JADE AND ENAMEL UMBRELLA HANDLE, probably Russian, ca. 1900. Yellow and red gold, silver. Very fancy T-shaped handle of light yellowish-green jade, on a spirally-engraved sleeve coated with light-blue, translucent enamel with bicolour laurel borders. W ca. 6.8 cm. H ca. 7.6 cm. In original satin-polished wooden case. From the collection of a castle in West Switzerland.
HOWARD M. HUNT OIL ON CANVAS (United Kingdom, 19th century) "Pilgrims from Mecca Encamping at Akabah Castle, Near the Red Sea." Image measures 27.5" x 23.75". Signed "H.M. Hunt" verso, titled and dated 1889. In a wood frame, 31.5" x 27.5" overall.
Railways and Tramways, a large collection including Clay, R., printer Report of the Directors of the Northern & Eastern Railway Company, incorporated 1836, to the Proprietors at their first General Meeting. 1836, disbound, folding map, housed in folding cloth covers; Wood, Nicholas A Practical Treatise on Rail-Roads. 1832. plates, contemporary cloth, some spotting, hinge broken; Osborne, E.C. & W. Osborne's Guide to the Grand Junction. Birmingham, 1838, folding map, original cloth; The Railway and the Mine Lever's Illustrated Year Book. 1861. 8vo, plates, original red cloth gilt; Grahame, Thomas A Guide to the North Midland and Midland Counties Railways. Leicester, 1842, folding map, engraved plates, bound with The History and Antiquities of Eyam, 1842; Day, J. A Practical Treatise on the Construction and Formation of Railways. 1848. Third edition, 8vo, original cloth; [Head, F.B.] Stokers and Pokers. 1849, 3rd edition, half calf; Osborne, E.C. & W. Osborne's London & Birmingham A treatise on Internal Intercourse and Communication in Civilised States. London, 1834, First edition, presentation copy from the author, original cloth-backed boards, uncut; Cundy, N.W. Inland Transit. The Practability, Utility and Benefit of Railroads. 1834. Second edition, 8vo, folding plate & 2 folding maps, original quarter cloth, rubbed; Lardner, D. The Steam Engine. 1840, frontispiece, original cloth; Railway Guide. Birmingham, [c.1845], 12mo, folding map loose, engraved plates, half calf; [Lever, C.] Tales of the Trains. 1845, 12mo, original pictorial cloth gilt; Measom, G. The Official Illustrated Guide to the North-Eastern, North British..... Glasgow, [n.d.], 8vo, half calf, cover detached; Young, F.T. The Economy of Steam Power on Common Roads. [1860], folding plate, illustrations, original cloth [Partridge, S., publisher] The Route of the Shrewsbury & Hereford Railway. 8vo, folding map, original wrappers, rubbed; Shaw, G. The Official Tourists' Picturesque Guide to the London & North Western Railway. [c.1875], 2 copies, maps, original blue cloth gilt, one rubbed; Kent, W., publisher History of the Darlington & Barnard Castle Railway. 1877. original blue calf gilt; Williams, F.S. Our Iron Roads. 1883, 8vo, original cloth, slightly rubbed; Williams, F.S. The Midland Railway. 1888. 8vo, original blue cloth gilt; Baker, E., publisher A Handbook to various publications, documents and charts connected with the rise and Development of the Railway System. 1893, 12mo, original upper wrapper bound in, quarter cloth; Grinling, C.H. The History of the Great Northern Railway. 1898; Clarke, S. Clitheroe in its Railway days. Clitheroe, 1900, 8vo, original cloth; Tomlinson, W.W. The North Eastern Railway. Newcastle, 1914. 4to; Steel, W.L. The History of the London & North Western Railway. 1914; Warren, J.G.H. A Century of Locomotive Building by Robert Stephenson & Co., 1823-1923. 1923, 4to., original cloth; MacDermot, E.T. History of the Great Western Railway. 1927. 2 volumes; Marshall, C.F.D. Centenary History of the Liverpool. & Manchester Railway. 1930. 4to, original cloth; Marshall, C.F.D. A History of Railway Locomotives down to the end of the year 1831. 1953. 4to, dustwrapper; Bourne, J.C. Bourne's London & Birmingham Railway. 1970, folio, original cloth, dustwrapper, glassine sleeve; and others, similar; sold as a collection not subject to return Estimate £ 300-400 + fees. Sold for £938 (buyer's premium included)
Four Large Polychrome Stained Glass Panels Attributed to Doig-Bernadini Studios, 20th century, man in front of a castle wearing red hat and boots, signed "DOIG BERNADINI," ht. 71, wd. 26 3/4; an arched panel with wood frame on three sides, depicting a castle in a rolling landscape, ht. 70 1/2, wd. 22 3/4; an arched panel with female figure wearing a crown, holding a rose, and standing next to a unicorn, "MCMXXX" written in upper right corner, ht. 85 1/4, wd. 38 1/4; and a panel with crowned man standing next to a lion, ht. to 85 1/4, wd. to 38 1/4 in. N.B. See lot 144 for more information.. A photograph showing these panels in situ accompanies this lot. Provenance: Property of a Boston Area Philanthropist. Estimate $2,000-4,000 The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
A portrait miniature of Mary Queen of Scots, wearing a red velvet dress, white ruff and white headress, with a wooden background with a castle in the distance, in a faux tortoishell, filigree frame with faux pearls, 9x7cm..
GROUP OF PORCELAIN, 19TH AND 20TH C.Group of porcelain, 19th and 20th c., to include a red spatter thistle shallow bowl, 10 1/2" dia., Wood & Son lustre bowl, ironstone strawberry plate, Staffordshire running stag and hound pitcher, 7 1/2" h., and an Old Castle England cream pitcher with John Paul Jones, 3" h.
Competitive in-house shipping is available for this lot.
Condition:
Staffordshire - sporadic glaze flakes. Spatter - 3 small glaze flakes to rim. Others - good condition.
TOSHI YOSHIDA(Japanese, 1911-1995)
Two woodblock prints: Wisteria at Ushijima; Castle at Himeji; signed "Toshi Yoshida" and titled lower margin, red seal lower right, sight 10 x 15-1/8 in.; gilt wood frames, 15 x 20-1/8 in.
Provenance: Private Collection, Charleston, South Carolina
Condition:
not examined out of frames, good overall; frames with light wear and abrasions
An Important Pair of George III Carved, Painted and Giltwood Athéniennes, c. 1765-1775, the dished circular basins with beaded and guilloche moldings, scallop-fluted bottoms, rams' head terminals above outswept paneled legs with husk-garland decoration, joined by incurvate paneled-edge shelf with circular center molding, over hairy-paw feet (their undersides bored for casters), heights 34 in., widths 27 in., depths 24 in. $30000/50000 Provenance: Underside of shelf, on one, bears storage label of c. 1920s, imprinted "Archer, Crowley & Co., / Depository, / [Park End Street] OXFORD, / No. …", with "125" entered in red ink; below, stamped in black ink, "Lord Ebur[y]." These objects thus presumably supplied to Sir Lawrence Dundas, 1st Baronet, for one of his houses, probably Moor Park, Hertfordshire; evidently by descent (with that house and its contents) to his son Thomas, 1st Baron Dundas; that house and contents sold in 1784; again in 1801; and in 1828 to Robert, 2nd Earl Grosvenor; by descent through Lord Robert Grosvenor, 1st Baron Ebury, to Robert, 3rd Baron Ebury; house sold 1919/1923 to 1st Lord Leverhulme, with furniture retained by Lord Ebury (these pieces evidently stored); possibly included in Lord Ebury's sale of Moor Park furniture, Christie's, London, 5 May 1942. Probably acquired c. 1940s/1950s by Barbara Sears Rockefeller, 13 E. 67th St., New York City. "The light and elegant ornaments … of Mr. [Robert] Adam, imitated from the ancient works … of the Romans, were soon applied in … every species of furniture. To Mr. Adam's taste in the ornaments of … furniture, we stand indebted, inasmuch as manufacturers of every kind felt, as it were, the electric power of this revolution in art."—Sir John Soane, Royal Academy lecture, 1815. Note: The first modern adaptation of the ceremonial tripod of the ancients was designed in Greece itself, by James "Athenian" Stuart (1713-1788), in 1751-53, during his study of the 4th-c. BC Choragic Monument of Lysicrates, for his and Nicholas Revett's book on The Antiquities of Athens. In their first volume (1762) Stuart presented his reconstruction of the large bronze victory tripod originally surmounting that Monument, whose form he deduced from the row of 21-inch-high tripods carved in its marble frieze (Ch. IV, pl. III, and p. 36); for Thomas Anson's park at Shugborough, Staffordshire, Stuart eventually built a full-scale replica of the Monument (1770-71), complete with its giant tripod crown (each leg of which weighed 500 pounds). In the meantime, however, he had domesticated its form (covering it with rinceaux reliefs, and adding rim finials of maidens' heads), as a magnificent ormolu perfume-burner for Sir Nathaniel Curzon at Kedleston Hall (1757-58), as well as in a pair of gilt-bronze candelabra, on conforming stands, for his Painted Room at Spencer House, London (1759-60, now Earl Spencer, Althorp House, Northamptonshire). Those pioneering tripod ornaments of the late 1750s by Stuart—of which a total of seven examples are known—are all identical (save that a few have added candle-arms), at the same 21-inch height as their marble models on the relief frieze in Athens; all (except one in patinated bronze) are executed in gilded metal; and all were apparently wrought to Stuart's design by Diederich Nicolaus Anderson (Swedish? / active London by late 1750s-d. 1767). After Anderson's death, Stuart's tripod continued to be cast at the factory of Matthew Boulton and John Fothergill, near Birmingham: four such later examples are in the collection of the Duke of Sutherland. The rash of English enthusiasm for "Athenian" Stuart's Greek tripod design of the 1750s was countered in France by a parallel interest in Roman prototypes. In his Recueil d'Antiquités of 1756 the Comte de Caylus had particularly recommended emulating a tripod from Hadrian's Villa; and the star of the Paris Salon of 1763 was a painting by Joseph Vien of "Une Prêtresse qui brûle de l'encens sur un trépied." The tripod censor shown in that image is radically different from Stuart's: considerably taller, its legs terminate in rams' head finials and hoof feet, and are not connected by a stretcher-shelf; its shallow bowl is contained within a wide, molded vertical frieze; and in place of Stuart's pierced conical cover, the top is left open, with the rams' horns extending outward toward each other in elegant curves along the rim. Two of those more "Roman" tripods, precisely replicating the prototype in Vien's painting, were executed in gilded wood by Adrien-Pierre Dupain (maître, 1772); that pair, with their pictorial model, are important for the unusually spreading (rather than coiled) configurations of their rams' horns—elements of substantial rarity, that also appear on the stands offered here. Apparently simultaneously with Dupain's tripod stands, on 27 September 1773 Jean-Henri Eberts advertised in the Paris Avant-Coureur that he had just invented a new article of furniture, which he christened the "athénienne"—none other, indeed, than a tripod on casters. Eberts advertised eight separate functions for his "invention:" with suitable adjustments (through accessories he could supply), it might function as a handsome three-dimensional ornament on its own; as an incense-burner; a chafing-dish; to support flower-vases or potted plants; to hold a fishbowl; as a candelabrum; as a small table, when fitted with a flat marble cover; or, similarly, as a pedestal for sculpture. It has not been remarked that the image on Eberts' 1773 advertising prospectus is virtually identical with the engraving of a tripod by the preeminent British architect and interior designer Robert Adam (1728-1792), which he published in his and his brother James's magisterial Works in Architecture (1773, pl. 8), as having been "executed in ormoulu, for Sir Laurence Dundass"—the presumed patron of the giltwood stands offered here. Adam had billed the initial sketch for that ormolu tripod, in 1767, to the Earl of Coventry (who in 1763 had brought back from Paris extensive designs for furnishings by Jacques-Germain Soufflot), as "A Tripod altered from a French design for a Water Stand." It is therefore clear that Adam in 1767 and Eberts in 1773 had both based their "novel" stands on a congruent prototype by Soufflot; and thus the Parisian source for Adam's first tripod design could easily account for the appearance of another specifically Parisian motif—the spreading rams' horns—on related works in gilded wood, such as those offered here. Those considerations suggest that the present "athéniennes" may well be related to Adam's earliest works in this genre, and indeed their forms as well as their probable history bear this out. Sir Lawrence Dundas (c. 1710-1781), "the Nabob of the North," had purchased Moor Park, as well as his London house, in 1763: he immediately engaged Robert Adam to decorate and furnish both, and giltwood furniture by James Lawson to Adam's design was already being delivered to Moor Park in 1764; its interlaced cable moldings and bands of large, heavy beading are closely reflected on these stands (while an Adam tripod drawing in the Stapleton collection shows this identical frieze). The carving of these rams' faces and forelocks may be closest to those on a pair of Adam-designed consoles, supplied in 1765 by John Bradburn and William France for Dundas's town house at 19 Arlington Street. The unusually wide stance of these legs is exactly matched in a large tripod candlestand designed by Adam for Syon House, outside London (Works III, pl. 9, left); he worked there in 1762-69 for the Duke of Northumberland, who commissioned similar tripod pedestals for Alnwick Castle in 1773. A 1773 Adam drawing of a rams' head tripod was translated into a quartet of silver candelabra by John Carter, in 1774-75: their well-proportioned forms with broadly spaced, outswept legs, and relatively high stretcher, are again intimately related to these stands. Other British designers also repeated these motifs on giltwood athéniennes in the same years: two unattributed tripod candlestands of c. 1770 at Langley Park, Norfolk show (on one) these same laterally extended rams' horns, and high, narrow stretcher; as well as (on the other) a bowl and a general silhouette very similar to the stands offered here. An unattributed painted tripod—closely related, however, to those made c. 1772 to the design of Adam's younger colleague James Wyatt (1746-1813), for his Cupola Room at Heaton Hall, Lancashire—exhibits this same wide-legged stance, and (like those at Heaton) a stretcher-shelf of identical profile, and identical placement, to these. The important early tripod stands offered here thus certainly date within this same decade, from the mid-1760s to the middle 1770s; they certainly come from a Grosvenor house, through the name of a 20th-c. member of that family, on their storage label. Because of their intimate connections with the personal style of Robert Adam, they may most plausibly derive from Moor Park, the house bought with its Adam-designed contents by the Grosvenors in 1828, and sold by them a century later. The patron of that ensemble, Sir Lawrence Dundas, is celebrated for his munificent commissions to virtually every one of the foremost furniture-makers in Britain. These splendid stands may thus be the products of any of eight or ten prominent firms of furniture craftsmen; and thus their witnesses to Adam's style may derive either from a lost autograph drawing, or from inspired emulation by almost any among his most closely associated suppliers. References: Nicholas Goodison, "Mr. Stuart's Tripod," Burlington Magazine 114:835 (October 1972), pp. 695-705; Svend Eriksen and F. J. B. Watson, "The 'Athénienne' and the Revival of the Classical Tripod," Burlington 105:720 (May 1963), pp. 108-112; Eileen Harris, "Robert Adam and the Gobelins," Apollo 76 (April 1962), pp. 100-106; idem, The Furniture of Robert Adam (London, 1963); Anthony Coleridge, Chippendale Furniture (London, 1968); Cooper-Hewitt Museum, Robert Adam & His Style (New York, 1982); John Wilton-Ely, "Pompeian and Etruscan Tastes in the Neo-Classical Country-House Interior," Studies in the History of Art 25 (Washington, 1989), pp. 51-73; Steven Parissien, Adam Style (London, 1992); Oliver Faircloth, "Sir Watkin Williams-Wynn and Robert Adam," Burlington (June 1995), pp. 376-386; Christie's London, 13 November 1997, Important English Furniture, lot 50, "The Moor Park Armchairs"; Amy Gale, "The Allure of the Antique," Art & Antiques (June 2007), pp. 73-77.
MAUCHLINE WARE OBLONG BOX, the hinged cover with view of Ilfracombe, 3 1/4" wide, A BARREL SHAPED MAUCHLINE WARE BOBBIN HOLDER, view of Inveravary Castle, 2" high and a MINIATURE PAINTED WOOD DOLLS HOUSE TRAY, GOBLET, JUG AND SAUCER, red and black lined on cream ground, tray 1 3/6" diameter
A MONUMENTAL RUSSIAN ICON OF SAINT GEORGE BATTLING THE DRAGON, 16TH CENTURY A MONUMENTAL RUSSIAN ICON OF SAINT GEORGE BATTLING THE DRAGON, 16TH CENTURY, depicting Saint George on his white steed trampling a winged red dragon coiled underfoot, meanwhile the princess Elisaba of Atalia watches from the entrance of the castle as her parents and townspeople observe from the castle`s roof, emerging from the upper left corner is the guiding Hand of God. Egg tempera, gold leaf, and gesso on wood panel with kovcheg. Two insert splints on the back (one missing). 68.5 x 59 cm (27 x 23 1/4 in.)̴́
AN IMPORTANT SILVER MOUNTED JACOBITE WINE GLASS MOUNTS BY PATRICK MURRAY OF STIRLING CIRCA 1745 marked to underside of base PM in shield cartouche, the large drawn trumpet bowl above a tapered stem with internal tapered tear drop air bubble, the foot set with a stepped domed silver foot with wide flat rim, mounted to glass stem set in red sealing wax with six lobes engraved GOD BLIS KING JAMES THE EIGHT Height: 17.5cm, diameter of rim: 9.2cm, diameter of foot: 8.7cm Estimate £ 8,000-12,000 + fees Provenance: Bruce of Cowden family collection By direct descent to Hon. Bruce Ogilvy Sotheby's 1924, where sold as The Bruce of Cowden 'Amen Glass' Private Collection Mr. T Waugh Collection (sold Sotheby's) Note: This iconic glass not only connects the story of Prince Charles Edward Stuart, Jacobites and the art they left behind, but crosses into the lives of ordinary supporters who would in the end pay the ultimate price for their support of the Jacobite Cause. The Bruce of Cowdens glass allows us the rare opportunity to say who was involved in the making of such an object, rare in many forms of Jacobite art, other than portraiture. While the maker of the glass still remains anonymous in this case, perhaps more interestingly and importantly, the man tasked with preserving such an important object is known: Patrick Murray, Goldsmith in Stirling. Firstly, we must consider the need for the repair to a relatively simple plain glass. Family history suggests that the glass was broken by the Bruce family after it had been drunk from and the toast given to 'The King Over the Water' by Prince Charles Edward Stuart himself. Charles is recorded in the area during the '45 and was likely gathering support and men to continue the uprising. It is considered likely he met with Bruce of Cowdens, an important member of the local community, to garner such support and dined with them, using this glass. The tradition of breaking glasses after the toast so that no lesser toast could be given from the glass is regularly discussed and indeed a glass with such tradition, and a later wooden foot, from the Thriepland of Fingask collection was sold within these rooms on 13th May 2015, lot 5. The repair in itself is not only interesting but confirms the true Jacobite nature of the glass, otherwise just a simple plain 18th century drinking glass. Patrick Murray of Stirling has been a goldsmith little considered and almost totally overlooked until recently when a pair of Hanoverian pattern tablespoons by his hand were sold (within these rooms 13th August 2014, lot 341). Currently recorded are only one other pair of spoons (from the same original set), the foot to this glass, and a pair of sugar tongs (in Jersey Museum) are all that is known by his hand. The maker's mark (no town or other marks are recorded with his work) to the foot of this glass is by far the best preserved striking of his mark. Little is recorded about Murray other than to say he was working in Stirling as early as 1732. No record of his training or apprenticeship is known. During this time he appears to have been the only working goldsmith in the Burgh and it is surprising not more work by him is known considering the wealth of the area. Murray, whilst an obvious choice to repair the glass due to his geographical proximity to the family, was the obvious choice on a more important level, as he too was a Jacobite. Indeed, giving this work to a goldsmith and not knowing his leanings could have resulted in the owner's imprisonment for treason. Murray is among a small handful of true Jacobite craftsmen not only working for Jacobite sympathisers but taking to the cause himself. Prince Charles' rally in Stirling must have inspired Murray as he signed and served in Lord George Murray's Brigade. Murray's career as a solider was short lived and less successful than that as a goldsmith and he was taken prisoner as a Jacobite in November 1745, possibly under the Surrender Act invoked by Marshal George Wade which offered clemency to those who surrendered and became loyal to the Government. Whether or not they in fact surrendered under this Act is unknown, but Murray would be imprisoned from November 1745 until November 1746, in Airdrie, Perth, Edinburgh Castle and Carlisle, where on 14th November 1746 Patrick Murray was executed for his part in the rebellion. While other goldsmiths (perhaps most notably Ebenezer Oliphant) are considered Jacobites, it is only Patrick Murray whose name and work paid the greatest price for his convictions. The engraving to the lobes of the foot is interesting. It is a regularly recorded Jacobite toast and undoubtedly the toast which the glass gave. It is also very similar in wording to the Jacobite national anthem immortalised on the fabled 'Amen Glasses'. While this glass is simpler in style to the engraved Jacobite glasses with roses, buds, oak leaves, portraits etc. and much plainer than the Amen glasses, the connection between the two is important and without doubt. Showing such an obvious toast to the Stuart King without symbolism and hidden intent shows the confidence its owners felt. The addition of silver to a broken glass again promotes the importance this revered glass had so early in its life. And perhaps most important the fact that all these aspects can be dated to before November 1745 when Patrick Murray was first imprisoned. These aspects combine to create a glass while plainer, simpler and indeed damaged, it is arguably more important than any engraved example, and on a par with even the most important Amen glasses. . Sold for £25,000 (buyer's premium included)
Blount, Thomas - Charles II Boscobel: or the compleat history of His Sacred Majesties most Miraculous Preservation after the Battle of Worcester. London: A Seile, 1662. 2 parts in one volume, 8vo, title printed in red and black, 23 engraved plates (2 folding; some being additional plates), some bound in, some mounted, 19th century maroon morocco gilt, g.e., bookplate of K.K. Wood Estimate £ 400-500 Provenance: Appleby Castle Library, Appleby Castle, Westmorland. Sold for £525 (buyer's premium included)
FLEMISH OR ITALIAN SCHOOL PAINTING(late 17th/early 18th century)
Figures on Horseback near a Castle Fortress, unsigned, oil on canvas, 27-1/2 x 38 in. (68.58 x 96.52 cm.); 20th century gilt wood and composition frame, 34-5/8 x 45-1/8 in.
Note: Research made on behalf of this painting by of the RKD, Netherlands, states that this work bears some characteristics of Dutch artists painting in Italy at the end of the 17th century and the beginning of the 18th century, all who derived inspiration from the compositions of Claude Lorrain.
Brunk Auctions would like to thank, Ellis Dullaart, MA, curator and Chris Stolwijk, General Director of the RKD for their research on this painting.
Provenance: Private Collection
Condition:
lined, areas of overcleaning with exposed red bole ground, crackle
Kelmscott Press - William Morris The Earthly Paradise. Hammersmith: Kelmscott Press, 1896-97. 8 volumes, 4to., one of 225 copies, printed in red and black, wood-engraved borders and initials designed by Morris and R. Catterson-Smith, original limp vellum with ties, uncut, [Peterson A41] Estimate £ 2,500-3,000 Provenance: Appleby Castle Library, Appleby Castle, Westmorland. Sold for £8,250 (buyer's premium included)
Sir Alfred Munnings (1878-1959), British
KISMET AND RUFUS
Oil on panel; signed lower right, titled verso
8.70" x 18.90", 22.00 cm x 48.00 cm
Provenance: Ex. Coll. B. Knight Esq., inscribed on the label verso;
Ex. Coll. Bobby Young, Toronto purchased at Spink & Son Ltd., London c. 1967
The present work was painted for the artist’s own enjoyment and as a way to understand the character of his subjects. Munnings viewed “each horse as a friend” (page 179) so much so that he even began his memoirs with descriptions of various horses and credits them with being his inspiration. “Although they have given me much trouble and many sleepless nights, they have been my supporters, friends –my destiny, in fact. Looking back at my life, interwoven with them – painting them, feeding them, riding them, thinking about them – I hope I have learned something of their ways, appetite, outlook and ideas. I have never ceased to understand them. [They] have helped to place me where I am today” (An Artist’s Life page 14).
Munnings painted a number of his own horses situated in or near their stalls, many of them Munnings would not part with and they remain at his home at Dedham, now Castle House Museum. As he so revered his equine subjects even a casual portrait as this present one, acts as a tribute to them as well as his way to contemplate and understand them.
It is also clear that Munnings used these subjects as an exercise in tonality. The genius that Munnings illustrates time and again is that he made all the elements into a cohesive whole by using a limited color pallet and repeating the same hues. Rufus’s red chestnut highlights are echoed in the border of the blanket and various panels of wood on the barn structure. The greenish highlights and shadows of the blanket are repeated throughout the canvas thus making the horses a convincing part of the scene.
The present work depicts two of Munnings’ own horses whom he used as both models and hunters. Rufus (in the stall) was “fifteen and a half hands, a strong healthy brute, a chestnut with a white blaze and a head and crest like an Arab stallion – one of the best” as Munnings describes in the first of his three volume memoirs (An Artist’s Life, 1950 page 13). This horse featured in many paintings, the most prominent being Our Mutual Friend the Horse
(40 ½ x 50 ½, Private collection), a portrait of Lady Munnings on Rufus with Sir Alfred holding his pallet. A similar scene is illustrated in The Finish, 1952, after page 232)
Kismet, the bay horse with rug outside the stall was one of Violet Munnings’ horses, one of three hunters that came with her to the marriage in 1920. “This mare, a favorite, had carried my wife with the Waddon, the Cottesmore and in the Row. Lord Ribblesdale (most notable in his portrait by John Singer Sargent) used to ride her there. Kismet had won many a horse show” (The Second Burst, 1951, page 179).
Kismet was the subject of a number of paintings two of which are illustrated in The Second Burst, after page 200. Both of these works, The Whip and My Wife on Kismet were exhibited at the Royal Watercolour Society in 1929, numbers 163 and 94 respectively. These pictures were discussed in the Sunday Times 31 March, 1929 “ Skillful horse painter…but his aesthetic value of his equine subjects is due not merely to his knowledge of the points of the horse but still more perhaps to his brilliant effective rendering of sunlight”. Although this scene has subdued and muted light the same sentiment remains true.
This work will appear in the forthcoming Catalogue Raisonne of the artist. Waddington’s is grateful to Lorian Peralta-Ramos for this contributing essay.
Oil on canvas Scottish scene of a man in helmet wearing a red cape walking to a woman at center in long spartan shawl young woman in red and black shawl to left table to left also depicted with a tankard and a orn glass all beneath a Gothic castle archway attributed by plaque Attributed to William Powell Frith (British 1819-1909) wood molding and gesso gilt frame 5 1/2'' deep as found ''L''- shape tear at lower left center and ''L''-shaped tear lower right some bubbling paint needs cleaning ss. 26 1/2'' h. x 24 1/2'' w. (Frith is known for his sumptuous portrait renderings of women and social gatherings. He was encouraged by his family to train as an artist and consequently from 1835-37 he attended Henry Sass's Academy in London and then the Royal Academy Schools in 1837. He first exhibited at the British Institution in 1838 and later became a member of the auspicious British artist's club known as the ''The Clique''. Frith also befriended the classical Victorian writer Charles Dickens who commissioned works of characters such as Kate Nickleby and Dolly Varden. Frith was also a favorite of Queen Victoria which gained him favor and distinction.)
MASSIVE MILITARY PHOTOGRAPHIC ARCHIVE, MOSTLY WWI-WWII, AMERICAN, ALLIED, GERMAN, JAPANESE.This archive is a lifelong collection of the consignor who has a publishing company and had hoped to publish photo history books utilizing images from this incredible archive. This dream never came to fruition and a change in life has instead led to the consignment of this treasured photoarchive. Archive consists of about 33,000 vintage and first generation photographic prints and 18,900 negatives, over 500 slides. Also included are five 8mm newsreel films, one 16mm newsreel film (original German newsreel footage of Fallshirmjager troops parachuting into Holland), 25 stereo-cards and miscellaneous ephemera belonging to photographers whose work is now preserved in this photoarchive including letters, correspondence and military service records. A large percentage of this archive is dedicated to WWI and WWII Air Corps and aviation. Many of the groupings are from professional American military photographers, German military photographers and soldiers in the field. A small percentage of this archive is made up of other content including trains, ships, cars (including 1919 Indy Race winners Ralph DePalma & Howdy Wilcox at a race on the Sheepshead Bay, NY track in their winning Indy car), Gar Wood & his co-pilot in executing an Oct. 1930 speed record run in the Harlem River as they ran the incredible speed boat, Miss America VIII, powered by twin Miller V16 supercharged engines, the 1939 World's Fair showing the Lifesaver parachute tower ride later used for paratrooper training at Ft. Benning and many portraits and landscapes of 19teens-1940s that would be perfect for publishers as well as movie costume and movie set designers. The images are concentrated in WWI-WWII era, but there are earlier photos and more military photos from Korean War and even Vietnam War. Many negatives included in this archive are large format and glass plates. Virtually all of the archive has been researched for the historical content, placed in acid free archival sleeves and boxes and labeled. All the 8x10 custom-made, wet-process prints were made by the consignor who has had fifty years of experience working in photo darkrooms. A partial summary of contents includes: WWI Aces Eddie Rickenbacker, Raoul Lufberry and photo positive of his death certificate; Douglas Campbell, Albert Ball-Victoria Cross (V.C.) (in his aircraft and with his squadron), William 'Billy' Bishop-V.C., Georges Guynemer, Irish Ace Edward 'Mick' Mannock-V.C., James McCudden-V.C., Frank Luke (known as the "Balloon Buster") ,WW1 German aces including Hermann Goering, Baron Manfred vonRichtofen (the Red Baron and photo of his death certificate), photos of the Lafayette Escadrille and other historically important WWI squadrons, photo of Quentin Roosevelt's terrible end and his death certificate , 9th AERO, dead WWI tankers, 7 WWI airplane postcards and 5 boxes of Vietnam War color slides. Vintage photos and negatives all taken by Marine tanker John Quas on Iwo Jima, vintage battleships, Bombardier Squadron 97, vintage prints of Spanish-American War era Illinois National Guardsmen also a Spanish-American War era Cavite coastal gun vintage photo. P-39 Airacobra 8x10 1st generation photos, 3175th Signal Service (pre-war or early WWII with shots of General Claire Lee Chenault, Flying Tiger's leader), B-29s, 1936 Olympics, war-time and post-war Europe, Generals, Franklin Delano Roosevelt, 82nd Airborne, 507th Parachute Infantry Regiment (Raff's Ruffians) negatives (no proofs or prints) showing Generals Jim Gavin, Matthew Ridgeway, Dwight D. Eisenhower and others just before D-Day, truly amazing photo negatives of an 82nd A.B., 507th P.I.R squad in full combat gear training prior to D-Day, very young and very old German soldiers surrendering, Guam Photos, 8x10 1st generation enlargements of 8th AAF, 303rd Bomb Group "Hell's Angels" photographed by Milton "Chic" Cantor. Included in this lot of original 4x5 negatives are several shots of 82nd A.B. parachutists watching over German civilians that they made to disinter civilian victims of a Nazi slaughter. The incident is described in "Jumpin" Jim Gavin's autobiography "On To Berlin" but the photo negatives of this incident have never been published. Custom made 8x10 prints from copy negatives of Eastern Front (Operation Barbarossa), WWI glass plate negatives, photo positives and prints of 94th Aero Squadron including Ace Reed Chambers, German & Italian leaders including Hitler looking at bomb damage and Mussolini with the Italian king photos. Pre-WWI & WWII aircraft, aviators, Polish soldiers, European theater and Italy vintage photos of Mussolini death and WWI aircraft. Quad 50 AA crew, guns, battle shots, B-26, 9th AAF 387th BG, 558th BS B26s, scenes, bases, soldiers, Paris (one showing Notre Dame cathedral sandbagged against bomb damage), 3rd Army in Europe, 9th AAF, Generals Hap Arnold, George C. Marshall, P-38s in the Pacific and North Africa and B29s, GIs in Europe, rail guns, Liege Belgium turrets in forts ruined in WWI and WWI monument, P-47 Thunderbolt Tallahassee Lassie 510th FS, 5th AAF crewman burial Okinawa 1945 and DC3s "The Scout" and others. Scenes from India, Burma, Suez Canal taken by WWII Signal corps photographer Robert W. Lavelle with two books of his negatives, truly excellent photographs and 200 1st generation 8x10 custom prints. Very rare Finland combat negatives with custom made, 1st generation B&W prints of the Finnish War of Continuation. The negatives in this amazing and rare lot with original Finnish language-descriptions of each film negative's contents, also English translation of same and over 200 custom 8x10 black and white prints (no negative count, but many rolls of 35mm). The works of WWI photographer L.R. Dold, Co. B, 314 Engineers 89th Div. from Trinidad, Colorado which contains negatives and photos of the Western Front, aerials of trenches, views of Verdun and the cavelike tunnel system, the Meuse River, camouflage roads, barbed wire entanglements on the Western front and much, much more. There are G. Warden Clark's AAF negatives of B-24 noseart and bombing missions over Europe. Some of the most incredible shots in the archive were taken by a Signal Corps photographer attached to the 82nd A.B. 507th P.I.R. and shows scenes such as Generals James (Jumpin' Jim) Gavin, Matthew Ridgeway and Gen. Eisenhower right before D-Day. Over 1,000 photos (most 4x5 and 8x10) The works of WWII photographer of Charles P. Carter 168th Signal Photo Co; the works of A.M. Berkson, Far Eastern Air Force photographer in WWII with the 5th AAF, 38th B.G. original negatives and a three-ring binder of vintage aerial photos showing Japanese bases on New Guinea and New Britain being pounded by U.S. Army Force B25 medium bombers. There are vintage photos in this 38th B.G. archive showing Japanese Navy vessels being destroyed, Japanese air bases demolished, the Japanese stronghold at Rabaul, New Britain being pulverized and Cape Gloucester being gloucesterized. Also great vintage photos of legendary aircraft in this bombing group and their aircrews as well as amazing photos of the natives and their villages. The works of WWII U.S. Navy Photographer, Daniel G. Reiber are in the photoarchive, WWII multiple photo groups: Marine aerial recon, old news photos, Yokosuka Naval Air Base, Army base (possibly Camps Shanks), Japanese surrender on Missouri. Pelileu Andrew Felbinger bombardier 133rd anti-aircraft, Bushmaster "Jake" Jacobsen photos and negatives, vintage photos of a Navy S.W. Pacific P.T. Boat Base; Guadalcanal, 870 Chemical Co., P-40, P-47, B-25s aircrews, B-26s, B-17s and 5th Service Command. WWII Navy and WWI Schuerz negatives and prints, 21 WWII photo albums, two WWI photo albums, Burma China album has negatives (several show Eddie Rickenbacker addressing pilots in the 14th AAF) and 500 South Pacific Coast, 16 negatives. Five WWII Castle newsreel films (news and parades), WWII China B-24 bombers, 14th AAF 308th BG and Chinese evacuating. Negatives and proofs of Luke, William & Ajo AAFB, plus Okinawa and Japan Army Base photos by George Kiener. European theater Battle of the Bulge, unknown photographer, European photos (France Maginot Line), 158th Regimental Combat Team Jake Jacobsen, 8th AAF 389th GB, 566th BS and Tobi and Fana Islands, Japanese surrender, 660 photos. Sino-Japanese War 1930s, air crashes at U.S. Naval Air Station, Japanese Gun in the Admiralty Islands, 5th and 13th AAF, PB4Y1 Tidewater Tiller and 660 vintage photos. Spanish-American War, WWI aircraft 1920s, Coast Guard station in Florida in the late 1930s, German spy ship Schwabenland in an American harbor and album labeled "1939-1940 World's Fair". Gar Wood in Miss America VIII in the Harlem River, Oct., 1930 and Florida Military school. Incredible photographic record of an WWII German Luftwaffe flak unit, photographer unkown, (about 300 negatives, 55mm and 3-1/2"x 2-1/2") in Germany and at the Pas de Calais. The works of a very talented U.S. Navy photographer Billie Greer Smoak from Georgia, WWWII U.S. Navy South Pacific photos, negatives and ephemera (564 photos, 316 negatives). Five 8mm WWII news films by Castle Films News Parade. 795 4x5 vintage negatives from the 1920s-1940s by New Yorker Mr. Elam (his works encompass the time period from the 19teens until the mid 1940s and include the Gar Wood negatives and the Indy winner negatives), WWI, Spanish-American War, WWI ANZAC 112 glass plates, 278 negatives WWII U.S. Army, 1940-1950's, Pvt. Herman Doll, 109th Inf., 46 negatives, WWII 8a8th MP 46 negatives, WWI Rainbow Div., E.H. Brown, 9th AAF C.J. Ginther negatives (some of the best in the archive), Marine Aircraft Group MAG 32, Marine Aircraft Group 13 (both in the South Pacific, some photo negatives of PBY Ctalina known as a "Black Cat") 276 negatives, Pacific WWII, WWII German B&W negatives, Luftwaffe, AA searchlight and 370 negatives MG unit, Europe and war generals and Victory Expo in Paris. Alsolso vintage prints of the liberation of a concentration camp. 351st BG (Heavy) 8th U.S.A.A.F., WWII, 197-4"x5" B&W acetate negatives. All prints and negatives in archival storage sleeves. All negatives are proofed, 49 half proof sheets. Shots include missions, personnel, aircraft, barracks and vehicles. U.S. Navy Photographer S. A. Szabo WWII _ 52 custom made 8"x10" B&W prints (some are vintage), 1 vintage 5"x7" print _ 72-4"x5" acetate negatives 12 of which are accompanied by 4"x5" contact proofs. Most photos are of Navy personnel, especially photo branch, some shots are of Navy aircraft and personnel. S/Sgt. Bob Lavelle, China/Burma/India WWII _ 161 custom made 8"x10" B&W prints with two 4"x5" vintage prints and five 8"x10" vintage prints. 166 2-1/2 x 3-1/2" negatives in two folios, each negative in a numbered glassine sleeve and identified in inventory at front of folio. Shots of people, personnel, RAF PBY, wrecked Japanese aircraft, captured Japanese aircraft spare parts, Gurkhas, temples, scenery, Suez Canal, British AC carrier, newspaper headlines about the war and more. Warren Boyen, European Theater _ 16 custom made 8"x10" 1st generation B&W prints, 78 small vintage prints. 558-35mm B&W negatives, 12 2-1/4" x 3-1/2" B&W negatives. Also an analog, German made photo exposure calculator. Photos include subjects such as convoy to Europe leaving from New York, scenes from England, France, Germany, armored vehicles, men, women, men with women, the Paris Expo under the Eiffel tower after the war with shots of an A 20 Havoc and Hub Zemke's P47, camp life and clubs. 1935 Military Exercises, Pine Camp, N.Y. _ 33 -4"x5" B&W negatives all with proofs (contact prints), men in formation, war game, men in camp, officer's and horses. 35 _ 2-1/4" x 2-1/2" B&W negatives with proofs. German Army, WW1, scenery, soldiers, trenches, trains, Krupp manufactured Big Bertha howitzer in place with crew and with burst barrell and destroyed villages. 7 _ 2-1/4" x 3-1/4" B&W negatives with proofs. U.S. Navy submarine Division 9 rafted up at North river, New York City in May 1920. R & S boats along with Navy ships. Includes 7, 8"x10" custom made 1st generation B&W prints. 89 -35mm B&W negatives with proofs. Family photos of houses, vintage autos, Navy personnel on leave. One custom made 8"x 10" 1st generation B&W print of a new, 1954 2-door Pontiac Chieftan. 16 B&W negatives with proofs, Korean War, U.S. Army, men, camp and helicopters. 6 _ 3"x2" B&W copy negatives with proofs of high ranking Nazi officers like Field Marshall Rommel, General Major Ringel and more. 6 _ vintage WWII prints B-29 Superfortress "Better 'N' Nuttin'" 2 - 4"x5" prints, 3 _ 3 1/8" x 2 1/8" prints. Crew members, aircraft on ground and in flight. Vintage 8"x10" B&W AP Wire photo from U.S. Army Signal Corps Radio Photo of B-25 Mitchell medium bomber "Jeanette" shot up in a raid on Sicily. Unknown Pennsylvania photographer who served in the Army in 1950s and in the Merchant Marine. 52 rolls of 35mm B&W film containing a total of 839 negatives. There are also 93-2-1/2" x 1-5/8" B&W negatives. Images on negatives range from early 1950s to 1961. Subject matter includes airshow at Philadelphia airport in 1955, tanks and half-tracks in Germany 1955, Merchant Marine ships at sea and in port, G.I.'s in Europe on maneuvers, European cities in France, Belgium, Germany, Greece, old cars, gas station in the 1950s, family and babies. 27 - 8"x10" custom made 1st generation prints of Philadelphia air show in 1955. Includes shots a B36 and a B56. 39 B&W 4"x5" negatives. 14th AAF, 308th BG (H) in B24 Liberators. Images are of bombing missions, aircraft in flight, bomb damage to Japanese held targets in China (8-4"x5" negatives with data written on them). 31-4"x5" negatives, also with information, of evacuation of Chinese from Japanese held parts of China. Some damage to a few of the negatives, but very poignant images, excellent focus and exposures show good contrast. Truly a magnificent record of a difficult time in Chinese history. 2 custom made, 1st generation 8"x10", B&W prints. All 31 of the evac negs have been proofed and 2 of the 8 combat mission negs have been proofed. Photos/photo negatives taken by Major Barnett, USAAF who served in the 12th AAF, 321st BG flying in a North American B25D Mitchell Medium bomber. Flew missions and photo recon. Grouping consists of 47-4"x5" B&W negatives with excellent subject matter such as large numbers of captured German troops, some no older than high school age, and gear in Italy. All 47 come with a proof sheet. There are a total of 516 35mm x 25mm B&W negatives, 374 have been proofed and many of these have multiple proofs, 145 have no proof sheets at all. Subject matter includes aircraft in the 12th AAF, wrecked and abandoned German and Italian aircraft and machinery at Bizerte, Tunisia, air recon missions, some personnel, the bombed ruins of Monte Casino, lots of aerials showing the Italian countryside. 36 first generation, custom made B&W 8"x10" prints from some of the 519-35mm x 25mm negatives. 7 vintage B&W aerials of Randolf Field in Texas (1930s), 14 vintage B&W aerial recon photos of target sites in Italy like Milan and Naples. Also some paper ephemera like magazines, military issue pamphlets, post cards and booklets. 1st Marine Division, 7th Marine Regiment, 81mm mortar platoon. Includes 53 8"x10" custom made, 1st generation, B&W prints. 257-35mm B&W negatives showing scenes from Marine basic training, Marines in full gear, Marines graduating from boot camp, small aircraft carrier, aircraft on carrier, jungle camp in Pacific, Okinawa scenes and combat, US Fletcher class destroyer. There are 15 proof sheets showing 221 images so not all the negs are proofed. Pfc. John Quas Jr., photographer was in the 4th Marine Division, 25th Regiment Tank Battalion. He served on Roi-Namur, Saipan, Tinian and Iwo Jima. Includes a photo album with 86 vintage B&W prints of various sizes. Subject matter includes Oahu, Hawaii, troops along with tanks, self propelled guns and artillery on revue; Marines on landing craft heading into the beach at Iwo, Iwo scenes, destroyed Japanese positions, captured Japanese weaponry, Marine tanks ashore, disabled Marine Sherman, Marine Sherman ashore with the landing fleet in the background. Very dramatic
after battle scenes, lots of casualties. There are also 58-30mm x 40mm B&W negatives and 52 custom made, 1st generation 8"x10" B&W prints made from the negatives. 4 vintage B&W 8"x10" prints, one marked on back "Official U.S. Navy Photograph" all in rough shape, fold lines and foxing evident. 1.)photo labeled "Giving first aid to wounded 10th Army man at Okinawa May 30, 1945. 2.) photo labeled "Carrier based planes of third fleet strike Kushiro on Hokkaido _ buildings set on fire plus locomotive _ July 14, 1945 _ The attack occurred during the Third Fleet's daring sweep of the Jap's home islands." 3.) The "Duke of York" pulling into Apra Habor, Guam Admiral Fraser on board to see Nimitz." 4.) Combat Marines on a break gathered around an older man in Marine uniform who appears to be signing autographs. 86 vintage B&W prints, photographer unknown, maybe a Sea Bee, most of the prints are 4"x5" , some are 2"x3 1/8". Most are of Guam, wreckage of battle, destroyed Japanese defenses, destroyed Japanese tanks, U.S. invasion fleet, B-29 bombers, cemetery, bivouacs, Guam scenery, Japanese staff at Guam hospital, also shots of Okinawa invasion wreckage and after battle scenes and sailing back into San Francisco harbor Golden Gate bridge ahead. 15 vintage 4"x 2-3/8" B&W prints of B17s in the 306th Bomb Group "The Reich Wreckers" on Gibralter and in flight. Photos taken by Joseph W. Long of Milford, Michigan. (116 negatives). 5 vintage 3 1/4" x 2" B&W prints of "Joey at Camp Bowie, Texas, 1943." Also 15 2-1/4" x 3-1/4" B&W negatives, all proofed. 77 B&W negatives, all proofed, unknown Army photographer, scenes show camp training, bivouacs, some scenes in Germany, troops on ship heading home. 49 B&W negatives 3 1/8" x 2-1/4" in size with 1 B&W negative 4-1/4" x 2-1/4" in size, all proofed on 16 custom made proof sheets. Photographer unknown, U.S. Army, most show G.I.s in Europe, post war. Scenes in Holland, Germany and France. A number of photos of troops on revue. Several shots of an airfield with numerous aircraft, one is a B-29, plus shots taken from cockpit of B-29 in flight showing inside of cockpit also aerials of Paris. 3 B&W glass negatives 3-1/2" x 2-3/8" in size all proofed on 2 custom proof sheets. Photographer unknown. U.S. Army, WWII era. Locations unknown. G.I. with fuel truck, G.I. in class A uniform, view of equipment storage yard on Marston Mat and bivouac in background. 22 B&W negatives all proofed on 3 custom made proof sheets, photographer unknown, ANZAC troops, scenes of ANZACs in what appears to be North Africa. 37-B&W 4"x5" professional negatives, all custom proofed on 9-8"x10" sheets and two on 4"x5" sheets. 69-4"x5" B&W vintage prints. All by Navy photographer Ensign G.W. Hollenbeck, photographic officer, Utility Squadron VJ 19. Subject matter includes aerial shots of atolls in the South Pacific, the U.S. Fleet at Ulithi atoll, The Battleship North Carolina underway seen from the air, Navy personnel, USO party, P-51D-20 Mustang tail number 44-72558 in the 458th Fighter Squadron/506th Fighter Group "A Neat Package", Beechcraft SN B-2 in flight over the Pacific, Grumman F6F-3 Hellcat on an aircraft carrier, Navy aircraft, Navy aircraft on aircraft carrier, Navy base, life on the base etc. 20-8"x10" vintage prints of aircraft (mostly in flight over the pacific) included in these are several excellent prints of Navy North American PBJ medium bombers in flight with some Chance-Vought F4U Corsairs, great shot of F4-U in flight, great shot of a Navy SBD Douglas Dauntless in flight, Douglas A-26 (Navy target tug designation JD-1) on Marston mat runway. One 5"x7" print of superstructure on an Australian aircraft carrier. 12-3"x2" vintage B&W prints showing Navy life on base in Pacific. 17-3"x 2-1/2" vintage B&W prints of VJ 19 personnel, 3-3 _" _ 2 _" vintage B&W prints showing VJ 19 personnel. Vintage B&W prints of VJ 19 personnel on deck of an aircraft carrier. 10-4"x5" B&W negatives, all proofed on 3-8"x10" sheets. Unknown photographer, U.S. Army basic training. Great shots, all sharp focus, good contrast. One favorite is of soldiers lined up in front of tent with girls smiling and looking out from tent. 139-2-1/4" x 2- 1/4" B&W negatives, all proofed, unknown photographer in either the 45th or the 96th EVAC Hospital. Scenes in Germany and Yugoslavia including U.S. personnel, hospital, wrecked German aircraft, death camp photos, buildings, ovens, etc. 20-4-1/2" x 2-1/2" B&W negatives all proofed, 20-3-1/4" x 2-1/4" B&W negatives all proofed. Photos taken by Lt. S.W. Sloane in the 925 Engineer Aviation Battalion showing scenes in England and North Africa. This unit landed on Omaha Beach in July 1944 and paved the way across Europe for the 9th AAF by building landing fields. Army Air Force personnel, bivouacs, English buildings, a wrecked searchlight on a beach, Army medics and a hospital. From Eastern Europe after the fall of the Iron Curtain, 598-3-1/4" x 2-1/4" B&W negatives, about 100 additional negatives of larger size, custom made 495 8"x10" B&W wet process, continuous tone B&W prints from these negatives. Most likely the combined works of multiple photographers. Subject matter includes ships in Norway port and in ocean, scenes from Holland with Fallshirmjager, Fallshirmjager in jump uniform with weapons, Operation Barbarossa (Eastern Front) scenes of battles, destroyed Russian tanks and after battle scenes, occupied Paris, portraits of Wehrmacht and Luftwaffe ground combat troops on eastern front, some members of a Cossack unit, POWs in a camp, outer perimeter and guard tower of a POW camp, Wehrmacht troops with newly awarded combat badges, scenes from Lithuania, Estonia, Latvia, Feldgendarmerie unit, Luftwaffe radio-teletype communication mobile unit on the eastern front, Wehrmacht troops in captured Bren gun carriers at Dunkirk, German graves in Russia, Russian POWs, Wehrmacht driving school in Germany, destroyed German city, blown bridges, wrecked BF109 on a beach, scenes from a French beach (Le Pilat Plage, De La Cote d'Argent, Wehrmacht troops at a seafood restaurant on the beach), Wehrmacht troops at Nice, France, Wehrmacht troops in Denmark, Luftwaffe funeral ceremony, wreckage of Bf109 and grave of pilot on eastern front (probably the son of General Julius 'Papa' Ringel who commanded the 3rd Mountain Division, 5th Mountain Division, LXIX Corps, Wehrkreis XI and the Army Corps Ringel), Werhmacht life in trenches on the Eastern Front, Wehrmacht target practice, Dornier Do 17Z unit, wrecked and destroyed Russian aircraft, trainloads of Soviet Polikarpov I-16s captured and disassembled, Wehrmacht troops being welcomed in Eastern European towns, JU52M 3M Medical Transport in flight, on ground and unloading "commissbrot" commissary bread, FLAK tower being built, trucks delivering food to troops, troops preparing chickens and cooking chickens, horse drawn covered wagons moving through forest on dirt road, German field artillery with blown barrels, German field artillery in emplacements, German medium field gun _ K.39 149mm being serviced, smoke from combat with soldiers marching toward the battle, Wehrmacht soldiers on the barrel of a Soviet heavy tank that is out of commission and more, More Operation Barbarossa. 275-35mm B&W negatives still in old film containers. 13-35mm color slides making for a total of 288 images. None are proofed. No prints made, unknown photographer. Subject matter includes Eastern Front scenes; Wehrmacht troops in bivouac, blown bridges, family scenes, Wehrmacht officers at a party, stunning portraits of a Soviet P.O.W., Wehrmacht officers in a trench on the Eastern Front, soldiers with horse drawn sled in snow, Wehrmacht in Niewport, Belgium, port scenes, portraits of soldiers, buildings on East Front, after combat scenes, lots of destroyed Soviet tanks, German town, target practice, bridge building, mail delivery to troops, horses, hay delivery and more. The 13 color slides are of a Wehrmacht soldier at home in the country with horses and his lady friend/wife. 281-35mm B&W negatives still in old film containers. None are proofed, no custom made B&W prints. Unknown photographer(s). Subject matter includes: Eastern Front scenes, after battles, blown bridges, wrecked Soviet tanks, oceans of mud and vehicles stuck in same, partisan danger sign, bodies, German graves, Oct. 1941-June 1942, Wehrmacht soldiers in Paris (Eiffel Tower _ Arc de Triomph _ marching on the Champs Elysee), Wehrmacht at Joan of Arc monument, blown artillery pieces, artillery pieces, truck soldiers, soldiers marching, vehicles traveling, villages, horse mounted Wehrmacht soldiers, horse care, scenery. Interestingly there are two rolls of German Agfa 35mm film in this lot which show what appears to be U.S. G.I.s in Germany with St. Bernard dog and puppy, Sherman tank, playing baseball, wrecked industrial plant, wrecked German city and several photos of a flow chart showing Brig. Gen. William R. Woodward. 304 total B&W negatives of German FLAK unit, 168-3-1/2" x 2- 1/4" negatives and 136 55mm x 43mm negatives all in archival sleeves. Accompanied by 285 custom made, wet process, 1st generation 8" x 10" B&W prints. The photo negatives are of a Luftwaffe FLAK unit assigned to a 2 cm FLAK 30. The crew's deployments are shown. They were deployed by a city on a river (Rhine?), then an industrial area, then Pas des Calais. There are shots of English soldier's graves (Dunkirk?), sea mines that washed ashore, life in their quarters, soldiers goofing around (alcohol was almost certainly involved), General inspecting the facilities, bunkers and gun emplacements on the Atlantic wall at the Pas de Calais. A number of negatives are shots of bombs exploding during an Allied bomb raid on the Pas de Calais and then shots of the aftermath, blown trains and buildings. Also shots of a mass burial of German soldiers, date on one of the crosses shows July 1, 1940 as the date of demise. Amazing photos, some of the best in the archive. 26-5"x7" B&W copy negatives of the WWII battles on Saipan. Good, sharp copy negatives depicting the horrors of combat, battlefield deaths and destruction. 500 total WWII East Front/Operation Barbarossa/Norway B&W negatives. Includes 197-3 3/8" x 2-1/4" B&W negatives, 48-2-1/4" x 2-1/4" B&W negative, 302-35mm B&W negatives. 39-8" x 10" custom made, wet process, continuous tone 1st generation B&W prints made from the negatives. Negatives document Wehrmacht-Combat Unit IR 489 with their commander H.H. Behrend. Subject matter is of Wehrmacht and SS troops moving to encircle Leningrad. Army group north sector. 4th Politzei Panzergrendier Division which was fighting with the 269th Infantry Division at the Battle of Luga, 1941. Photos of SS graveyard includes several showing the grave of SS Gruppenfuhrer und Generalleutnant der Schutzpolizei & Commander of the 4th SS Politzei Division Artur Ferdinand Mulverstadt. Also shown are wrecked German aircraft, German STUKA bombing Russian positions, Wehrmacht soldiers advancing into Russia, Wehrmacht assaults on Russian positions, lots of destroyed Russian tanks, German armored columns, German truck convoys, bivouacks, Wehrmacht soldiers with MG 32s in position, blown trains, 70Km from Petersburg, dead Russian soldiers, destroyed Russian equipment, lots and lots of German graves. Also shots of occupied Bergen, Norway (Ole Bulls Plass) ships in Norwegian harbor and underway with German troops on board. Pastoral scenery, German soccer match, troops unloading weapons and more. Incredible lot of photos. 303rd BG (Heavy) 8th U.S.A.A.F. "Hell's Angels" WWII. All shots taken by squadron's official photographer, Milton "Chic" Cantor. 36 custom made 8"x10" B&W prints. 152 WWII German negatives all proofed. Scenes include guest houses, restaurants in Austria, Wehrmacht soldiers with horses, caring for horses, captured African soldiers in French uniform, artillery unit in Russia, Wehrmacht in earthworks, captured French soldiers, wrecked buildings in Russia, soldier's portraits, battle scenes, Catherine the Great's Palace at St. Petersburg/ Leningrad, wrecked Russian tanks, wounded soldiers on train, Russian buildings, camouflaged artillery, Germans sitting on the barrel of a huge Russian artillery piece 1 negative & 1 print WWII 10/24/44 U.S.S. Darter, SS 227 aground on Bombay shoal, S.W. of Palawan, her crew was taken off and she was shelled extensively by the sub Nautilus to prevent the Japanese from salvaging the boat, in this photo she is being used for target practice by U.S.N. aircraft. WWII German, soldier on guard duty, soldier riding horses, soldiers physical training, Bivouac, crossing river on ferry, hospital, Christmas, scenes in Germany, Hermann (otherwise known as Arminius) Monument, Teutoberg Forest, Germany, 95 negatives no proofs WWII German Operation Barbarossa, 82-35mm copy negatives of German advance across Russia destroyed tanks, German armored columns, tank battles, lots of combat photos, 77 B&W 8"x10" prints. WWII U.S. Army, 14" x11", brown embossed leatherette. Album contains 434 vintage photos, 5 photo post cards of Australia, 3 maps, pages from AAF magazine article on Biak Island near New Guinea: start at March 1943 training at Camp Barkley, TX for Medical Reserve Training Corps, then to Australia Camp Perry Park-Brisbane, then to Biak Island, then Philippines; included in this album is a vintage prints of Joe Rosenthal's iconic photo of Marines on Iwo raising U.S. Flag; native women; combat shots on Saipan & New Guinea, combat shots in the Philippines, Iwo Jima; casualty shots; General Yamashita surrender to General Wainright & General Wainright is refusing to shake Yamashita's hand. WWII German Photo Album 8.8 cm flak unit+ (66 photos); German "Eighty-Eight" unit, camouflaged artillery, battery of 8.8s towed by half tracks, high ranking officer, ski troop, LW plane postcard photos, aerials, portraits, 2 death notices, 2 pics of N. Africa or Greece. WWII German, 1427 35mm negatives, 34 custom made 8"x10" B&W prints, covering time period Oct. 1940 to June 1942. Contains shots of Dresden, Germany before it was bombed on some strips; Dresden 1941; family photos; German Judge; tank columns; lots of graves; unit photos; East Front; artillery position; artillery spotters; German officers in field; Paris Eiffel Tower great shots; Germans take France; wrecked French tanks; towns & defenses; big cannons in train yard; shots of Croatia (Zagreb), Austria. Hitler's Operation Barbarossa is well covered in this archive, from the Black Sea to the Baltic. Especially of interest are the Finnish negatives and custom-made, 1st generation wet-process B&W prints made from them showing the part that Finland played in the operation and its War of Continuation against the Soviet military. Over 1,000 sample images and a brief description of the contents are shown in our on-line catalog. Prospective bidders should examine this archive in person. CONDITION: Very good to fine overall. There are images that have damage, though vast majority are fine. Interested parties should examine lot in person. 52429-1
A Signed Miniature of a Beauty in Red Hand painted on ivory or bone, this rosy cheeked young woman wears a pearl diadem and a Princess Leia hairdoo. She is pictured in a landscape with a ruined castle at the left, signed "Cosway" at the lower right, approx. 3-1/4" x 2-1/2", framed in an inlaid bone and wood frame under a convex glass with a brass inner rim overall approx. 5-1/2" x 4-3/8".
A late 19th century watercolour of a town scene with cattle drover and other figures on a winding road leading to a town with Abbey, Castle, red roofed buildings, etc (possibly continental) signed bottom right Edith Gittins dated 1894?, 54cm x 72cm in gilt slip and wooden frame with gilded finish £200-220
Early 20th C. Art Supplies Travel Box by Pelikan Gunther Wagner / Pelikan (German, founded 1838), circa early 20th century. A carved wood and tooled leather mounted box, likely a travel box for art supplies, bearing to each side a landscape vignette reserved on ebonized chip carved ground, the lid with a depiction of Schloss Furstenstein (a castle in Walbrzych in Lower Silesian Voivodeship, Poland), and each of the side panels with a pastoral landscape. The hinged lid opening to reveal a red paper lined single compartment interior with the monogram "S T" incised to underside of lid within an overlapping twig frame. Interior left of box with gold tack marked "Gunther Wagner" over pelican mark and "H & W". Approximate height 6.875", width 16", depth 10.5".
GOOD QUALITY LATE NINETEENTH/EARLY TWENTIETH CENTURY CHINESE CARVED RED STAINED AND NATURAL IVORY PART CHESS SETS, 26 pieces, the King and Queen as male and female dignitaries in ornate costume bearded sage and mandarin type figures as the Bishops, mounted warriors as knights, processional elephant surmounted by a vessel as the castles and running warriors as the pawns, the red stained set lacking one knight, remaining knight lacking spear, castles lacking decorative plumes and each pawn lacking spear, the natural set lacking both knights and one castle, the remaining castle lacking plumes, the six original pawns lacking swords TOGETHER WITH THREE LATER REPLACEMENT PAWNS, carved in two parts, two being detached from their stands, the red stained king 5 1/4" high, the Bishop 4" high and pawns 2 5/8" high, the natural King 5 1/8" high, the Bishop 3 7/8" high and pawns 2 3/4" high (29 pieces in total) and THE STAINED WOOD INTERNALLY DIVIDED BOX, with hinged lid
LARGE JOSEPH LOMOFF O/C PAINTING, A FAIRY TALEJoseph Lomoff (American, New York/1889-1951) large oil on canvas moonlit fantasy cubist landscape titled "A Fairy Tale". Depicts a white castle emerging from cliffs upper left flanked by a setting sun above orange/red cliffs with the moon face visible to the right, above dark highlighted water to the center with a small village, lizard and male figure with staff and long white beard lower left, a cliff with crown depicted as a king mid-right margin, and a figure holding a broom in a white cave lower right corner. Signed en verso in black marker JOS LOMOFF together with the artist's address and phone number; additionally titled lower center A FAIRY TALE. Housed in a gilt and ebonized wood frame. Sight: 55 1/2" H x 58 1/2 W. Framed: 58 7/8" H x 61 3/4" W. 1st Half 20th century. Biography: Born in Russia, Lomoff traveled to the US in 1912 and immigrated in 1925, where he found employment as (among other jobs) a sign painter. His Futurist-influenced works like "Mystery" and "Legend of Atlantis" began to appear in group shows by the late 1920s. Lomoff exhibited numerous times with the Society of Independent Artists between the mid-1920s and early 1940s. In 1934, as part of the Public Works of Art Project, he painted a mural titled "Nursery Tales" in the Children's Hospital on Charity Island (now named Roosevelt Island). In 1937, amidst Congressional cuts to the Federal Arts Project, he was among those painters showing at a "Pink Slip Exhibition" in New York City. Subsequently, "Toilers of the Sea" appeared at the Brooklyn Museum (1943), and he was part of an innovative 1946 exhibit at Loew's Mayfair Theatre in Times Square--which had been organized following Thomas Hart Benton's statement that art should be in public places and not "buried in mausoleum-like art galleries." He is known for his Abstract cubist, and social realist paintings. (Adapted from Genesee Valley Council on the Arts).
Condition:
Canvas partially detached from frame in several areas resulting is some buckling and light craquelure to canvas. Reverse L-shaped tear to canvas, right margin above the king's crown, approximately 2" x 1 3/4". Some minor rubbing/loss to canvas left and right mid-margins. Canvas will likely need to be reframed or lined.
A DERBY COBALT GROUND VASE
of campana form with gilt snake handles, painted with a traveller in a wooded hilly landscape with distant castle in octagonal gilt frame flanked by palmettes and scrolling foliage, 21cm h, painted crown, crossed batons, D and title In Italy in red script, 32 and 51 in sepia and blue respectively, c1820
Harry Houdini Castle Lock Display Board. Being a collection of twenty-six twelfth century European castle locks, two large keys, and a pair of cuffs that Houdini used in his escape acts, presented in a folding red plush-lined wooden shadow box. The name ?Houdini? has been applied in brass letters at the top of each panel. The collection was displayed in the Houdini Museum in Niagara Falls for approximately twenty years, and was also used as set dressing in the 1953 film Houdini, starring Tony Curtis and Janet Leigh. Prior to the museum?s acquisition, Henry Muller purchased the collection from Joseph Dunninger, who acquired them from Beatrice Houdini. Accompanied by a 1998 letter of provenance from Henry Muller, president of the Houdini Museum in of Niagara Falls, NY. 61 x 54? (open). An imposing and impressive display of ancient locks and restraints with strong ties to the Houdini legend and name. Sales History: Butterfield & Butterfield Houdini Magical Hall of Fame (November 15, 2000).
three Japanese woodblock paintings, depicting three different scenery of warriors, high ranking officials an attendees in a castle setting, wood framed in red and gilt.
H: 25"(63.5cm) D: 19.1"(48.5cm)
Provenance: Estate Sale of Dr. Solomon Stone, a clinical psychologist and professor at Brooklyn College.
Condition: in overall good condition, with minor surface scrapes to the wood frame
A Derby topographical jug, circa 1815, red crowned D and pattern no. 42, painted with figures before a small ruin of a castle in wooded landscape, 16.5cm high, together with a Derby mug, painted with a factory in a river landscape, each with colourful scrolls and leaves (slight wear) (2)
Kelmscott Press - William Morris The Well at the World's End. Hammersmith: Kelmscott Press, 1896. Large 4to, limited to 358 copies of which this is one of 350 on paper, Chaucer type, printed in red and black, 4 wood-engraved illustrations by W.H. Hooper after Sir Edward Burne-Jones, ornamental woodcut captions to illustrations, borders and initials, original limp vellum, silk ties, [Peterson A39] Estimate £ 2,500-3,500 Provenance: Appleby Castle Library, Appleby Castle, Westmorland Note: Limited to 350 copies on paper. Known to be 'in the press' from 1892 to 1895, this work contains 8 borders and 6 different ornaments which appeared here for the first time. Morris regarded the 'magnificent and inimitable' illustrations of Burne-Jones very highly. 'These gave Morris particular satisfaction because they formed not only a series of most beautiful and imaginative pictures, but also made "the most harmonious decoration possible to the printed book"' (John Dreyfus, 'William Morris: Typographer', p.88). Sold for £5,250 (buyer's premium included)
WILLY GISIN (SWISS/U.S., 1921-2006) OIL ON BOARD,WILLY GISIN (Swiss/U.S., 1921-2006) oil on board, castle with red roof. Signed lower left. Image measures 24" x 36". In a gilt wood and gesso frame; 34.5" x 46.5" overall.
PR 19C Polychrome Wood Architectural Carved Urns: . United States, 19th Century. Red painted and gilt carved neoclassical urns decorated with curtain swags on round bases. Wood. 17 1/2" tall x 9 1/2" in diameter, . . From the estate of Belcourt Castle, Newport, Rhode Island. Condition Shrinkage cracks and losses to paint, small losses to wood on one rim, please refer to photographs. . Our catalogue serves as a guide and convenience to you for your bidding ease. Descriptions and condition reports are an OPINION given by one of our staff appraisers and/or auction affiliates. Condition of items are subjective, Bruneau and Co. uses every effort to explain and show any damages and wear on items. Everything is sold as-is, where-is. You are buying based on YOUR belief, all items are available for inspection the week before the sale and earlier by appointment. If you have any questions or concerns, please contact us at the gallery so a staff member can go over every inch and detail of an item with you. Repeat, everything is sold as-is, where-is with no warranty or guarantee unless explicitly stated. We are not responsible for errors and omissions, photographs are part of the description. Available payment options on Bidsquare
American School, 19th Century The Battle of Bunker Hill American School, 19th Century The Battle of Bunker Hill Unsigned. Watercolor and gouache on paper, 15 x 19 1/2 in., in a later molded wood frame. Condition: Minor toning. Note: This painting is a fanciful interpretation of the Battle of Bunker Hill as seen from Boston across the Charles River at Hudson Point. Charlestown's fortifications are clearly marked with red and blue banners on Bunker Hill, Breed's Hill, and Fort Castle William. The position of these hills was critical to a military occupation of Boston as they would provide the controlling army with a view of Boston and its harbor. On June 17, 1775, under heavy bombardment by the British, Charlestown caught fire and is represented here engulfed in clouds of gray smoke. The white rail fences which enclose the town, and which are so prominently depicted, were decisive in the Patriots' victory. The Colonial militia erected this series of fences to thwart the advance of the British troops. To negotiate the fences, the Redcoats were forced to break their ordered march, causing them to lose their discipline and momentum, and ultimately the battle. The painting was probably done by an academy student in the early 19th century. The form of the flags shown is anachronistic. During this period, the Revolutionary army flew the Grand Union Flag. It was not until June 14, 1777, that the Continental Congress adopted the flag of stars and stripes which is seen flying from the ships in the harbor foreground. The arrangement of these ships was probably derived from a contemporary print, possibly the early views of Boston published by Carrington Bowles. Stylistically, the painting relates to an oil painting titled Attack on Bunker's Hill with the Burning of the Burning of Charlestown June 17, 1775, at the National Gallery of Art. Estimate $25,000-35,000 The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
Kelmscott Press - William Morris The Story of Sigurd, the Volsung and the Rise of the Niblungs. Hammersmith: The Kelmscott Press, 1898. Small 2° (327 x 235mm). Chaucer and Troy type, printed in black and red, 2 wood-engraved illustrations by W. H. Hooper after Sir Edward Burne-Jones, original limp vellum with ties Estimate £ 3,000-4,000 Provenance: Appleby Castle Library, Appleby Castle, Westmorland Note: Limited to 160 copies at 6 guineas. This work, a particular favourite of Morris himself, includes two of almost the last borders he designed, inspired by two Psalters in the Kelmscott library.. Sold for £6,250 (buyer's premium included)
Wooden toy castle, wood and composition, red-painted pinnacles on columns, wooden cannons, stretcher, 9-1/4 x 21 x 8 in. Normal wear, minor chips and losses to painted surfaces. Private Collection, Tryon, North Carolina
JAMES EDWARD BUTTERSWORTH (American/British 1817-1894) A THREE DECKER OFF DOVER CASTLE WITH SHAKESPEARE CLIFF IN THE DISTANCE. Oil on wood panel scene shows several ships sailing in front of the Dover Cliffs having the Castle on top flying red flag. On left side is large 3-decker gun boat being towed by 2 transitional steamers each having 2-masts and center stack. On right side a 2-mast schooner flying American flag is shown sailing right to left toward viewer in full sail. Several other smaller vessels are seen on choppy greenish/blue ocean with white tipped waves. Sky with dark and light areas with colorful clouds and peeks of blue. Signed lower right "JE Buttersworth". Housed in a fine gilt gesso decorated frame with gilt liner. On verso in pencil is title. Godel & Co. Inc. New York label on verso. SIZE: 7" x 18". Overall 13" x 24". PROVENANCE: Private Maine/Texas Collector. CONDITION: Slight warp to panel, inpainting to line in sky other minor touch up, minor frame abrasion, otherwise very good. 50012-52
RICHARD B. SPENCER (British, 19th Century) PORTRAIT OF THE SHIP “CHARLOTTE”. Oil on canvas shows the British black hulled ship sailing left to right with the white cliffs of Dover off bow. Other vessels are seen and a castle is atop one white cliff. There are eleven people on deck and the boat is in full sail with a red and white flag at middle mast with a black swan. The British flag flies off stern. Signed lower left “RB Spencer”. Housed in an antique molded wood frame. PROVENANCE: The J. Hollis Wyman Estate, Milbridge, Maine (State Senator and Wild Blueberry King). SIZE: 19” x 31”. CONDITION: Two patches to reverse of the original canvas, unrestored front side which needs restoration around where patches are in deck of boat. Also a 1” slit in sea and scattering retouch needed. Otherwise good. 9-29119 (2500-3500)
GROUP OF FIVE BRITISH PORCELAIN TABLE OBJECTSBritish, 19th century, four Chamberlain Worcester, two circular, two square form with crimped edges, each with gilt decoration over pink ground, square plates with hand painted landscape scenes, circular plates with hand painted birds, one circular base marked in gray with "[fleur crown]/Chamberlain Worcester/Porcelain Manufacturers/For H. R. H. The Prince Regent", other circular base marked in red "Yellow Rumped Flycatcher/Chamberlain Worcester", square bases with Anderson & Garland sticker, one marked "Ragland Castle, Monmouthshire/Chamberlain Worcester", other marked "Tintern Abbey, Monmouthshire/Chamberlain Worcester", circular plates 8-1/2 in. diameter, square plates 7-1/2 x 9-1/4 in.; 19th century, inkwell with gilt accents and hand painted scene of figures in a country setting, two inserts, one with reticulated top, on rectangular base with claw form feet, 5-1/8 x 6 in.
Note:
Background on Important Private Collection from Boston:
I have been working with this collector for over 25 years, both in the initial acquisition of the objects and overseeing their conservation as needed. With a keen eye for quality and design, and a deep passion for all things classical, he has quietly amassed a top-notch collection of American furniture and decorative arts. The collection encompasses outstanding examples from the leading cabinetmakers of Boston, New York, and Philadelphia, representing excellence in form and proportions, condition, wood quality, and carving. It also includes rare objects that are among the best of their kind. Now, with the downsizing of one of his properties, the offerings in this catalog are coming to market to find new owners who share a love for this remarkable period in American furniture history.
Clark Pearce,
Advisor and Consultant to Collectors and Institutions
Provenance: Property from an Important Boston Collection
Condition:
loss to gilt and pink ground, anomalies as made, crazing, wear to bases; one square example with two staple repairs near edge, retouch; one square example with hairlines and chip to rim; slight anomalies, loss to gilt, surface accretion, wear to bases
NINE ENGLISH TEAPOTS mid 19th C. and later, including a compressed circular example, puce 569, with green and gilt chevron border; an Enoch Woods puce castle pattern, printed example; a shaped oval pink lustre-decorated pot; a shaped rectangular paneled pot, puce 103, with airy dark pink and green flower sprays; a "Clyde" pattern molded oval example with printed colorful bouquets and blue molded foliage; an oval Imari pattern pot, iron red 899; a globular Ashworth turquoise ground pot, impressed upper case, iron red B/ 3367/8., with scattered colored flowers; a tall vasiform pot with iron red, orange, blue and green buildings flanked by sprays; the last; green printed mark, iron red 219/ 19, with flowering prunus beneath a pink cell patterned band - tallest h: 7.5 in. (9) Provenance: Private Virginia Collection
FRENCH FRAMED WOVEN TAPESTRY 21 ½" x 62 ½" Hunting scene with a castle in the background, blue, green, yellow and red hues, some fading throughout, in a wood frame.
CARVED IVORY CHESS SET: Carved with royalty King and queen elephant castles camel rooks winged horses knights and royalty pawns. King measures 3'' h.. Sold with wood presentation case 3'' x 12 1/4'' x 7 1/2''.CONDITION: Note red stain on one pawn. This item cannot be shipped outside the US.
WEMYSS
RARE GARDEN MARKER, CIRCA 1894
of heart shape, inscribed by Karel Nekola in blue enamel and reserved on a white ground; "Dowager Countess/ of Airlie.", framed in wood
Total height; 10.5cm
Provenance;
Mr Randolph and Lady Lillian Erskine-Wemyss, for the Friendship Garden at Chapel Gardens, West Wemyss, circa 1894
Lady Victoria Erskine-Wemyss
Thence as a gift to the present owner
Literature; Andrew S. Cunningham ''Randolph Gordon Erskine Wemyss: An Appreciation'', published Leven 1909
Peter Davis and Robert Rankine ''Wemyss Ware'', presented by Victoria de Rin and David MacMillan, pub. Edinburgh 1986
Note:The patronage of the Wemyss family at nearby Wemyss Castle was an enormous contribution to the success that Robert Heron & Son enjoyed with Wemyss Ware. Indeed as a tribute to the family two vases in the range were named for Randolph Erskine-Wemyss'' sister Lady Henry Grosvenor (Grosvenor vase) and for his second wife Lady Eva Wellesley (Lady Eva vase). From the beginning of the project and throughout its heyday at the turn of the 20th century their continuing support ensured the success of the range. The following lots bear testament to their support as they were specially commissioned from Robert Heron & Son by the Erskine-Wemyss family to decorate the Friendship Garden which had been created within The Chapel Garden in 1894 by Mr Erskine Wemyss and his then wife Lady Lillian Wemyss. Each is painted by Karel Nekola, chief decorator at Robert Heron & Son, with a motto pertaining to friendship and can be seen in contemporary photographs attached to a tree in the middle of the garden (see illustration left and overleaf). Accompanying documents with these plaques show photographs of the completed garden as well as a list of donors to the garden and the plants donated dated 1894. The photographs show borders of donated plants surrounding the central tree and each donors plot is marked with a heart-shaped plaque - one of which survives in this group (lot ) and is inscribed ''Dowager Countess of Airlie''.
The Chapel Garden had been created in 1894 by Randolph Gordon Erskine-Wemyss adjacent to the burial ground he had created for his family by the ruined chapel nearby in the same year.
Andrew S. Cunningham in his 1909 publication ''Randolph Gordon Erskine Wemyss: An Appreciation'' writes about the garden; "The garden is situated in a semi-circular creek in Red Rocks Bay, to the west of the village of West Wemyss….To get to the place of burial one has to pass through a pergola of ivy and hops and pretty creeping hops, and at every turn he meets rustic gateways and pretty creeping plants. In a pond constructed in the red rock there are some rare specimens of plants and roses grow in profusion. The old dovecote which takes the name of the East Tower, has been converted into a summer house, and above the entrance are carved the words: "I wish the sun would shine on all men''s fruits and flowers as well as mine""
ENRICO DELLA TORRE EXHIBITED PASTEL ABSTRACT DRAWING W/...Enrico Della Torre (Italy, b. 1931) exhibited pastel drawing and exhibition catalog. 1st item: Pastel on paper abstract drawing, titled "Paesaggio" ("Landscape"), comprised of shades of blue and red-orange segments with black linework. Signed and dated "Della Torre 74" upper right. Written inscriptions "No. 69 CAT", title, date, and dimensions along with stamped Galleria D'Arte Cocorocchia label en verso. Additional paper label with number, title, and date affixed en verso. Float mounted under glass with a cream matte in a contemporary wooden frame. Sight: 11 5/8" H x 16" W. Framed: 20 1/2" H x 26 1/2" W. 2nd item: Paperback catalog of the January - February 1976 exhibition at the Sala della Balla in the Sforzesco Castle in Milan, titled "Della Torre disegni, pastelli, incision", published by Electa Editrice (trademark) Milano in 1975. This piece, "Paesaggio, 1974 (cat. 69)", is printed as pl. III.
Condition:
1st item: Overall very good condition with slight warping of paper. Not examined outside of frame. Mounting board with slight discoloration. 2nd item: Overall good condition with minor toning/creasing of pages and slightly bumped corners.
A RUSSIAN ICON OF ST. GEORGE BATTLING THE DRAGON, CENTRAL RUSSIA, MID-19 CENTURY: A RUSSIAN ICON OF ST. GEORGE BATTLING THE DRAGON, CENTRAL RUSSIA, MID-19 CENTURY. depicting St. George on his white steed trampling a winged red dragon coiled underfoot and precariously leaning over the cavernous blackness of Hell, as the princess Elisaba of Atalia watches him from the entrance of the castle, her parents observe them from the castle`s roof and Christ Pantocrator from heaven directs Angel to crown hero for his merits. The center of the icon flanked by the figures of St. John and Guardian Archangel. Egg tempera, gold leaf, and gesso on wood panel. Two insert splints on the back (both missing). 45 x 37. 5 cm (17 3/4 x 14 3/4 in. ). .
EUROPEAN GOTHIC STYLE STAINED GLASS WINDOW, EXECUTION S...Continental gothic-style stained glass window, rectangular form, depicting an execution scene, possibly the beheading of Saint James the Great or Saint John the Baptist, in an interior castle scene surrounded by Renaissance architectural details and a guard in the background, featuring colors of red, yellow, blue, green, and clear glass. Housed in a simple wood frame. Sight: 23 1/4" H x 26" W. Framed: 25" H x 27 1/2" W. Likely French, 19th century or earlier.
Condition:
One pane with separation, possible re-soldering to joint. Some hand painted coloring on one side. Light surface wear. Frame is fragile and in need of replacement.