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Los 1506
Ridinger, Johannes Elias. 1698 Ulm - 1767 Augsburg"Der große Habicht (...)", Radierung/ Kupferstich auf Bütten, Bl. 3 der Folge Raubvögel und Eulen, E. M. Ridinger nach J. E. Ridinger, Randschaden hinterlegt, partiell stockig, 33,5 x 25 cm (Pl)/ 42,5 x 34 cm (Bl). Thienemann Nr. 755. Martin Elias Ridinger after Johann Elias Ridinger: birds of prey, etching on woven paper, lacks of condition, 42,5 x 34 cm
Los 951
Zwei historische Stadtansichten.a) Fokke, Simon (1712-1784 Amsterdam): Ansicht von Delft nach der Explosion des Pulverturms im Jahr 1654, Kupferstich/ Radierung, im unteren Plattenrand gestoch. Titel "Delft van binnen, na de verwoesting, vervorzaakt door't springen van den Kruidtooren (...) 1654". Nach einem Gemälde von Egbert van der Poel. Vertikaler Falz re. Blatthälfte, Blattrand Stockfelcken, 15 x 19 cm (D), hinter Glas mit Pp. gerahmt. Ra. 31,5 x 33,5 cm; b) Ansicht von Cleve um 1700, Radierung, i. d. Pl. sign. und dat. "Amavesi (?) 1901", bez. "H.G. Haas Selbstverlag Cleve", 8,5 x 24 cm (Pl), hinter Glas gerahmt. Stark gebräunt. Ra. 21 x 33 cm. Two historic views of the town of Delft after the devastation by explosion of a powder tower 1654, etching by Simon Fokke 1754; View of the town of Cleve around 1700, etching, dated 1901, tanned. Both framed with glass.
Los 627
Drei Blatt Grafik und ein AquarellRadierung, Aquatinta und Federlithografie, zweite Hälfte 20. Jh. Enthalten: Martin Pietsch "Schnecken-Paar", Aquarell 1984 / Britta Matthies "Blick von Poel" (auf den Wismarer Hafen), 1987 / Doris Ziegler, Musikergruppe, 1997 und H. Günther, Umarmung, o.J. Max 25 x 30 cm (Bl). Ein Blatt leicht angegilbt, sonst frisch erhalten. Three graphic prints and a watercolour drawing. Etching and lithograph, second half 20th century. Artists from the former GDR. One work a bit tanned, allover fresh.
Los 31
§ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) RAISED BEACH Signed and numbered 1/45 to margin, etchingDimensions:plate size 45cm x 39.5cm (17.75in x 15.5in)Note: Note: Inspired by the poem 'On a Raised Beach' by Hugh MacDiarmid. Part of the series of prints known as the 'Addenbrokes series', named after the hospital in Cambridge where Bellany underwent a major operation.
Los 262
An antique yellow gold mourning brooch. The brooch of curved rectangular form having an unfilled centre panel surrounded by etched foliate design surrounded by a further boarder of hatched etching to a C clasp verso. Unmarked, test indicate gold. Measures approx 2m. Total weight approx 3.7g.
Los 439
Two framed and glazed Snaffles Print, The Finest View in Europe, signed in pencil lower right; and The Worst View in Europe, signed in pencil on mount lower left. Some foxing, browning and fly damage, blind stamp to mounts; a reproduction copy of a Cecil Aldin print of the Cheshire Hounds; a Soft ground etching with hand colouring, published London 1820, Scene of Sketch Book of Henry ALken; and two racing prints, one of Goodwood; all as found
Los 503
Swift, Jonathan: Travels into Several Remote Nations of the World by Lemuel Gulliver, Newly Illustrated by Peter Suart, with etching signed in pencil, The Folio Society, London, 2011, limted edition no. 196/1000, in clam shell box.Box in good condition but slightly dusty.Book with slight curve to top of pages where it opens to the illustrations.
Los 502
Kipling, Rudyard: Just So Stories For Little Children, Introduced by Michael Morpurgo, Illustrated by Niroot Puttapipat, with etching signed by the artist, London: Folio Society. 1213, limited edition no. 283/1000, in clam shell box. (1)Box slightly dusty.Box slightly dusty.The bottom of the spine is slightly darker; not damp though.
Los 501
Grahame, Kenneth: The Wind In The Willows, Centenary Edition, illustrated by Charles van Sandwyk, with copperplate etching signed by the artist, London: The Folio Society, 2008, limited edition no. 648/1000, in clam-shell box. (1)Very light shelf wear to front of book.With interior tissue paper guard.Does not appear to have been read.Very good condition.
Los 1
Robin DayTwo rare cocktail units, model no. 652, designed for the 'Furniture Trades Exhibition', Earl's Court, London, 1951 Sycamore, sycamore-veneered plywood, glass. Each: 183 x 71 x 44 cm Manufactured by Hille & Co., London, United Kingdom. One drawer impressed HILLE OF LONDON.Footnotes:LiteratureArchitects' Journal, 22 Feb 1951, p. 234The Cabinet Maker, 28 April 1951, p. 365Architects' Journal, 2 August 1951, p. 136Mavis Watney, 'Three Robin Day Cabinets', Antique Collecting, The Journal of the Antique Collectors Club, vol. 36, no. 7, December 2001-January 2002, illustrated p. 44Lesley Jackson, Robin & Lucienne Day: Pioneers of Contemporary Design, London, 2011, p. 174Tradition versus Modernity – The Ambiguity of British DesignLesley JacksonWriter, Curator and Design HistorianIt is impossible to understand the evolution of modern British design without addressing the thorny issue of tradition. It keeps bubbling up during the post-war period long after British designers had embraced the concept of 'Contemporary' design. Even in the 1960s, a decade we think of as unashamedly progressive, there was still a vestigial hankering for tradition, manifested through Art Nouveau and Art Deco revivalism. Since the 1980s, historical allusions have resurfaced again in a new guise, often ironic, emboldened by Post Modernism. Without recognising and reconciling these two apparently conflicting impulses – tradition versus modernity – it is difficult to appreciate the distinctive character of British design.It was the Finnish architect Alvar Aalto who helped to sow the seeds of Modernism in the UK. His appealingly tactile bent laminated wood furniture for Finmar [lot 14] found a receptive audience in the otherwise rather stick-in-the-mud market in Britain during the 1930s. Interestingly, as well as being sold through modern design emporia such as Bowman Brothers in Camden Town, Aalto's furniture was exhibited at Fortnum and Mason, a bastion of tradition. Gerald Summers' short-lived company, Makers of Simple Furniture, was clearly inspired by Aalto during its all-too-brief but glorious existence. The few surviving pieces from this remarkable workshop, such as the laminated birch plywood Mirror [lot 4], reflect the British propensity for organic modernism.Like many manufacturers, Makers of Simple Furniture was forced to close in 1940 following the outbreak of the Second World War. The ensuing period of make-do-and-mend austerity meant that ambitious young furniture designers, such as Robin Day, had to put their careers on hold for over a decade. The Festival of Britain in 1951 was a seminal event in British post-war design. As well as kick-starting the country's economic and cultural recovery, it provided a launch pad for a host of up-and-coming designers, including less well known figures such as the architect Ray Leigh, who went on to become Design Director at Gordon Russell, as well as acknowledged names such as Ernest Race and Robin Day. Day had already achieved international renown in 1948 when he and Clive Latimer won first prize in the storage section of the International Low-Cost Furniture Competition organised by the Museum of Modern Art in New York. It was this competition that brought Day to the attention of Hille, the firm with whom he would collaborate so productively for the next three decades. Day was determined to make the most of the unique opportunities provided by the Festival of Britain to showcase his ideas and get his furniture into production. As well as winning the contract to design the seating for the Royal Festival Hall, he created several room settings for the Homes and Gardens Pavilion. His stylish steel-framed room divider featuring an etching by the sculptor Geoffrey Clarke took pride of place in an open-plan living room / dining room, along with the aerodynamic moulded plywood chairs he had created for the Royal Festival Hall. While these designs are justifiably famous, some of Day's other contributions to the Festival are less well documented. Amongst these was a Cocktail Cabinet [lot 1] originally created for Hille's stand at the Furniture Trades Exhibition at Earl's Court in January 1951, which was later incorporated into a Country Parlour at the Festival designed by Eden Minns on behalf of the Council of Industrial Design. These cabinets, with their attractive sycamore and cherry veneers and their beaded tambour-effect bottom cupboards, are a curious hybrid, harnessing the traditional cabinetmaking skills of Hille's workforce, but embodying new ideas about functionalism and the clean-lined aesthetics of modern design. Although Robin Day's success at the Festival convinced Hille to pin their flag to the mast of modern design, other firms, such as Gordon Russell, who were based in Broadway in the heart of the Cotswolds, took a more measured path. Their post-war output continued to reflect the dichotomy between tradition and modernity, as evidenced by the finely crafted executive Desk [lot 22] designed by Ray Leigh and Trevor Chinn.The artist craftsman John Makepeace, who rose to prominence in the 1970s, is another designer whose work fuses tradition and modernity. On a purely technical level, his Fireside Desk [lot 10] represents the pinnacle of centuries-old hand craftsmanship, reflecting his conscious decision to pursue craft as an alternative to functionalist mass-production. Unexpectedly perhaps, the design incorporates some unmistakably modern materials, such as melamine and stainless steel. Makepeace's mastery of lamination and his fascination with organic forms also hark back to Alvar Aalto. The technical ingenuity displayed by John Makepeace, along with his entrepreneurialism, are both recurrent features of British design. Not surprisingly, these two characteristics frequently go hand-in-hand, with designers such as Ernest Race establishing their own companies specifically to produce their own technically unconventional designs [lot 8]. Artists Eduardo Paolozzi and Nigel Henderson, who teamed up in 1954 to found Hammer Prints to produce their own textiles, lamps and furniture, also demonstrate these qualities [lot 7]. They, too, were mavericks who chose to operate independently outside the establishment framework. Significantly, their radical pick-and-mix eclecticism drew on 'borrowed' imagery from historical sources, including 17th century woodcuts and 18th and 19th engravings, another typically quirky example of the fruitful alliance between tradition and modernity in British design.Paolozzi and Henderson's mischievous iconoclasm and do-it-yourself mentality have parallels with the ethos of New Wave designers Tom Dixon and Mark Brazier Jones, who pioneered the concept of Creative Salvage during the 1980s. In their case, however, it was the collapse of manufacturing that prompted them to become designer-makers. Dixon's iconic S Chair [lot 27] with its steel base and armature has an overtly contemporary aesthetic, although its rush upholstery derives from traditional crafts. The shock tactics of this deliberate mismatch enhance its visual impact. The incongruous marriage between tradition and modernity also lies at the heart of many of Mark Brazier Jones's pieces, such as his Dressing Table and Mantle Clock [lots 23 and 37] with their playful allusions to extravagant 18th-century rococo idioms. Such objects were already an anachronism by the 1990s but J... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 356
A MORROCAN INSPIRED PAINTED PINE BUREAU BOOKCASE LATE 19TH CENTURY AND LATER 212cm high x 105cm wide x 61cm deep Provenance: Purchased from the Collection of James McBey (1883 -1959) James McBey was a Scottish-born and largely self-taught artist and etcher whose prints were highly valued during the later stages of the etching revival in the early 20th century. In 1912 he travelled to Morocco and began to work in water colours this tour would open his eyes to the magic of Tangier that many since have been drawn to. McBey's poor eyesight prevented him enlisting as a soldier in World War One but in February 1916 he was commissioned as a second lieutenant while employed with the Army Printing and Stationery Service. Due to his success as a semi-professional artist during this time he was then appointed an official war artist to the Egyptian expeditionary force. During the post-war print boom in the 1920s his etchings fetched prices at auction that had only been achieved before by the Old Masters. In 1929 McBey visited America and returned in 1931 to marry Marguerite Loeb, a photographer from Philadelphia. In 1932 the couple bought a house on the Old Mountain near Tangier in Morocco, only a short distance from Tessa Wheeler's Grandfather, Jack Sinclair. They later bought a second property in Marrakesh, where the present lot was bought and brought back to their house in Tangier. Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use. There are losses, observations and restorations including: the polychrome and gilt painting worn and aged in particular to the fall front; some cracks to the construction joints including the arched frame to the panelled doors; some cracks to the panels; there is evidence of worm, with wood dust to the interior; the sides ebonised with no decoration; old filled holes from previous handles; lacking the tips of many of the bracket feet so that it sits low with the shaped frieze resting on the ground. Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Los 102
â–´ Pablo Picasso (Spanish, 1881-1973)'Danse du ventre devant homme impassible' (Bloch 1898)etching, 1970, with a stamped signature, numbered 21/50 in pencilplate mark 27 x 35cmLiterature: Georges Bloch, 'Pablo Picasso Catalogue of the printed work 1970-72', vol IV (Berne, 1979), no.1898, p.76Condition ReportFramed size: 53 x 59cm.Viewed out of glazed frame, 4 small pieces of mounting tape holding work in place, overall in good condition.
Los 175
â–´ Dame Elisabeth Frink RA (1930-1993)Rolling over horse, 1980etching and aquatint in colours, aside from the edition of 75sheet 67 x 89cmCondition ReportFramed size: 95 x 117cm.Unexamined out of glazed frame, handling creases, time staining to sheet more so at edges, appears to be stuck down along top edge, please see images. However, work is well-presented and ready to hang.
Los 183
â–´ Dame Paula Rego RA (Portuguese-British, 1935-2022)'Melancholia or Moths' (Rosenthal 118)hand-coloured etching and aquatint, 1995, signed 'Paula Rego' in pencil l.r. and numbered 10/30 l.l., printed by Culford Pressplate 29.5 x 41cm, sheet 56 x 75.5cmRego made this print alongside 'Bird Woman Playing' at the Culford Press, working with the printer Paul Coldwell and his wife, Charlotte Hodes, who undertook the hand colouring. 'As a study in depression, it is a work with which any sufferer would identify. Even the perky Scottie cannot detract from the dejected posture of the body, the grimly closed mouth or the haunted, staring eyes'. (Rosenthal, 2003) Condition ReportFramed size: 67 x 85.5cm. Not viewed out of glazed frame, has full margins, very light handling crease at the lower centre, appears to be loosely stuck to backboard at corners creating a slight wave to sheet, generally appears to be in good and original condition, well-presented.
Los 317
â–´ Jaume Plensa (Spanish, b.1955)'Silhouette II', 2011etching, signed 'J Plensa' in pencil l.r. and numbered HC III/X l.l.30.5 x 40cmExhibited: Yorkshire Sculpture Park, Wakefield, 2011-2012.Condition ReportFramed size: 47 x 55.5cmUnexamined out of glazed frame, on 250gsm handmade paper with hand deckled edges, appears to be loosely stuck down to backing at top corners, generally appears to be in good, original condition.
Los 336
â–´ Jake and Dinos Chapman (b.1966 and 1962)'The Rape of Creativity', 2003etching, signed 'Jake and Dinos Chapman' and numbered 9/100 in pencil versoplate mark 29 x 41cmCondition ReportTwo tiny holes in upper right edge where framer has stapled through backboard into print. Otherwise in good clean condition.
Los 429
The Folio Society: The Rubaiyat of Omar Khayyam, The Astronomer-Poet of Persia, translated by Edward Fitzgerald, sesquicentennial edition, with original etching signed and numbered by Niroot Puttapipat, hand-bound in vellum blocked in 22 carat gold, with vellum tips and Merida paper sides, spine and label hand-lettered by Stephen Raw, in solander box, limited edition 193/1000, London 2009.
Los 432
Folio Society: Grahame (Kenneth) - The Wind in the Willows, Centenary Edition, with original copperplate etching signed and numbered by Charles van Sandwyk, hand bound in vellum blocked in 22 carat gold, with vellum tips and Oxford paper sides, in solander box, limited edition 415/1000, London 2008.
Los 83
A FINELY CARVED PINE PIER MIRROR EARLY 19TH CENTURY, IN THE MANNER OF MATTHIAS LOCK With shaped rectangular plate, the frame pierced and carved with rockwork, scrolling foliage, pomegrate, flower heads and satyre masks, the cresting with Cupid's bow and arrow, the apron with cornucopia of flowers, 178cm high, 102cm wide Provenance: Formerly the Messel family collection at Nymans Removed to The Padouk Room at Holmstead Manor in 1947 after the disastrous fire and thence by descent to Oliver Messel Supplied by Oliver Messel to Frederick and Phyllis Baden Watkins for Flaxley Abbey Mirrors with opposing satyr head masks are usually attributed to Matthias Lock based on the design published in his Six Sconces (1744, 1768), plate 4 (ed. E. White, Pictorial Dictionary of British 18th Century Furniture Design, Woodbridge, reprinted 2000, p. 325). An etching from the original pattern book consisting of six plates of designs for wall-mirrors and sconces (with brackets for holding candles) is in the Victoria & Albert Museum (27811:6). A pier glass after this design was made for John, 2nd Earl Poulett (1708-1764), for the Tapestry Room at Hinton House, Hinton St George, Somerset (V&A, W.8-1960). Another mirror is at Ramsbury Manor, Wiltshire (R. Edwards, The Dictionary of English Furniture, Woodbridge, rev. edn. 1954, vol. II, p. 339, fig. 72). A pair of English giltwood pier glasses, c. 1760, attributed to Lock is at Uppark House, West Sussex (NT 137655.1-2). A related mirror of similar date is illustrated in G. Wills, English Looking-glasses, London, 1965, p. 87, no. 61. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, Joints opening to the frame, some signs of filler to the jointsThe mirror plate with bloom and depletion, it has age but Dreweatts wouldn't guarantee the originality of the plateThe surface is stripped Please refer to additional images for visual reference to condition Condition Report Disclaimer
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78472 Los(e)/Seite