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Click here to subscribeMaggi Hambling CBE (1945 - ) - Big Summer Wave, signed and dated verso (HAMBLING 2010), oil on canvas, 25 x 30cm Provenance: The artist, by whom donated to the National Trust in aid of it's Neptune Coastline Campaign; the painting was offered by The National Trust as a prize and in the ensuing fund-raising competition was won by a member of the present vendor's family. Sold with related article from the National Trust Magazine
Advertising, Victoriana - a collection of late Victorian pictorial calendar sheets, mostly of local interest including Chesterfield, comprising a 1900 calendar sheet, printed with a portrait of the Duchess of Devonshire, presented by Salter & Salter, Boot and Shoe manufacturers, Market Street, Clay Cross, printed by Maclure, Macdonald & Co. Glasgow, 76cm high, 50cm wide; an 1898 calendar sheet, titled 'A Tight Fit', printed with an oil painting after A.J.Elsey, from Ernest Barnes, Provision Merchant, 27 Packers' Row, Chesterfield, printed by Forman and Sons, Nottingham and Glasgow, 75cm high, 50cm wide; others (9)
DANIELLE O'CONNOR AKIYAMA (CANADA 1957) 'ATTACHING TO THE HEART OF IT (A)', a study of flowers, originally part of a triptych this is part A, signed verso, oil on canvas, approximate size 122cm x 25cm frame 133cm x 37cm, condition: the painting varnish is discoloured, slight damage to the corners of the frame
DANIELLE O'CONNOR AKIYAMA (CANADA 1957) 'ATTACHING TO THE HEART OF IT (C)', a study of flowers, originally part of a triptych this is part C, signed verso, oil on canvas, approximate size 122cm x 25cm frame 133cm x 37cm, condition: the painting varnish is discoloured, slight damage to the corners of the frame
NAKISA SEIKA (JAPAN 1974) 'EVENING SUNSET II', a stylised tree against a winter sky, signed bottom right, oil on board, approximate sizes - image 152cm x 60cm frame 159cm x 67cm, condition: 11cm scratch to the varnish towards the bottom edge of the painting with smaller light scratches in other places, frame scratched in places
CHARLES CARTER READ (BRITISH FLOURISHED 1882-1907) 'A WORCESTERSHIRE FARMYARD', geese and chickens before a hayrick and farm buildings, signed bottom right, signed and titled verso, oil on canvas, approximate size 25cm x 35cm, condition: cracuelure visible to the left side of the painting, some paint loss below the signature, some losses to the frame
* HAMISH MACDONALD DA PAI (SCOTTISH 1935 - 2008), PITTENWEEM HARBOUR oil on board, signed and titled image size 29cm x 35cm, overall size 47cm 52cm Mounted, framed and under glass. Note: Hamish MacDonald was born in Glasgow in 1935. He studied at Glasgow School of Art between 1963 and 1967. From 1968 he successfully combined painting with teaching and also guest lectured throughout Scotland. In 1991 he retired from his post as an Art Department Principal to concentrate fully on the development of his painting. Much of his work was inspired by the Scottish Colourist movement, but MacDonald preserved an individuality which marks him out as both a vibrant and important artist. Throughout his career he succeeded in capturing dramatic scenes with his own passionately innovative palette. Hamish MacDonald is now widely regarded as one of Scotland's most successful contemporary artists. Since 1964, Hamish staged numerous solo exhibitions in Scotland and Cornwall. He also participated in group shows with prominent galleries in London and throughout the UK. His works can be found in many major collections throughout the world.
* ALLY THOMPSON (SCOTTISH 1955 - 2016), SAVAGE EDEN oil on canvas, signed, further signed and titled verso image size 102cm x 128cm, overall size 110cm x 135cm Framed. Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
Louis Chalon (French, 1866 - 1940) Orientalist coastal painting with figures in the foreground lower left. Oil on Canvas. Signed lower right. Louis Chalon studied painting with Jules Lefebre and Boulanger, and began his artistic career as an illustrator. In 1898 he created a series of trompe l'oeil illustrations for porcelain. In 1900 he became known for his drawings in newspapers including LeFigaro and La Vie Parisienne. He also created objects including inkwells, vases, clocks and furniture and lamps. He was especially prolific in his depictions of women. He exhibited at the Paris Salons from 1898-1911 as a painter, illustrator and sculptor and also at the 1900 Paris Universal Exhibition.Was a member of the Society of French Artists. Sight Size: 20.5 x 29 in. Overall Framed Size: 23 x 32 in.
Pierre Joseph Louis Coninck (French, 1828 - 1910) Italian beauty with carnations. Signed lower left. Oil on Canvas. A similar painting titled "Italian Beauty" by this artist, just sold at Sotheby's on May 26, 2022 lot 419 for $8,820Sight Size: 22.5 x 30.5 in. Overall Framed Size: 45 x 37 x 4 in.
Brian Sanders (British, B. 1937) "Sevastopol Falls to the Germans" Artist notes in margins. Oil on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Republic of the Marshall Islands 29c Sevastopol Falls to Germans 1942 stamp issued July 3, 1992. Germany's invasion of Soviet Russia, begun on July 22, 1941, was mired down on the eastern front. With his eye on the mineral-rich Caucasus, Hitler decided in December to launch another offensive aimed at Russia's underbelly. By the middle of May, 1942, German forces controlled the entire Crimea -- except Sevastopol. Bombers, artillery and an enormous seige gun called "Dora" relentlessly pummeled the city, but it's defenders fought valiantly and held the German invaders at bay until summer. On July 3, after the Russians destroyed all useful materiel, the city capitulated. Image Size: 15.75 x 19.75 in. Overall Size: 19.75 x 23.75 in. Unframed. (B13864)
Charles J Lundgren (New York, Connecticut, 1911 - 1988) "La Dauphine - Giovanni da Verrazzano" Signed lower right. Original oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. La Dauphine is the ship in which Giovanni da Verrazano (1485-1528), the Italian explorer, discovered New York Bay in 1524. Giovanni da Verrazzano was also the first explorer to name the new sites in North American after people and places in the Old World. Although born in Tuscany, Italy, he represented the country of France. His goals were to explore the coast of the "New Land" and to find a passage to the Orient. It was believed that there might be a passage between North and South America, and so he was chosen by King Francis I to sail to this area and discover a new and quicker route to the Orient. He returned to France after several voyages with a claim of the New World for France on July 8, 1524. His main route was across the Atlantic to mainly Central and North America. He made contact with the natives on most voyages, trading with them and learning about the land. In 1528, while exploring Florida, the Bahamas and the Lesser Antilles, Giovanni anchored his ship away from shore and rowed ashore in a little boat to greet the natives. He soon discovered they were not pleasant natives who wished to trade, but cannibals. He was killed and eaten immediately while his brother watched helplessly from the ship. Image Size: 18.5 x 18.5 in. Overall Size: 26 x 23.75 in. Unframed. (B09000)
Charles J Lundgren (New York, Connecticut, 1911 - 1988) "Mary Rose" Signed lower right. Original oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork was originally published on the Fleetwood Proofcard for the Great Britain Maritime stamps issued June 16, 1982. On July 19, 1545, King Henry VIII and his court festively gathered on the northeast corner of the Isle of Wight to watch the English fleet, including the Mary Rose, sail into battle against an invading French navy just offshore. Just after midday the Mary Rose advanced on four leading French galleys. The sea was calm and Henry VIII's prized flagship bored on toward her enemy. But, suddenly, tragedy struck. The Mary Rose heeled over and quickly sank. Most of the crew of the doomed ship of over 715 men drowned in full view of the aghast King and his court. An official English inquiry determined that panic occurred among the inexperienced crew of the Mary Rose when a sudden strong gust of wind hit the ship as the sails were being hoisted. According to the inquiry, a clumsy tack and a sharp heel allowed tons of murky water to pour through the open gun ports and carry the H.M.S. Mary Rose and her terrified crew fifty feet down to a watery grave. The French historian, du Bellay, tells a different story: "Fortune favored our fleet ... among other damages which the English received, the 'Mary Rose,' one of their principal ships, was sunk by our cannon, and of the hundreds of men which were on board, only five and thirty escaped." Whether the Mary Rose sank from French gunfire or as the result of mishandling by her crew remained as much a mystery to the King as it does to us, over four centuries later. Image Size: 18 x 20.5 in. Overall Size: 25 x 27 in. Unframed. (B06208)
Charles J Lundgren (New York, Connecticut, 1911 - 1988) "USSR Sedov" Signed lower right. Original oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the USSR 32k Sedov stamp issued September 18, 1981. By far the largest square-rigger of our time, the Sedov shadows even the massive Kruzenshtern. This monumental four-masted bark stretches a full 388 ft., has a net tonnage of 3,516, and can reach and maintain speeds of up to 15 knots with over 4,611 square feet of sail embracing the wind. The Sedov is owned by the Ministry of Fisheries of the U.S.S.R. and bears the name of the famous Russian polar explorer George Sedov. She was built by the renowned Krupp shipyard in Kiel, Germany, and commissioned on September 19, 1921. For several years thereafter, she carried bulk cargo between ports of Europe, Australia, South America, and the Pacific. In 1936, the Magdalene Vinnen, as she was then called, was sold to the North German Lloyd. Under her new owner, she was fitted with accommodations for ninety German cadets and thus began her new life as a training vessel. In 1946, she was taken over by the Soviet fleet, renamed the Sedov, and used for combined oceanographic and training purposes. This magnificent square-rigger is presently being completely refitted specifically for cadet training purposes. Sea specialists and seamen throughout the world are looking forward to the return of this unique and largest of square-riggers of our time. Image Size: 19.25 x 21.75 in. Overall Size: 25 x 27 in. Unframed. (B07354)
Howard Koslow (1924 - 2016) "The Ring Master" Signed lower left. Original oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day Cover of the 29c Ringmaster stamp issued April 6, 1993. Under the big top the smell of sawdust mingles with the aroma of fresh popcorn as the property men prepare for the main event. Clowns work the eager crowd performing tricks for impatient children and flirting with the women. In the center ring a red-coated gentleman, attired in top hat and black boots, suddenly appears. This is the moment they have all been waiting for: the entrance of the ringmaster on whom the timing of the entire circus depends. "Ladies and Gentlemen..." with these words "The Greatest Show on Earth" begins and the next two hours fly by like minutes. Although it seems to the audience that he is merely an announcer, this impressive figure is actually guiding the movements of a myriad of performers. With one blast of his whistle, the ringmaster can magically transform the activities in all three rings. The excitement mysteriously remains but the players have changed. In addition to guiding the complicated circus performances, the ringmaster is often called upon to act as the "straight man" in a comedy skit. Dan Rice, the famous 19th-century American clown, developed a country-bumpkin character called Pete Jenkins. In his act, the ringmaster announced an equestrian routine had been cancelled. The doltish Jenkins emerged from the crowd crying "fake." Provoked by this outburst, the angry ringmaster challenged the yokel to ride the horse. What followed was a hilarious display of falls and chases that eventually turned into an impressive show of trick riding. Image Size: 14 x 12 in. Overall Size: 20.5 x 18 in. Unframed. (B14203)
J. Craig Thorpe (American, B. 1948) "New Mexico Locomotive" Signed lower left. Original oil painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood Legendary Locomotives of the 50 States New Mexico Commemorative Cover postmarked July 10, 1995. "Young man, the Santa Fe will put you in Chicago in 46 hours, if steam and steel will hold together. We've got the roadbed, the equipment, and the men." That was the promise made by J.J. Bryne -- General Passenger Agent of the Santa Fe Railway in Los Angeles -- to Walter Scott on July 8, 1905. Scott -- better known as Death Valley Scotty, once a rider for Buffalo Bill -- had requested that the railroad pull out all the stops to get him to Chicago in record time. Obsessed with speed, Scotty plunked down $5,500 and drawled, "Pardner, I like your talk. It sounds good to me. Line 'em up along the way and tell 'em we're comin'." The following afternoon, Scott, his wife, the Santa Fe's Frank Newton Holman and a press association correspondent boarded the Coyote Special bound for the Windy City. Assigned to handle the engines that would speed the Special on its mission were the "Nervy Nineteen," men who "had been picked because they thought there were no curves in the Santa Fe!" Steaming through the mountains and breaking records all along the 2,265-mile route, these engineers each took over the reins of the succession of iron horses that put the Special into Chicago's Dearborn Station at 11:54 a.m. on July 11 -- just 44 hours and 54 minutes after the odyssey had begun. Shown here is Santa Fe's No. 1000, which made the run from Winslow, Arizona, to Gallup, New Mexico. This four-cylinder, 2-6-2, "Prairie" type engine was built by Baldwin Locomotive Works in 1901. Image Size: 14 x 12 in. Overall Size: 18 x 15 in. Unframed. (B15145)
J. Craig Thorpe (American, B. 1948) "Tennessee Locomotive" Signed lower right. Original Oil painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood Legendary Locomotives of the 50 States Tennessee Commemorative Cover postmarked June 3, 1995. On June 3, 1896, several small railroads merged to become the Atlanta, Knoxville & Northern Railroad. With this new organization came a directive from owner Henry K. McHarg to devise a more efficient method for crossing Tennessee's Bald Mountain -- located 16 miles north of Copperhill. Although his predecessors had devised a series of switchbacks to solve this dilemma, McHarg was not satisfied with that solution because the system allowed only three or four cars to cross at one time. Thus, in 1898, the Hiwassee Loop was born. Measuring some 8,000 feet long, it was once considered to be the world's third-longest railroad loop. In the six miles between the Tennessee towns of Farrier and Appalachia, the loop accomplished a drop of 426 feet. From the south, the line completely encircled Bald Mountain and crossed under itself through an opening in a 62-foot-high, 195-foot-long wooden trestle to reach the gorge of the Hiwassee River. At the top of the loop, riders were afforded perhaps the most impressive view in the South. From that vantage point they could see three states: Tennessee, Georgia and North Carolina. Today, the line has been relegated to use only by freight trains. Displayed here is engine No. 25 -- a Vauclain Compound 2-8-0 built by the Baldwin Locomotive Works -- steaming through the opening in the wooden trestle on the Hiwassee Loop. Image Size: 14 x 12 in. Overall Size: 18 x 15 in. Unframed. (B15044)
Jack Fellows (American, B. 1941) "B-58 Hustler" Signed lower left. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands 32c B-58 Hustler stamp issued July 19, 1997. A very quick bomber, the B-58 Hustler was appropriately named. The first supersonic bomber, the B-58 was introduced in 1956 and proceeded to shatter many long held world speed records. Unfortunately, the plane was not cost effective and was phased out of service less than two decades after its introduction. Image Size: 16.5 x 14 in. Overall Size: 18.25 x 16 in. Unframed. (B13273)
Jack Fellows (American, B. 1941) "1947 Bell X-1" Signed lower left. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original which published on the Fleetwood First Day Cover of the Bell X-1 from the 100 Year of Powered Flight Collection. Bell engineers reasoned that bullets had been breaking the sound barrier for years, and so designed their XS-1 (later X-1) with a bullet-shaped body, thin straight wings and a 6,000-pound thrust Reaction Motors rocket unit. After some gliding flights, the great Bell test pilot Chalmers "Slick" Goodlin made the plane's first powered flight on December 9,1946. On October 14,1947, the XS-I dropped from the bomb bay of its B-29 mother-plane. Chuck Yeager was at the controls of the airplane which he had named "Glamorous Glennis" to honor his wife. He fired the chambers of his rocket engine, and at 43,000 feet reached the speed of Mach 1.06, breaking the sound barrier and trashing all of the old theories. Image Size: 16.5 x 14 in. Overall Size: 18 x 15.5 in. Unframed. (B17111)
James Gibson (1938-2017) Early Florida Highwayman painting depicting a moonlit river. Oil on upson board. Signed and dated indistinctly lower right. Painting does come with the original frame. Areas of loss to the edges of the board, likely needs to be trimmed or re-framed. Size: 24 x 36 in. Currently unframed but has original frame.
Thornton Utz (Florida, Tennessee, 1914 - 1999) Mixed Media/Oil on board painting of a Woman with her kids reading a book. Signed and dated ('85) lower left. Collections of Utz's work have been on display at the Air Force Academy in Colorado, the Pentagon and the Smithsonian Institution in Washington D.C. Sight Size: 29.5 x 39.5 in. Overall Framed Size: 32 x 42.25 in.
Roy McClendon (B. 1932) Florida Highwaymen painting. Oil on Canvas Board. Signed lower right. Sight Size: 24 x 36 in. Overall Framed Size: 27 x 39 in.- Updated 6.6.22 (medium was corrected in the description from oil on Upson board to oil on canvas board, as you can see from the image of the verso)
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