition, very minor surface dirt. Frame and slip in good order although the slip has wear and a little dirty. Verso: in good order, a couple of surface marks on board. Gallery and Artist's label on centre of board.
Campbell Archibald Mellon (1878-1955) Oil on board “Boating Pond at Gorleston”, figures on beach with steam vessel and lighthouse in background, with Mandell's Gallery label verso and Mandell's Gallery invoice dated 1979, 21,5cm x 29cm From the collection of the late Maurice Costley Campbell Mellon was born in Berkshire and began his artist’s career in 1903. Moving to Norfolk he was taken under the wing of Sir John Arnesby Brown. He is known for his coastal scenes which are impressionistic, light and breezy, usually including busy little figures enjoying the beach. He was a member of the Royal Society of Oil Painters and exhibited at the Royal Academy. Condition ReportRecto: paint surface overall in good condition, very minor surface wear, canvas slip slightly dirty, fraying upper left corner. Odd slight but stable crack in mid left side of the frame. Verso: Board fixed with nails and cork. No covering tape. Board in good condition, inscribed August 3.30 in pencil. Dealer's label.
John Alfred Arnesby Brown (1866-1955) Oil on canvas "Wells - Next - The - Sea, Norfolk", sail boats in the harbour, signed, with Mandell's label verso and Mandell's Gallery invoice dated 1989, 63cm x 76cm From the collection of the late Maurice Costley John Arnesby-Brown was a British landscape artist. Influenced firstly by the Barbizon School and then the Impressionists, Arnesby-Brown is known for his pastoral and coastal scenes, quite often including cattle, in the “en plain air” tradition. He came to painting after his career as a county football player in Nottinghamshire. He studied at the Bushey School of Art and then the Nottingham School of Art. He spent time in Cornwall and also Norfolk. He had a solo exhibition at the Leicester Gallery in London 1909 and his work is also represented in many public collections including the Tate. Condition ReportIn good decorative order overall. Minor surface wear. The upper edge of the reverse of the canvas with wear and small tear (at reverse, so does not effect front). Uninspected out of frame. The frame itself is lacking one piece of corner ornament and has some chipping to gilding.
James Fullarton DA (b.1946) Oil "Study of Mushrooms", signed, Richard Hagen Gallery label and with Richard Hagen receipt dated 1994, 9cm x 19cm From the collection of the late Maurice Costley James Fullarton is a Scottish artist born in Glasgow. He studied at the Glasgow School of Art. He works in both acrylic and oils and his oeuvre includes portraiture, landscape and still life, working from his home in Ayrshire. With his keen eye for colour, his work can be seen as following on from the Scottish colourists of the early 20th century. He has exhibited at the Royal Glasgow Institute of Fine Arts and with the Royal Scottish Academy.
Josef Herman (1911-2000) Watercolour on paper “Walking”, Albany Gallery label verso and with a copy of the Albany Gallery receipt dated 1998, 21cm x 14cm From the collection of the late Maurice Costley Josef Herman was a Polish/British contemporary artist. Herman was one of the last European expressionists. He was a figurative artist who painted working people. He came to Great Britain in 1940 and had his first exhibition in Scotland. In 1943 he moved to London and had his first London exhibition with L S Lowry. In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990.
Campbell Archibald Mellon (1878-1955) Oil on board “Gorleston Sands - A June Morning”, signed, Polak Mandell's Gallery of Jersey receipt dated 1983, 62cm x 75cm From the collection of the late Maurice Costley Campbell Mellon was born in Berkshire and began his artist’s career in 1903. Moving to Norfolk he was taken under the wing of Sir John Arnesby Brown. He is known for his coastal scenes which are impressionistic, light and breezy, usually including busy little figures enjoying the beach. He was a member of the Royal Society of Oil Painters and exhibited at the Royal Academy. Condition ReportRecto: Paint surface has some slight cracking in three sections of the sky on the left hand side, otherwise on good order. Frame in good condition with slight wear and tear, very small loss of gold surface. Canvas slip fine. Verso: Stretcher in good condition, no signs of wear and tear on canvas. Old auction or stock labels on frame.
Richard Eurich RA (1903-1993) Oil on board Children on the Beach, 1989, with Fosse Gallery receipt dated 2008, from 2008 exhibition and with exhibition leaflet showing the painting, 45cm x 60cm From the collection of the late Maurice Costley Richard Eurich was a British painter who trained at the Bradford School of Arts and Crafts and then the Slade School of Art. During WWII he was an official war artist for the Admiralty. During this time he painted reconstructions of battles, survival stories and commando raids. However Eurich is hard to define as he painted a wide range of subjects, many works being panoramic with a mystical quality and a sense of wonder. However he is mostly known for his seascapes and paintings of boats, having spent much of his life living in small fishing ports on the south coast of England. He had many one man shows and in 1933 the Redfern Gallery in London became his official dealer and then later Arthur Tooth and Sons. He taught part time at the Camberwell School of Art and also the Royal Academy. His work is in many public collections, in England and abroad, including the Government Art Collection, Imperial War Museum, Tate Britain, MoMA, New York, and National Gallery of Canada .
Josef Herman (1911-2000) Watercolour on paper “Two figures”, Albany Gallery label verso, with an Albany Gallery postcard receipt, 23cm x 16cm From the collection of the late Maurice Costley Josef Herman was a Polish/British contemporary artist. Herman was one of the last European expressionists. He was a figurative artist who painted working people. He came to Great Britain in 1940 and had his first exhibition in Scotland. In 1943 he moved to London and had his first London exhibition with L S Lowry. In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990.
George Rowlett (b.1941) Oil “Walmer Beach, Bathers”, 2000, signed, labelled and dated verso, purchased from Art Space Gallery by Craigie Aitchison, Art Space Gallery label verso, 11cm x 16cm From the collection of the late Maurice Costley George Rowlett was born in Scotland, studied in Grimsby and the Camberwell School of Art and also the Royal Academy. He studied under Frank Auerbach, who’s influence is seen in Rowlett’s work. He uses a plate knife with bold strokes with thick layers of paint creating a textural work. He is known for his landscapes and seascapes. George Rowlett exhibits internationally and can be found in many well known collections including the Hiscox Collection and the Nuffield Foundation.
Mary Rich (1940-2022) small studio pottery vase, shouldered with lustred brown rings and gold geometric decoration, 7.5cm high From the collection of the late Maurice Costley Condition ReportOverall in good order. There is some very slight wear to the gilding and lustre, small firing blemish at mid-section of body.
Campbell Archibald Mellon (1878-1955) Oil on board “Children on the Beach at Gorleston 1929”, figures on beach, with Mandell's Gallery label verso and Mandell's Gallery copy invoice dated 1979, 22cm x 29cm From the collection of the late Maurice Costley Campbell Mellon was born in Berkshire and began his artist’s career in 1903. Moving to Norfolk he was taken under the wing of Sir John Arnesby Brown. He is known for his coastal scenes which are impressionistic, light and breezy, usually including busy little figures enjoying the beach. He was a member of the Royal Society of Oil Painters and exhibited at the Royal Academy. Condition ReportRecto: Paint surface overall good but slight pin prick paint loss in sky left side. Small restoration in sky - right hand side. Frame good condition, canvas slip fraying upper left hand and lower right hand corner. Verso: Board in good condition, pin and cork with no tape covering. Dealer's label, inscribed Mid September 1929. 3.30 pm
Josef Herman (1911-2000) Watercolour on paper “Standing female nude”, with Flowers East gallery label, 28cm x 18cm From the collection of the late Maurice Costley Josef Herman was a Polish/British contemporary artist. Herman was one of the last European expressionists. He was a figurative artist who painted working people. He came to Great Britain in 1940 and had his first exhibition in Scotland. In 1943 he moved to London and had his first London exhibition with L S Lowry. In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990.
Elizabeth Fritsch (1940) stoneware vase, oval, ‘Blown Away, Moon Pocket Vase’, 28cm high From the collection of the late Maurice Costley Acquired from the Fine Art Society, New Bond Street, London, Elizabeth Fritsch Exhibition, 12th-27th November 2008, cat. no. 7. Condition ReportOverall in good order. Some minor glaze scratching to underside of base and minute surface wear overall. No restoration or damage apparent when inspected under UV light.
David Leach OBE (1911-2005) studio pottery lustre shallow dish, willow and crane pattern, beige and bronze tenmoku glaze, impressed DL mark, 38cm diameter From the collection of the late Maurice Costley Condition ReportOverall in good order. There is some typical glaze crazing to the underside, some areas of slight misfiring to the glaze, with two very small patches of the inner rim lacking glaze.
Craigie Aitchison CBA RSA (1926-2009) Limited edition artist's proof screenprint “Candy Dead”, signed verso 2002, 30cm x 25cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health (following an operation) is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.
Craigie Aitchison CBA RSA (1926-2009) Oil on canvas “Arum Lily”, 2004, with Timothy Taylor Gallery label verso and with Timothy Taylor Gallery receipt dated 2005, 39cm x 30cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health following an operation is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland. Condition ReportRecto: Very good condition, no signs of dirt/wear and tear. Free mounted. Under UV - Artist's over paint upper right corner. Frame: Very good condition. Verso: Back board cut out to reveal canvas and stretcher, both in very good order. Tim Taylor Gallery label lower centre.
Stephanie Cunningham stoneware model, dog in the wind, 8cm high x 21cm long (the tail has now broken), with receipt from Stephanie Cunningham dated 6th October 2014 From the collection of the late Maurice Costley Condition ReportThere is a chip to the tip of the tail, some light fritting to glaze, otherwise ok.
Liberty Heritage limited edition pewter and enamel clock, 188/250, design no. 9808, with enamelled face, within rounded rectangular border, stylised foliage to the trunk, 23cm high From the collection of the late Maurice Costley Condition ReportThere are some small scratches and wear to the casing. The battery pack inside is loose. The hands are not currently moving, but it may just need a new battery - I can't tell without changing the battery.
Campbell Archibald Mellon (1878-1955) Oil on board “Beach Scene at Low Tide - The Children's Corner, Gorleston”, figures on beach beside harbour wall, signed, with Mandell's Gallery label verso and Mandell's Gallery invoice dated 1981, 49.5cm x 59cm From the collection of the late Maurice Costley Campbell Mellon was born in Berkshire and began his artist’s career in 1903. Moving to Norfolk he was taken under the wing of Sir John Arnesby Brown. He is known for his coastal scenes which are impressionistic, light and breezy, usually including busy little figures enjoying the beach. He was a member of the Royal Society of Oil Painters and exhibited at the Royal Academy. Condition ReportIn good order overall. The artist has signed the painting twice and has overpainted his initial signature in the lower foreground and repositioned his signature slightly to the left, it appears to be original, but both signatures are visible, please see additional image. Other than some very minor surface wear this is in good order. The mount is quite dirty, worn and discoloured. There are some repairs and regilding to the giltwood and gesso frame. Uninspected out of the frame. Inspected under UV there is some restoration in patches across the sky. Verso: Back of the work has a protective covering.
Eileen Cooper OBE, RA (1953) Oil on canvas “In Night Shade”, female nude with foliage, with Rabley Contemporary label verso, with letter from the Rabley Gallery regarding the purchase and related paperwork, 90cm x 60cm, unframed From the collection of the late Maurice Costley Eileen Cooper was born in Derbyshire, She studied firstly at Goldsmiths College and then for her MA at the Royal College of Art. She is a painter, print maker and ceramicist. Her work is figurative, imaginative and her inspiration comes from mythology, fairytales, the Bible and stories in general. The female form and identity is important to her work. She was elected to the Royal Academy in 2001 and in 2010 started serving as the Keeper of the Royal Academy, the first woman to do so in its 250 year history. Eileen has had numerous solo exhibitions both in England and abroad. Her work can been seen in many public collections including the Art Council, National Portrait Gallery, Dallas Museum of Art, The Royal Collection Trust and the Royal College of Art. Condition ReportRecto: canvas in very good condition, no obvious signs of wear and tear on paintwork, unframed. Verso: canvas inscribed 'Eileen Cooper 2018 Night Shade', gallery label on back, cross-stretcher in good condition.
Josef Herman (1911-2000) Watercolour on paper “Tree” with path and figure, with Flowers East, London, Gallery receipt dated 2004, 25cm x 18cm From the collection of the late Maurice Costley Josef Herman was a Polish/British contemporary artist. Herman was one of the last European expressionists. He was a figurative artist who painted working people. He came to Great Britain in 1940 and had his first exhibition in Scotland. In 1943 he moved to London and had his first London exhibition with L S Lowry. In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990.
Sir John Alfred Arnesby-Brown (1866-1955) Oil on panel "Haddiscoe Church", initialled and titled verso, with Mandell's Gallery label verso and with Mandell's Gallery receipt dated 1984, 21cm x 26cm From the collection of the late Maurice Costley John Arnesby-Brown was a British landscape artist. Influenced firstly by the Barbizon School and then the Impressionists, Arnesby-Brown is known for his pastoral and coastal scenes, quite often including cattle, in the “en plain air” tradition. He came to painting after his career as a county football player in Nottinghamshire. He studied at the Bushey School of Art and then the Nottingham School of Art. He spent time in Cornwall and also Norfolk. He had a solo exhibition at the Leicester Gallery in London 1909 and his work is also represented in many public collections including the Tate. Condition ReportRecto: Overall in good condition, a little surface dirt, no signs of restoration under UV, including initials lower right. Frame in good order, canvas slip slightly dirty. Verso: Inscribed with pencil and original Mandell's label, panel in good condition, slight signs of wear and tear.
Josef Herman (1911-2000) Watercolour and ink on paper “Ballerina”, with Flowers East gallery label, 19cm x 24cm From the collection of the late Maurice Costley Josef Herman was a Polish/British contemporary artist. Herman was one of the last European expressionists. He was a figurative artist who painted working people. He came to Great Britain in 1940 and had his first exhibition in Scotland. In 1943 he moved to London and had his first London exhibition with L S Lowry. In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990.
Craigie Aitchison CBE RSA (1926-2009) Limited edition print Daffodils in vase, 34/75, signed and dated 2001 verso, 29cm x 23.5cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health following an operation is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.
Craigie Aitchison CBA RSA (1926-2009) Oil on canvas "Tree with Mountain", 2008, signed verso, Tim Taylor Gallery label verso, 15cm x 12cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health following an operation is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.
Sir John Alfred Arnesby-Brown (1866-1955) Oil on board The Bend in the River, 1915, with Messum's Gallery label verso and Messum's Gallery invoice dated 2014, initialled, 15.5cm x 23cm From the collection of the late Maurice Costley John Arnesby-Brown was a British landscape artist. Influenced firstly by the Barbizon School and then the Impressionists, Arnesby-Brown is known for his pastoral and coastal scenes, quite often including cattle, in the “en plain air” tradition. He came to painting after his career as a county football player in Nottinghamshire. He studied at the Bushey School of Art and then the Nottingham School of Art. He spent time in Cornwall and also Norfolk. He had a solo exhibition at the Leicester Gallery in London 1909 and his work is also represented in many public collections including the Tate. Condition ReportRecto: Overall good condition, no sign of restoration under UV - including initials AB lower left. Very slightly dirty upper left sky. Frame and slip also good condition. Verso: Messum's label, very slight chip on edge of the board, upper right hand corner, not visible from the front.
Tessa Fuchs (1936-2012) earthenware model of two figures in sailing boat on waves, impressed mark to front of boat 'TF', 28cm high (damaged, one of the seagulls has head broken off) From the collection of the late Maurice Costley Condition ReportAs described, one seagull's head has been cracked off and restuck through neck, overall in good order otherwise.
Campbell Archibald Mellon (1878-1955) Oil on board “Gorleston Sands”, figures on beach, signed, with Mandell's Gallery label verso and with Mandell's Gallery invoice dated 1983, 22cm x 29cm From the collection of the late Maurice Costley Campbell Mellon was born in Berkshire and began his artist’s career in 1903. Moving to Norfolk he was taken under the wing of Sir John Arnesby Brown. He is known for his coastal scenes which are impressionistic, light and breezy, usually including busy little figures enjoying the beach. He was a member of the Royal Society of Oil Painters and exhibited at the Royal Academy. Condition ReportIn good order overall. Minute wear overall, the mount is slightly discoloured and worn, the painting is mounted with a wooden panel at back so has not been fully inspected, but it appears to be in good order. There is some very light wear to gilt frame.
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