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.
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TWO BOXES OF CAMERAS, LENSES AND PROJECTOR, to include a Kindermann AV150 assistant projector, (not tested), a selection of camera bags, six vintage camera's names include Cosina fitted with a Pentax lens super - Takumar, 1:2/55, 6432851,in a case, Praktica MTL5B, fitted with a Fujinon lens 1 :2.2, f 55mm, two Ricoh KR10 super, one fitted with a Miranda 28-70mm f3.5-4.8 lens, and the other fitted with Kiron 28-70mm f3.5-4.5 lens, etc. two digital camera a Kodak Easy Share C360, 34mm-102mm 3x optical zoom, a Konica KD-20M, 5.6mm 1:3.5 lens, a pair of Suagor binoculars 12-40x27 MC Field 2.6 at 12x zoom, seven varies lenses, names include Soligor 50mm 1:1.8 1097034, Vivitar 58mm 1:2.5, no. 37708687, Sunagor CDX zoom 80-200mm, F4.5, No. 8035835, Cosinon Auto MC F=3.5, 200mm No. 782291, Sunagor Auto Tele-zoom 1:4 90mm-210mm, 603601, etc. (sd/af) (2 boxes)
A collection of GB & World Copper Nickel and Copper Coins including US Dollars, GB Crowns etc along with International Match Corporation Share Certificates , Motor Fuel Ration Book, German 100000 Mark Bank Note F10094950, 2 Mark Notes x2 and a 21st April 1933 Probate/Will Document, Poetry Medal and British Institute of Interior Design Medallion
Proto-feminist tract.- Austin (William) Haec Homo wherein the Excellency of the Creation of Woman is described, second edition, lacking engraved portrait frontispiece, but with engraved additional title and letterpress title within border, seventeenth century ink ownership inscription to this, lacking final ?blank (I12), small amounts of worming to gutter and lower fore-edge affecting text but with no major loss, nineteenth century mottled calf, gilt, spine with morocco labels, [STC 975], 12mo, Richard Olton for Ralph Mabb, 1638. *** A second edition of this rare proto-feminist tract. Probably first written around 1620 in response to the misogynist pamphlet 'Hic Mulier, or The Man-Woman', Austin's work by contrast joins the feminine pronoun with the masculine noun. In his argument not only do both sexes share common humanity but also "the same reasonable soule; and, in that, there is neither hees nor shees". This copy re-bound by Auguste Marie, Comte de Caumont [binder's book-label], an aristocratic French emigré from the who worked as an esteemed book binder in Soho until 1815.
Fens, three Fenland Maps. John Bodger. A Share of the Beautiful Fishery of Whittlesea Mere, 18th century print on silk, (circa 1786), old damage to edges, 47 x 67cm;John Harris, A Map of the Great Levell of the Fen Extending into the Countyes of Norfolk Suffolke Northampton Lincoln Cambridge Huntington and the Isle of Ely, Surveyed by Sr Jonas Moor, engraving, circa 1720;Henricus Hondius, A General Plott of the Fennes and Surounded grounds in the sixe counties of Norfolke, Suffolke, Cambridge, with in the Isle of Ely, Huntington, Northampton and Lincolne etc.', Amsterdam, 1632 [or later],engraved map of The Fens, 44.5 x 56cm (3)all framed and glazed
WWI & II photographs and ephemera relating to William Alfred Wallis (b.Transvaal 1898) to include his British Passport (issued 1923), regimental and operational photographs, 'Liberation of Norway' 8th May 1945 certificate issued to him on behalf of King Olav, weekly casualty list (1918) etc., together with a British Passport for his wife, Josephine Mary Wallis (issued 1920), Will of Robert Francis Wallis of Titchbury, Fareham, (d.1918), share certificates/transfer documents re various South African Diamond Mining Companies, a quantity of photographs of South African views. Josephine Wallis stood trial in Johannesburg for the shooting/murder of Emil Kumst, her former business partner and diamond digger, as detailed in press cuttings included in this lot
Continuous computer animation on an LCD screen, supplied in its original cardboard box with an instruction booklet. Signed in black ink on a label affixed to the reverse. 24.8 x 30.5 x 4.2 cm. Numbered from an edition of 300. Published by Alan Cristea Gallery, London, and produced by Torch Computers, Cambridge. In this work, Opie creates a continuous animation displayed on an LCD screen. Opie recreates a simulated view from his window, inviting the viewer to share their perspective. Through simple, stylised forms, the animation conveys movement and life, exploring the relationship between art and technology. The screen acts as an ever-evolving digital canvas, offering a dynamic and surprising experience. Provenance: Private English collection.
Great Indian Peninsula Railway Coffee Pot, A Copeland Spode Porcelain Coffee Pot, white ground, decorated with blue and gilt decoration, with the Crest of the Great Indian Peninsular Railway 1849 to centre, Condition: body excellent condition, no losses , lid with small chip to lug The Great Indian Peninsula Railway (GIPR), which later evolved into the Central Railway under the umbrella of Indian Railways, had its headquarters at the Boree Bunder in Mumbai, known today as the Chhatrapati Shivaji Maharaj Terminus. Established on 1 August 1849 through the Great Indian Peninsula Railway Company Act 1849 (12 & 13 Vict. c.83) by the Parliament of the United Kingdom, it started with a share capital of £50,000. In a significant move, on 21 August 1847, the GIPR entered into a formal contract with the East India Company to construct and operate a 56 km long railway line. This line aimed to serve as part of a crucial trunk line connecting Bombay with Khandesh and Berar, thus establishing vital transportation links across various presidencies of colonial India. The Court of Directors of the East India Company appointed James John Berkeley as the Chief Resident Engineer, with Charles Buchanan Ker and Robert Wilfred Graham serving as his assistants. Their expertise was instrumental in the successful execution of the project. The inauguration of the GIPR marked a milestone in India's transportation history, as it became the country's first passenger railway. The initial 21 miles (33.8 km) section, connecting Bombay (now Mumbai) and Tanna (present-day Thane), commenced operations in 1853, heralding a new era of railway travel in the subcontinent. On 1 July 1925, the management of GIPR was transferred to the Government, signifying a shift towards greater state control in the railway sector. Eventually, on 5 November 1951, the GIPR was merged into the Central Railway, consolidating its operations within the broader framework of India's national railway network.
A collection of 1980s and 90s film/movie promotional material comprising press packs, premier exclusives, studio annual review catalogues and share certificates. Films include Batman, Jurassic Park, Dragnet, Mad Max, Good Morning Vietnam, Supergirl, Wild Geese II, Snow White & the Seven Dwarfs, Beyond the Poseidon Adventure, Batman Returns, The Jungle Book, Lady and the Tramp, The Pelican Brief, Passage to India, Interview with a Vampire, Die Hard 2 and Commando.
A post-War ‘Civil Division’ B.E.M. awarded to Mr. A. C. Williams, Repairer, Rose Heyworth Colliery, sometime Member of Parliament for Abertillery, Monmouthshire British Empire Medal, (Civil) E.II.R. (Albert Clifford Williams) in Royal Mint case of issue; together with the related miniature award, extremely fine £140-£180 --- B.E.M. London Gazette 1 January 1957: Albert Clifford Williams, Repairer, Rose Heyworth Colliery, South Western Division, National Coal Board (Blaina, Monmouthshire). Albert Clifford Williams was born on 28 June 1905 and started working in the mines at the age of 14. Appointed a National Union of Mineworkers official in 1934, he was awarded the British Empire Medal in 1957. A Monmouthshire County Councillor, he was elected Member of Parliament for the Abertillery Constituency in a by-election in April 1965, being re-elected in the 1966 General Election (his 88% of the vote share giving him the safest seat of any M.P.). He retired from the Hose of Commons in 1970, and died in 1987.
KILKERRAN 16 YEAR OLD 2023 RELEASE CAMPBELTOWN SINGLE MALT 46% ABV / 70clThis Campbeltown gem is the 2023 release of Kilkerran 16 Year Old Single Malt. A gorgeous Campbeltown whisky from the Kilkerran range, this 16 Year Old is the oldest release from the Glengyle Distillery to date bottled without added colour or chill filtration! Lots of bright, zesty and tropical influence among the touches of gentle smoke and savoury coastal touches in this well-balanced dram. The 2023 release is made using the following cask profile; 60% Sherry, 35% Bourbon, 5% Rum. Glengyle is the sister distillery to Springbank, who provide the malt for Kilkerran, and even share their production team.
US NORTHERN SOUL SINGLES COLLECTION - a collection of 6 US Northern Soul Singles. Collection to include: Pat Clayton - Someone Else's Turn c/w You've Gotta Share - Silver Tip (45-1007), Carstairs - He Who Picks A Rose c/w Yesterday - Okeh (4-7329), Dee Dee Sharp - The Bottle Or Me c/w The Bottle Or Me (DJ copy) - Gamble (G 4005), The Incredibles - I Found Another Love c/w Heart And Soul (promo) - Audio Arts (60,007), Cliff Nobles & Co. - Is It The Way c/w The Horse 1971 - J-V (JV-128), Lee Harvey - Provie It c/w Only True Love - Kris Records (R-105). Collection in generally Ex to Ex+ condition.
Y Steve Lazarides (British, b. 1969) after BanksySt. Werburghs320gsm Hahnemuhle Photo Rag Pearl printSigned, numbered & stamped by Steve LazaridesLimited Edition No. 26 of 200Printed by magic MaxWith certificate of authenticity from Steve Lazarides' private collection.Steve Lazarides is a British-Greek Cypriot publisher, photographer, collector and curator. He has helped popularise street art and underground art. In the 1980s, he started out with a Nikon F-mount camera documenting his surrounding environments as a photography student. He subsequently worked as a photographer for Sleazenation, where he was employed as photography director from 1996 till 2001. Commissioned by Sleazenation to photograph Banksy's portrait in 1997, he continued to work with the artist, including as the anonymous artist's driver and photographer, before eventually becoming his gallerist. Lazarides and Banksy also launched the 'Pictures on Walls' website in 2001 to promote graffiti art, and widened their scope to work with a larger roster of street artists. He created an in-house print studio, Lazarides Editions, and worked with the artists to create prints to share with the art community. In 2016, Lazarides began curating his personal photography archive of 100,000 images containing roughly 12,000 photographs he took whilst documenting the career of Banksy, and self-published them as two books, Banksy Captured Volume I & Volume II. Lazarides self-distributed the first and second editions of the two volumes, resulting in sales of over 5,000 copies within a month, at the end of 2019. Banksy Captured Volume II, features further photography and commentary, and was published in March 2021. Volume Two includes reportage from Banksy's 2006 Los Angeles exhibition "Barely Legal", images of the artist's unauthorised installation inside London's Natural History Museum during 2004. Banksy Captured Volume I & Volume II were both self-published via Lazarides' Laz Emporium venture.Measures approx. 42 x 59.4cm (16" x 23.5")
A small collection of original financial documents from the 1960s and 1970s all relating to John Lennon’s Aunt Mimi. The collection consists of the items listed below. An income tax repayment claim from June 1966. An income tax repayment claim from September 1970. An income tax repayment order from June 1971. A Woolwich Building Society Share Interest counterfoil from June 1973. A return label from the H.M Inspector Of Taxes. The largest item measures 15cm x 25cm (6 inches x 9.75 inches). The smallest item measures 15.5cm x 10cm (6.25 inches x 4 inches). The condition of the lot is very good plus.
Two exquisite Escada shoulder bags in complementary shades of brown. Both bags feature a chic flap closure and are crafted from high-quality leather, making them the perfect blend of style and functionality. The light brown bag is a versatile and timeless piece, perfect for daytime outings or casual events. The dark brown bag, with its rich and luxurious hue, is ideal for more formal occasions or for adding a touch of sophistication to any outfit. Despite their different colours, both bags share the same elegant and practical design, featuring the iconic Escada logo and ample interior space with multiple pockets for organisation. Please refer to images.
1987 Williams Fire! pinball machine. This pinball machine has various features, including flippers, slingshots, standup targets, moving ramps, and horseshoe lanes. The machine has speech and a rotating color cylinder under the playfield that simulates a building on fire. The player must put out fires by completing objectives, which award points increased by the “Fire Multiplier.” The machine also has ball locks, an upper playfield ramp, and a small horseshoe lane that advances bonus multipliers. The top of the backbox has a ringing bell. Good playing condition. Issues with the player score displays. Total production: 7700 machines. Dimensions (H x W x D): 193 x 74 x 135 cm. Condition: Good. Location: Switzerland, Degersheim. Video link: youtube.com/shorts/lsYDy3lH6Do?feature=share
Members only Collectors Society figure, Baloo & Mowgli share a happy moment floating down the river. Walt Disney Collection backstamp. 1214732. This item has its original box: 14"L x 9.5"W x 8"H. Certificate of Authenticity included. Issued: 2002Dimensions: 10"L x 7"W x 4.25"HManufacturer: Walt Disney ClassicsCountry of Origin: United StatesCondition: Age related wear.
JOSEPH HENDERSON RSW (SCOTTISH 1832 - 1908) ROW BOAT COMING IN TO SHORE oil on board, signed and dated 1878framedimage size 50cm x 80cm, overall size 59cm x 88cm Note: Joseph Henderson was born on 10 June 1832 in Stanley, Perthshire, He was the third of four boys. When he was about six, the family moved to Edinburgh and took up residence in Broad Street. The two older boys joined their father, also Joseph, as stone masons. Joseph’s father died when Joseph was eleven leaving his mother, Marjory Slater, in straightened circumstances. As a result, Joseph and his twin brother, James, were sent to work at an early age and the thirteen-year-old Joseph was apprenticed to a draper/hosier. At the same time, he attended part-time classes at the Trustees’ Academy, Edinburgh. At the age of seventeen, on 2 February 1849, he enrolled as an art student in the Academy. From the census of 1851, Marjory, Joseph and James were living at 5 Roxburgh Place, Edinburgh. Marjory was now a ‘lodging housekeeper’ with two medical students as boarders. James was a ‘jeweller’ while Joseph was a ‘lithographic drawer’. In the same year Joseph won a prize for drawing at the Academy enabling him, along with fellow students, W. Q. Orchardson, W. Aikman and W. G. Herdman, to travel to study the works of art at the Great Exhibition in London, which he found to be a very formative experience. He left the Academy about 1852-3 and settled in Glasgow. He is first mentioned in the Glasgow Post Office Directory for 1857-8 where he is listed as an artist living at 6 Cathedral Street. Joseph Henderson’s first exhibited work was a self-portrait which was shown at the Royal Scottish Academy (RSA) in 1853. He painted several portraits of friends and local dignitaries including a half-length portrait of his friend John Mossman in 1861. His painting, The Ballad Singer established his reputation as one of Scotland`s foremost artists when exhibited at the RSA in 1866. Throughout his career he continued in portraiture. He executed portraits of James Paton (1897) a founder and superintendent of the Kelvingrove Art Gallery and Museum (this portrait was bequeathed to Kelvingrove in 1933) and Alexander Duncan of the Faculty of Physicians and Surgeons of Glasgow. He also painted Mr. Scott Dickson, Sir Charles Cameron, Bart., DL, LLD (1897) and Sir John Muir, Lord Provost of Glasgow (1893). His portrait of councillor Alexander Waddell (1893) was presented to Kelvingrove in 1896. However, it is probably as a painter of seascapes and marine subjects that he became best known. His picture Where Breakers Roar attracted much attention when exhibited at the Royal Glasgow Institute (RGI) in 1874, ‘as a rendering of angry water’. Henderson was in part responsible for raising the profile and status of artists in Glasgow and was a member of the Glasgow Art Club (he was President in 1887-8), the Royal Glasgow Institute of the Fine Arts (founded 1861) and the Royal Society of Painters in Watercolour. Between 1853 and 1892, he exhibited frequently at the RSA and at the RGI and between 1871 and 1886 he had twenty pictures accepted for the Royal Academy in London. In 1901 he was entertained at a dinner by the President and Council of the Glasgow Art Club to celebrate his jubilee as a painter. He was presented with a solid gold and silver palette. An inscription on the palette read: ‘Presented to Joseph Henderson, Esq., R.S.W. by fellow-members of the Art Club as a mark of esteem and a souvenir of his jubilee as a painter, 8th January 1901’ Joseph Henderson was married three times. On 8 January 1856 he married Helen Cosh (d. 1866) with whom he had four children including a daughter Marjory who became the second wife of the artist William McTaggart. On 30 September 1869 he married Helen Young (d. 1871) who bore him one daughter and in 1872 he married Eliza Thomson with whom he had two daughters and who survived him. Two of his sons, John (1860 – 1924) and Joseph Morris (1863 – 1936) became artists; John was Director of the Glasgow School of Art from 1918 to 1924. By 1871 he had moved with his family; wife Helen, daughter Marjory and sons James, John and Joseph and his mother Marjory from Cathedral Street to 183 Sauchiehall Street. He also employed a general servant. He is described in the census as a ‘portrait painter’. In 1881, Joseph was living at 5 La Belle Place, Glasgow with Eliza, two sons and four daughters. He later moved to 11 Blythswood Square, Glasgow. In the 1901 census he was still at this address with his wife Eliza, sons John and Joseph and daughter Mary and Bessie. His occupation is ‘portrait and marine painter’. Joseph Henderson painted many of his seascapes at Ballantrae in Ayrshire. At the beginning of July 1908, he again travelled to the Ayrshire coast. However, he succumbed to heart failure and died at Kintyre View, Ballantrae, on 17 July 1908 aged 76 and was buried in Sighthill cemetery in Glasgow. A commemorative exhibition of his works was held at the RGI in November of that year. A full obituary was published in the Glasgow Herald. As well as his devotion to art, Joseph Henderson was a keen angler and golfer. A contemporary account states that he was ‘frank and genial, with an inexhaustible fund of good spirits and a ready appreciation of humour, of which he himself possesses no small share’. Thirty-six of his paintings are held in UK public collections.
ANTHONY PEARSON (AMERICAN B. 1969) UNTITLED (POUR ARRANGEMENT) 2008 Bronze sculpture with silver nitrate patina, base, pedestal, two framed solarized silver gelatin photographs Height inc. pedestal, base and bronze 144cm (56½in.), dimensions of framed photographs, each 42 x 35.5cm (16.5 x 14in.)Provenance: Marianne Boesky Gallery, New York Acquired from the above in 2008Working in his native Los Angeles, Anthony Pearson's contemplative, understated practice traverses several media. He has been the subject of solo shows at Contemporary Art Museum, St. Louis, and Midway Contemporary Art, Minneapolis; his work is in the permanent collections of the Hammer Museum and the Art Institute of Chicago. Allowing him to combine various techniques and materials, Pearson's 'arrangements' make for engaging juxtapositions of forms. Several such works share the specific hybrid configuration at hand - a sculpture flanked by two photographs - forming a contemporary garniture of sorts. Pearson calls attention to the materiality of his creation: the unyielding lines of the picture frames throw the uneven, oozing metal sculpture into sharp relief. Like the poured bronze, the solarised photographs toe the line between controlled and arbitrary processes, such as Pearson's carefully incised lines which are subjected to overexposure naturally creating a random pattern and effect Condition Report: Mould to one of the silver gelatin photographs, mount and backboard. Surface dirt throughout bronze, base and pedestal. Condition Report Disclaimer
λ BITA GHEZELAYAGH (ITALIAN B. 1966) FELT MEMORIES IX, THE KING EMBRACING THE NATION 1001 Brass crowns on top, 3 stages of keys, tulips and wire mesh mounted in an acrylic box 128 x 128cm (50¼ x 50¼ in.)Provenance: Rose Issa Projects, London Drawing on the artistic traditions of Iran, Bita Ghezelayagh works primarily in embroidery. Ghezelayagh has exhibited at the V&A and the San Antonio Museum of Art; her work can be found in the collections of the British Museum and the Farjam Foundation. Her series of felt garments are a musing on and a monument to the cultural heritage often overlooked in the face of modernisation. Ghezelayagh's creations share a visual language: the tulip motif references traditional Turkmen textiles, while the layered metal panels recall the scale armour of asbaran in their structured, regular arrangement. The ambiguity of this work's title, Felt Memories, reflects the complex materiality of an object bound up with nostalgia and a sense of identity. Felted by hand in local workshops, the tunic recalls those of Iranian shepherds, marrying practical and creative functions in a similar manner to the textiles of Ghezelayagh's inspiration Joseph Beuys. The artist's work is marked by a profound sense of respect for indigenous cultures, paying tribute to the methods and materials in which her practice is grounded. Condition Report: Work is mounted within a perspex box frame. Work appears to be in good original condition. The work has been structured with a piece of card within the robe which is maintaining the shape. The work has been attached to a piece of foam board which has either been attached with Velcro or clips to another piece of foam board attached to the mounting board. Please contact housesales@dreweatts.com with any further queries. Condition Report Disclaimer
An historically important reinforced concrete portion of the Berlin Wallcomprising four sections, with stencilled graffiti by Ben Wagin PARLAMENT DER BAUME, DENK-STATTE SICH ZU VEREINEN, HEISST TEILEN LERNEN (Parliament of Trees, To Unite Means to Learn to Share) Richard Weizsacker The reverse reads "Berliner" 360cm high, 240cm deep, 468cm wide overall This originally formed part of the infamous Berlin Wall.The Berlin Wall was a guarded concrete barrier that physically and ideologically divided Berlin from 1961 to 1989. Constructed by the German Democratic Republic (GDR, East Germany), starting on 13 August 1961, the Wall cut off by land West Berlin from virtually all of surrounding East Germany and East Berlin until government officials opened it in November 1989. Its demolition officially began on 13 June 1990 and finished in 1992.More than 5,000 escape attempts were made trying to flee life behind the Iron Curtain. Then on November 9, 1989, the first sledgehammers pounded into the concrete to “tear down this wall”. It took 18 months to bulldoze the 140 km (87 mile) structure.Most of the materials were crushed and recycled into roads. However, some sections were sold, auctioned off or donated as historically important objet d’arts. A number of large scale installations from the Berlin wall may be seen as far away as the World Trade Centre in Montreal, donated to the city in 1992, to Seoul, South Korea, where a three section portion of the wall stands in Berlin Square. It was brought to Seoul in 2005 as a gift from the City of Berlin to inspire South Koreans to hope for a similar reunification with North Korea in the future.Closer to home a single section stands outside the Imperial War Museum, London. German artist and environmental activist Ben Wagin painted his powerful messages over these sections of the Wall in 1990 after initial visitors had chipped off the original graffiti - creating a uniquely textured surface. The effect is as dramatic as it is powerful. These sections were part of the memorial to the hundreds of people killed at the Wall trying to escape to freedom, called the Parliament of Trees, in the middle of Berlin opposite the Reichstag. These parts of the original memorial had to be removed to make room for additional constructions. The wall is covered with a quote by the German President at the time, Richard von Weizsäcker, who said: “To unite means to learn to share.” The reverse shows graffiti ‘Berlin November 1989’
![[WATERLOO BATTLE OF]: [HALKETT HUGH]: (1783-1863) British General who served in the Napoleonic Wars and fought at the Battle](https://cdn.globalauctionplatform.com/53248784-640f-4c02-a73f-b1df01294acb/852bf403-65dc-4cdb-abbd-b1e000aa8c95/468x382.jpg)
[WATERLOO BATTLE OF]: [HALKETT HUGH]: (1783-1863) British General who served in the Napoleonic Wars and fought at the Battle of Waterloo, commanding four battalions of Hanoverian militia. Halkett is remembered for having captured General Cambronne at Waterloo. An excellent, lengthy A.L.S., J Halkett, by Colonel James Halkett, son of Hugh Halkett, twenty-eight pages (comprising seven bifolia), 8vo, Farrance´s Hotel, near Eaton Square (London), 29th October 1862, to William Maynard Gomm (´My dear Sir William´). James Halkett states that his father is no longer able to read or write and that he is therefore replying on his behalf ´as I got him to tell me the story of his life the winter I spent in Hanover, & I then wrote down what he told me & can therefore repeat the story you ask about almost word for word as he gave it to me´, continuing to provide Gomm with ´a short sketch of my father´s proceedings & share in the glorious 18th June´ (the Battle of Waterloo), writing, in part, ´His brigade, composed of Hanoverian Landwehr, all untried troops, but partly officered & non-commissioned officered by the old King´s German Legion, formed part of General Clinton´s Division. After marching all night the bivouacked on the field of Waterloo. The Division.....was soon brought into the alignment with its right resting on Hougoumont. Whilst effecting this change the French cavalry attacked my father´s Brigade but they drew off on his forming en masse. At the time his first horse was killed, having both his hind legs shot away, the ball afterwards mowing down 8 men. His A.D.C. immediately dismounted & was shifting my father´s saddle on his horse when a shell fell near, wounded the man holding the horse & the horse scampered away. Colonel Dickson.....then caught a splendid English horse with new equipment & brought it to my father. At between 3 & 4 o/c in the afternoon General Clinton sent for my father & gave him the Duke´s orders to take whatever troops he liked & defend the garden & enclosures of Hougoumont......He immediately ordered the Salzgitter Battalion to attack the French who were in the wood, the Battalion did so, behaved very well, drove them out, & at the same time the skirmishers of the Brigade, who were excellent marksmen, formed together &.......drove back, with much spirit, the French skirmishers from the different enclosures, & my father then reported the place as secured. When, after 6 o´clock, the Duke gave orders for a general move in advance, my father placed himself at the head of the Osnabruck Battalion........He sent his Brigade Major to bring up the Battalion.....but the order was never received for Capt. Saffe was killed whilst carrying the order......Soon after the advance he fell in with old Garde Imperiale &......after driving them back he discovered the enemy´s artillery coming up out of a hollow way on his left, he ordered the skirmishers, supported by a company, to attack them.......About this time General Chasse (who afterwards defended Antwerp) galloped up to the front to see how matters were going on, & was full of admiration at the conduct of the troops.......Shortly after this an officer of the Duke´s staff galloped up & called out: "well done, Colonel Halkett, by God this is splendid". After a short pause he again advanced & under the heavy fire of the enemy´s artillery which had driven up on the left of the Imperial Guard, he attacked & took the guns.......Whilst following the French guards he saw their General, accompanied by two officers, come to the front to try & bring them to a stand. My father immediately threw forward his skirmishers & dashing full gallop at the General threatened to cut him down. He surrendered & declared himself to be General Cambronne......On leading his prisoner back, his horse, already wounded, received another shot & fell. With much difficulty he succeeded in getting him on his legs again when he discovered General Cambronne running back to the French Guards, he followed & caught him again, & seizing him by the aiguilette brought him back a prisoner & gave him over to a Sergeant......with orders to conduit him to the Duke of Wellington......Shortly after he had taken General Cambronne his horse was again hit & had his fore legs shot off.......He was soon remounted on a French Artillery horse which his men caught, but shortly after this third horse was shot under him. His men then shot a Frenchman who was mounted on a fine English, grey, Hussar horse, & brought him to my father who got a wet seat in the sheep´s skin which was satturated (sic) with the poor Frenchman´s blood.......After the French Guard had gone back, an officer belonging to them & who had been taken Prisoner, informed my father that Napoleon was amongst a large group of French officers & some French Cavalry who were hovering about his Brigade. He advanced his sharpshooters & these throwing some shot amongst them made them retire a short distance......My father then advanced on to the high road to Genappe & there fell in with the advanced Corps of the Prussians & shook hands with General Muffling. Not seeing any red coats near him, he halted & remained for the night in some straggling houses.....When returning next morning to re-join his Division he passed the guns which had been thrown into confusion.........With regard to Cambronne´s "mot sublime" the only one my father heard was the one giving my father to understand that he surrendered, & it was pronounced in very good French! If anything ever was said about the Guard dieing etc., it certainly was at a later hour when Cambronne was safely lodged in our lines. My father was thrown together with the Comte d´Artois in Heligoland & when in Paris went to call on him. The future Charles X....did not think his countrymen fought well at Waterloo´. Halkett concludes his letter by writing of more social matters, but also makes a reference to the 50th Anniversary of the Battle of Venta del Pozo which had been fought on 23rd October 1812 during the Peninsular War. A letter of wonderful content for its account of General Halkett´s involvement in the Battle of Waterloo, and not least in connection with the often disputed circumstances of the surrender of Cambronne to the British. Together with a slim oblong 12mo envelope wrapper annotated to the front panel in the hand of one of William Maynard Gomm´s relatives, ´Grass taken from the field of Waterloo, when I went over it with Uncle Gomm, Aunt Har[riet] & Miss Howard Vyse, July 23rd 1868´. With three small black seals to the verso, two of which remain intact. The contents of the envelope have not been examined, although dried grass can be seen through an opening at one end where the third seal is broken. Also including two other miscellaneous manuscript documents, one being a Report upon the proposed Sale of Land by Sir William Gomm to the Parish of Rotherhithe (1850) and the other an extracted copy of the last Will and Testament of Major General William Henry Cornwall (1799-1855) of Cadogan Place, Chelsea. Some light age wear and minor creasing, and Halkett´s letter with small spindle holes to the upper left corner of each page. G to generally VG, 4OWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE FULL DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED. PLEASE CONTACT IAA EUROPE FOR FURTHER DETAILS.
MOUNTBATTEN LOUIS: (1900-1979) British Admiral of World War II. A.L.S., Mountbatten of Burma, one page, 8vo, Broadlands, Romsey, Hampshire, 28th December 1969, to Joan [Davies, his secretary]. Mountbatten thanks his employee for her ´share in the fascinating electric scissors which I was delighted to have for Xmas´ and further remarks ´Great fun but too dangerous for the frand children´. Accompanied by the original envelope hand addressed by Mountbatten. VG
HEMINGWAY ERNEST: (1899-1961) American novelist, Nobel Prize winner for Literature, 1954. An exceptional A.L.S., Ernesto, seven pages (two bifolia), 8vo, n.p., n.d. (February 1941; ´Night before we get to Hawaii´), to George [Brown], on the printed stationery of the Matson Line. Hemingway writes (in bold pencil) a social letter full of wonderful anecdotes relating to his recent activities, beginning by reporting on a trip to Los Angeles where he had enjoyed the hospitality of Gary Cooper, ´Stayed with Coopers who met us with the big new cadillac double funeral hearse he bought his wife for Xmas and they had a dinner that night with one swell broad (Carole Landis) that all the marrieds or uglies jumped all over because she got a little drunko´, adding ´But she was only 22 and I said to them they should have seen what guys like me or Cooper were like when we were drunk at 22´, continuing to refer to a mixed doubles tennis match, ´Coopers wife (Rocky) and I beat Cooper and Marty 5 sets of tennis to win 11 dollars in two days. But no money changes hands......I think Marty and I could beat them but Mrs C. likes to win very much......She has very extensive taught ground strokes but she has a high bouncing serve that I could set myself and murder so it is better for her happiness that we are partners´, remarking that Martha was ´much prettier´ than the other ladies in Hollywood and ´looked like a human being instead of a kennell (sic) entry but I shudder to think what would pass with the Colonel faced by them blondes altho lots of them were 22-23 years old which is aged in the Colonel´s book´, also reporting on a visit to San Francisco, ´We ate very well and saw Mike Ward, an old pal, and his wife and Selznick shipped up Ingrid Bergman to look her over for Maria for the picture. She is perfect. Really swell. Not like those Hollywooders´. Hemingway also comments on his experiences on the boat that they are travelling on, ´it has been rough as a bastard all the time. The gym guy wouldn´t box. He rubs too and he says he is afraid it would hurt his hands altho he says he teaches boxing (he comes from Hollywood too where I guess hands hurt easy. Probably his thumbs swell up). It was a shame because I was going to left hook him in the profile.....But I worked on the big bag instead but couldn´t rouse no really dirty feeling against it on such short acquaintance and when you get close to it the fucking thing seems sort of dead and helpless and not like ones fellow man. I practiced hitting it in the balls a little´, and further writing ´Tomorrow we get into Honolulu. It sounds more like a 1/2 jig Coney Island or Polynesian Miami Beach all the time´, before concluding ´Marty sends her love. We got a bang out of the wire. I miss you and the reading Colonel and working out and all the fun we have, but will be back soon with a lot of new lies and stories´. A truly wonderful and characteristic Hemingway letter, written with energy, humour and a touch of rudeness, giving an exact idea of what conversations between the writer and his friends might have been like. The stories that delighted his friends are preserved here in an autograph letter, so that we may now share in the delight too. VGGeorge Brown, who owned a gymnasium in New York, was a friend of Hemingway´s for more than a quarter of a century and coached the writer in the sport of boxing. It was Brown who drove Hemingway home to Idaho from the Mayo Clinic in 1961 shortly before the Nobel Prize winner committed suicide. Brown was also one of the pallbearers at Hemingway´s funeral.Hemingway mentions another friend in his letter, Taylor Williams (´the Colonel´), who would be a regular hunting and shooting partner of the writer. Furthermore, Hemingway writes of his time with his good friend Gary Cooper and of meeting Ingrid Bergman, the two actors who would go on to star together in the film adaptation of For Whom The Bell Tolls in 1943. Hemingway also writes of the attractive young actress Carole Landis who, despite her relatively short lifetime (Landis also committed suicide, at the age of 29), was married four times. In addition Hemingway writes affectionately of his third wife, the writer and war correspondent Martha ´Marty´ Gellhorn (1908-1998), whom he had married in 1940.
PUCCINI GIACOMO: (1858-1924) Italian composer. A.L.S., with abbreviated signature, to one side of a postcard, Milan, 2nd February 1921, to his brother-in-law Raffaello Franceschini, in Italian. Puccini in a friendly way states, in part, `Vedi, io sono piu gentile di te - forse e una tortura… - tu ti struggi e io ti ayuto con i desideri inutili. Tu mi mandi la canna? caro mio quando te ne servi lo so, l´empi divino´ (Translation: "You see, I'm kinder than you - Maybe it´s a torture… you yearn and I help you with your useless desires. Are you sending me the rod? Hand addressed by Puccini to Franceschini in Pescia, Toscana. The postcard shows to the front an attractive colour image of a young Lybian girl. Postmarked and stamped. G Raffaello Franceschini (1854-1942) husband of Puccini´s one-year younger sister, Ramelde Puccini (1859-1912). Franceschini was working as tax collector in Pescia. Puccini and his brother-in-law maintained a long-time friendly relationship, and used to share the hunting journeys.
SIGNAC PAUL: (1863-1935) French Neo-Impressionist painter. A very fine A.L.S., `P. Signac´, two pages, large 4to, Paris, 8th February 1928, to some friends, in French. The letter is written to the "Société des Artistes Indépendants" printed stationery, founded in 1884, with head office at 18 rue Mazarine, and as the printed heading bears, with Paul Signac as President of the Society of Independent Artists. Signac commences stating `Chers amis, nous avons été heureux de recevoir vos nouvelles - Vous vous détachez sur du bonheur, semblerait- il, et nous en sommes contents. Certes ce serait une joie d´aller vous voir dans votre nouvelle maison. Il y a un bout de voile qui apparait au dessus de la porte, sur une des photos, qui me tente fort... Enfin, espèrons qu´un jour ou l´autre, on pourra s´offrir des plaisiris auprès de vous´ (Translation: "Dear friends, we were happy to receive your news - You are feeling very happy, seems like, and we are happy with that. Certainly it would be a joy to go to see you in your new home. There is a piece of veil that appears above the door, in one of the photos, which tempts me... Finally, let's hope that one day or another, we will be able to share and enjoy some pleasures with you") Further Signac explains the reasons which keep him so busy, saying `En attendant je suis pris ici par les Indep[endants] et par d´autres devoirs- A ce propos! Je fais partie d´un comité pour les Expositions d´art français à l´étranger, pour y défendre l´art indépendant contre l´art officiel...´ (Translation: "In the meantime I'm busy here with the Indep[endents] and other duties - About that! I am part of a committee for French art exhibitions abroad, to defend independent art against official art...") Further again and before concluding Signac reports on the last ongoing exhibitions and referring to three important ones of three iconic French painters such as Monet who had passed away only a year earlier, Courbet states `Quand venez-vous à Paris? il y a eu une belle exposition de Monet - Il y a encore - mais ça doit toucher à sa fin - une belle exposition de Courbet chez Bonham et de Delacroix chez Rosenberg´ (Translation: "When are you coming to Paris? there was a beautiful exhibition of Monet - There is still - but it must be coming to an end - a beautiful exhibition of Courbet at Bonham and Delacroix at Rosenberg") A letter of very good content. VG to EX Claude Monet (1840-1926) French Impressionist Painter.Gustave Courbet (1819-1877) French Painter. An innovator who rejected academic convention and leaded the French Realist movement. Courbet was active in politics and was imprisoned in 1871 for his involvement with the Paris Commune, having to live in exile in Switzerland until his deathEugene Delacroix (1798-1863) French artist of the Romantic school.
The Burgoyne or Clayton Mines on/near Ecton Mountain, Leek, 2 plans of the “Setts” and 4pp prospectus; + other Burgoyne Mining Company paper, letters, share details, meetings papers, mostly handwritten, some printed, approx. 100 pieces; + a copy of Roberts (James): History of Wetton, Thor’s Cave and Ecton mines, printed Ashbourne, 1900. (A group)
NEWGATE PRISON. An Epistle to a father in law at Somerset house from his son in law in Newgate. Printed poetry, 2pp [3 pages of printed material. C1807 [dated 19th March 07 to the end]. Poetry regarding an incarceration in Newgate Prison. “While in a dismal dungeon’s dampness, I swear unregarded, unsupported lie”With manuscript notes to the foot of the last leaf. “Long, long may Heaven the Prince of Wales pressure, The Prince whom you and “all the infants[?] share, saw the suffering virtue in distress believed thy wants and …. Thy wrongs redress…” The printed poem initialed “T. D” from Newgate’s Dungeon, March 19, 07. “an unfortunate son-in-law, and a worthy parent” in latin below the title.some closed tears to the folds, old dark tape marks to the margins. 4to. Rare all published. The same poem was also printed in The groans of the talents : or, Private sentiments on public occurrences [1807 London 8vo]. This impression with imprint “Burkitt, Printer, Sudbury”
These two adorable bags share a butterfly motif one red leather wristlet, the other in black leather with wallet section and removable chain strap included. Fabric lining and additional interior pockets. Bags similar in size with the wristlet slightly longer measuring 7" L x 0.75" W x 4.25" H. Issued: 21st centuryDimensions: See DescriptionManufacturer: BrightonCountry of Origin: United StatesCondition: Age related wear.
CAPTURED!One Sheet (27.25" x 41")Very Fine+ on Linen Warner Bros., 1933This poster was in excellent condition prior to linen-backing and exhibits professional restoration to address only one or two pinholes in the lower border and a few small tears. Warner Bros, produced this WWI prisoner of war drama about three men keep in captivity who share a secret. Starring Leslie Howard, Douglas Fairbanks jr and Paul Lukas.This lot will be auctioned on Thursday, September 12th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on September 13th.
Y A GEORGE I EBONY TABLE/BRACKET TIMEPIECE WITH 'SILENT' PULL-QUARTER REPEATDANIEL DELANDER, LONDON, CIRCA 1720The five finned pillar single fusee movement with verge escapement regulated by short bob pendulum, and 'silent' pull-quarter repeat ting-tang sounding the quarters on a graduated pair of bells and sounding the hour on a third larger bell on demand only, the backplate engraved with bold asymmetric entwined vine scrollwork within generous laurel banded border, the 6.5 inch brass break arch dial with calendar and shaped false bob apertures to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the minute track, with scroll pierced blued steel hands and fine mask and scroll cast spandrels to angles, the arch with herringbone bordered silvered signature boss engraved Daniel, Delander, London flanked by distinctive 'Delander' type gilt mounts cast as putti holding flaming torches beneath further herringbone engraving bordering the upper edge, in a bell-top case with hinged brass carrying handle over double ogee top mouldings and hinged front applied with complex raised mouldings bordering the dial aperture and upper quadrant frets, the sides with break-arch windows beneath scroll-pierced sound frets incorporating arched lower margins and each bordered with conforming raised mouldings, the rear with door matching the front except for the upper quadrants having larger glazed panels as opposed to frets, on ogee moulded shallow skirt base with moulded squab feet.40cm (15.75ins) high with handle down, 25cm (10ins approx.) wide, 17cm (6.75ins) deep. PLEASE NOTE CATALOGUE AMMENDMENT - CLOCK WAS PURCHASED BY THE VENDOR 3rd APRIL 1974 (NOT 4th MARCH AS INDICATED IN THE PRINTED CATALOGUE). Provenance:Purchased by the vendor from Christie's London sale of FINE WATCHES & CLOCKS 3rd April 1974 (lot 142). Daniel Delander is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1678 and apprenticed to Charles Halstead before being transferred to Thomas Tompion and gaining his Freedom of the Clockmakers' Company in 1699. He initially worked as 'servant' to Thomas Tompion from Devereux Court and later (after Tompion's death in 1713) from 'within Temple Bar', Fleet Street. He was a fine maker whose work was clearly influenced by his master but is perhaps best known for his series of particularly fine duplex escapement longcase clocks as well as long duration clocks often with refinements such as equation of time. Delander appeared to also share his master's exacting standards with regards to the quality and design of the cases for his clocks, with his table clocks often mirroring those of Tompion and his successor George Graham. He was buried at St. Dunstan's in the West on 14th July 1733. The engraving to the backplate of the present timepiece can be compared to an exceptional backplate on a clock by Jonathan Lowndes discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass page 334 and illustrated on page 335 (Figure 18.17). Although similar in style and composition the engraving to the current lot is perhaps a little more restrained/simplified compared to Lowndes backplate illustrated by Dzik. The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece reserved exclusively for use in the bed chamber.The design and layout of the quarter-repeat system employed in the current lot can be closely compared to an example by fellow Tompion workman, William Webster, described and illustrated in Dzik, Sunny BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-1725 pages 109-12. Most notable, with regards to the similarities within the details, is the design of the wedge-shaped pumping piece, and the provision of a separate sleeved fitment incorporating the hour hammer pin and hammer tail applied to the hammer arbor to allow the pin-wheel to rotate uninhibited whilst pulling. The strong similarities between this timepiece and that by William Webster indicates strong links between the two workshops reflective of their shared roots within the workshop of Thomas Tompion. Condition Report: The movement is complete, reasonably clean and in full working condition although a gentle clean service is probably advisable. The escapement appears to be a very well executed re-conversion back to the original verge and short bob arrangement (from a previous conversion to anchor) leaving next to no visible evidence in the plates. The design of the backcock apron is perhaps a little later in style. The dial presents as in good clean condition. The arch has a join (braced by a plate rivetted at the rear) across the centre. This may be an old repair or possibly even from the time of making as the match of the brass used for the upper part is indistinguishable from that used for the rest of the dial. The case is in sound presentable condition but has received some mostly cosmetic restoration in the past. Some of the lengths of moulding applied around the apertures (mostly to the side apertures) are not a swell defined/crisp as the others suggesting some replacement/restoration has taken place. The veneer overlap to the mask around the dial has some patch repairs and the exterior exhibits shrinkage, a few minor historic and some filling to the joints between some of the veneers and mouldings. The rear door has a slip applied across the top to close a gap between door and case that had probably become a little enlarged due to wear and movement. The base board of the case is composed of two sections - it is possible that the rear section has been replaced due to the movement previously having a long pendulum necessitating cutting a slot in the board. The movement is secured by two turn-discs to the rear of the dial as well as two bolts from underneath engaging with angle brackets screwed to the lower edge of the backplate, these brackets and bolts may be a later addition. Otherwise faults to the case are limited to age related bumps, scuffs and other blemishesClock has case keys but no winder. Condition Report Disclaimer
Follower of Jacob Ferdinand Voet (Flemish, Antwerp 1639-1689 Paris) - 18th century portrait of a young lady, traditionally identified as Ortensia (Hortense) Mancini (1646-1699), Duchess of Mazzarino, and later Court favourite of both Charles II and James II, modelled half-length, wearing a lace-trimmed gold dress, with white and orange blooms in her hair and on her dress, 71.5cm x 57cm, in scroll and palmette-decorated gilt frameFor similar compositions, see: Sotheby's, 28th April 2021, lot 394 Christie's Amsterdam, European Noble and Private Collections, 20th September 2007, lots 89 and 91 ('Property of the Counts of Cao di San Marco')The sitter is probably one of the five celebrated daughters of Hyeronima Mazarin, Cardinal Mazarin's sister, and Lorenzo Mancini. The sisters moved from Rome to Paris after their father’s death, in the hope of making advantageous marriages.King Charles II, whilst in exile, asked for her hand in marriage, but her uncle refused the suit, and she subsequently married Armand-Charles de La Porte, Duc de La Meilleraye (1632–1713), a middle ranking noble with a great fortune, and the couple took the titles the Duke and Duchess of Mazarin. Cardinal Mazarin left them the largest share of his own considerable fortune. In 1666, they separated and she left France. She lived for years on the estates of the Duke of Savoy but, after his death in 1675, went to England, where King Charles II welcomed her at court. A flirtation with the Prince of Monaco saw her fall from Royal favour, but she was well-provided for by James II, and continued to live in London, on the pension first granted to her by Charles, until she died.
* FRANK MCFADDEN (SCOTTISH b. 1972), TROPHY FACE I pastel on paper, signed mounted, framed and under glassimage size 20cm x 15cm, overall size 43cm x 37cm Note: Frank McFadden is one of Scotland’s best known artists. A former sign-writer and graphic designer, his work regularly appears in galleries around Scotland and beyond. Frank’s affiliation with fellow Glasgow artist Peter Howson has been instrumental in his success. They continue to share a studio, having exhibited together in Glasgow, Edinburgh and New York.
* FRANK MCFADDEN (SCOTTISH b. 1972), SOPPING UP THE FREE-RADICALS oil on canvas, signed, titled versoframedimage size 51cm x 42cm, overall size 68cm x 59cm Note: Frank McFadden is one of Scotland’s best known artists. A former sign-writer and graphic designer, his work regularly appears in galleries around Scotland and beyond. Frank’s affiliation with fellow Glasgow artist Peter Howson has been instrumental in his success. They continue to share a studio, having exhibited together in Glasgow, Edinburgh and New York.
* FRANK MCFADDEN (SCOTTISH b. 1972), BEHIND THE MASK pastel on paper, signedmounted, framed and under glassimage size 59cm x 45cm, overall size 92cm x 78cm Note: Frank McFadden is one of Scotland’s best known artists. A former sign-writer and graphic designer, his work regularly appears in galleries around Scotland and beyond. Frank’s affiliation with fellow Glasgow artist Peter Howson has been instrumental in his success. They continue to share a studio, having exhibited together in Glasgow, Edinburgh and New York.
INCISED QINGBAI 'FLORAL' CONICAL BOWL SOUTHERN SONG TO YUAN DYNASTY 南宋至元 青白釉刻花卉紋葵口斗笠碗thinly potted on a short foot with gently notched rim, carved freely to the interior of stylised floral foliage, covered all over with a translucent bluish-green glaze save for the foot rim and part of the base revealing the burnt orange body and marked in black ink a Chinese character ‘five’ 19.4cm diameter Private Scottish collection, Scottish Borders. The owner had an enduring friendship with Dr Kenneth Lawley (1937-2023), a lifelong Asian art collector and a significant part of whose collection was sold in this saleroom, 3 November 2023, lot 1-95. Dr Lawley was close to the collection offered in this sale, indeed some of the items came directly from him. He would share his research, his catalogue, and his admiration of these items with the owner, as a natural consequence of their friendship. By repute acquired from Dr Kenneth Lawley, who acquired from David Bowden, 4 March 2006, with an original receipt.
Naval General Service 1793-1840, 1 clasp, Trafalgar (William Wild.) clasp facing slightly buckled on left-hand side, otherwise nearly extremely fine £5,000-£7,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Glendining’s, November 1987. William Wild is confirmed on the roll as a Private, Royal Marines aboard H.M.S. Temeraire (Captain E. Harvey) during the major fleet action off Cape Trafalgar between the British fleet under the command of Vice-Admiral Lord Nelson and the Franco-Spanish fleet under the command of Vice-Admiral P. C. de Villeneuve, on 21 October 1805. He is the only man with these names on the roll. ‘At Trafalgar she was the second ship in the weather line, closely following the Victory, and her share in the action was particularly brilliant. When the Victory was engaged with the Redoutable, the Temeraire came up to starboard of the French 74, and also engaged her. This was after Nelson had fallen, and the first broadside of the Temeraire checked an attempt at boarding the Victory which the French were about to make. The fight of the little two-decker against the pair of three-deckers was heroic. The top-men of the Redoutable flung down hand-grenades and fire-balls till they set fire to the deck, larboard forechains, starboard foreshrouds and foresail; one fire-ball rolled into the magazine among the powder barrels, and only the presence of mind of a master-at-arms saved the Temeraire from the fate of the Orient at the battle of the Nile. In the mean time a new antagonist, the French 80-gun ship Fougueux had come up on the starboard quarter of the Temeraire, which had been suffering also from the fire of the Neptune. She looked nothing but a cripple, and the Fougueux came up determined to board her. When less than fifty yards separated the vessels, the starboard broadside of the Temeraire crashed into the French ship, sweeping her rigging and upper works bare, leaving her whole side a mass of splinters. She drove into the Temeraire, was lashed fast, and twenty-eight men under Lieut. T. F. Kennedy sprang on to her deck—where the gallant French captain lay mortally wounded—and fought their way to the stump of the mainmast. In ten minutes they had the British colours hoisted, and the Fougueux—which unfortunately foundered in the subsequent gale, with the prize crew on board—was a prize of war to the Temeraire, which had also the Victory’s prize, the Redoutable, lashed to her. “Nothing could be finer,” wrote Lord Collingwood, than her conduct in the fight — “I have no words in which I can sufficiently express my admiration of it.” As the smoke of the battle cleared away she was seen lying dismantled and temporarily helpless, but with an enemy’s ship, equally helpless, a prize on each side of her. Her losses amounted to 121 killed and wounded, including 9 officers, while 43 of her crew perished in the prizes after the battle. She had her main top-mast, the head of her mizen-mast, her foreyard, and her fore and main topsail yards shot away; her fore and main-masts were so badly wounded as to be unfit to carry sail; while her bowsprit was shot through in several places. Her rigging of every sort was cut to pieces, and she was otherwise seriously damaged.’ (The Trafalgar Roll by Colonel R. H. Mackenzie refers) Wild was born in Amport, Hampshire. He enlisted in the Portsmouth Division of the Royal Marines, and his subsequent service included with H.M. Ships Goliath, Temeraire and Canada. Sold with copied research.
This grouping includes various teams and years all items share Super Bowl and Division Championship themes. NY Giants NFC Champions XXXV stein, Super Bowl XLKIV coin, SB XXV patch, SB VV patch, 6 round buttons, and two enameled post-back pins. Additionally included is one wooden football replica. The largest piece measures 9.5"L x 5.5"W x 5.5"H. Dimensions: See DescriptionCondition: Age related wear.
Joseph Mallord William TURNER (1775-1851) Farmyard with Cock, 1809 Etching and mezzotint, image 18 x 26cm, sheet 30 x 37cm, mountedDrawn and etched by J.M.W. Turner, engraved and published by C. Turner THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
James Abbot McNeill WHISTLER (1834-1903) The Tyresmith, 1890 Lithograph, sheet 27 x 20cm, mounted (Way 27, Levy 41, Tedeschi, Stratis and Spink 36)Collectors NotePrinted on cream-laid paper with a 'Harris & McMurd[o]/1814' watermark. An impression before the text and before the image was transferred to supplementary stones for publication in the November 15, 1890 issue of The Whirlwind. According to the Tedeschi, Stratis and Spink catalogue, page 152, "The published edition was machine printed from supplementary stones on smooth ivory wove paper, which has often discoloured to cream. Periodical impressions tend to be slightly coarser, glossier and higher in contrast than those printed by hand." Signed with the butterfly in the stone. THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Sir Muirhead BONE (1876-1953) The Jetty, Gorlestone, 1934 Drypoint, signed and inscribed, plate 17.5 x 27.9cm, sheet 23.6 x 33cm (mounted 41 x 51cm)Dogson 463.vii, edition 99 THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
William Lee HANKEY (1869-1952) Two works 'Le Repos', etching and drypoint, signed, edition 100, plate 24.5 x 29.5cm'The Old and The Young' c.1930, drypoint, signed, edition 100, plate 14.5 x 17.5cmEach mounted(2) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Ernest PROCTER (1886-1935) Boats on the Slip, Porthgwarra Pencil on paper, labels verso, 16.5cm x 12cmFrom the artist's studio sketchbook, donated to the charity auction 'Art Share' in 1988 by Mrs Phoebe Procter (the artist's daughter)"The oil painting of boats on the slip at Porthgwarra based on this sketch is in the permanent collection of the Newlyn Orion Gallery, also donated by Mrs Pheobe Procter" (label verso) The important 'Porthgwarra' oil now makes up part of the permanent collection of Penlee House & Gallery. The estate of Sir Geoffrey & Lady Holland This well-presented work appears to be in excellent condition with no sign of foxing or other damage. We have not examined it out of its frame.
Joseph Mallord William TURNER (1775-1851) The Straw Yard, 1808 Etching and mezzotint, image 18.5 x 25.5cm, sheet 29.5 x 40cm, mountedDrawn and etched by J.M.W. Turner, engraved and published by C Turner THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Robert Sargent AUSTIN (1895-1973) The Trace Horse, 1921 Etching, signed and inscribed, 16.5 x 20.5cm, sheet 23 x 27.5cmTogether with a lithographic print by the same hand titled 'The Mill', sheet size 33 x 25.5cm and an etching by John Taylor Arms (1887-1953) titled 'The Old Exe Bridge', 1920, signed, titled and numbered 10/100, plate 11.5 x 16cmEach mounted(3) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Douglas Ion SMART (1879-1970) 5 drawings and 1 mezzotint Repairs to S.T. John Wilson, London, conte on paper, signed and inscribed, further study to verso, sheet 20 x 22cmSt Martin's Church, Ludgate Hill, pencil on paper, sheet 38 x 28cmMoored Boats, c1935, pencil on paper, sheet 13 x 17cmOctagon Gallery on Ludgate Hill, pencil on paper, inscribed, sheet 25.5 x 18cmRichmond, Yorkshire, 1900, ink drawing on paper, signed and inscribed, sheet 28 x 39.5cmMoonlit, Rye, 2nd state 'plate not complete', plate 17.5 x 25cmEach mounted(6) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
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