Bloomsbury Auctions

Dreweatts & Bloomsbury Auctions are a UK 'top 5' auctioneer of fine art and collectibles. As part of The Stanley Gibbons Group plc they are the only UK stock-exchange listed firm of auctioneers and occupy the same stable as coin specialists Baldwin’s and Fraser's Autographs.
Established in 1759, they have the broadest and most regular calendar of specialist catalogued sales in the industry numbering over 150 per annum. They provide vendors and buyers alike market-leading specialist advice in any number of collecting fields. They operate from salerooms in London’s Mayfair, Donnington Priory (near Newbury), Bristol and Godalming. They also operate a franchise in Rome (Italy).

Dreweatts's & Bloomsbury are members of Association of Accredited Auctioneers - AAA combines 20 UK auction houses, with a combined annual turnover of over £200m. Each member auction house has built a reputation for quality and integrity, many over a period of hundreds of years. AAA members are committed to the highest standards of creditability and services to buyers and sellers.


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Blog posts about "Bloomsbury Auctions"

New international Works on Paper auctions platform launches in London
Forum Auctions this month launches in London, with the vision for a fresh perspective on 21st century online auctioneering.

Realised prices "Bloomsbury Auctions "

Gerhard Richter (b.1932)(after) - Eis 2
Gerhard Richter (b.1932)(after)\nEis 2\n\nscreenprint in colours, 2003, the edition was 500, published by the Lincoln Centre, N.Y., on Somerset wove paper, with full margins,\nsheet 1135 x 880 mm (44 5/8 x 34 5/8 in) Bloomsbury Auctions
Vinyes Dels Aspres Negre 2004 Emporda 12 bts IN BOND
Vinyes Dels Aspres Negre 2004\n Emporda\n 12 bts\nIN BOND Bloomsbury Auctions
MILITARY GENERAL SERVICE MEDAL, 1793-1814, 4 clasps, Talavera, Albuhera
MILITARY GENERAL SERVICE MEDAL, 1793-1814, 4 clasps, Talavera, Albuhera, Vittoria, Toulouse (J. Lees, 3rd Dragoon Gds ); officially impressed, with original ribbon. Dark old cabinet tone, two minor edge bruises, otherwise bold very fine.\n\nThe 3rd Dragoon Guards landed at Lisbon 26-27 March 1809 as part of Fane’s cavalry brigade. On the 4 May that year they marched north to join Wellington’s army, and at the battle of Talavera, fought 27-28 July 1809. The 3rd Dragoon Guards and the 4th Light Dragoons had moved into the plain on the left and advanced to charge a column of enemy infantry, but this order was countermanded, calling for the two regiments to reform (supported by Major-General Anson’s Brigade). It was during these manoeuvres that Captain Brice was severely wounded by a cannonball. Wellington’s forces were quickly pushed back after the successful action, leaving many of the wounded behind, including Captain Brice. Many British soldiers were captured, and on the whole were well-treated.\n\nSold with copy roll mention confirming this 4-clasp award. Bloomsbury Auctions
A Great War Autograph A lbum Containing Photographs, Signatures
A Great War Autograph A lbum Containing Photographs, Signatures, Drawings and Messages from Wounded Soldiers Recovering at Speen Hill House in Berkshire during the First World War\nThe album belonged to Miss Winifred Mace who was in service at the house, owned by Rev. Robert Dunlop, which was used as a convalescent home for soldiers from the General Hospital at Tidworth throughout the First World War. Many of hand-written notes in Winifred’s album make reference to the General Hospital at Tidworth, where thousands of soldiers were treated for their wounds.\nThe current owner remembers Winifred telling her how she would always get the “boys” to sign her book. Winifred, herself a teenager at the time, would have been a similar age to many of the soldiers at Speen Hill House and their friendships are displayed in this time capsule as an intimate record of this tragic period. Bloomsbury Auctions
A Continental sculpted ivory model of a Faun with a wine cup
A Continental sculpted ivory model of a Faun with a wine cup, Netherlandish or South German, possibly late 17th or early 18th century, portrayed in Bacchic dance with his weight on the right leg, his horned head declined to dexter, with grapevines adorning his hair above the smiling visage, his left arm raised above him, the stem of the kylix held in his right hand, his loins covered by a grape vine sprig held by a band around his waist also supporting drapery behind, his raised left foot resting on a bag, probably a winesack to the rear; later mounted onto a turned and ebonised wood socle, the ivory 53.5cm high, height overall 58.5cm\nNote: Loose comparisons can be made to Michelangelo's famed Bacchus at the Bargello in Florence, and whilst there are clearly significant and obvious differences in all important aspects, from composition to style, it seems reasonable to suggest that the sculptor of the ivory here had at least seen that masterpiece and was in some way inspired by it.\nThe intense revival of ivory carving between 1600 and the mid-eighteenth century stemmed from the renewed flow of the valuable material into the hands of European sculptors, following the opening of new maritime routes along the east and west coasts of Africa. This revival coincided with the development of the Baroque style, particularly in the Netherlands and Central Europe. Emperors and princely patrons there created court positions for ivory carvers and they, and other wealthy, cosmopolitan clients supported the growing number of skilled workshops whose traditions spread throughout the area.\nThe ivory faun here lacks the heavy profundity of the high Baroque period, being characterised far more by a frivolous joie-de-vivre, obviously portrayed in the Ecstatic Dance. It is possible then that the model was created towards the end of the Baroque era and therefore early in the 18th century, when the significant loosening of staid compositional formulae occurred along with a broadening of the subjects covered.\nAlthough the artists who worked in ivory also created monumental sculpture for churches and major civic spaces, their small pieces are characterised by an intensity of expression that often eluded their larger works, as seen in the Faun here. Works commissioned for public spaces continued to be primarily religious in nature, but a growing circle of humanist collectors were inclined to indulge a wider variety of subjects, encouraging the creation of works inspired by the literature of antiquity. The inspiration for the work could be a description in Pliny the Elder's Natural History of a lost bronze sculpture by Praxiteles, depicting "Bacchus, Drunkenness and a satyr", as has been suggested for the Bargello Bacchus. Bloomsbury Auctions
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