We found 24336 price guide item(s) matching your search

John Ruskin (1819-1900), an autographed draft manuscript lecture entitled 'Unused Arundel', expressing his distaste for contemporary art and its market, leading to a request for the Arundel Society to hire copyists to recreate the Italian Old Masters rather than relying on printing, (...Do you think that, if a group of figures by Perugino, or Luini, as beautiful in many respects as the original - would not be a better decoration for your drawing room than an oil painting - such as you are likely now to get of them - of an old gentleman with his family late at a party - or a drowned child and a starving dog tied to a mast!...), 7 pages, within a red folio, dated 1878, andan autographed letter to Mrs Elizabeth Salt, revealing the subtlety of his own sensibilities while instructing her in the art of drawing, and proposing, since there is 'no wholesome elementary book on drawing', that she wait for the third volume of 'Modern Painters' which will tell her better what she wants to know than anything else she could get ('...It seems very egotistic, but it is the truth, & I cannot help saying it...'), with the original autograph envelope, postmarked 30 August 1855 (3)

A collection of European photography books, 20th century and later, a quantity of photography and picture books on various European photographers, authors and visual artists, to include:two copies of 'Polaroids' by H R Giger, published in 2014,'The Photographs of Henri Cartier-Bresson' by Lincoln Kirstein and Beaumont Newhall, first edition published by the Museum of Modern Art in 1947,'Paris tel qu'il fut 104 photographies anciennes', published by Éditions Tel in 1951, and'Salerno Documentari Fotografici delle Provincie d'Italia', published by Ferrovie dello Stato in 1960 (64)Condition ReportWith wear to most examples, with creases and tears to some of the pages. 'Salerno' with heavy yellowing to the pages and tears to the cover commensurate with use. 'Paris tel qu'il fut' with a large tear to the left of the cover and general yellowing and surface marks commensurate with use and age.

A compelling limited edition giclee print on archival paper titled Persepolis by the artist Jamali. This richly textured portrait captures a serene yet emotive face, rendered with expressive strokes and a weathered, crackled surface that enhances its spiritual intensity. The subject's closed eyes and tilted head convey a meditative or dreamlike state, surrounded by a luminous background of ochre, crimson, violet, and deep brown hues. The composition exhibits Jamali's signature fusion of mystical abstraction and modern expressionism, emphasizing both the physical and metaphysical essence of the figure. Jamali is a contemporary mystic and visionary artist whose work blends spiritual themes with experimental techniques. His style, known as Mystical Expressionism, draws upon his Sufi background and global travels, integrating ancient methods with modern aesthetics. Jamali often employs fresco tempera and pigment layering, resulting in surfaces that crackle and shift, symbolizing time, memory, and transformation. His works have been exhibited globally and collected for their unique fusion of texture, philosophy, and emotional depth. This piece is signed by the artist in the lower left and is hand-numbered 2/195. It is dated February 12, 2002, and includes a certificate of authenticity from Art and Peace, Inc. Jamali for Mardan Publishing Inc., Winter Park, FL. The artwork is presented in an ornate gold frame, complementing the intensity of the composition.Artist: Jamali (Pakistani-American b. 1944)Issued: 2002Dimensions: 27.50"L x 33.50"HEdition Number: 2 of 195Country of Origin: Pakistan/USACondition: Age related wear.

A limited edition giclee on archival paper titled The Poet by acclaimed mystical expressionist artist Jamali. This evocative portrait features a stylized human face tilted within a swirling composition of deep reds, earthy browns, and muted green tones. The figure's eye is depicted as a single almond-shaped form, closed in repose or contemplation, suggesting themes of inner vision, reflection, and emotional stillness. The heavily textured surface and ethereal palette evoke an archaeological or spiritual patina, creating a timeless effect emblematic of Jamali's signature fresco-like technique. Jamali is an internationally recognized contemporary artist whose unique style, Mystical Expressionism, blends spiritual consciousness with experimental media. Drawing from his Sufi roots, Jamali explores themes of transcendence and inner peace through innovative surface treatments and layered pigment textures. His artwork often reflects ancient aesthetics through modern abstraction, offering a meditative experience for viewers. Jamali has exhibited worldwide, and his works are included in private and institutional collections for their distinctive emotional resonance and spiritual depth. Signed in the lower left by the artist, this work is hand-numbered 4/195. It is dated February 12, 2002, and includes a certificate of authenticity from Art and Peace, Inc. Jamali for Mardan Publishing Inc., Winter Park, FL. This artwork is mounted in an elegant gold-toned frame that enhances its rich tonal contrasts and organic surfaces.Artist: Jamali (Pakistani-American b. 1944)Issued: 2002Dimensions: 27.50"L x 33.50"HEdition Number: 4 of 195Country of Origin: Pakistan/USACondition: Age related wear.

A striking example of modern design and functional elegance, this 19-inch Nambe oval serving platter seamlessly combines rich hardwood with Nambe's signature proprietary metal alloy. Designed by Aaron Johnson, this piece is both a sculptural centerpiece and a versatile serving tray. The minimalist aesthetic and clean elliptical silhouette make it ideal for contemporary dining, charcuterie displays, or as a statement decorative item. Nambe impressed mark on underside. Nambe is celebrated for merging modern art with utility, and this platter embodies that ethos perfectly. Whether you're a collector, a host, or a design enthusiast, this piece adds refinement to any setting.Issued: 2005Dimensions: 19"LCountry of Origin: SloveniaCondition: Age related wear.

This dazzling handkerchief-style art glass dish captures attention with its fluid form and vibrant iridescent finish. Measuring approximately 4.5 inches in length and 2.5 inches in height, the piece showcases a captivating interplay of metallic hues - ribbons of violet, gold, magenta, teal, and silver swirl across a deep black glass body, enhanced by a luster finish that shimmers under light. The interior displays contrasting monochromatic striping that adds a dynamic, dimensional effect. Its undulating rim and expertly manipulated folds evoke the soft flutter of fabric, giving the piece a sculptural elegance. A striking accent for contemporary decor or a standout addition to any modern glass collection.Issued: 21st centuryDimensions: 4.5"L x 2.5"HCondition: Age related wear.

A striking art glass vase featuring a vibrant blue hue with intricate black glass threading creating an organic, web-like pattern. The vase showcases a masterful blend of texture and transparency, with subtle surface detailing enhancing its artistic appeal. Signed by the artist on the base, this piece represents the refined craftsmanship of contemporary glass artistry. A visually captivating decorative accent suitable for modern and eclectic interiors.Dimensions: 7"HCondition: Age related wear.

A radiant expression of contemporary elegance, this pair of Lulu highball glasses by William Yeoward blends bold color with masterful craftsmanship. Each glass is a sculptural composition of luminous yellow crystal layered over clear, then meticulously hand-cut with vertical bands of geometric facets and convex lenses that shimmer with light and movement. The interplay of form, texture, and color evokes Art Deco glamour reimagined for the modern table " a tactile and visual delight. Substantial in hand yet refined in detail, these glasses offer a perfect balance of functionality and beauty. Marked with the acid-etched William Yeoward signature on the base, they are a testament to the brand's reputation for exquisite glassmaking. Ideal for elevating a cocktail service or displayed.Dimensions: 6"HCountry of Origin: EnglandCondition: Age related wear. One of the glasses has a chip around the base.

Reissued exceptional tea set that was created by Christian Fjerdingstad in 1925. Showcasing the perfect harmony of sleek silver plated surfaces and warm rosewood accents. This rare 3 piece ensemble features two boldly geometric teapots, one large and one small, and a sculptural sugar bowl. It embodies the timeless elegance of French design. With its bold Art Deco inspired form and impeccable Christofle craftsmanship, this set is a captivating centerpiece for any refined collection or modern table setting. Christofle backstamp.Dimensions: See DescriptionCountry of Origin: FranceCondition: Age related wear. Small teapot missing lid.

Attributed to Mohammed ben Ali R'bati, widely regarded as one of the earliest figures in modern Moroccan art. The scene depicts a traditional street procession or gathering with a diverse group of figures in colorful robes set against an architectural backdrop characteristic of early 20th-century Morocco. The composition features intricate geometric and floral-style borders and architectural detailing such as arched windows and brick facades. The work is signed in Arabic at the lower right, though the signature has not been formally verified. Painted in watercolor with pen-and-ink outlines, the artwork exhibits cultural and historical visual elements consistent with R'bati's known themes. Mohammed ben Ali R'bati is often referred to as "the father of Moroccan painting," recognized for his early adoption of European watercolor techniques blended with indigenous Moroccan subject matter.Artist: Mohammed ben Ali R'batiIssued: c. 1920Dimensions: 19.5"L x 13.75"HCountry of Origin: MoroccoCondition: Age related wear.

This striking studio art glass vase features a tall, cylindrical form with a subtly flared rim and rounded base. Rendered in deep, oceanic hues of blue and green, the surface showcases mesmerizing swirls of color interlaced with fine controlled bubbles and mottled millefiori-like texture, producing a wave-like illusion in motion. The vase is unsigned but exhibits traits characteristic of late 20th-century American or European art glass studios. The underside is ground and polished, with traces of an indistinct signature, now worn. A refined and luminous decorative piece that captures the dynamic beauty of blown glass artistry. A unique example of collectible modern studio glass with vibrant depth and movement.Issued: 20th centuryDimensions: 9.25"HCondition: Age related wear.

A charming Murano glass rabbit figurine featuring a smooth, modern design with a rich smoky tint. Crafted using traditional Murano glassmaking techniques, this piece showcases the artisan skill synonymous with Venetian glasswork. The fluid form and polished finish enhance its reflective quality, making it a striking decorative accent. Retains its original Murano sticker, confirming its origin. A beautiful addition for collectors of fine art glass and animal figurines.Issued: 20th centuryDimensions: 4"HCountry of Origin: ItalyCondition: Age related wear.

A striking art glass bowl designed by Gunnel Sahlin for Kosta Boda. This sculptural piece features a vibrant yellow bowl contrasted with a cobalt blue foot, separated by a clear ribbed orb, creating an elegant and modern aesthetic. Kosta Boda, a renowned Swedish glass manufacturer established in 1742, is known for its innovative and high-quality glass designs. The bowl retains its original label and exhibits the masterful craftsmanship associated with Sahlin's work. A bold and colorful statement piece for any collection. Kosta Boda stickered. Signed Kosta Boda Art Coll G Sahlin 59520.Artist: Gunnel SahlinDimensions: 11.25"W x 8"HCountry of Origin: SwedenCondition: Age related wear.

A striking Verlys French opalescent glass vase, dating to the Art Deco period, featuring an elegant leaf and berry motif in deeply molded relief. The vase exhibits a softly glowing opalescence with a milky-white translucence, enhanced by sharply faceted lobes that create a rhythmic, architectural silhouette. Each vertical panel is adorned with subtle botanical detailing, capturing the refined naturalism and geometric harmony that defined Verlys' best work. This sculptural form showcases the impeccable craftsmanship of Verlys, a renowned French glassmaker noted for their limited production decorative pieces made between the 1930s and 1950s. Signed Verlys on the base, this example exemplifies the studio's ability to merge fine French glass artistry with bold Art Deco aesthetics. A superb collector's piece of period design and technical excellence, ideal for display in both classic and modern interiors.Issued: c. 1930Dimensions: 10.5"HCountry of Origin: FranceCondition: Age related wear.

A striking vintage hand-blown glass centerpiece bowl attributed to Chalet Art Glass of Canada. Featuring dynamic freeform lines with curling, flame-like extensions, this piece showcases a brilliant sapphire blue body with a heavy clear glass base. The sculptural quality is emblematic of Chalet's mid-century modern design ethos, influenced by Italian Murano techniques.Issued: 21st centuryDimensions: 8.5"L x 10"HCondition: Age related wear.

JAMES BOND: GOLDFINGER (1964) - David Frangioni Collection: US 24-Sheet, 1965 - A US 24-sheet poster from the promotion of Guy Hamilton's Bond film Goldfinger. The design of this huge and incredibly rare 24-sheet poster is perfectly suited to the format. A massive image of the famous gold-painted Margaret Nolan (while Shirley Eaton was painted gold in the film it is Nolan who is on the poster) is stretched over roughly 20 feet. Nolan completely dominates the design, with the face of Sean Connery tactfully placed to appease the censors. There are some minor areas of paper loss and a few larger tears on some panels. One panel has red ink on the reverse, which has bled through to the white lettering of "Goldfinger". However, the poster is in very good overall condition. Dimensions (approx.): 275 cm x 610 cm (108.25" x 240.25")Condition: FineArtist: Unknown ArtistAdditional Provenance:David Frangioni is a published author, music businessman, producer, technologist, engineer, philanthropist, and drummer. He has worked with Aerosmith, Shakira, Ringo Starr, Ozzy Osbourne, Robbie Williams, and hundreds more. He is CEO of Modern Drummer Magazine and has several books published, including Clint Eastwood: Icon: The Essential Film Art Collection and Crash: The World's Greatest Drum Kits, both by Insight Editions. Frangioni is considered one of the world's most prominent and knowledgeable collectors of Clint Eastwood memorabilia and boasts an enviable archive of movie posters and memorabilia.VAT Status: Ω

DIRTY HARRY (1971) - David Frangioni Collection: US Insert, Half-Sheet and Window Transfer, 1971 - "Detective Harry Callahan. He doesn't break murder cases. He smashes them." A lot of three items from Clint Eastwood's 1971 debut as the tough-as-nails San Francisco detective. On offer here is a US Half-Sheet with striking artwork by Bill Gold, a stylish US Insert, and a window transfer designed to look like a bullet hole in glass with adjacent text reading "Dirty Harry is a smash!".US Insert is rolled with some minor handling wear, a tear in the top left corner and some bleed-through from pen on the verso in the bottom left corner. US Half-Sheet is rolled with minor handling wear, a 3 cm tear on the left border and some water staining main in the bottom right area. However, the main image remains largely unaffected. Window Transfer has only minor handling wear. Dimensions (US Insert): 91 x 36 cm (36" x 14"); (US Half-Sheet): 56 cm x 71 cm (22" x 28"); (Window Transfer): 27 x 37 cm (10.5" x 14.75")Condition: Very Good to Very Fine+Artists: Bill Gold, Unknown ArtistsAdditional Provenance: David Frangioni is a published author, music businessman, producer, technologist, engineer, philanthropist, and drummer. He has worked with Aerosmith, Shakira, Ringo Starr, Ozzy Osbourne, Robbie Williams, and hundreds more. He is CEO of Modern Drummer Magazine and has several books published, including Clint Eastwood: Icon: The Essential Film Art Collection and Crash: The World's Greatest Drum Kits, both by Insight Editions. Frangioni is considered one of the world's most prominent and knowledgeable collectors of Clint Eastwood memorabilia and boasts an enviable archive of movie posters and memorabilia.VAT Status: Ω

TRAVEL POSTER - Three Vintage Travel Advertising Posters by Pablo Picasso, Henri Matisse and Jean Gabriel Domergue - Three colourful vintage travel posters displaying beautiful artwork used to advertise locations including Monaco, Cote d'Azur and Nice. The Monaco poster displays artwork by Jean Gabriel Domergue of a pin-up style lady sitting on a diving board. The second poster shows art by renowned painter Pablo Picasso called Pigeons at La Californie, published by the Ministry of Transport and Public Works, France, in 1962. The final poster, "Nice Travail et Joie", shows artwork by renowned French artist Henri Matisse and was published by the Nice Tourist Office and the Mediterranean Union for Modern Art in 1947. All three were originally rolled but are now mounted on board. Dimensions (each): 100 cm x 64.5 cm (39.25" x 25.25")Condition: Very Fine+Artist: Jean Gabriel Domergue, Pablo Picasso, Henri MatisseVAT Status: M

MAGNUM FORCE (1973) - David Frangioni Collection: US One-Sheet, UK Quad and Japanese Special Poster, 1973-1976 - Three posters for Clint Eastwood's signature Californian cop "Dirty" Harry Callahan. This lot includes an International US One-Sheet and first release UK Quad for Magnum Force (1973) with the One-Sheet featuring photography by Philippe Halsman. Also included is a rare Japanese special Etoile Co. Ltd tie-in poster from 1976 (also by Halsman) with detailed specifications of Harry's trademark .44 Magnum revolver.The US One-Sheet is rolled with handling wear and small nicks and tears around the border. UK Quad is unrestored and folded with minor fold line and handling wear. Japanese poster is rolled with a few small nicks and tears around the border and a fair amount of scattered staining along the top and bottom of the poster. Dimensions: US One-Sheet: 104 x 69 cm (41" x 27"); UK Quad: 76 cm x 102 cm (30" x 40"); Japanese Poster: 93 cm x 62 cm (36.5" x 24.5")Condition: Fine to Near Mint-Artists: Philippe Halsman, Unknown ArtistAdditional Provenance:David Frangioni is a published author, music businessman, producer, technologist, engineer, philanthropist, and drummer. He has worked with Aerosmith, Shakira, Ringo Starr, Ozzy Osbourne, Robbie Williams, and hundreds more. He is CEO of Modern Drummer Magazine and has several books published, including Clint Eastwood: Icon: The Essential Film Art Collection and Crash: The World's Greatest Drum Kits, both by Insight Editions. Frangioni is considered one of the world's most prominent and knowledgeable collectors of Clint Eastwood memorabilia and boasts an enviable archive of movie posters and memorabilia.VAT Status: Ω

BANKSY - GDP Flower Thrower, 2019 - "GDP Flower Thrower" by Banksy, b. 1974 -In 2019, Banksy opened a unique homewares store called Gross Domestic Product (a window-shopping experience only) in Croydon, London. The shop's creation was a response from the artist to a greeting card company that attempted to take legal custody of the artist's name. All of the items within the store highlighted issues within modern-day society.A limited number of these "Flower Thrower" prints were randomly distributed to attendees under the age of 16. Other print designs given out simultaneously were "GDP Rat" and "Crisis as Usual". The exact number of prints handed out is unknown.It is a one-colour screen print on 50gsm paper, which exhibits natural waves and light creasing from the screen printing process.Dimensions: 76 cm x 57 cm (30" x 22.5")About the Artist:Arguably the most famous individual in street art, Banksy is an anonymous British artist whose work has gained international fame. Not only does his art spark frequent conversations, but the artist's identity remains a subject of speculation. He is predominantly known for commenting on social and political issues, with dark humour usually incorporated. Banksy's iconic street art is often achieved using spray paint and stencils, but he also has used other mediums, including creating his own currency and modifying street signs.An artist resale right royalty applies to this lot, as provided under local law. The buyer agrees to pay us the amount equal to that resale royalty and we undertake to the buyer to pay such amount to the appropriate authority.VAT Status: M ARR

JAWS 2 (1978) - David Frangioni Collection: US Theatre Entrance Display, 1978 - A truly awesome theatre entrance display for the sequel to Steven Spielberg's blockbuster sensation. This large poster was designed to be a standee that, when cut out and assembled, would sit in an arch over the theatre doorway, so moviegoers had to walk through the mouth of the shark (a whopping 6' 8" tall!) in order to gain entry. Because the assembly of the display requires cutting the paper, many of these pieces have not survived in their original uncut condition making this a brilliant centrepiece for any Jaws collector.Some handling wear and a few large tears (largest being 9 cm) which, relative to the size of the poster, are quite minimal. Some discolouration to the whites in places and very minor paper loss around some edges. Assembly instructions are included in this lot. Dimensions (approx.): 96" x 144" (2.4 x 3.6 m)Condition: Very Fine-Artist: Unknown ArtistAdditional Provenance:David Frangioni is a published author, music businessman, producer, technologist, engineer, philanthropist, and drummer. He has worked with Aerosmith, Shakira, Ringo Starr, Ozzy Osbourne, Robbie Williams, and hundreds more. He is CEO of Modern Drummer Magazine and has several books published, including Clint Eastwood: Icon: The Essential Film Art Collection and Crash: The World's Greatest Drum Kits, both by Insight Editions. Frangioni is considered one of the world's most prominent and knowledgeable collectors of Clint Eastwood memorabilia and boasts an enviable archive of movie posters and memorabilia.VAT Status: Ω

JAMES BOND: A VIEW TO A KILL (1985) - David Frangioni Collection: Withdrawn UK One-Sheet, 1985 - A withdrawn UK One-Sheet for the Roger Moore James Bond film A View To A Kill (1985). This Brian Bysouth poster illustration was based on a design by Vic Fair and pitches Roger Moore's Bond alongside his key protagonist May Day played by Grace Jones. The use of a white tuxedo was considered inappropriate (despite wearing white in the movie) and this poster was recalled making surviving examples relatively scarce.Unrestored and rolled with handling and edge wear around the bottom two corners. Dimensions: 102 cm x 69 cm (40" x 27")Condition: Very FineArtists: Brian Bysouth and Vic FairAdditional Provenance: David Frangioni is a published author, music businessman, producer, technologist, engineer, philanthropist, and drummer. He has worked with Aerosmith, Shakira, Ringo Starr, Ozzy Osbourne, Robbie Williams, and hundreds more. He is CEO of Modern Drummer Magazine and has several books published, including Clint Eastwood: Icon: The Essential Film Art Collection and Crash: The World's Greatest Drum Kits, both by Insight Editions. Frangioni is considered one of the world's most prominent and knowledgeable collectors of Clint Eastwood memorabilia and boasts an enviable archive of movie posters and memorabilia.VAT Status: Ω

DIRTY HARRY (1971) - David Frangioni Collection: UK Quad, 1971 - One of the defining films of the 1970s, Dirty Harry was the film that took Clint Eastwood from a cult hero to a mainstream superstar. Eastwood carved out a violent niche in the cinema with his portrayal of 'Dirty Harry Callahan' in this, the first in the popular series about a San Francisco detective who makes his own rules. He may be beaten up but never beaten by the criminals or by authority. This first release ABC UK Quad poster features Bill Gold's distinctive design and artwork.Unrestored and folded with pinholes and edge wear. There is a large stain across the middle of the poster which does affect the main image. We have been advised by a professional paper restorer that this stain can be removed if cleaned and backed. Dimensions 76 cm x 102 cm (30" x 40")Condition: Very Good-Artist: Bill GoldAdditional Provenance: David Frangioni is a published author, music businessman, producer, technologist, engineer, philanthropist, and drummer. He has worked with Aerosmith, Shakira, Ringo Starr, Ozzy Osbourne, Robbie Williams, and hundreds more. He is CEO of Modern Drummer Magazine and has several books published, including Clint Eastwood: Icon: The Essential Film Art Collection and Crash: The World's Greatest Drum Kits, both by Insight Editions. Frangioni is considered one of the world's most prominent and knowledgeable collectors of Clint Eastwood memorabilia and boasts an enviable archive of movie posters and memorabilia.VAT Status: Ω

SPIDER-MAN FRANCHISE (1962-PRESENT) - David Frangioni Collection: US Special Teaser Poster, 1985 - A promotional poster for Cannon's infamous unmade Spider-Man movie. In 1985 Cannon Films bought the rights to Spider-Man from Marvel on a five year option for USD225,000 and a percentage gross. Almost immediately Cannon began to market a movie that had no cast, no crew and an incomplete script involving Peter Parker mutating into an eight-legged human-tarantula hybrid. A myriad of financial problems and budget-cutting led to the film's inevitable cancellation.Dimensions: 118 cm x 75 cm (46.5" x 29.5")Condition: Near Mint-Artist: Unknown ArtistAdditional Provenance: David Frangioni is a published author, music businessman, producer, technologist, engineer, philanthropist, and drummer. He has worked with Aerosmith, Shakira, Ringo Starr, Ozzy Osbourne, Robbie Williams, and hundreds more. He is CEO of Modern Drummer Magazine and has several books published, including Clint Eastwood: Icon: The Essential Film Art Collection and Crash: The World's Greatest Drum Kits, both by Insight Editions. Frangioni is considered one of the world's most prominent and knowledgeable collectors of Clint Eastwood memorabilia and boasts an enviable archive of movie posters and memorabilia.VAT Status: Ω

GEORGE MARSHALL COHEN (AMERICAN 1919-1999) FIGURE WITH ATTENDANTS Oil and collage on canvas Signed (lower left) 76 x 117.5cm (29¾ x 46¼ in.) Painted in 1953. Provenance: The Alan Gallery, New York Exhibited: New York, Museum of Modern Art, no. LS-567-52 Condition Report: There is paint loss around several of the nails, one area to the lower left quadrant and further losses to the silver paint, centre left. The paint surface appears to be slightly dirty, but otherwise, the work is in generally good original condition.Condition Report Disclaimer

‡ 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.    

‡ MAX BECKMANN (GERMAN 1884-1950) GROSSER STEINBRUCH IN OBERBAYERN (LARGE QUARRY IN UPPER BAVARIA) Oil on canvas Signed and dated 0.34 (upper left) 86.5 x 119cm (34 x 46¾ in.)Painted in Ohlstadt in 1934.Provenance: Studio of the artist Private Collection, Alfred Eisenlohr, Munich (1941-1952) Thence by descent to Marie Louise Eisenlohr, Munich (1952) Private Collection, Walter Feilchenfeldt, Zurich, (acquired from the above in 1971) Kunsthandel Franz Resch, Gauting, (acquired from the above in 1973) Richard L. Feigen, New York, (acquired from the above in 2001)Exhibited: Bern, Kunsthalle Bern, Max Beckmann, Marguerite Frey-Surbek, Martin Christ, Fernand Riard, 1938, no. 19 (as Steinbruch in Bayern) Pforzheim, Kunst und Kunstgewerbeverein Pforzheim, Max Beckmann Ausstellung, March 1954, no. 24 Karlsruhe, Staatliche Kunsthalle (on loan from 1956-1971) Tübingen, Tübingen Kunstverein, Max Beckmann Landschaften und Graphik, June-July 1958, no. 4 Hamburg, Hamburger Kunsthalle: Bielefeld Kunsthalle, Bielefeld; Vienna, Kunstforum Wien, Max Beckmann: Landschaft als Fremde, 1998-1999, no. 34 Paris, Centre Georges Pompidou; London, Tate Modern; New York, Museum of Modern Art, Max Beckmann, 2002-2003, no. 96 New York, Richard L. Feigen & Co, Max Beckmann from Private Collections, 2018Literature: H. Klinkel in Stuttgart Zeitung, Stuttgart, 26 June 1958, n.p. E and B. Göpel eds., Max Beckmann, Katalog der Gemälde, Bern 1976, vol I, cat. no. 392, pp. 265-266, vol II. cat. no. 392, pl. 131 Max Beckmann, Abseits der Großstadt-oberbayerische Landschaft, exhibition catalogue, Schlossmuseum, Murnau, 1998, p.56 Industrie und Natur: Zur Geschichte des Hartsteinwerkes Werdenfels im Murnauer Moos, exhibition catalogue, Schlossmuseum, Murnau 2000, pp.9-10 in detail on the front and back cover Ich kann wirklich ganz gut male: Fredrich August von Kaulbach - Max Beckmann, exhibition catalogue, Schlossmuseum, Murnau, 2002 R. Smith, Max Beckmann, in the New York Times, 6 June 2018, p. CI6 A. Tiedemann, ed. Max Beckmann Catalogue Raisonné der Gemälde, no. 392 https://beckmann-gemaelde.org/392-grosser-steinbruch-oberbayern (accessed on 7 May 2025) For more details on this work, please follow the below link: https://www.dreweatts.com/news-videos/large-quarry-in-upper-bavaria-the-political-expressionism-of-max-beckmann-tales-from-the-art-crypt-works-from-the-richard-feigen-collection-14815/ Condition Report: Please refer to the department for condition report on this lot. Condition Report Disclaimer

‡ SIR DAVID WILKIE (SCOTTISH 1785-1841) THE DEATH OF SIR PHILIP SIDNEY Oil on panel 36 x 25cm (14 x 9¾ in.)Provenance: Commissioned from the artist by Samuel Dobrée (1759-1827), 1818 Thence by descent to his son Bonamy Dobrée (1794-1863), by 1842 Thence by descent to his son Bonamy Dobrée (1818-1907) Thence by descent to his son Bonamy Dobrée, Jr. (1863-1891) Thence by descent to his son Professor Bonamy Dobrée (1891-1974) By whom sold, London, Sotheby's, 19 June 1957, lot 37 There acquired by Harvey Smythe, London By whom subsequently returned to Sotheby's and to Professor Bonamy Dobrée Thence by descent to Georgina Dobrée (1930-2008), London By whom anonymously sold, London, Sotheby's, London, 14 November 1990, lot 62 There acquired by Richard L. FeigenLiterature: S. Dobrée, The Book of Death, London 1819, n.p A. Cunningham, The Life of Sir David Wilkie, London, 1843, vol. II, pp.7-8, 11-13 D. Wilkie, The Wilkie Gallery, a selection of the best pictures of the late Sir David Wilkie, London and New York, 1848, n.p. engraving reproduced W. Bayne, Sir David Wilkie R.A., London, 1903, p.79 H.A.D. Miles et.al, Sir David Wilkie of Scotland (1785 - 1841), exhibition catalogue, Raleigh, 1987, p.85 H.A.D. Miles, Sir David Wilkie 1785-1841, exhibition catalogue, London, 1994, pp. 63-65. cat. no.16Exhibited: London, British Institution, 1842, no. 22 (lent by Bonamy Dobrée) Manchester, Art Treasures Exhibition, 1857, no. 267 (lent by Bonamy Dobrée) London, Grosvenor Gallery, 1888, no. 66 (lent by Bonamy Dobrée, Jr.) London, Richard L. Feigen & Co., Sir David Wilkie 1785-1841, 13 October - 25 November 1994, no. 16Engraved: Abraham, Raimbach, 1819 William Greatbach, circa 1848-50This painting was commissioned by Samuel Dobrée, a distinguished bibliophile and collector of modern masters, who had purchased Wilkie's Letter of Introduction, exhibited at the Royal Academy in 1814. In January 1818 Dobrée asked Wilkie for illustrations for his Book of Death, an anthology of the deaths of more than 200 notable persons drawn from Chamber's Encyclopaedia. As the work was of an historical genre Wilkie suggested Thomas Stothard (1755-1834) as a more appropriate artist, but as this was not forthcoming finally Wilkie agreed to help him.The result was the present painting and The Death of the Chevalier Bayard, though only the present work was used as the basis for an engraving by Raimbach, published in 1819.The present work shows the influence of Titian upon Wilkie at this date in both composition and particularly in colour palette. In 1817 and 1818, Wilkie was copying works by Titian in private collections or on loan to National Gallery and National Galley of Scotland.Sir Philip Sidney, poet and diplomat was appointed Governor of Flushing by Queen Elizabeth in 1585, he was shot during the attack on a Spanish convoy, had managed to ride back to camp, but died from his wounds three weeks later. Wilkie in his depiction of the scene technically shows the moment after he has been shot. Dobrée's source for the death was Chalmers's revised edition of The General Biographical Dictionary, XXVII, 1816, p. 510, 'As Sir Philip was returning from the field of battle, pale, languid, and thirsty, with excess of bleeding, he asked for water to quench his thirst - the water was brought, and no sooner reached his lips than he resigned it to a dying soldier, whose ghastly countenance attracted his notice, speaking these words: " This man's necessity is greater than mine."' The noble moral of Sidney's worthiness, even in death, often quoted.A related drawing was offered Christie's, Scotland, 30 October 2003, lot 8. We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.   

ROBERT WILSON (AMERICAN B. 1941) 16 DRAWINGS: DEATH DESTRUCTION AND DETROIT Pencil The largest 15.5 x 20cm (6 x 7¾ in.) (16) Each framed in perspex cases Drawn in 1978. Exhibited: New York, Neuberger Museum Denmark, Louisiana Museum of Modern Art, Drawing Distinctions, August-September 1981 Condition Report: All unexamined out of perspex cases. One work with a small brown spot to the upper left quadrant, otherwise, all works appear to be in good original condition. Condition Report Disclaimer

‡ RICHARD PARKES BONINGTON (BRITISH 1802-1828) LANDSCAPE WITH SUNSET AND FIGURES Oil on canvas 23 x 35cm (9 x 13¾ in.)Provenance: Probably, acquired directly from the artist by Louis-Joseph August Coutan (1779-1830), and by inheritance to his wife Lucienne Hauguet (1788-1838) Thence by inheritance to her brother Ferdinand Hauguet (d. 1860), and by descent to his son Maurice-Jacques-Albert Hauguet (1819-1883) Thence by descent, Villa Lucienne, Antibes, until 1996 Talabaron & Gautier, Paris, by 2002 Daniel Katz, London From whom acquired by Richard L. Feigen, 2003Literature: B. Talabaron and B. Gautier, Le Paysage Français de Valenciennes à Bonnington, exhibition catalogue, Paris, 2002, cat. no. 33, reproduced P. Noon, Richard Parkes Bonnington: The Complete Paintings, New Haven and London, 2008, p. 252, cat. no. 202, reproduced in colour P. Noon, ed. Richard Parkes Bonnington, exhibition catalogue, New York, 2018, unpaginated, cat no. 8, reproduced in colourExhibited: Paris, Talabardon & Gautier, Le Paysage Français de Valenciennes à Bonington, 18 September - 26 October 2002, no. 33 New York, Richard L. Feigen & Co., Richard Parkes Bonington, 23 October - 18 December 2018, no. 8  Richard Parkes Bonington was born in the village of Arnold just outside Nottingham in 1802, but emigrated to France with his family aged fifteen. He was an artist with a precocious talent, extreme sensibility of colour and a profound fluidity of touch. Bonington is considered a hero of the Romantic movement, his legend secured when he died tragically young, aged only 25, his painting career spanning a single decade. He was revered on both sides of the English Channel and hugely influential upon contemporaries and followers alike. French collectors embraced the 'British' medium of watercolour, in which Bonington painted primarily until his first triumph at the Paris Salon in 1824, enthusiastically. He was also well received by the British Art institutions, perhaps most gratifying to the young artist was the patronage of Sir Thomas Lawrence, President of the Royal Academy, whom he visited a few months before his final illness and untimely death. Lawrence headed the funeral procession in September 1828 and despite spending most of career in France he was celebrated by the British Art establishment as one of their own, the question of his nationality contested for a long while by both English and French commentators. As we can see in the present painting Bonington excelled in his depiction of the countryside and coastal views, Allan Cunningham in his Lives of the Most Eminent British Painters, Sculptors and Architects, 1830, wrote, 'his chief pleasure was in making drawings of sea-coast and river-side scenery: to blend land with water, and both with cloud and sky, was a favourite scene.' He is revered for his ability to transfer light and atmosphere of Venice and French coastal and countryside scenes onto millboard and canvas distilling the essential qualities of place and time into paint. This atmospheric oil sketch has been dated by Noon, loc.cit. to the early months of 1826. On 4 April 1826 Bonington left Paris for his tour of Italy with his friend and pupil Baron Charles Rivet, returning to Paris by 6 July. Noon notes the present work's similarity to Landscape with Timber Wagon, Wallace Collection (op,cit. no. 199) which stylistically shows a familiarity with the works of both J.M.W. Turner (1775-1851) and John Constable (1776-1837) evident in the striking sunset and the characteristic accents of red paint. The present work is an excellent example of Bonington's technique, applying thin washes of oil paint with the same light touch that he would use in his watercolours and subtly building up the planes of colour to produce the glow of the sunset over the open landscape that gently recedes into a haze on the horizon. Bonington approached oil painting as a watercolourist, his peer Eugène Delacroix (1798-1863) wrote of Bonington's technique to the art historian Théophile Thoré-Bürger in 1861, 'To my mind one can find in other modern artists qualities of strength and precision in rendering that are superior to those in Bonington's pictures, but no one in this modern school, and perhaps even before, has possessed that lightness of touch which, especially in watercolours, makes his works a type of diamond that flatters and ravishes the eye, independent of any subject and any imitation.'The first owner of the paintings was Louis-Joseph-Auguste Coutan (1779-1830), a close friend of artists Baron Gros (1771-1835) and Delacroix and a successful fabric manufacturer and wholesaler. Toward the end of his life, Coutan spent his fortune decorating his Parisian home on the Place Vendôme with works by living artists both commissioning and purchasing contemporary art with no regard for school or nationality. After his death four paintings by Bonington were listed in his sale in 1830, but others descended through the family until 1996 when purchased by the present owner. Condition Report: The canvas has not been lined and is a little slack and starting to undulate. Rubbing and abrasions to the framing edges, with some very minor spots of loss. Craquelure throughout. Inspection under UV light reveals some very light in-filling, which has been sensitively done, and is largely confined to the lower half of the canvas. The attached backboard verso, has not been removed whilst completing this condition report.Condition Report Disclaimer

Vividly capturing the energy of the green, this Leroy Neiman lithograph titled Westchester Golf Classic features Neiman's signature expressionist brushwork and electric palette. The 1979 scene centers on a golfer swinging out of a sand trap before a large crowd, with the historic Westchester Country Club rising in the background. Leroy Neiman was one of the most iconic American artists of the 20th century, widely known for his bold, colorful depictions of sporting events, leisure activities, and celebrities. With a style that merges impressionism with pop art vibrancy, Neiman chronicled the glamour and intensity of modern life through a unique lens. He served as an official artist for the Olympics and created illustrations for Playboy and Sports Illustrated, firmly embedding his vision in American culture. His work remains highly collectible for its recognizable aesthetic and energetic spirit. This print is hand-signed in the lower margin and also bears a printed signature and date within the plate. Professionally matted and housed in a gilded black-edged frame, the artwork radiates Neiman's dynamic sense of movement and celebration of athletic achievement. Artist: Leroy Neiman (American, 1921-2012)Issued: 1979Dimensions: 32"L x 33"HCountry of Origin: USACondition: Age related wear.

This handcrafted mixed metal artwork, titled Red Fig Leaves, features richly textured red fig leaves set against an earthy metallic background. The piece is signed on the side, though the artist's name is unidentified. Designed with a raised border and a copper-toned finish, it has a sculptural quality that enhances its visual appeal. The back includes gallery stickers from Gallery Art, along with the title and inventory markings. A striking decorative piece, perfect for collectors of modern metalwork, artisan trays, and contemporary decorative art.Artist: UnknownDimensions: 18"L x 18.5"HCondition: Age related wear.

A Beswick Beatrix Potter model, Mrs Rabbit Baking, 14.5cm, boxed; another, Peter Rabbit, 17cm; a Royal Doulton Bunnykins baby's breakfast set; a novelty Laurel and Hardy salt and pepper set; a pair of Royal Doulton kitten models; a modern Chinese cup and cover, three similar dishes; an Art Deco breakfast set on tray; a Pendelfin dog and rabbit; a small studio pottery vase; qty

Norwegian, 1909-1987Untitled (Green Composition), 1959Signed and dated G. Kongelf 59 (ll); inscribed Green Comp. on the reverseOil on Masonite15 3/4 x 11 3/4 inches (40 x 29.8 cm)Provenance:Galerie Internationale, New YorkThence by descent to the current ownerGudrun Kongelf was a pioneering Norwegian painter and graphic artist known for her early contributions to abstract art in Norway. As one of the first Norwegian artists to explore serigraphy and non-figurative expression, she played a key role—alongside peers like Inger Sitter—in shaping modern art in Scandinavia, particularly as a trailblazing woman in a male-dominated field.(Framed 19 1/8 x 15 1/4 inches)Some light soiling to surface, may benefit from a cleaning. Wear along the edges with a few abrasions and a small losses, including one in the upper left corner. Somewhat uneven varnish.Some light soiling to surface, may benefit from a cleaning. Wear along the edges with a few abrasions and a small losses, including one in the upper left corner. Somewhat uneven varnish.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

Collection of four silver items including a George V Art Deco ashtray, Birmingham 1932, A Limited, with engraved presentational wording and having a bakelite knop handle to centre, 10.5cm wide, a capstan inkwell, hallmarks rubbed, 6cm diameter, a trinket box of circular form, Birmingham 1944, Henry Perkins & Sons and a modern bookmark with ship wheel emblem (4) 

KITNEY & CO (GORDAN & CHRISTOPHER KITNEY); a modern hallmarked silver framed easel back timepiece, London 2001, 20 x 15cm, a modern hallmarked silver Art Nouveau style easel back photograph frame, London 1983, 19 x 13.5cm, and a further white metal easel back photograph frame, 8 x 6.5cm (3).

† PETER LAYTON; a modern contemporary art glass vase, height 17cm, signed to base, a Perthshire boxed paperweight and a Caithness 'The Brave' limited edition paperweight, height 10cm (3).Condition Report: All items appear in good condition, free from any notable damages, there are no chips, cracks, major surface wear or losses but a few small scratches to the bases as to be expected.

watercolour on paper mounted, framed and under glass image size 46cm x 59cm, overall size 64cm x 77cm Provenance: Attributed and titled on Fine Art Society, Old Bond Street, London exhibition label verso, dated September 1997. Artist's label verso with address of 70 Hamilton Place, Aberdeen. Note: Ian McKenzie Smith?s work shows his continuing commitment to a distinctly personal brand of landscape based abstraction: a subtle evocative way of painting that owes something to Eastern traditions, as well as the American colour-field painters of the 1950?s. A travelling scholarship took him to Paris where he met the Japanese artist Kenzo Okada and encountered Zen philosophy. An oriental sense of balance and calligraphic finesse has been a feature of his work ever since. Awarded the OBE and CBE for services to art, he was director of Aberdeen Art Gallery and Museums for some thirty years, is Past President of the Royal Scottish Academy, Past President of the Royal Scottish Society of Painters in Watercolours and a former Trustee of the National Galleries of Scotland. Numerous works are in many public collections including the Scottish National Gallery of Modern Art, The Government Art Collection, Aberdeen, Dundee, Edinburgh, Glasgow and Perth Art Galleries, and in private collections in the UK, Europe, North America and Japan. Ian McKenzie Smith's work rarely appears at auction.

watercolour on paper, signed framed and under glass image size 72cm x 79cm, overall size 90cm x 68cm Note: Bellany's work is included in The Museum of Modern Art (MOMA) New York, The Metropolitan Museum, New York, The Yale Center for British Art, New Haven, Connecticut, Tate Britain, London and at numerous other prestigious public collections around the world. UK public collections feature 279 examples of his work. His well known enthusiastic and long term collectors included David Bowie and Damien Hirst. In 2003 Damien Hirst praised Bellany as "one of the major painters of the twentieth century." John Bellany was awarded a CBE (1994) and honorary degrees from the Universities of Edinburgh (1996) and Heriot-Watt (1998). Note 2: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for œ80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for œ12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for œ9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficult to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were œ1800 and œ4000 and the same paintings sold in April for œ3800 and œ7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years. In The Scottish Contemporary Art Auction of 25th May 2023, lot 282, "Restless Wave" a 90 x 90cm oil (by Bellany) sold for œ9000 (hammer) and in our auction of 9th November, lot 92, "Harbour" a 90 x 120cm oil by Bellany sold for œ11000 (hammer). Most recently, "The Players" lot 50 in our auction of 28th March 2024 sold for œ30000 (hammer).

limited edition bronze, signed 32cm high Note 1: This work was cast in Edinburgh in an edition of 9, plus 4 Artist Proofs. Note 2: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (?The Slab Boys?, ?Tutti Frutti?), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow. The Fine Art Society, Edinburgh staged "John Byrne: In The Studio" in December 2024.

oil on canvas, signed and dated '81 framed image size 99cm x 86cm, overall size 109cm x 96cm Note: Painter and teacher, born in High Wycombe, Buckinghamshire. He studied art in Reading and went on to teach at New Abbey College of Art Summer School for many years. Exhibited at SSA as a member, RSW, Royal Glasgow Institute of the Fine Arts, Royal Scottish Academy (41 paintings between 1951 and 1974) and abroad. One-man shows included Dumfries Arts Festival in 1983 and 1986 and Compass Gallery, Glasgow, in 1988. Two years later he was included in The Compass Contribution at Tramway, Glasgow. The Scottish National Gallery of Modern Art, St Andrews University, Gracefield Arts Centre, Aberdeen Art Gallery and Dundee Art Gallery hold his work. Wilson lived from 1948 near Dumfries, in Scotland, but spent part of each year in Ibiza, off the Spanish coast. John Davies Fine Paintings showed work by Wilson at The Gallery in Cork Street in 2005. Cyril Wilson followed Cecile Walton as President of the Dumfries and Galloway Fine Arts Society in 1954. He had been President of the Forces Art Club in Cairo, 1941-1947. Cyril Wilson was also a respected healer.

oil on canvas framed image size 17cm x 12cm, overall size 27cm x 22cm Provenance: this picture has been authenticated by Peter Howson on 10.04.2025. Note: Peter Howson OBE has established a formidable reputation as one of his generation's leading figurative painters. Many of his paintings derive inspiration from the streets of Glasgow, where he was brought up. He is renowned for his penetrating insight into the human condition, and his heroic portrayals of the mighty and meek. His art is described by Robert Heller as "founded in humanity, especially the human face." Howson was born in London. He studied at Glasgow School of Art from 1975-1977, returning in 1979 to complete a Master's. In 1985 he was made the Artist in Residence at the University of St Andrews and also a part-time tutor at Glasgow School of Art. In 1992 he was commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia . He was appointed official British war artist for Bosnia in 1993 and in 1996 was awarded Doctor of Letters Honoras Causa, University of Strathclyde. Prior to converting to Christianity in 2000, Howson responded to pain by pursuing hedonism. His experiences of abuse - whether self-inflicted and substance-related or the traumatic events of his childhood - have afforded him an affinity with those individuals who are classed as somehow 'on the edge'. His work has caught the attention of a number of prominent cultural figures, celebrities and creatives as well as striking a chord with prisoners, a voiceless demographic from whom Howson receives many letters of support. His ability to speak to the peripheries - to both the exclusive echelons living 'the highlife' and the socially alienated outsiders labelled 'low lives' - is proof of his enduring skill at capturing the maverick, excessive and non-conformist, while also seeking spiritual change. In 2011 Howson completed a dramatic rendering of the martyrdom of St John Ogilvie for the renovated St Andrew's Cathedral in Glasgow. The two year process of working on the commission was the subject of a BBC documentary. In 2023 Howson was the subject of a major retrospective at the Edinburgh City Art Centre, When the Apple Ripens: Peter Howson at 65, a comprehensive overview of the artist's career. His work has been shown in major exhibitions globally including Eye on Europe at the Museum of Modern Art, New York, and The Naked Portrait at the Scottish National Portrait Gallery in 2007. Public collections include: Aberdeen Art Gallery; Bankfield Museum, Halifax; British Broadcasting Corporation (BBC); British Council; British Museum, London; Cartwright Hall, Bradford, Christie?s Corporate Collection; City Art Centre, Edinburgh; City Art Gallery, Southampton; Contemporary Art Society; deYoung Museum of Fine Arts, San Francisco; Dundee Art Gallery; Eigsee Festival Collection; Fitzwilliam Museum, Cambridge; Glasgow Museums (Art Gallery and Museum, Kelvingrove); Glasgow Royal Concert Hall; Gulbenkian Collection, Lisbon; Hunterian Museum, Glasgow; Imperial War Museum, London; Isle of Man Arts Council; Kilmarnock and Loudoun District Museums; Library of Congress, Washington DC; Lloyds TSB Group plc, London; The Maclaurin Trust, Ayr; Metropolitan Museum of Art, New York; Ministry of Defence, London; Museum of Modern Art (MOMA), New York; National Gallery of Norway, Oslo; New York Library; Nottingham Castle Museum and Art Gallery; Paisley Art Gallery; Pallant House Gallery; Paul Mellon Centre; Yale University, Washington; People?s Palace Museum; Peter Scott Gallery; Lancaster University, Lancaster; The Fleming Collection, London; Royal Bank of Scotland (RBS); Scottish Amicable; Scottish Development Agency; The Arts Council of Great Britain; The Scottish Arts Council; The Scottish National Gallery of Modern Art, Edinburgh; Scottish Television (STV); Tate Gallery, London; University College of Wales, Aberystwyth; University of Salt Lake City; University of Strathclyde, Glasgow; Victoria & Albert Museum, London; Walker Art Gallery, Liverpool; The Jerwood Collection. Peter Howson's paintings hang in prestigious private and corporate collections worldwide and his known celebrity buyers include Mick Jagger, Madonna and David Bowie. "What an artist. They'll be talking about him in a hundred years time" - Dr Bendor Grosvenor, art historian and TV Presenter ?Britain?s Lost Masterpieces?.

limited edition screenprint on paper, signed and numbered 54/75 unframed overall size 56cm x 75cm Note: McLean studied at Glasgow School of Art (1961?3) and St Martin?s School of Art in London (1963?6) where he was taught by sculptors including Anthony Caro and Phillip King (1934?2021). Rebelling against his training, he rose to prominence in the late 1960s for his interrogation of sculpture?s conventional definitions, materials and display methods. This impulse to break with the establishment and push at boundaries has continued throughout his life?s work. Using humour and satire McLean confronts art world pretentions, the nature of bureaucracy, and institutional politics. He works across a range of media including photography, performance, painting, printmaking, film and ceramics. Having abandoned a conventional studio practice in the late 1960s, McLean worked as a conceptual artist before embarking on an intense period of collaborative performance. Throughout the 1970s, he explored ?pose?, presenting the body as ?live sculpture? in performances that targeted social hierarchy and bourgeois taste. In the 1980s he turned increasingly to painting, winning the John Moores Painting Prize in 1985. McLean has taught at prestigious art schools over the years, retiring as Head of Graduate Painting at the Slade School of Fine Art, London in 2009. He has exhibited extensively in solo shows and landmark international surveys including one man exhibitions at Tate Gallery in London, Arnolfini, Bristol, The New Art Gallery, Walsall, The Modern Art Gallery in Vienna and Museum of Modern Art, Oxford. His work is held in UK and international public collections including Tate Britain.

mixed media on paper framed and under glass image size 67cm x 47cm, overall size 76cm x 55cm Provenance: Collection of Matilda Hall, bought at Christian Aid Sale, authenticated by James Holloway Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite?s 1993 solo exhibition, made by The Scotsman?s art critic Edward Gage. The ?maverick? label is often attached to Douthwaite to encompass a variety of the artist?s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite?s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite?s creative endeavours. Douthwaite?s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier?s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

A striking entry from the Royal Doulton Prestige Butterfly Ladies collection, Holly Blue HN4847 exudes theatrical elegance and motion. Modeled by Neil Welch and issued in 2006, this limited edition figurine - number 288 of only 500 produced"features a flamboyant figure adorned in a swirling gown of cobalt and lilac tones, with wing-like sleeves inspired by the butterfly for which she is named. Her dynamic pose, gracefully extended arms, and the Art Deco styling of her attire evoke both fantasy and high drama, grounded on a base with sculpted pink and yellow blooms. The base bears the full Royal Doulton Prestige backstamp and artist signature, affirming its status as a hand-decorated bone china piece made in England. The attention to form, palette, and sculptural flow mark this as a superior example of Royal Doulton's modern collector artistry.Artist: Valerie AnnandIssued: 2006Dimensions: 8.75"HEdition Number: 288 of 500Country of Origin: EnglandCondition: Age related wear.

BANKSY (Né en 1974). Lot de deux Affiches par BANKSY vendu lors de l’exposition Banksy, Glasgow, 2023-Gallery of Modern Art. Lot of two Posters by BANKSY sold at the exhibition Banksy, Glasgow, 2023-Gallery of Modern Art.k

BANKSY (Né en 1974) Livre et son Tote bag par BANKSY vendu lors de l’exposition Banksy, Glasgow,2023 - Gallery of Modern Art. Book and tote bag by BANKSY sold at the exhibition Banksy, Glasgow, 2023 - Gallery of Modern Art

An Art Deco style plated cocktail shaker, modern, in the form of a polar bear, 27cm high

A bronze Art Deco style figure of a dancer, modern, standing with her arms raised, on a marble base, 51cm high

An Art Deco style bronzed figure of a dancer, 40cm high, together with another on a marble base (2)Figure on marble base looks modern and condition is complete. The other looks to have some age and is dull, with some light marks and signs of use. Has a drilled hole, for a wire.

Museum of Modern Art, a 925 silver and cultured pearl leaf brooch, 55mm, with a Museum of Modern Art, sterling silver Egyptian inspired pendant, 40mm, 33g

An Art Nouveau Style Rectangular Coppered Plaque, inscribed "Mvsic", repoussé decorated with an angel playing the harp, modern frame, 20 x 29cm.

This vibrant oil painting by artist Annette Krauss Rose captures the innocence and energy of childhood through the depiction of a young girl in motion, set against a richly textured outdoor backdrop. The subject is shown wearing a casual outfit, a gray cap, white tank top, and pink pants, with her blonde ponytail swinging as she strides forward. The artist skillfully uses thick brushstrokes and a vivid palette to evoke movement and the natural beauty of a sunny day, with subtle emphasis on the contrast between the girl's form and the earthy tones of the surrounding landscape. The piece exudes an impressionistic style, emphasizing the texture and movement rather than minute details, inviting viewers to interpret the mood and narrative. The painting demonstrates a strong command of color and composition, making it a compelling addition to any art collection focused on modern impressionism or childhood themes.Artist: Annette Krauss Rose (American 20th Century)Dimensions: 36"L x 48"H x 2"WCountry of Origin: USACondition: Age related wear.

Sundials.- Thompson (Anthony) The Whole Art of Reflex Dialling, first edition, 2 engraved plates, woodcut initials and head-piece, a few early ink markings A4 verso & B1, deaccession stamp to title verso, modern morocco-backed cloth, [Wing T998A], 4to, for William Leybourn, 1658.

[Ainsworth (Henry)], "Zachary Coke". The Art of Logick; or The Entire Body of Logick in English. Unfolding to the meanest Capacity the way to Dispute well, and to Refute all Fallacies whatsoever, first edition, woodcut head-pieces and decorative initials, tables, lacking vertical half-title and final blank, inscription "Written by one of the Round Heads" to title in an early hand, with another indecipherable inscription beneath, few headlines trimmed, O6 to end with small worm trace within text (final c.10 ff.), some soiling and damp-staining, modern antique-style calf, gilt, "C.16" in ink manuscript to fore-edge, [Wing A804B], 8vo, Robert White, for George Calvert, 1654. *** The work dedicated to Oliver Cromwell. 

87 MODERN & CONTEMPORARY SOUTH ASIAN, MIDDLE EASTERN & WORLD ART PUBLICATIONS Various publishers, 21st centuryA group of 87 publications focusing on Modern and Contemporary art from South Asia and the Middle East, including important auction catalogues from Sotheby’s, Christie’s, and Bonhams. The lot also features select issues of Arts of Asia, The World of Interiors, and The Burlington Magazine, covering international art, design, and cultural history. A valuable reference group for scholars, curators, collectors, and dealers with interests in non-Western contemporary art and global collecting trends. Qty: 87

Andre Marchand, (French, 1907-1977), by and after, Paris Exhibition Poster, 1965, lithograph in colours, 74cm x 50.5cm; another, MOMA ‘Museum of Modern Art’ exhibition poster, Information Art, Diagramming Microchips, 1990, 95cm x 62cm, (2).

A Modern 14ct Gold Decorative Diamond Cocktail Ring, in the Art Deco style, the varied cut stones allover collet set between scalloped frame and bifurcated shoulders (finger size R).

This limited edition serigraph titled Day Dreaming #1 by Itzchak Tarkay depicts a stylized woman seated in a richly colored interior, her expression serene and contemplative. Rendered in Tarkay's distinctive palette of saturated hues and graceful contour lines, the composition features fluid shapes, bold patterns, and a striking floral arrangement that enhances the sense of quiet introspection. Hand-signed in pencil by the artist and numbered 262/450, this framed work exemplifies Tarkay's mastery of modern figurative art. Artist: Itzchak Tarkay (Israeli, 1935-2012)Issued: c. 1990Dimensions: 15"LEdition Number: 262 of 450Country of Origin: IsraelCondition: Age related wear.

A striking Carborundum color etching relief on paper by David Dodsworth, signed and numbered 19/250. This dynamic composition features a richly textured surface on handmade paper, with layered pigments in deep reds, blues, and golds. The work is infused with symbolic and geometric elements, evoking themes of mythology, ancient script, and spiritual iconography. Dodsworth's Carbonarum technique, known for its intricate raised relief and sculptural depth, enhances the visual impact, giving the piece a dimensional, tactile quality. The abstract forms and vivid color palette contribute to its modern yet timeless aesthetic, making it a compelling acquisition for collectors of contemporary and symbolic art.Artist: David Dodsworth (British b. 1952)Issued: c. 1980Dimensions: 20.50"L x 15.25"HEdition Number: 19 of 250Country of Origin: BritainCondition: Age related wear.