* ALFRED WAINWRIGHT MBE (BRITISH 1907 - 1991), SCOUT SCAR ink on paper, signed and titled in the mountmounted, framed and under glassimage size 13cm x 20cm, overall size 26cm x 32cmNote: Alfred Wainwright wrote his Pictorial Guides to the Lakeland Fells between 1952 and 1966. The simple line drawings and clear concise directions make the seven pocket sized guides almost as essential as good walking boots. Wainwright died in 1991. He is remembered with a memorial in the church at Buttermere. Wainwright was born into poverty in the Lancashire town of Blackburn in 1907. The son of a stonemason, he left school when he was 13 and became an office boy in Blackburn Borough Engineer's Department. At the age of 23 he managed a holiday away from home, to the Lake District. It was love at first sight. In his book Fellwanderer Wainwright described his first visit there. "I was utterly enslaved by all I saw," he said. "Here were no huge factories, but mountains; no stagnant canals, but sparkling crystal-clear rivers; no cinder paths, but beckoning tracks that clamber through bracken and heather to the silent fastnesses of the hills. That week changed my life." He qualified as an accountant and moved to Kendal in 1941, rising to become Borough Treasurer seven years later. He spent every spare moment walking the fells that he loved so deeply. The first Pictorial Guide to the Lakeland Fells was published in 1955 and in his introduction he wrote: 'This book is one man's way of expressing his devotion to Lakeland's friendly hills. It was conceived, and is born, after many years of inarticulate worshipping at their shrines. It is, in very truth, a love-letter.' He spent 13 years compiling the seven Pictorial Guides to the Lakeland Fells, tramping the fells in all weathers at weekends, with raincoat, map and camera. Most of his fine, individual drawings were taken from his photographs. The Pictorial Guides were and are still distinctive. Fearing that printers would misspell words, his handwritten work was reproduced directly on to the page; the Westmorland Gazette of Kendal published them all. Wainwright also devised, during 1970-1, the Coast-to-Coast Walk which starts at St Bees Head on the Cumbrian coast and ends at Robin Hood's Bay on the North Sea. This is perhaps the most popular of all long-distance walks. The inaugural meeting of 'The Wainwright Society' was held on November 9th 2002 at Ambleside Youth Hostel. Numerous sketchbooks and volumes of drawings followed but in 1984 his writing took a dramatic turn. He agreed to write a book for the London publishers, Michael Joseph, which was illustrated with photographs by Derry Brabbs. Fellwalking with Wainwright became a bestseller overnight and was followed by a further seven illustrated books. Two of the books, Wainwright in Scotland and Wainwright's Coast-to-Coast Walk were accompanied by BBC2 television programmes and suddenly the reclusive walker became a virtual 'national treasure'.
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MICHAEL CRAIG-MARTIN RA (B.1941) ⊕ UNTITLED (GUN)signed, titled, dated and dedicated for Karsten / Michael Craig Martin / Untitled (Gun) / 1997 on the reverseacrylic on canvas 41 x 25.5cm; 16 x 10inunframedProperty from the Estate of Karsten SchubertMichael Craig-Martin depicts everyday items with a nuanced simplicity that exposes the tensions between objects and their representation. His work is distinguished by exceptional draftsmanship, vibrant colour, and uninflected line; intensely visual, it is rooted in an exploration of the relationships between perception, language, and meaning. In the mid-1990s Craig-Martin explored a range of quotidienne objects such as a pair of shoes, a coat hanger or an electric fan, but certain of his selected items from this period are emphatically more loaded such as handcuffs, or the present work (GUN). Born in Dublin, Craig-Martin spent his formative years in the United States, where his family moved in 1946. During the 1960s, he earned a BA and MFA from Yale University School of Art and Architecture, studying alongside Jennifer Bartlett, Brice Marden and Richard Serra (see lot 57). Returning to the United Kingdom in 1966, in 1972 he participated in The New Art, a landmark exhibition of Conceptual art at the Hayward Gallery, London. At Goldsmiths, University of London, where he taught from 1974 to 1988 and from 1994 to 2000, he profoundly influenced a generation of students, including Damien Hirst and Sarah Lucas. Craig-Martin was awarded a CBE in 2000 and Knighted by Queen Elizabeth II in 2016.Property from the Estate of Karsten Schubert (lots 53 & 54)IntroductionBorn in Berlin, Karsten Schubert (1961-2019) was a pioneer on the 1980’s London Art scene, opening doors of opportunity to many artists who were associated with the Young British Artist movement (YBAs). He began his career at the Lisson Gallery which, in the early 80’s, was one of the very few London galleries offering space to young undiscovered artistic talent. Inspired to create his own forum for a new generation of art, Karsten sought investment from dealer Richard Salmon, and at the age of 25 established a gallery on Charlotte Street, Fitzrovia.His first exhibition featured the work of Alison Wilding and, following on from Damien Hirst’s Freeze show of 1988, he began representing Goldsmith graduates Gary Hume, Michael Landy and Ian Davenport. Karsten typically gave his artists free reign to create as they pleased. In 1992 the exhibition Closing Down saw artist Michael Landy fill shopping trolleys with cheap tat emblazoned with banners: ‘Cor What a Bargain’ and ‘Everything Must Go.’ Equally as outlandish was Anya Gallacio’s project in which she covered the gallery interior with chocolate. Although groundbreaking and inspiring these exhibitions were ultimately uncommercial, Karsten was obliged to relocate to smaller premises on Foley Street and a number of his protégés left him for other representation in London’s popular West End.In 1995, Karsten turned his attention to publishing. Teaming up with Thomas Dane and Charles Asprey, he established Ridinghouse Editions focusing on prints. Later in his career, his literary focus shifted to more academic endeavours and Ridinghouse became a publisher of art history and theory including a number of artist monographs. Karsten's artistic focus also shifted and he concentrated on the works of the likes of Bridget Riley and Tess Jaray from his Lexington Street Gallery in Soho.Loved and admired in the London art world and beyond, in 2015, Schubert was diagnosed with a rare form of thyroid cancer. While recovering from surgery in a suite at Claridge’s, London (his hotel bill was met by two friends) he wrote a semi-autobiographical book, Room 225-6: A Novel. The book was published by Ridinghouse, with the proceeds going towards research into robotic surgery.
ANN-MARIE JAMES (B.1981) ⊕ (i) AS THOUGH SHE WERE STONE OR STRUCK BY THUNDER (ii) THE OBSERVER'S BOOK OF PAINTING, PLATE 50 (i) signed and dated Annmarie James 2012 lower right; numbered 1/25 lower left screenprint in colours on Fabriano paper 34.5 x 26.5cm; 13 1/2 x 10 1/2in 39.5 x 31.5cm; 15 1/2 x 12 1/2in (framed) (ii) signed, titled and dated The Observer's Book of Painting, Pl. 50 / 2015, Annmarie James on the endpaper The fourth reprint edition of The Observer's Book of Painting and Graphic Art by William Gaunt, 1976, with hand-colouring in gouache and biro on plate 50, contained in the artist's cloth-covered presentation box with printed title 14.6 x 9.4 x 1.5cm; 5 3/4 x 3 3/4 x 1/2in (book) 20.4 x 25.9 x 3.4cm; 8 x 10 1/2 x 1 1/2in (box) Property from the Estate of Karsten Schubert Ann-Marie James works with classical source materials, appropriating and mutating culturally-defined art historical masterpieces to create an image that is both recognisable and distorted. As Though She Were Stone or Struck by Thunder recalls Bernini's Rape of Proserpine, yet the repetition of figurative elements blended with complex abstract configurations results in a wholly new image that marries baroque iconography with the visual genius of a contemporary mind. In The Observer's Book of Painting James repetitively layers ink and gouache on top of plate 50, an illustration of Leonardo da Vinci's Madonna of the Rocks in the National Gallery, to give way to an abstract composition that, whilst still retaining a memory of Da Vinci's work, negotiates a new visual language. Property from the Estate of Karsten Schubert (lots 53 & 54) Introduction Born in Berlin, Karsten Schubert (1961-2019) was a pioneer on the 1980’s London Art scene, opening doors of opportunity to many artists who were associated with the Young British Artist movement (YBAs). He began his career at the Lisson Gallery which, in the early 80’s, was one of the very few London galleries offering space to young undiscovered artistic talent. Inspired to create his own forum for a new generation of art, Karsten sought investment from dealer Richard Salmon, and at the age of 25 established a gallery on Charlotte Street, Fitzrovia. His first exhibition featured the work of Alison Wilding and, following on from Damien Hirst’s Freeze show of 1988, he began representing Goldsmith graduates Gary Hume, Michael Landy and Ian Davenport. Karsten typically gave his artists free reign to create as they pleased. In 1992 the exhibition Closing Down saw artist Michael Landy fill shopping trolleys with cheap tat emblazoned with banners: ‘Cor What a Bargain’ and ‘Everything Must Go.’ Equally as outlandish was Anya Gallacio’s project in which she covered the gallery interior with chocolate. Although groundbreaking and inspiring these exhibitions were ultimately uncommercial, Karsten was obliged to relocate to smaller premises on Foley Street and a number of his protégés left him for other representation in London’s popular West End. In 1995, Karsten turned his attention to publishing. Teaming up with Thomas Dane and Charles Asprey, he established Ridinghouse Editions focusing on prints. Later in his career, his literary focus shifted to more academic endeavours and Ridinghouse became a publisher of art history and theory including a number of artist monographs. Karsten's artistic focus also shifted and he concentrated on the works of the likes of Bridget Riley and Tess Jaray from his Lexington Street Gallery in Soho. Loved and admired in the London art world and beyond, in 2015, Schubert was diagnosed with a rare form of thyroid cancer. While recovering from surgery in a suite at Claridge’s, London (his hotel bill was met by two friends) he wrote a semi-autobiographical book, Room 225-6: A Novel. The book was published by Ridinghouse, with the proceeds going towards research into robotic surgery.
A German M98/05 Butcher Bayonet, 1st Pattern, the saw-back steel blade stamped with crown over ERFURT, the steel crossguard with high ears, diagonally ribbed wood grip scales and steel scabbard with leather frog; a German M98/05 Butcher Bayonet, 2nd Pattern, the saw-back steel blade stamped with crossed keys over FICHTEL & SACHS, SCHWEINFURT, the diagonally ribbed wood grip with steel flash-guard, the steel crossguard with cut-down ears, lacks scabbard (2)1 - Grey patching to blade, orange rust pitting to hilt and scabbard. 2 - Black patching and pitting to blade and hilt.
A 19th Century Tranter’s Patent 54 Bore Five Shot Trigger-Cocking Percussion Revolver, with plated finish,15cm octagonal barrel, plain cylinder with London proof marks, the left side of the barrel set with hinged cocking lever stamped TRANTER'S PATENT, with inverted Y shape safety spring, the right side of the frame engraved No.9315.T and with scrolling foliage, with blued arbour spring, foliate engraved trigger guard with twin trigger mechanism and spurless hammer, with finely chequered walnut saw-handled grip, 32cm, in a mahogany case, the inner lid with paper label for B Cogswell, the crimson baize lined base fitted with accessories including a copper pistol flask, brass bullet mould, ebony handled turnscrew and nipple key, cap tin and gunpowder tinAction works. Minor wear to the plating on the extremities. Left side of grip with a line bruise to the chequering.
A British 1879 Pattern Artillery Sword Bayonet, the 65.5cm saw-back steel blade stamped with bend mark, WD broad arrow, inpector's marks and issue dates for September (18)83, the steel stirrup hilt with chequered black leather grip scales secured by four steel rivets on one side and three with the external spring screw to the opposing side, the black leather scabbard stamped with broad arrow, with steel chape and locket, the mouth stamped 1403, 83cmOrange rust pitting to hilt and scabbard mounts. Blade good.
A 19th Century Indian Zulfiqar Tegha (Executioner's) Sword, the 67cm broad curved and bifurcated saw-back steel blade with two narrow fullers to the back edge, the steel hilt with shaped langets, baluster grip and shaped knuckle bow, with large disc shaped pommel, 80cmBlack patching and pitting.
A German KCB77 M9 Combat Knife, unmarked, the slotted clip-point blade with serrated back edge, ribbed green plastic grip and scabbard with wire cutter attachment incorporating a screwdriver head, with webbing frog; two AKM Type I Knife Bayonets, each with wire cutter slotted blade and scabbard with rubber insulator; two British SA80 Knife Bayonets, each with plastic scabbard, one incorporating the original folding saw blade, the other missing (5)
A Second World War Italian Campaign Group of Seven Medals, awarded to 7262515 W.O.CL.1 J.(John) DOLAGHAN, R.A.M.C., comprising 1939-45 Star, Africa Star with clasp 1ST ARMY, Italy Star, Defence Medal, War Medal with MID oak leaf, Coronation Medal 1953, and Army Long Service and Good Conduct Medal with REGULAR ARMY suspender bar, the war medals all privately named, swing mounted as worn, together with his Soldier's Service and Pay Book, Record of Service, Medical Examination Report, testimonials and other ephemera.Footnote :- Warrant Officer 1st Class John Dolaghan saw service in the latter stages of the Second World War, serving with No.1 Field Ambulance, R.A,M.C., 1st Guards Brigade, 6th Armoured Division.
1940 Leinster Minor Title Awarded to Laois Medal: G.A.A., Leinster Hurling 1940, a 9ct gold circular and pierced decorated Medal, with Celtic design and central harp, and inscribed 'Comhairle Laighean,' the reverse inscribed 'Iomana Aosanach 1940, Laoishis a buaidh,' hallmarked. (1) * The 1940's All-Ireland Minor Series saw Dublin Versus Laois in the Leinster Final, they were beaten on a scoreline of 10.5 to 3.3., but due to the fielding of overage players however they challenged the result and it was subsequently overturned in their favour. They went on to lose to Antrim in the semi-final and who subsequently lost to Limerick, who won their First Title.
Royal Marine Light Infantry Historical Interest. Victorian C1880s binocular set belonging to Major General Sir David Mercer, KCB (1 July 1864 – 1 July 1920). The binoculars in partial leather case with aluminium frame and leather cover are inscribed '' Capt D.Mercer R.M.L.I.'' Mercer was commissioned as an officer in 1883 and is referred to by the rank of Captain in dispatches of the London Gazette August 20th 1895. He later became commander of the 1st Royal Naval Brigade in 1914 and saw action in France, as well as the Siege of Antwerp before taking part in the Gallipoli landings in June 1915 during the First World War. The plan had been for Mercer to become military governor of Imbros but, after fierce fighting, he was evacuated from Gallipoli in December 1915. He became Adjutant-General Royal Marines on the 1st of June 1916 until his death in 1920 and was buried in Hamilton Road Cemetery in Deal.
Boxing, Jack Hood, Welterweight Champion of Great Britain & Europe. Known as 'Gentleman Jack', Jack Hood was an iconic boxer from the 1920's/30's who retired in 1935 at the age of 32. His boxing career saw him have over 200 bouts winning 186 of them. He retired as the undefeated & undisputed British Welterweight Champion. This lot comprises three folders giving a history of his career with 180+ original press photos, numerous original press cuttings & other information. All neatly presented and sold with a programme from the Welterweight Championship of Great Bout v Harry Mason held at Holland Park Hall, London on 31 May 1936. Viewing highly recommended. (gd)
FROM A PERSIAN EPIC: A PRISONER CAPTURED IN A MOUNTAINOUS LANDSCAPE BY AN ARMY INDIA, PROVINCIAL MUGHAL, 18TH CENTURY gouache on paper heightened in gold, mounted on an album page with gilt decorated borders, depicting soldiers with richly caparisoned horses for battle capturing a warrior and his horse, all within a mountainous landscape, a river in the foreground, glazed and framed 28.5cm x 19.5cm From the Estate of Dorothy Bohm (1924-2023). Dorothy Bohm was a British photographer based in London, known for her portraiture, street photography, early adoption of colour, and photography of London and Paris. She is considered one of the doyennes of British photography.Dorothy Bohm was born in 1924 in Koenigsberg, East Prussia and moved to England in 1939. By the age of 21, she was running her own very successful portrait studio in central Manchester, known as Studio Alexander. In the mid-1950s, she lived for a while both in Paris and New York before settling definitively in northwest London. Her first solo exhibition, People at Peace, took place at the Institute of Contemporary Arts in London in 1969, and 1970 saw the publication of her first book, A World Observed. Numerous more books and exhibitions would follow. In 1971 she was closely involved in the founding of The Photographers’ Gallery, and served as its Associate Director for the next fifteen years. By the 1990s Dorothy was firmly established as one of the doyennes of British photography, with work in numerous public and private collections, including Tate, the Victoria & Albert Museum, Guildhall Art Gallery and the Musée Carnavalet, Paris.
SCAPA 1993 | Distilled: 1993 | Bottled: 2006 | ABV: 40% | Region: Islands - Orkney | Country: Scotland | Type: Single malt Scotch whisky | Volume: 700 ml | Condition: traces of mold | Duty stamp: CZ | Packaging: paper box | Bottle code: JF/AGI | Estimate: 4 000 - 5 000 Kc | Distillery | Scapa is a Scottish whiskey distillery located in the Orkney Islands, near the town of Kirkwall. It was founded in 1885 by blender John Townsend, who took advantage of the growing interest in blended whiskey at the end of the 19th century. In 1919, the distillery was damaged by fire, but was rebuilt soon after. In 1936 it was bought by the Bloch brothers, who also owned the Glen Scotia and Glengyle distilleries.In 1959, a Lomond still type still was installed in the distillery, which allowed finer control over the distillation process and contributed to the creation of a whiskey with a more pronounced and richer in character. The still was in operation until 1979.The distillery was officially closed in 1994, but distilling operations were occasionally resumed by a team from the neighboring Highland Park Distillery. In 2004, a £2.1 million investment was announced to refurbish the distillery and a 14-year-old whiskey was launched at the same time. In 2005, the renovation was completed and the distillery became part of the Pernod Ricard company. The occasion saw a change in bottle design and an increase in the bottled whiskey age from 14 to 16 years.In 2015, a visitor center was opened and the distillery expanded its range of whiskey. Today, Scapa is known for its fine whiskey with a distinct character that sets it apart from peated Orkney whiskeys such as Highland Park. | Bottle | Scapa 1993 is a single malt whisky, distilled in 1993 and bottled in 2006 by independent bottler Gordon & MacPhail as part of their Licensed Bottling series. Gordon & MacPhail’s Licensed Bottling series is distinguished by the fact that each release is bottled with official permission from the distilleries, meaning these whiskies authentically reflect the style and character of each distillery.Nose: Lightly marine, with notes of vanilla and honey, complemented by subtle fruit hints of pears and apples.Taste: Balanced and smooth, with flavors of sweet honey, vanilla, dried fruit, and gentle oak undertones.Finish: Smooth and medium in length, with lingering sweetness and a subtle woody character.This bottling is highly regarded for its smoothness and approachable profile as an Orkney whisky.
JURA 1992 AUTHENTIC COLLECTION 15 YEARS OLD | Distilled: 1992 | Bottled: 03/2008 | Stated age: 15 years old | ABV: 53,4% | Region: Islands - Jura | Country: Scotland | Type: Single malt Scotch whisky | Volume: 700 ml | Duty stamp: CZ | Packaging: paper tube with traces of rust inside the tube and on the cap | Estimate: 2 000 - 3 000 Kc | Distillery | Jura is a Scottish distillery located on the remote Isle of Jura in the South Hebrides region. It was originally founded in 1810. The distillery went by various names such as Craighouse, Small Isles and Caol nan Eilean before finally settling on the name Jura. However, the initial success ended in 1901, when the first great whiskey crisis closed down. Operating in such a remote location was expensive and the lack of a direct connection to the mainland contributed to its closure for over six decades.In 1963 the distillery saw a renaissance thanks to the efforts of Robin Fletcher and Tony Riley-Smith, who in collaboration with blender Charles Mackinlay and designer William Delme-Evans reinvigorated island distillation. The aim of this move was to support the island's economy and stop the population decline.The distillery started selling its single malt whiskey in 1974 and gradually expanded its range. In 2002, Superstition whiskey was launched, adding a slightly smoky character, followed in 2009 by the fully peated edition of Prophecy. In 2018, Jura underwent a complete rebrand, introducing a new range of whiskeys with a subtle smoky touch, including the base version Jura Journey, 10-year, 12-year and 18-year whiskeys, and special editions such as Jura Seven Wood. | Bottle | Isle of Jura 1992 Authentic Collection is a single malt whisky distilled in 1992 and bottled by independent bottler Cadenhead's in March 2008 as part of the Authentic Collection series. This series focuses on limited bottlings of exceptional and rare whiskies, often from closed distilleries or very old stocks. Whiskies from this series are bottled at natural cask strength, without chill filtration or added coloring, ensuring an authentic and complex flavor profile, exactly as the whisky was drawn from the cask.Nose: Light and fresh, with notes of citrus, vanilla, and subtle oak spice.Taste: Full and creamy, with hints of sweet honey, vanilla, and light spices, complemented by fruity accents.Finish: Long and pleasantly dry, with lingering notes of vanilla, oak, and subtle spices.The auctioned bottle is one of 247 released in this limited edition.
BRUICHLADDICH 12 YEARS OLD SECOND EDITION | Stated age: 12 years old | ABV: 46% | Region: Islay | Country: Scotland | Type: Single malt Scotch whisky | Volume: 700 ml | Duty stamp: CZ | Packaging: metal tube, traces of rust on the tube | Estimate: 2 000 - 3 000 Kc | Distillery | Bruichladdich is a Scottish distillery on the island of Islay, founded in 1881 by the Harvey brothers who owned the Dundashill and Yoker grain distilleries in Glasgow. Like all late Victorian distilleries, its fate was inextricably linked to the production of blended whiskey from the beginning. As a single malt, its whiskey was virtually non-existent.It was closed in 1995 due to redundancy and remained dormant until 2001, when it was acquired by Murray McDavid, led by Mark Reynier and Simon Coughlin. The team was joined by the legendary Jim McEwan who left Bowmore to become Master Distiller and help revive the distillery. McEwan played a key role in experimenting with different types of casks, local barley and levels of malt smoking. This saw the introduction of Port Charlotte peat whiskey and the revolutionary Octomore, as well as The Botanist gin, which uses Islay herbs.In 2012, the distillery was bought by Remy Cointreau, which still owns it today. | Bottle | Bruichladdich Aged 12 Years 2nd Edition is a single malt whisky, bottled in 2006. This whisky has been aged for a minimum of 12 years in bourbon casks and has been bottled without chill filtration or added coloring, giving it an authentic character. This edition is notable for its slightly peaty undertone, which is unusual for Bruichladdich today, as peated whiskies are typically released under the Port Charlotte and Octomore brands.Nose: Fresh and fruity, with subtle floral notes and hints of vanilla.Taste: Smooth and delicate, with notes of sweet fruit and a light oak influence from bourbon casks.Finish: Light, with lingering sweetness and subtle spice that creates a clean and inviting character.
SCAPA 1982 CHIEFTAIN'S 22 YEARS OLD | Distilled: 12/1982 | Bottled: 03/2005 | Stated age: 22 years old | ABV: 57,9% | Region: Islands - Orkney | Country: Scotland | Type: Single malt Scotch whisky | Volume: 700 ml | Duty stamp: CZ | Packaging: paper box | Bottle code: L5075BB 3 11:42 | Estimate: 10 000 - 15 000 Kc | Distillery | Scapa is a Scottish whiskey distillery located in the Orkney Islands, near the town of Kirkwall. It was founded in 1885 by blender John Townsend, who took advantage of the growing interest in blended whiskey at the end of the 19th century. In 1919, the distillery was damaged by fire, but was rebuilt soon after. In 1936 it was bought by the Bloch brothers, who also owned the Glen Scotia and Glengyle distilleries.In 1959, a Lomond still type still was installed in the distillery, which allowed finer control over the distillation process and contributed to the creation of a whiskey with a more pronounced and richer in character. The still was in operation until 1979.The distillery was officially closed in 1994, but distilling operations were occasionally resumed by a team from the neighboring Highland Park Distillery. In 2004, a £2.1 million investment was announced to refurbish the distillery and a 14-year-old whiskey was launched at the same time. In 2005, the renovation was completed and the distillery became part of the Pernod Ricard company. The occasion saw a change in bottle design and an increase in the bottled whiskey age from 14 to 16 years.In 2015, a visitor center was opened and the distillery expanded its range of whiskey. Today, Scapa is known for its fine whiskey with a distinct character that sets it apart from peated Orkney whiskeys such as Highland Park. | Bottle | Scapa 1982 is a single malt whisky, distilled in December 1982 and bottled by independent bottler Ian Macleod in March 2005 as part of the prestigious Chieftain's Choice range. This range emphasizes authenticity in each bottling, with no chill filtration or added coloring, preserving the whisky’s natural character. This expression was matured for 22 years in an Amontillado sherry cask (No. 550) and was bottled at cask strength.Nose: Intense and rich, with notes of dried fruit, nuts, and a subtle hint of sea air, complemented by sweet sherry undertones.Taste: Full and complex, with flavors of dark fruit, nuts, spice, and a slight saltiness that transitions into a rich, woody character from prolonged sherry cask aging.Finish: Long and warm, with lingering notes of dried fruit, oak, and subtle salinity, adding depth and balance.The auctioned bottle is one of only 582 and is presented in a luxurious paper box.
JURA 1996 DUN BHEAGAN 11 YEARS OLD | Distilled: 1996 | Bottled: 2008 | Stated age: 11 years old | ABV: 43% | Region: Islands - Jura | Country: Scotland | Type: Single malt Scotch whisky | Volume: 700 ml | Duty stamp: CZ | Packaging: paper tube | Estimate: 1 000 - 2 000 Kc | Distillery | Jura is a Scottish distillery located on the remote Isle of Jura in the South Hebrides region. It was originally founded in 1810. The distillery went by various names such as Craighouse, Small Isles and Caol nan Eilean before finally settling on the name Jura. However, the initial success ended in 1901, when the first great whiskey crisis closed down. Operating in such a remote location was expensive and the lack of a direct connection to the mainland contributed to its closure for over six decades.In 1963 the distillery saw a renaissance thanks to the efforts of Robin Fletcher and Tony Riley-Smith, who in collaboration with blender Charles Mackinlay and designer William Delme-Evans reinvigorated island distillation. The aim of this move was to support the island's economy and stop the population decline.The distillery started selling its single malt whiskey in 1974 and gradually expanded its range. In 2002, Superstition whiskey was launched, adding a slightly smoky character, followed in 2009 by the fully peated edition of Prophecy. In 2018, Jura underwent a complete rebrand, introducing a new range of whiskeys with a subtle smoky touch, including the base version Jura Journey, 10-year, 12-year and 18-year whiskeys, and special editions such as Jura Seven Wood. | Bottle | Isle of Jura 1996 is a single malt whisky distilled in November 1996 at the Isle of Jura Distillery and bottled by independent bottler Ian Macleod in 2008 as part of the Dun Bheagan series. This series emphasizes the authenticity of each bottling, using no chill filtration or added coloring, allowing the whisky’s natural character to be preserved. Often, the whiskies in this series are also bottled at cask strength, providing a fuller taste experience. This whisky was aged for 11 years in bourbon casks #5218 and #5221.Nose: Fresh and light, with notes of vanilla, citrus, and a subtle oak undertone.Taste: Smooth and rounded, with hints of sweet honey, vanilla, and light notes of spice and fruit.Finish: Medium length, with a pleasant sweetness of vanilla and oak that gently blends with spicy elements.The auctioned bottle is one of 1,374 bottles released in this limited edition.
BRUICHLADDICH 7 YEARS OLD WAVES | Stated age: 7 years old | ABV: 46% | Region: Islay | Country: Scotland | Type: Single malt Scotch whisky | Volume: 700 ml | Condition: traces of mold on the bottle | Duty stamp: CZ | Packaging: metal tube with traces of rust inside the tube and on the cap | Bottle code: 06/0211 19 OCT 06 16:00 | Estimate: 1 000 - 2 000 Kc | Distillery | Bruichladdich is a Scottish distillery on the island of Islay, founded in 1881 by the Harvey brothers who owned the Dundashill and Yoker grain distilleries in Glasgow. Like all late Victorian distilleries, its fate was inextricably linked to the production of blended whiskey from the beginning. As a single malt, its whiskey was virtually non-existent.It was closed in 1995 due to redundancy and remained dormant until 2001, when it was acquired by Murray McDavid, led by Mark Reynier and Simon Coughlin. The team was joined by the legendary Jim McEwan who left Bowmore to become Master Distiller and help revive the distillery. McEwan played a key role in experimenting with different types of casks, local barley and levels of malt smoking. This saw the introduction of Port Charlotte peat whiskey and the revolutionary Octomore, as well as The Botanist gin, which uses Islay herbs.In 2012, the distillery was bought by Remy Cointreau, which still owns it today. | Bottle | Bruichladdich Aged 7 Years Waves 1st Edition is a single malt whisky that was aged for 7 years and bottled in 2006. The whisky was first aged in bourbon casks and then finished in Madeira wine casks. This edition features a mild to medium peaty undertone, which is unusual for contemporary Bruichladdich, as peated whiskies are typically released under the Port Charlotte and Octomore brands. A slight trace of peat adds a "seaside" character to the whisky, as the name "Waves" suggests.Nose: Notes of raisin, cranberry, and vanilla, with a subtle hint of peat smoke and a touch of fresh sea spray.Taste: Fine malt base with spices, cranberries, hints of vanilla, sweet licorice, and a light minty undertone.Finish: Medium length, sweet, with a subtle peaty reverberation, spices, and notes of berry fruit.
Sadanand K. Bakre (1920-2007)Untitled (Cityscape) signed in English and Devanagiri and dated in Devanagiri 'Bakre 1964' lower right; signed, dated, telephone number and address versooil on board, framed59.9 x 75.1cm (23 9/16 x 29 9/16in).Footnotes:ProvenanceProperty from a private collection, UK;Acquired from Nicholas Treadwell Gallery, London, 1968.Grounded in academic realism, Bakre, like many of his contemporaries, embraced the transformative principles of abstraction, which allowed him to transcend traditional representation and explore innovative artistic expressions. By the late 1940s, Bakre had developed a distinctive style characterized by 'free-flowing forms and unconventional shapes' (Yashodhara Dalmia, The Making of Modern Indian Art, p. 190). This shift was indicative of the larger modernist movement in India during the 1950s and 1960s, a time marked by experimentation across various artistic disciplines.Bakre's move to London in 1950 played a pivotal role in this artistic evolution, offering him a fertile ground for further experimentation. During his time in Great Britain, he encountered a wealth of modern art that deeply influenced his work, including a strong connection with Vorticism. This early 20th-century literary and artistic movement, which flourished in England between 1912 and 1915, sought to relate art to the rapid industrialisation of society. The Vorticists, known for their dynamic and linear visual language, explored the fragmented nature of modern life through spiky, rhythmic forms, emphasising sharp angles over curves and hard edges over soft, capturing the energy of the industrial age.In Bakre's work, the sharp, structured shapes and geometric forms resonate with the Vorticist ethos, reflecting the artist's raw, pulsating quality and his movement toward abstraction. The present lot is a fine example of this. In Untitled (Cityscape) there are bold, angular lines and complex layering, evoking the vitality of urban life. This particular work presents a richly textured scene of architectural elements, including arches, columns, and geometric patterns that recall both medieval and Gothic structures. While Vorticism critiques the sentimentalism of 19th-century art, Untitled (Cityscape) moves away from the harsh, rugged depictions of Vorticism that verge on abstraction and instead leans more towards expressionism. Its dreamlike quality and ethereal light introduce a softer, more contemplative atmosphere, creating a contrast to the dynamic, industrial themes typically associated with Vorticism.In this work, the straight, geometric lines are softened by the inclusion of a radiant yellow sun at the top centre, casting an otherworldly glow over the city's structures. This element introduces an expressionist quality to the cityscape, as the composition's layered depth and rhythmic arches create a sense of harmony between the architectural forms. This dynamic interplay contributes to the piece's contemplative and almost mystical atmosphere. Bakre's own words offer further insight into his artistic approach, 'I saw everything mathematically. Everything depended on three parts, not four, so it became a spike. Originally it was a tricone (triangle), and then it went on to other things. The number three struck me so, and when I painted another one, it did not give me satisfaction. It was a geometrical, mathematical phase. I felt the need to do this from some unknown experience of balance' (Sadanand K. Bakre, The Making of Modern Indian Art: The Progressives, p. 194). This statement reflects Bakre's deeply personal engagement with geometry, balance, and abstraction, which helped shape his singular, modernist vision.For further information on this lot please visit Bonhams.com
Maqbool Fida Husain (1915-2011)Untitled (Tearing Apart) signed 'Husain' lower left; signed 'Husain 91' versoacrylic on board, framed57.3 x 89.6cm (22 9/16 x 35 1/4in).Footnotes:ProvenanceProperty from a private collection, Dubai. Acquired from the artist.'My horses like lightning, cut across many horizons. Seldom their hooves are shown. They hop around the spaces. From the battlefield of 'Karbala' to Baukura terra cota, from the Chinese Tse pei Hung horse to St. Marco horse, from ornate armoured 'Duldul' to challenging white of 'Ashwamedh' .... the cavalcade of my horses is multidimensional.' (Husain, Tata Steel Publications, 1987, p. 83)Horses figure prominently in Husain's work. The reasons for this are likely to be varied, though Husain notes that one of his earliest influences comes from the procession to commemorate the Prophet's grandson which involved the carrying of an effigy of his horse through the streets. The manner in which these horses are painted is reminiscent of a puppet or wooden effigy, strengthening the link with the Islamic holiday of the prophet's grandson. Additionally, Husain had worked in a children's toy and furniture factory during the 1940s and it is possible that many of his horse paintings draw heavily on the manner of the construction of puppet horses. Husain was also heavily influenced by the terracotta horses he saw during his visit to China. Since their domestication, horses have been important subjects for art and religion and have helped build civilizations, no less so in Hinduism. Husain was fascinated with his own roots but also learning and assimilating other cultures as sources of inspiration. As such this painting exemplifies this wonderfully: the horse as a symbol of power and tradition, a part of Islamic culture, an influence from China, and painted in a style reminiscent of European Cubism. 'All forms of art are born from one's roots', perhaps Husain wished to explore as many artistic roots as possibleFor further information on this lot please visit Bonhams.com
A collection of approximately twenty Soul and Motown records including Ian Dury 'Sex & Drugs & Rock & Roll', 'New Boots and Panties', The Beatles 1967-70 double album on Apple Records, The Beatles 'I Saw Her Standing There' 45, 'Do It Yourself' by Ian Dury and the Blockheads', and an Ian Dury 'New Boots and Panties (without sex & drugs & rock & roll).
United States of America, Half-Dollar, 1861o, State of Louisiana Issue, SS Republic (W-04; KM A68). Salt water damage, otherwise good very fine, rare [Graded by NGC as SHIPWRECK EFFECT (C) UNC] £200-£300 --- The SS Republic (originally named the SS Tennessee) was a cargo steamship based in New Orleans for much of the 1850s. At the outbreak of the Civil War, she was seized by the Confederacy, though only saw a short service due to her recapture by the Union in April 1862. Used extensively thereafter as a gunboat, cargo ship, and troop carrier, she was returned to civilian service and renamed in March 1865. Not long after, however, the Republic was caught in a hurricane off the coast of Georgia. She sank with no loss of life, but was carrying over $400,000 worth of gold and silver coinage. Many of these coins were recovered in a 2003 excavation, including the example on offer. 225
MAGNIFIQUE ET TRÈS RARE GRAND VASE BALUSTRE EN PORCELAINE DE LA FAMILLE ROSEMarque à six caractères en cachet en rouge de cuivre et époque Qianlong (1736-1795)A MAGNIFICENT AND VERY RARE LARGE FAMILLE ROSE 'DRAGON' VASEQianlong six-character seal mark in iron-red and of the period Raised on a high, splayed foot, the rounded ovoid body rising to gently rounded shoulders and a tall cylindrical neck surmounted by an compressed bulbous mouth and lipped rim, the neck set with a pair of elaborated pierced dragon handles painted in iron-red with gold detailing, finely painted around the body with two five-clawed dragons striding amidst clusters of multi-coloured clouds, the larger dragon brilliantly painted in iron-red five-clawed dragon in iron red, its long curly whiskers issuing from either side of its flared snout, crowned by a pair of prominent long horns protruding from its green-enamelled mane, its powerful coiling body covered in red scales, confronting the smaller dragon depicted in tones of vivid rose pink gazing submissively up towards the larger dragon, painted around the neck in vibrant enamels with luscious lotus flowers below bats amidst scrolling foliage and flower sprays, all against a bright turquoise ground, the foot and lower part of the body similarly decorated, the turquoise-glazed base inscribed with a six-character seal mark in iron-red. 54 cm (21 1/4 in) highFootnotes:PROPERTY FROM A LONDON ESTATE倫敦私人遺產清乾隆 粉彩雲紋「蒼龍教子」雙螭耳瓶 礬紅「大清乾隆年製」篆書款Provenance:Collection of William Dederich (1872-1926), Kingswood House, Dulwich, London.Thence by direct descent in the family.來源William Dederich（1872-1926）珍藏，Kingswood House，達利奇，倫敦後經家族流傳至今This impressive vase is a masterpiece made in the imperial kilns at Jingdezhen in Jiangxi province under the Qianlong emperor. It is a successful combination of colour and composition, and must have been a challenging project for the skilled artists in the Jingdezhen workshops who designed and painted the design. The striking combination of rose pink-enamel and iron-red in the decoration of this vase is very rare and only one other companion piece to this vase is known. On a vase of identical form, size and design, also inscribed with a Qianlong iron-red six-character seal mark, the iron-red and pink dragons are arranged the opposite way, the designs on both vases perfectly mirroring each other. The present vase is therefore the pair to the vase sold in Bonhams Hong Kong, 28 November 2011, lot 457 (Fig. 1). Both vases are decorated with a continuous design of two striding dragons of different size and colour. By the Qianlong period, the painters in the Jingdezhen workshops were highly accomplished in rendering superb five-clawed dragons. The larger dragon above with a powerful body and head subtly painted in different washes of iron red accentuated with stippled details and fine lines. His eyes, fangs and claws are picked out in white enamel and his mane in a vivid green enamel, contrasting with his vibrant-coloured body. The use of deep iron-red for the large dragon adds boldness and power to the design when comparing it to the soft pink enamel employed for the smaller, more diminutive dragon that faces him striding below. His body is depicted in delicate shades of rose-pink accentuated with a puce-coloured spine. As on the larger dragon, his eyes, eyebrows, fangs and claws are highlighted in white enamel. Their colourful bodies contrast sharply against the white body of the vase scattered with delicate wisps of swirling multi-coloured clouds.In the decorative repertoire of art, depictions of a larger powerful dragon accompanied by a smaller, more sinuous dragon, usually facing each other, convey the message of 'the old dragon teaching his son' canglong jiaozi recorded in the Sanzi jing [Three Character Classics] attributed to Wang Yinglin (1223-1296), a traditional text for teaching children Confucian doctrines of importance on education, filial piety, proper family relations and correct moral behaviour. We can assume that the two dragons on this vase allude to the theme of succession of imperial power and handing down knowledge from father to son, most likely alluding to the figures of Qianlong and his son, Prince Yongyan, the future Jiaqing Emperor. The distinctively different treatment and positioning of the two dragons on this vase underline their hierarchical relationship, with the larger iron-red dragon representing authority and the smaller, pink-enamelled dragon demonstrating respectful submission.As mentioned above, this magnificent vase is the pair to a vase sold in Bonhams Hong Kong, 28 November 2011, lot 457. The size of these two vases and the subject are both rare and very few porcelain vases made during the Qianlong reign match these two. On a visit to the Victoria and Albert Museum, London, in 1990, the owner of the present lot saw another vase displayed in the galleries and noted the similarities. In fact, she saw a famille rose vase of the same size, shape and colour scheme but decorated with one hundred boys at play around the body (Henry L.Florence Bequest, accession no. C.1196-1917) (Fig. 2). A slightly larger famille rose vase also decorated with two large dragons around the body, from the Buchanan-Jardine Collection, was included in the 1935 London Chinese art exhibition and published in Catalogue of the International Exhibition of Chinese Art, London, 1935-36, cat.no. 2178 and p. 186. The same subject appears on a slightly slightly smaller tianqiuping vase on a turquoise ground, sold in Sotheby's Hong Kong, 3 April 2019, lot 3614.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
An officer's helmet of The Royal 1st Devon Yeomanry Cavalry circa 1852, the skull of black felt-covered buckram showing age wear and tear, the front and rear peaks painted black imitation leather, with metal banding all around base of helmet, with an ornate frontal plate displaying the crown over laurel and oak sprays with the garter and 'VR' cypher, motto reads 'Honi Soit Qui Mal Y Pense', the unit details below on three scrolls, the plume and chin strap missing, as is the right hand side roundal bracketProvenance: The helmet is from a local Devon family and saw active service in the second Boer WarCondition Report: Interior of helmet in fair condition for its age , leather skull fitting broken and lace tightening pull broken
![A Rotozip spiral saw and zip mate combo kit, 50 piece multi tool set, right angle drill attachment and other. [W]
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SPANISH DRAGOON BROADSWORD, FERDINAND VII 1808, BEGINNING OF PENINSULAR WARS. It is marked to Ferdinand VII, and dated 1808, which is very unusual. Ferdinand VII first reigned between 19 March 1808 – 6 May 1808, which is exactly 48 days, at which point he was overthrown and captured by Napoleon. Following several uprisings in Spain in opposition to the new king (Napoleon's brother), the Council of Castille voided the abdication and proclaimed Ferdinand VII king again, from 24 August 1808. The date also places this sword right at the beginning of the Peninsular War, which means that it most likely saw use during the conflict. It measures 111cm, with a 91cm blade and 4cm wide at base. – We offer in-house shipping services for all items, both within the UK and internationally, at reasonable rates. Items may also be collected at the Kempton Arms Fair in London on the 8th of December.
Renée Sintenis 1888 Glatz/Schlesien - 1965 Berlin Fussballspieler. 1927. Bronze mit brauner Patina. Auf der Plinthe mit der Signatur. Rückseitig an der Plinthe mit dem Gießerstempel 'H NOACK BERLIN FRIEDENAU' (teils schwer leserlich). Höhe: 40,5 cm (15,9 in). • 1928 gewinnt Renée Sintenis mit dieser Figur den 3. Preis des olympischen Kunstwettbewerbs in Amsterdam. • In den 1920er Jahren entstehen Sintenis' wichtige Sportlerdarstellungen. • Die Kraft und die spielerische Leichtigkeit sind in extremen Bewegungsabläufen festgehalten. • Ein weiteres Exemplar befindet sich in der Sammlung der Nationalgalerie Berlin. PROVENIENZ: Privatsammlung Nordrhein-Westfalen. AUSSTELLUNG: Ausstellung von Skulpturen, Zeichnungen und graphischen Werken von Renée Sintenis zum 90.Geburtstag, Galerie Vömel, Düsseldorf, 15.3.-30.4.1978, o. S. (m. Abb., anderes Exemplar). Renée Sintenis. Plastiken, Zeichnungen, Druckgraphik, Kolbe-Museum Berlin; Kulturgeschichtliches Museum, Osnabrück; Ostdeutsche Galerie, Regensburg; Museen der Stadt, Hanau; Leopold-Hoesch-Museum, Düren, 1983/84, Kat.-Nr. 27 (m. Abb. 80, anderes Exemplar). LITERATUR: Ursel Berger, Günter Ladwig, Renée Sintenis. Das plastische Werk, Berlin 2013, WVZ-Nr. 092 (m. Abb.). Britta E. Buhlmann, Renée Sintenis. Werkmonographie der Skulpturen, Darmstadt 1987, WVZ-Nr. 50 (m. Abb.). - - Die Sammlung H./Berlin, Paul Cassierer, Berlin, 20.-25.7.1931; Galerie Theodor Fischer, Luzern, 24.-31.8.1931, Kat.-Nr. 96 (m. Abb. Taf XLVIII, anderes Exemplar). Hanna Kiel (Hrsg.), Renée Sintenis, Berlin 1935, S. 34 (Abb. S. 49). Rudolf Hagelstange, Carl Georg Heise u. Paul Appel, Renée Sintenis, Berlin 1947 (Abb. S. 70, anderes Exemplar). Zwischen Freiheit und Moderne. Die Bildhauerin Renée Sintenis, Kunstforum Ostdeutsche Galerie, Regensburg, 12.10.2019-12.1.2020, Kat.-Nr. 26 (m. Farbabb. S. 101, anderes Exemplar). Aufrufzeit: 07.12.2024 - ca. 15.10 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONRenée Sintenis 1888 Glatz/Schlesien - 1965 Berlin Fussballspieler. 1927. Bronze with brown patina. Plinth with signature. With the foundry mark 'H NOACK BERLIN FRIEDENAU' on the reverse of the plinth (barely legible). Height: 40.5 cm (15.9 in). • This figure won Renée Sintenis third prize in the 1928 Olympic art competition in Amsterdam. • The 1920s saw the creation of an important series of sports figures. • Power and playful ease are captured in extreme movements. • Another copy can be found in the collection of the Nationalgalerie Berlin. PROVENANCE: Private collection, North Rhine-Westphalia. EXHIBITION: Ausstellung von Skulpturen, Zeichnungen und graphischen Werken von Renée Sintenis zum 90.Geburtstag, Galerie Vömel, Düsseldorf, March 15 - April 30, 1978, no page (illustrated, different copy). Renée Sintenis. Plastiken, Zeichnungen, Druckgraphik, Kolbe-Museum Berlin; Kulturgeschichtliches Museum, Osnabrück; Ostdeutsche Galerie, Regensburg; Museen der Stadt, Hanau; Leopold-Hoesch-Museum, Düren, 1983/84, cat. no. 27 (illustration 80, different copy). LITERATURE: Ursel Berger, Günter Ladwig, Renée Sintenis. Das plastische Werk, Berlin 2013, catalogue raisonné no. 092 (illustrated). Britta E. Buhlmann, Renée Sintenis. Werkmonographie der Skulpturen, Darmstadt 1987, catalogue raisonné no. 50 (illustrated). - - The H. Collection, Berlin, Paul Cassirer, Berlin, July 20-25, 1931; Galerie Theodor Fischer, Lucerne, August 24 - 31, 1931, cat. no. 96 (illustrated on plate XLVIII, different copy) Hanna Kiel (ed.), Renée Sintenis, Berlin 1935, p. 34 (illustrated on p. 49). Rudolf Hagelstange, Carl Georg Heise and Paul Appel, Renée Sintenis, Berlin 1947 (illustrated on p. 70, different copy). Zwischen Freiheit und Moderne. Die Bildhauerin Renée Sintenis, Kunstforum Ostdeutsche Galerie, Regensburg, October 12, 2019 - January 12, 2020, cat. no. 26 (illustrated in color on p. 101, different copy). Called up: December 7, 2024 - ca. 15.10 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Alexander Kanoldt 1881 Karlsruhe - 1939 Berlin Häuser. 1910. Öl auf Malpappe. Verso handschriftlich schwer lesbar von fremder Hand bezeichnet '732 mattweiß / bestimmt (?) Dienstag Abend's / Franz Josef Str. 36/4 / Canold'. 36,7 x 50 cm (14,4 x 19,6 in). [AR]. • Wiederentdeckte, frühe Münchner Architekturansicht Alexander Kanoldts. • Entstanden in der Nähe des Nikolaiplatzes, wo der Künstler 1910/11 lebt. • Reduzierter Farb- und Formengestus mit lebendig-expressivem Kolorit. • Ehemals im Besitz des damaligen Leiters des Baseler Kunstmuseums Otto Fischer. • Seit mehreren Generationen in privatem Familienbesitz. Wir danken Herrn Dr. Michael Koch für die freundliche Auskunft. PROVENIENZ: Sammlung Otto Fischer, Basel. Katharina Fischer (durch Erbgang vom Vorgenannten). Privatsammlung Süddeutschland (durch Erbgang von Vorgenannter). Seitdem in Familienbesitz. AUSSTELLUNG: Kunsthaus Schaller, Stuttgart (verso m. Etikett, hier mit dem Titel 'Häuser'). 'Kanoldts letzte Sachen, die ich neulich hier sah, haben auch bereits diese großen Mittel, – reiner Kubismus. Ich erschrak anfangs ordentlich, und dann freute ich mich über den Mut und die fabelhafte Konsequenz dieser Leute“. Franz Marc an August Macke, 28. Dezember 1910, zit. nach: Andreas Hühnecke (Hrsg.): Der Blaue Reiter. Dokumente einer geistigen Bewegung, Leipzig 1986, S. 39. Aufrufzeit: 07.12.2024 - ca. 15.37 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAlexander Kanoldt 1881 Karlsruhe - 1939 Berlin Häuser. 1910. Oil on cardboard. Barely legibly inscribed “732 mattweiß / bestimmt (?) Dienstag Abend's / Franz Josef Str. 36/4 / Canold” on the reverse by a hand other than the artist's. 36.7 x 50 cm (14.4 x 19.6 in). [AR]. • Rediscovered early architectural view of Munich by Alexander Kanoldt. • Painted near Nikolaiplatz, where the artist lived from 1910-1911. • Reduced color and form with a lively, expressive coloring. • Formerly owned by Otto Fischer, then director of the Kunstmuseum Basel. • In family ownership for several generations. We are grateful to Dr. Michael Koch for the kind support in cataloging this lot. PROVENANCE: Otto Fischer Collection, Basel. Katharina Fischer (by inheritance from the above). Private collection, Southern Germany (by inheritance from the above). Family-owned ever since. EXHIBITION: Kunsthaus Schaller, Stuttgart (with the label on the reverse, here titled 'Häuser'). 'Kanoldt's last things, which I saw here the other day, already have these large means – pure cubism. I was frightened at first, and then I was delighted by the courage and the fabulous consistency of these people.' Franz Marc to August Macke, December 28, 1910, quoted from: Andreas Hühnecke (ed.): Der Blaue Reiter. Documents of an intellectual movement, Leipzig 1986. Called up: December 7, 2024 - ca. 15.37 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Minimalismus - - Gene Davis. (1920 Washington - 1985 ebenda). Hommage a Barnett Newman. 1979. Farbserigraphie auf Velin. 80 x 62,5 cm (85, 7 x 70, 5 cm). Signiert, datiert und römisch nummeriert. - Kanten wenig merklich angestoßen, insgesamt gut. Ausgezeichneter, nuancierter und satter Druck mit schmalem Rand. Eines von 100 römisch nummerierten Exemplaren. - "Hommage to Barnett Newman" basiert auf einer Serie von Ölgemälden, die Gene Davis nach dem Tod des Künstlers Barnett Newman (1905-1970) vollendete. Laut der Marsha Mateyka Gallery, Washington, D.C., die den Nachlass Davis' seit 1997 vertritt, ist diese Serie "durch geteilte Kompositionen aus zwei subtil kontrastierenden flachen grauen Tafeln gekennzeichnet, die durch einen weißen Streifen geteilt werden und an den Rändern auf beiden Seiten durch scharf kontrastierende dünne Streifen abgeschlossen werden. Gene Davis sah die Arbeiten von Barnett Newman erstmals 1951 in der Betty Parsons Gallery in New York. Über den Einfluss von Newman bemerkte Gene Davis die 'Qualität der Klarheit, die im abstrakten Expressionismus zu fehlen schien' und 'seine Newmans Verwendung des frei stehenden Streifens'." Colour silkscreen on wove paper. Signed, dated and roman numbered. - Edges slightly bumped, good overall. Superb, nuanced and rich impression with narrow margins. - One of 100 roman numbered copies. - "Homage to Barnett Newman" is based on a series of oil paintings that Gene Davis completed after the death of the artist Barnett Newman (1905-1970). According to the Marsha Mateyka Gallery, Washington, D.C., which has represented the Davis estate since 1997, this series is "characterised by split compositions of two subtly contrasting flat grey panels divided by a white stripe and terminated at the edges on either side by sharply contrasting thin stripes. Gene Davis first saw Barnett Newman's works in 1951 at the Betty Parsons Gallery in New York. On the influence of Newman, Gene Davis noted the 'quality of clarity that seemed to be lacking in abstract expressionism' and 'his Newman's use of the free-standing stripe'."
A collection of antique tools, to include: a W Greenslade of Bristol plane, 40cm, two other smaller planes, one marked Campbell, another G Pringle (?), moulding saw T F Harrison and John Baker & Sons, ( A lot ) The Alastair & Sheila Brooks Collection: of Oaklands (& past owners of Ednam House Hotel), Kelso
An Eastern hardwood wind-out oval Dining Table standing on turned legs with square bosses, 41 7/8" x 48" extending with two leaves to 69 5/8" and 28 3/8" high together with a set of six Mahogany Dining Chairs having turned front legs united by shaped stretchers and unusual saw tooth edged centre splats and having green upholstered overstuffed seats.
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