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Lot 413
SNOW WHITE AND THE SEVEN DWARFS (1937) - Grumpy Original Production Pencil Drawing - An original production animation drawing of Grumpy from Walt Disney's Snow White and the Seven Dwarfs, the studio's groundbreaking first full-length animated feature from 1937, a film that forever changed the landscape of animation and cinema.While Disney rarely credited individual animators on specific drawings, it's worth noting that some of Disney's greatest talents shaped Grumpy's personality: Fred Moore, Frank Thomas, and particularly Bill Tytla, whose expressive draftsmanship brought complex emotions to life. Tytla, one of Disney's legendary "Nine Old Men," was especially admired for his work on Grumpy, giving the character surprising depth.The drawing shows Grumpy in a moment of startled irritation, clutching the edge of a curtain or blanket as he turns his head sharply, a classic Grumpy pose filled with attitude and tension.Rendered in graphite with red pencil underdrawing, this piece provides a fascinating insight into the Disney animation process. The red pencil, often used by assistants or cleanup animators, was essential for blocking movement, refining shapes, or clarifying volumes before the final graphite line went down. The circular, rough construction lines around the face and body helped the animators maintain proportion and fluidity across frames. The curtain or drapery seen drawn behind Grumpy was likely part of the background staging, and the animator included it here to ensure correct interaction with the environment.The paper is original Disney five-hole punched animation paper, and the number "248" in the lower right corner refers to its frame number within the scene. As a piece of Disney history, this is not only a collectable but a beautiful piece of animation art that embodies the technical brilliance, charm, and pioneering artistry of Snow White. Dimensions: 25.5 cm x 30.5 cm (10" x 12")Sold without copyright; see copyright notice in the Buyer's Guide.This item will ship from our LA facilityVAT Status: US
Lot 5244
Early 20th century mahogany nest of three tables and curtain pole 11", each with rectangular top above a fluted frieze, on turned and reeded tapered supports with ring mouldings, 20th century turned mahogany curtain pole, the ends with elaborately turned finials and stacked disc embellishments, together with a quantity of matching ringsDimensions: Height: 56cm Length/Width: 60cm Depth/Diameter: 44cm
Lot 170
John Opie RA (British, 1761-1807) Portrait of 'Mr Wilson' in a black jacket, holding spectacles, before a red curtain oil on canvas 77 x 64cm Provenance: By descent within the family of Sir William Foster, 1st Baronet of Norwich (1798–1874), to Janet Foster, 8 Stanley Crescent, London, W11 An ink drawing dated 1801 by Henry Bone, after this painting, is in the National Portrait Gallery collection (NPG D17584), together with a further pencil study by Bone of the same sitter after Sir William Beechey (NPG D17772). The resultant miniature by Bone deriving from the present subject was sold at Christie's, London, 25th May 2004, Lot 32. A further drawing by Bone (NPG D17295), after William Owen, depicts Mrs Wilson and her sister, the memoirist Susan Sibbald (1783-1866), daughters of Dr. Thomas Mein, of Eildon Hall, Roxburghshire, a physician in the Royal Navy. Isabella 'Betsy' Wilson (née Mein), who was born in Cornwall and died in Devon, is recorded as marrying Thomas Wilson, the likely identification of the present sitter, in Marylebone in 1801. It is also possible that Thomas Wilson was related to John Peter Wilson, Captn. Hon. East India Company, whose portrait Opie got up from his deathbed to paint and left unfinished (Art Gallery of Greater Victoria, 1975.087.001).
Lot 1357
Late 19th / early 20th century gilt metal cylindrical curtain rail with globular end finials, 213cm long Provenance: from the collection of Darrin Baines, Professor of Health Economics. Professor Baines filled his early Victorian townhouse in Leominster, Herefordshire, with Georgian and Victorian apothecary objects collected over a period of 20 years. Darrin Baines, researcher and consultant, has produced health economics and health policy projects and contributed articles to numerous academic and trade journals. Some pieces in the collection were bought from a Victorian pharmacy in Upwell, The Fens, others from pharmacists across the country, from auctions in the UK and on the continent. Condition Report Diameter 6.5cm
Lot 252
A brass curtain rod final from the wreck of the East Indiaman 'Halesewell', the acorn finial on a cylindrical mount in salvaged condition, 9cm long, together with a copy of Browne, P. 'The Unfortunate Captain Pierce and The Wreck of the Halsewell, East Indiaman, 1786'.*Notes- The Halsewell was wrecked during a storm off St.Alban's Head on the 6th January 1786, of over 240 crew and passengers only 74 survived. Her cargo contained ship's fixtures and fittings, buttons and cutlery.
Lot 1319
Nina Campbell Lotus Tree Pattern Curtains depicting pink flower heads on a cream ground, comprising two pairs of curtains in a chenille type fabric, with pencil pleats and lined, two pairs of similar coloured tie backs Some fading down one side of each curtain, slight wear overall. Sizes - measurements per curtain, 205cm drop by 264 wide.
Lot 1176
BERNARD NEVILL (ENGLISH, 1930-2019), TWO PAIRS OF CURTAINS FOR BOUSSAC 'ENGLISH GARDENS' COLLECTION 1985 Woven cloth with peach lining fabric. Larger pair; approximately 278cm drop, 158cm wide Smaller pair; approximately 230cm drop, 165cm wide Condition Report: PLEASE NOTE: ALL LOTS ARE LOCATED AT SACKVILLE WEST STORAGE IN ANDOVER (SP10 3SA) AND ARE NOT AVAILABLE TO VIEW Some sun bleaching to the inside fabric Some of the pleats have become undone Pulling to the fabric in places Some tears, please see additional images One curtain with a number of holes to the hem, please see additional images, as well as a number of marks, would benefit from a cleanThree curtain ties present and a quantity of curtain hooks ADDITIONAL IMAGES: Please 'Ask a Question' to request additional images for this lot. Condition Report Disclaimer
Lot 487
A MIXED TRAY OF BOXED AND CARDED DIECAST MODELS, to include 2 x JCB 3CX excavator loader, DAF F200 curtain side Eddie Stobart articulated lorry & trailer 'Twigey', Lancaster bomber plane with stand, set of three Classic Volkswagon cars / vans, Jaguar car and three Micromachine aeroplanes 'Wings of World War 2'
Lot 110
Four pairs of matching lined curtains with gathered heading having images of exotic birds amongst floral branches on a cream ground comprising a pair measuring (per un-gathered curtain) 320cm wide x 208cm drop, a pair 240cm wide x 230cm drop and 2 pairs 47cm wide x 111cm drop together with 2 pairs of matching pelmets with green edge one pair measuring 46cm wide x 26cm drop with half velcro heading and the other pair 210cm wide x 26cm drop. Location:Condition: largest pair has a large hole to lining but otherwise good, some faint sun damage to edges, 2nd largest pair has a very large tear to lining otherwise good with faint sun damage to edges and the 2 smallest pairs are generally good with sun damage to edges. The pelmets are generally good, clean and stain free
Lot 797
James Ramsay (1786 - 1854) "Portrait of Sir John Newport, 1st Bt, c. 1828," O.O.C., approx. 127cms x 100cms. (1) Provenance: Sothebys' 26th November, 1975 (Lot. No. 58) Painted by James Ramsay and dating from around 1828, this canvas depicts the politician Sir John Newport (1756-1843) seated in a mahogany Regency chair, beside a desk. In the background can be seen the base of a large architectural column, and a draped curtain. A Whig MP, John Newport was one of the leading politicians of his day. A supporter of Catholic Emancipation, he represented Ireland at the parliament in Westminster. In 1806 Newport was appointed Chancellor of the Exchequer. Although he supported Catholic Emancipation, he was less keen to provide relief to Irish Catholics, a stance which resulted in his resignation from the government of Lord Liverpool. In 1828, a mezzotint of the portrait, engraved by Thomas Goff Lupton, was published by Colnaghi, Son & Co. The mezzotint is a faithful representation of Ramsay’s original, including chair, curtain, and details such as the inkwells and quill pen on the desk. However the images differ in one significant detail: In the mezzotint, in his right hand Newport holds a document inscribed, ‘Ireland 1800 Corn Intercourse Act’, this likely refers to the American Trade Act of 1800, legislation described as facilitating ‘Trade and Intercourse between this Kingdom and the United States of America’. However, the inscription is not visible in the painting, and so was either added to the mezzotint at the request of Newport, or else was in the original painting, and was gradually deleted by cleaning over the years. Newport was also depicted, around 1826, in a portrait by Stephen Catterson Smith; a work which formed the basis of several engraved prints, again highlighting his popularity as a politician. Born in Sheffield, the portrait painter James Ramsay was the son of a carver and gilder who later became a print dealer. Although he initially worked for his father’s business, Ramsay also began to paint portraits and miniatures, and from the age of seventeen was exhibiting his own work. In 1803, he moved to London, where he submitted two works to that year’s Royal Academy exhibition. Two years later he enrolled at the RA Schools, that same year exhibiting a portrait of Henry Grattan. This was later engraved by Charles Turner, while a copy of the original, by Thomas Alfred Jones, is in the National Gallery of Ireland. Establishing himself as a portraitist in London, Ramsay exhibited portraits, landscapes and biblical subjects at the Royal Academy, the British Institution and the Society of British Artists. In 1848, he moved to Newcastle-upon-Tyne, while continuing to exhibit at the Royal Academy. He died in Newcastle, in June 1854. Dr. Peter Murray 2025
Lot 362
German Third Reich German Army 1943 WW2 Eastern Front fur hat. Good scarce field grey woollen example having rabbit fur covered front and fold down curtain secured with cloth chinstrap; front bearing fine silver burnished silvered NSDAP eagle and swastika which cannot be easily seen. Quilted rayon lining with stamp 1943, 58 (size) and faint maker's rectangle. Service wear, tiny old moth holes to crown, but generally GC. Payment by Bank Transfer ONLY
Lot 360
German Third Reich Afrika Korps M41 WW2 peaked Field Cap. Good rare light olive ribbed cotton twill example bearing BeVo embroidered eagle and swastika as well as roundel. Faux curtain and two pairs of aluminium side grommets. Standard red cotton lining with stamp 43 (year), 54 (size) and RB-Nr.0/056/003 and cotton sweatband. Some minor service wear but generally VGC. Payment by Bank Transfer ONLY
Lot 361
German Third Reich Luftwaffe M43 WW2 Officer peaked Field Cap. Good grey woollen example having fold down curtain secured with single button; 3mm aluminium wire piping to the crown. Original trapezoid eagle, swastika and roundel badge replaced (during service) by Officer's padded aluminium wire eagle and swastika. Rayon lining with stamp 58 (size) and RBNr. 0/0068/07260/. Internal lower edge of curtain retains tape loop to either side. Service wear, tiny old moth hole to crown, but generally GC. Payment by Bank Transfer ONLY
Lot 1032
KENNEDY JACQUELINE: (1929-1994) First Lady of the United States 1961-63, the wife of American President John F. Kennedy. A.L.S., Jackie, two pages, 8vo, Washington (although on the printed stationery of Hyannis Port, Massachusetts), n.d. (13th June 1960), to Mrs. Henry Parish II (´Dear Sister´). Kennedy writes regarding the furnishings and interior decoration of their Cape Cod residence, ´This is the wallpaper in Jack's room at the Cape. As you may remember there is a big white chair & some hook rugs with orange & red in them. Would you send me some samples for a dust ruffle for the beds.....If it is an unobtrusive pattern I might use it for curtains in the room too. 1) Should the dust ruffle have box pleats like the chair--or be ruffled? 2) If you don't think the dust ruffle should match the curtains, would you send me some samples for the curtains also - You can send these to Washington - & you could send the wallpaper sample back with them´. Kennedy concludes her letter with an intriguing sentence, possibly referring to a member of the Bouvier family (?) ´I am trying to lure DB to our house to meet eligible men of 52 or 53!´. Accompanied by the original envelope hand addressed by Kennedy and incorporating a postscript to her letter, penned on the verso of the envelope, ´Could you also send me curtain samples for the guest room which is white with dull blue painted furniture. It could be blue & white, or blue & white & yellow - really pretty´. Some light age wear and minor staining to the envelope, the letter VGSister Parish (1910-1994) American interior decorator and socialite, the first practitioner brought in to decorate the Kennedy White House. John F. Kennedy used the family compound (three houses set on six acres) at Cape Cod as the base for his successful 1960 United States presidential campaign, and later as a Summer White House and presidential retreat.
Lot 634
JOHN MAYALL/ BLUESBREAKERS/ FLEETWOOD MAC - LP COLLECTION. A collection of around 45 rock LPs. Artists/ titles include John Mayall/ Bluesbreakers inc With Eric Clapton (SKL 4804, unboxed label. Record Ex/ sleeve Ex), Plays John Mayall (LK4680, unboxed. VG+/ VG), A Hard Road (LK 4853, unboxed. VG/ VG), The Blues Alone (ACL 1243, VG+/ VG+), Bare Wires (x2), Crusade, Blues From Laurel Canyon, Looking Back, The Diary Of A Band Vol 2, Behind The Iron Curtain, Jazz Blues Fusion, The Turning Point, Beyond The Turning Point, A Banquet In Blues, The Roots, Memories, USA Union. Fleetwood Mac in S/T (x2) inc (7-63200 & S7-63200), The Pious Bird Of Good Omen (S7-63215), Rumours (x2), Tusk, Then Play On, Kiln House, Future Games, Greatest Hits, The Orignal Fleetwood Mac, Mystery To Me. Condtion is generally VG to Ex+
Lot 335
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970)Behind the scenes at the circusSigned, pencil, 19.5cm by 24cm (unframed)Slight time staining to the paper. The odd tiny sporadic foxing spot in evidence, in particualr right of centre within the top of the curtain drapery and one spot to the right figure's coat.
Lot 68
An Ihagee Exakta B 127 VP SLR camera outfit. Black. Serial number 487828. With two lenses; a Carl Zeiss 7.5cm f2.8 tessar, and a Meyer Gorlitz 15cm f5.5 Tele Megor, both with front caps. Together with an Ihagee viewing hood, various filters and a brown leather case. Shutter mechanism working, however one curtain has separated from its metal end-clip.
Lot 92
DUTCH SCHOOL (CIRCA 1630-1640) STILL LIFE WITH SKULL AND TAZZA Oil on panel 80 x 98cm (31¼ x 38½ in.) Executed with great compositional clarity, this panel painting reflects the Haarlem vanitas tradition of the Dutch Golden Age and resonates with the work of Pieter Claesz. Carefully arranged under soft lighting, the objects form a balanced triangle that draws the eye from skull to reflection, from glass to coin. Among the symbolic elements, four tied leather money bags occupy a prominent place beside the repoussé silver tazza and scattered coins. This detail-uncommon in still lives- highlights the meaning of the work: the bags, swollen and visibly worn, speak of wealth earned, stored, exchanged, and ultimately relinquished. Reflections in metal, the weight of the curtain, and the texture of the silver platter echo the refinements seen in the work of Willem Claesz. Heda, particularly his silverware compositions of the 1630s. United by the skull, mirror, scattered petals, and luxurious objects, the composition projects the central message of vanitas: the ephemeral nature of worldly possessions. Likely painted by a follower in the circle of Claesz active in Haarlem around the mid-17th century, this work distinguishes itself through its rarity, and compelling symbolic coherence. Condition Report: The panel presents an evident split crossing the whole panel in the upper section. UV light revels an unevenly applied varnish across the whole surface, a few retouches to the lower left corner, as well as various retouches on the silver chalice. Further scattered retouching is present on the drapery to the right, and numerous retouching along the crack of the panel in the upper section. Condition Report Disclaimer
Lot 528
Corgi Toys - 17904 Pickfords 2 Scammel Contractors, limited edition 934/5000, 1/50 scale, boxed; CC12937 Scania Topline Curtainside Trailer, Oliver's Transport, sights & sounds models, limited edition 775/1410, 1/50 scale, boxed; CC13218 Truckfest DAF XF Space Cab, Jack Richards & Son Ltd, 1/50 scale, boxed and outer cardboard sleeve; 75202 Modern Trucks ERF Curtain Side, Boddingtons The Cream of Manchester, 1/50 scale, cased and sealed (4)
Lot 169
Ethnographica: Austral Islands (French Polynesia) paddle, probably mid 19th century, the pommel (hand-carved using shark teeth) with eight stylised nio mango masks, some retaining two short 'horns' to forehead, over pierced openwork scallop and shark tooth frieze above intricately carved shaft with dog tooth and lozenge decoration, flanking a medial frieze of sunburst lozenges, to a fig-shaped oar or paddle, the reverse with further fine bands of x, lozenge, dog tooth and wave decoration flanking a carved central ridge, the face with plainer vertical bands of x and dog tooth decoration, the paddle head 18.5cm wide x 31.5cm high, 98.5cm long overall, 568g approx Local private collection, North Somerset. By repute - brought back from the Austral Islands by the grandfather of the current owner, who served in the Navy. It is thought that these paddles were mainly made for ceremonial dance purposes. For an Austral Islands chieftain's staff (previously used as a curtain pole in a cottage in Frome, Somerset!) exhibiting six nio mango masks, sold in these rooms for £15,500, see 13th June 2024 sale, lot 189, where cited: Literature: Mack, Charles W., 'Polynesian Art at Auction 1965-1980', 1982 Hall, Henry Usher, Woodcarvings of the Austral Islands [Penn Museum Journal] Read, Sir C. H., “On the Origin and Sacred Character of Certain Ornaments of the South-Eastern Pacific” [Journal of the Royal Anthropological Institute, Vol. 21, 1891-1892]
Lot 173
* MARGARET L SMYTH RSW (SCOTTISH b. 1961), ITALIAN DANCER mixed media on board, signed and dated 2002, titled labels versoframed image size 69cm x 102cm, overall size 89cm x 122cm Label verso: Open Eye Gallery, EdinburghNote: I hope that my paintings illicit curiosity, allowing the viewer to fill them with their own narratives, with their own memories real or imagined, like fairy tales. My aim is to try to evoke that moment of anticipation in a theatre, when the curtain lifts on the stage and reality is suspended. Margaret Smyth (Behrens) graduated from Edinburgh College of Art in 1983. She is a regular exhibitor at the Royal Scottish Academy, Society of Scottish Artists and the Royal Society of Scottish Painters in Watercolour. Margaret is married to fellow artist Reinhard Behrens and they are parents to Kirstie Behrens and David Behrens. Margaret is scheduled to be the subject of a solo exhibition at The Scottish Gallery alongside her artist family in 2025.
Lot 71
THE MARY TYLER MOORE SHOWTicket to the Final Episode of The Mary Tyler Moore Show. Printed on a greenish gold stock with the CBS logo and portrait, this is an uncancelled ticket to the live studio filming of the final episode of The Mary Tyler Moore Show on February 4th, 1977. The ticket number 115. 2 1/4 x 4 3/4 inches. Some minor wear to edges and a few creases to corners; Offered with a photograph depicting the cast during the final curtain call of "The Last Show," a copy print of some vintage, 8 x 10 inches, with minor handling wear. The 168th episode of The Mary Tyler Moore Show, titled "The Last Show," was filmed on February 4th, 1977, in front of a live studio audience and aired on March 18th. One of the best-loved finales in television history, the episode cemented The Mary Tyler Moore Show and its namesake star as an American cultural icon. In the episode, the new station manager of of WJM-TV is rapidly firing people due to low ratings. Much to everyone's surprise and chagrin, Mary, Lou, Murray, and Sue Ann are fired, but the person widely perceived as the cause of the low ratings, Ted, is kept on after the clever stunt of dragging his whole family in front of the new owner. To cheer Mary up, Lou arranges for Rhoda and Phyllis to fly to Minneapolis to visit Mary at her apartment, and it is debated whether Mary should move to San Francisco or New York before she decides to stay in Minneapolis. On the final news broadcast, Ted gives his colleagues a strange but sincere send-off, quoting the English music hall song "It's a Long Way to Tipperary." After the Six O'Clock News, the staff gathers in the newsroom to say goodbye. In one of the most memorable scenes in television history, a group hug turns into a tight huddle with no one wanting to let go, and needing some tissues, the group shuffles en masse toward a box on Mary's desk.The most important element of the episode, though, is what Mary keeps trying to say but is continuously stopped by Lou. Mary Tyler Moore's restraint in the episode is comedic perfection, but her final line is emotionally and powerfully delivered:I just wanted you to know that sometimes I get concerned about being a career woman. I get to thinking my job is too important to me, and I tell myself that the people I work with are just the people I work with. And not my family. And last night, I thought, 'What is a family, anyway?' They're just people who make you feel less alone... and really loved. And that's what you've done for me. Thank you for being my family.The group eventually leaves one by one, singing "It's a Long Way to Tipperary," and Mary Richards is the last, who momentarily stops to look appreciatively at the newsroom before turning off the lights and retreating down the hall.The original broadcast included a curtain call in which Mary Tyler Moore introduced her castmates - it was a rare moment as never had all eight characters appeared on stage at one time together. The photograph that accompanies this lot captures that moment, and this ticket is surely evocative of one the most important moments in American entertainment.
Lot 10
A SET OF SIX WILLIAM IV GILTWOOD AND COMPOSITION CURTAIN PELMETS CIRCA 1835 In George III style, with central shell and scroll motif Each 43cm high, 251cm long, 33cm deep Provenance: Possibly supplied to William Courtenay, 10th Earl of Devon for the Upper and Lower Library at Powderham Literature: Photographed in the first Library for Country Life in 1908
Lot 131
BENTO COELHO DA SILVEIRA - c. 1620-1708, Jesus among Doctors, oil on canvas, relined, restoration, unsigned. Notes: The small canvas representing The Child Jesus among the Doctors, considered to be from the first phase of the painter Bento Coelho da Silveira (c. 1630-1708), is not only of evident artistic interest, due to the quality of the drawing of some of the figures and as a testament to Portuguese proto-baroque painting, but also because it raises new questions in the definition of an ‘art problem’ that has remained undefined in critical circles: Bento Coelho’s apprenticeship with José do Avelar Rebelo (c. 1590-1657). This is a painting with a tenebrist atmosphere, produced most likely in the sixth decade of the 17th century, and whose history is completely unknown. We do not know who commissioned it, or which chapel or oratory it was intended for. We do not know who commissioned it, or which chapel or oratory it was intended for. It is possible that it was a Jesuit space, knowing the preference of the priests of the Society of Jesus for a theme like this, in which the Child Jesus, whom the Virgin and Saint Joseph searched for three days, as they considered him lost, addresses them in these terms: «Porque me procuráveis? Não sabeis que tenho de estar em casa de meu Pai?». On canvas, Jesus' parents are seen in the background, in a discreet pose, on the left, without interrupting the dispute with the Doctors they are watching. What is certain is that the composition of this canvas shows familiarity with models of Nordic engraving, in this case that of Jerónimo Wierix which represents the same subject as the Gospel of Saint Luke (2, 41-45) and was intended to illustrate the famous book by the Jesuit priest Jerónimo Nadal Evangelicae Historiae Imagines, published in Antwerp in 1593 (and later republished in 1595 and 1607). Despite the formal variations, notably in the throne and the pose of the Child Jesus, the artist's knowledge of the prints in the aforementioned book, which was widely distributed throughout Christianity, both inside and outside Catholic Europe, becomes evident. In the sacristy of the Jesuit College of São João Evangelista, in Funchal, there is a series of canvases purchased in Lisbon, around 1655, with various passages of Marian iconography and the childhood of Jesus, very interesting works, studied by Madeiran art historians Rita Rodrigues and Isabel Santa Clara, who considered them to have come from the workshop of José do Avelar Rebelo, the famous royal painter of King D. João IV. Now it turns out that the painting of The Child among the Doctors from this series is exactly similar in composition to the painting shown here! Except for slight group variations, in the curtain that can be seen above the throne (which in the Madeira painting is red, with vibrant shades) and in the arrangement of the books on the floor, it is clear that whoever painted this painting knew the one in Funchal well. And the knowledge also extends to a large canvas of an earlier date, the altar piece of the Chapel of the Child Jesus in the Jesuit church of São Roque, one of the pieces that made Avelar most famous in the encomiastic literature of the time. Although much looser in execution and chromatically richer, this grand canvas of the church of São Roque (with Italianate touches in the large surrounding scenography) does not fail to offer formal suggestions, in the group of doctors on the left, for the two twin paintings, the one of Funchal and the one on display here. In the vast work of the artist Bento Coelho da Silveira, who was a painter for the royal courts of Kings D. Afonso VI and D. Pedro II, and who deserved the preparation of an essential exhibition with catalogue by the art historian Luís de Moura Sobral (IPPAR, 1998), the problem of the artist's training and initial phase has always been raised. If Bento Coelho, a “painter of almost infinite longevity”, was active with his disciples and followers at the head of a Lisbon workshop where he worked uninterruptedly from around 1665 to 1708, the date of his death, the truth is that in his early phase he still did not paint with the breadth and repetitiveness of recipes that would later characterize him, almost exhausting his creativity in three hundred pieces that have survived to this day. This loose way of painting did not yet exist in the years of apprenticeship, as can be seen in the 1656 copper (signed and dated), the Lamentation over the body of Christ from the old Viscountess of Sacavém collection (p. 192 of the aforementioned catalogue), with extremely delicate modeling of figures, atmospheres and poses. And also in two paintings from the Museum of São Roque (Annunciation and Adoration of the Magi), from a similar date, pieces of firm design, and whose authorship has oscillated significantly between Avelar and Bento, without it being known for sure whether it was possible that both had collaborated, as in Funchal... The piece now presented helps to explain the initial phase of the future royal painter of King D. Pedro II and better clarifies the problem of his artistic training, which took place in the workshop of Avelar Rebelo, an art nursery of plastic recipes, formal solutions and iconographic sources that the future would soon make great use of, to the point of exhaustion, in the following half century. Vítor Serrão Art Historian Prof. Emeritus Professor of FLUL Cabral Moncada Leilões records and thanks Professor Doctor Vítor Serrão for his willingness to identify the Author and for the historical and artistic framing of the work in question., Dim. - 52,5 x 82 cm
Lot 1305
Two pairs of interlined curtains The red ground curtains with a trailing foliate design within a light brown border to the base on one side. One pair, each curtain ~190cm wide x ~260cm long. The other pair ~250cm wide x ~260cm long.Qty: 4Some slight fading to the material. Some fading and marks to the lining material. In good condition considering some age and use.
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