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LOT 2113
Large Original Railway Poster - Old Country Towns by Gregory Brown
CIRCA 1938 A.D.
52 3/4 x 42 5/8 in. (931 grams, 134 x 108.5 cm).
Large paper advertising poster in five tones depicting a country town with a mix of weatherboard, brick-built and Georgian shops and buildings, figures and horses; to bottom left 'Gregory Brown / 38'; title 'Old Country Towns in Southern England' over 'via Southampton Docks or the short sea routes of the Southern Railway'; bottom right 'Printed in Great Britain by Waterlow and Sons, London and Dunstable'; linen backed.
ProvenanceAcquired on the UK art market.
Property of a Harwich, UK, collector.
F. Gregory Brown was a commercial artist who inspired a generation of designers and helped to improve the quality of pre-war advertising in Britain. 'Old Country Towns' was one of Brown’s last works, printed just before his death aged 54 in 1941.
CONDITIONTimeLine Auctions follows a vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: Our Vetting Process
AUCTIONS:
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LOT 2113
Large Original Railway Poster - Old Country Towns by Gregory Brown
Estimate £500 - 700€580 - 810 (for guidance only)$680 - 950 (for guidance only)
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Post Medieval Silver Thimble with Heart-Shaped Cartouche Flanked by Birds
1650-1750 A.D.Sold for (Inc. bp): £143
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Nuremberg Brass Lion Statue
Germany, 16th century A.D.Estimate: £500 - 700 (+bp*)
Opening Bid: £250
Modelled in a half-seated pose, gazing upwards with compact body, broad forequarters, the mane rendered in long, parallel strands; the tail emerging from underneath the body and resting diagonally on top of the neck. 855 grams, 96 mm
Acquired on the European art market.
The treatment reflects the continuation of late Gothic conventions within German workshops, while also aligning with the more classicising tendencies found in North Italian bronze production of the period. The anatomical structure is simplified yet purposeful, characteristic of functional or cabinet bronzes produced across central Europe in the sixteenth century. Its scale and form correspond to small bronzes intended for Kunstkammer settings or as elements within larger composite objects such as inkstands or caskets, where the lion served as an emblem of vigilance, authority, and learned taste.
