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Click here to subscribeThis porcelain figurine by Reg. Johnson & Sons, titled Tunisian Scholar of Law, depicts a scholarly figure absorbed in reading, seated cross-legged atop a detailed carpet-style base with a stack of books beside him. Hand painted in 1992 and crafted in bone china, the piece reflects fine detailing and rich coloration. The base is marked Reg Johnson & Sons and labeled with the title and hand-painted date.Issued: 1992Dimensions: 7"HCondition: Age related wear.
‡ SAMUEL PALMER (BRITISH 1805- 1881) THE GLEANING FIELD Oil on canvas 42 x 52cm (16½ x 20¼ in.) Painted circa 1832-33.Provenance: John Giles, a first cousin of the artist (1811-1880) His sale, Christie's, London, 2 February 1881, lot 620, for 135gns Bought at the above sale by The Fine Art Society Possibly William Fothergill Robinson Q.C Possibly Rev. William Fothergill Robinson, Woodspeen, Newbury Herbert A. Edwards (1888-1978), Newbury and thence by descent Private Collection, U.K by 2009 With Lowell Libson Acquired from the above in 2010 Literature: Raymond Lister, Catalogue raisonné of the works of Samuel Palmer, London, 1988, no.167Exhibited: London, Royal Academy, 1833, no.48 London, Fine Art Society, A Collection of Drawings, Paintings and Etchings by the Late Samuel Palmer, 1881, no.2 The reappearance of this exquisitely painted and highly finished large work on board is an exciting addition to the Palmer's oeuvre, dated to circa 1832-33. It was painted towards the end of his celebrated Shoreham period when Palmer's highly personalised artistic voice that had taken shape at Shoreham from the mid-1820s amongst 'The Ancients' was maturing. It is one of only a small handful of known Shoreham period oils to remain in private hands. Palmer first visited the village of Shoreham in Kent in 1824 and settled there in 1826 where he remained for nearly ten years. The landscape around Shoreham was the embodiment of Palmer's visions of pastoral life that he had imagined from his reading and it was there that he translated his intensity of vision into drawings or paintings. The valley at Shoreham teamed with an abundance of crops, corn, fruit and hops harvested by hand using age old methods and eschewing the encroachment of modern life. The village scenery was punctuated by the landmarks of rustic life, a small hamlet of primitive cottages, the mediaeval church with its spire, the carpet of fields and populated with a rollcall of village characters, the rhythm of life directed by the seasons. The resulting works which were executed during Palmer's time living at Shoreham are considered his greatest achievements. Palmer, who had first met the visionary artist William Blake (1757-1827) in 1824, was quickly joined by several friends, other devotees of Blake, who formed themselves into a loose group calling themselves 'The Ancients'. During Palmer's earlier years at Shoreham we see the development of his art and his experimental use of medium, following methods he largely evolved himself. However, by the early 1830s Palmer's companions had largely left the valley and Palmer began to attend to the development of his career due in part to his straightened finances, and as a result the manifestations of his period at Shoreham evolved into a more conventional expression of his vision. Palmer had begun to spend more time in London and submitted work to the Royal Academy in 1830 and 1831 which although rejected was indicative of a desire for wider recognition and engagement the with art establishment. In 1832 the Royal Academy accepted seven works which Palmer had sent in from his recently acquired house in Marylebone, including 'Pastoral' scenes and 'A harvest scene', generic titles which have plagued the future identification of these works. In 1833 Palmer exhibited five works, amongst them 'The gleaning field' (here identified as the present work) and a 'Kentish scene'. The following year Palmer exhibited six pictures at the Royal Academy. The present work, of exhibition scale and highly finished is the most likely candidate for Palmer's Royal Academy exhibit no. 48 of 1833 'The Gleaning Field' being the only painting by Palmer depicting gleaners as the main subject of the composition. The Gleaning Field, circa 1833 (Tate Gallery, London) is smaller in size with many reworkings in pen and ink and competing motifs of the wagon drawn by oxen and the cottage on the edge of the field. As a picture intended for exhibition in London at the Royal Academy it is not farfetched to see Palmer's intention for it to convey a message to the London audience. The early 1830s was a period of rural discontent and political unrest and the resulting restlessness was felt in the Shoreham valley. The established way of life in the countryside was in crisis, the boom years of the Napoleonic Wars were over and hardships were felt especially in rural communities through unemployment, the erosion of rights through the continuing enclosure of common grazing land, the passing of the Poor Laws, the imposition of the Church Tithe and increasing mechanisation. There was widespread unrest, most notably marked by the 'Swing' riots of 1830-1 and widespread outbreaks of arson, machine breaking and wage rioting which started in Kent and spread across the whole of southern and eastern England with the military being deployed to support the local law enforcement. The first threshing machine was destroyed on Saturday 28 August 1830. By the third week of October, over one hundred threshing machines had been destroyed in East Kent. The riots spread rapidly through the southern counties of Surrey, Sussex, Middlesex and Hampshire, before spreading north into the Home Counties, the Midlands and East Anglia, moving on as far as Lincolnshire, Yorkshire and Nottinghamshire. John Giles (1810-80), the first owner of this picture, was Palmer's cousin and a near contemporary. Giles was one of the 'Ancients' and a stockbroker rather than an artist. He managed Palmer's precarious financial affairs and was close to George Richmond and his family and remained a lifelong friend of both men and a great admirer of Palmer's works. Giles died in 1880 and his collection, comprising some 635 lots of which 185 were paintings, was sold by Christie's in 1881. The present work was purchased by the Fine Art Society for the considerable sum of 135 gns in advance of the exhibition they were to devote to the works of Palmer later that year. The picture appears to have been acquired at that time by either George Richmond or his son-in-law, William Fothergill Robinson. Richmond had presented his daughter Julia and Robinson with Palmer's The White Cloud, circa 1833-4 (Ashmolean Museum, Oxford; fig. 2) as an anniversary present and Robinson had also been a purchaser at the Giles' sale acquiring The Bright Cloud, circa 1833-4, Manchester City Galleries. The Shoreham landscape inspired some of the most intensely original pictures of the British Romantic period, works which distilled Palmer's vision and translated it into a representation which contained all the elements of Palmer's pastoral poetry. The present picture marks a particularly important period in the development of Palmer's vision as well as recording a moment of crisis in the political and economical development of late Georgian England. Its appearance at auction represents a rare opportunity to purchase one of only a handful of Shoreham period oils remaining in private hands.
Striking and sophisticated, this black evening gown by Ana Beltrao features a dramatic full-length silhouette with delicate shoulder straps and subtle ruffle trim along the hem. Designed with elegant minimalism, the dress is paired with a luxurious long black feather boa that adds high-impact glamour. The back features a discreet zipper closure for a sleek fit. Ideal for formal events, red carpet affairs, or classic Hollywood-themed soirees, this ensemble merges bold texture with timeless grace. Issued: c. 1980Dimensions: Approximately: 59"LCountry of Origin: BrazilCondition: Age related wear.
Persian Kashan indigo ground carpet, floral pattern light blue ground central medallion and spandrels, the fielding decorated with interlacing leafy branches and palmettes, the repeating floral pattern border enclosed within guard stripesDimensions: Length/Width: 353cm Depth/Diameter: 231cm
Persian Heriz carpet, the indigo field with bold central medallion in rust red and ivory, flanked by geometric floral forms and angular tendrils, within a broad cream main border of rosettes and serrated leaves, secondary red guard stripes, wool on cottonDimensions: Length/Width: 257cm Depth/Diameter: 206cm
Central Persian Isfahan carpet, central ivory medallion with scrolling floral motifs on a ruby red field, flanked by pale blue spandrels with stylised birds and foliage, framed by a wide border of palmettes and rosettes within multiple guard stripesDimensions: Height: 218cm Length/Width: 143cm
A finely-woven Tabriz carpet, late 20th century, with detailed millefiori central medallion within a border of alternate floral lozenges in a muted palette of browns and mauves. A cloth label to the reverse reads 'Fine Tabriz'310 x 203cmCarpet is in superb condition with no obvious wear at all.The only obvious imperfections appear to be one ot two small scuffs to the selvage and what appear to be three coffee stains, two in the field and one in the border(all imaged)
A SERAPI CARPET approximately 358 x 299cm Condition Report: Carpet with wear overall commensurate with age and use. patches of additional wear reveal underlying weft and pale knot heads in places throughout. Various areas of losses to the pile which appear to be from old moth damage - see images - longest edges have been rebound at some point, they have some wear, fraying and sections of underlying cord visible. Fringing worn and frayed at both ends. The fringing has moved into the guard stripe slightly at one end and been secured with later thread. both ends are generally untidy. rug appears to date from the 1930s-1950sCondition Report Disclaimer
A TABRIZ CARPET CIRCA 1920 approximately 290 x 218cm Condition Report: Some wear overall commensurate with age and use. patches of occasional wear revealing underlying weft and pale knot heads in places. Longest edges are generally tidy with slight wear to the bindings. Some wear and fraying to the fringing which encroaches into the guard stripe slightly in places. Some later thread has been used to help secure the ends. There is a small section of replacement fringing/guard stripe to one end. Condition Report Disclaimer
A TABRIZ CARPET OF SAVAFID DESIGN approximately 389 x 286cm Condition Report: Rug with some wear overall consistent with age and use. Some areas of additional wear revealing underling weft and pale knot heads in places. Bindings to longest edges with some minor wear but are tidy Fringed ends with wear, fraying and losses (this is the most notable condition point of the rug). Please refer to additional images for visual reference to condition. Edges appear to have been rebound at some point Condition Report Disclaimer
A ZIEGLER MAHAL CARPET approximately 413 x 337cm Condition Report: Carpet with the wear overall consistent with age and use. Various patches of additional wear throughout resulting in low pile and underlying weft visible in places. Small old stitched repairs in places - see images. Some old re-touching of red/purple dye in small areas - see image. Some areas of loss to pile in places which appear to be from old moth damage - see images. Longest edges appear to have been rebound at some point. They are generally tidy but do have some wear and minor losses. Fringing to one end is trimmed to a short even length and has the expected wear and fraying. Fringing is lost to the other end (this has not impacted the guard stripe). This end with some expected wear and fraying too. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A MOGHUL CARPET approximately 341 x 244cm Condition Report: Third Quarter 20th Century Carpet with some wear overall consistent with age and use, but in generally good order overall and maintains good pile throughout. Some minor wear to bindings on longest edges, fringing trimmed short at both ends, both ends with the expected losses, wear and fray. Condition Report Disclaimer
A LARGE KIRMAN CARPET approximately 600 x 440cm Condition Report: Carpet with significant wear throughout. Surface dirt and discolouring throughout, would benefit from cleaning. Various significant patches to pile from what appears to be old moth damage, see images for extent. The longest edges appear to have been rebound at some point, however they are untidy. Wear and losses to the long edge binding on both sides. The fringe ends with wear, fraying, losses and some discolourations, as to be expected. age Mid 20th Century Condition Report Disclaimer
A KASHAN CARPET approximately 370 x 270cm Condition Report: Carpet with some minor wear overall consistent with age and use. Some minor losses and discolourations to pile, but generally maintains good pile overall. Fringing with the expected wear and fraying. Bindings to the longest edges are generally tidy with just some minor wear. Overall carpet in generally good presentable order overall. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A TABRIZ CARPET approximately 381 x 245cm Condition Report: Carpet with some wear overall resulting in some low pile and underlying weft in some areas. Longest edges appear to have been rebound at some point and are in tidy condition. Some sections of replacement/ re-weaving at guard stipes at edges of carpet. Fringed ends with the expected wear, fraying, losses and discolourations. Some minor discolourations to the central field and borders. Condition Report Disclaimer
A LAVAR KIRMAN CARPET approximately 456 x 353cm Condition Report: Carpet with some wear overall commensurate with age and use.Some minor surface dirt, could benefit from cleaning. Some wear and undulation to binding of longest edgings. Fringing loss to both ends, the remnants of the fringing with wear, fraying and losses. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A KASHAN CARPET approximately 400 x 274cm Condition Report: Rug with wear overall consistent with age and use. Various areas of additional wear resulting in short pile and weft/warp visible, see images for extent. Longest edges are generally tidy but do have some wear and fray. Fringed ends trimmed to a short even length. They bear the expected wear, fraying and some minor losses. Carpet in generally tidy order overall, with the main condition point being the areas of wear to the central field. Condition Report Disclaimer
A LARGE DONEGAL CARPET ATTRIBUTED TO GAVIN MORTON & G.K. ROBERTSON, CIRCA 1900 approximately 600 x 417cm Condition Report: Carpet with some wear overall consistent with age and use, but generally maintains good pile. Some 'pull' to knots and loose threads in places. Fringing with some wear, fraying and losses. Bindings of longest edges with some wear, undulation, small tears and loose threads. One corner of the carpet with two small holes/tears. Some minor old remedial re-stitching in places. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A Milas carpet, Anatolia, 20th Century, the pale red field centred by a large abrashed green stepped medallion centred by a further sky blue medallion, framed by an abrashed blue green border, 340cm x 249cmAll over good condition. Ends and selvedges good. Full even pile. Some spotting and two dark stains. Professional cleaning advised. No visible signs of moth or dry rot.
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