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Los 18
SALVADOR DALÍ (1904-1989)Visage féminin pour l'hologramme 'Submarine Fisherman' signed 'Dalí' (lower left)oil on glass11.4 x 14cm (4 1/2 x 5 1/2in). (within the mount)Painted in 1972Footnotes:The authenticity of this work has been confirmed by Nicolas Descharnes.ProvenanceDr. Maury P. Leibovitz Collection, Connecticut (possibly acquired directly from the artist through M. Knoedler & Co., circa 1972).Private collection, US, UK and Greece (by descent from the above in 1992).Private collection, UK (by descent from the above).ExhibitedNew York, M. Knoedler & Co., Holograms Conceived by Dalí, 7 April - 13 May 1972 (as part of the hologram installation titled 'Submarine Fisherman').LiteratureS. & L. Lissack, Dalí in Holographic Space, Charleston, 2013 (illustrated p. 12; illustrated pp. 18 & 23 as part of the hologram installation titled 'Submarine Fisherman').S. Lissack, 'Dalí in Holographic Space, Salvador Dalí's contributions to art holograms', in Spie. The international society for optics and photonics, online article, January 2014 (illustrated as part of the hologram installation titled 'Submarine Fisherman').Salvador Dalí's enthusiasm for holography was proudly declared in his introduction to the catalogue for the important 1972 Knoedler Gallery exhibition dedicated to his holographic exploration: 'all artists have been concerned with three-dimensional reality since the time of Velázquez, and in modern times, the analytic cubism of Picasso tried again to capture the three dimensions of Velázquez. Now with the genius of Gabor, the possibility of a new Renaissance in art has been realized with the use of holography. The doors have been opened for me into a new house of creation' (Dalí quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 1).This interest started in the late 1940s with the discovery by British-Hungarian scientist, Dr. Dennis Gabor, that a three-dimensional image could be recorded on a two-dimensional space. It took several years and a few technical advancements before holograms finally took the shape they have today: a transparent photographic plate which has recorded a phenomenon of diffraction of light of a three-dimensional object. Then, when illuminated at a certain angle by a beam of light, the plate reproduces a relief image of the photographed object. This major discovery earned Dennis Gabor the 1971 Nobel Prize in Physics.Coincidentally, that year also marked Dalí's introduction to holography, when South African artist Selwyn Lissack approached him at the St. Regis Hotel in New York. Lissack recalls Dalí's immediate enthusiasm for the medium and what seemed like the endless possibilities it created, with laser lights now becoming the artist's brush. The hotel suite at the St. Regis became Lissack and Dalí's impromptu studio office as 'Dalí was thrilled with the notion of working with a medium which gave him the ability to create beyond the confines of linear space' (S. Lissack, 'Dalí in Holographic Space', in SPIE. The international society for optics and photonics, online article, 1 January 2014).The present work, Visage féminin pour l'hologramme 'Submarine Fisherman', is part of Dalí's second holographic work, executed under the guidance of Selwyn Lissack: Submarine Fisherman. It consisted of a holographic installation mixing different media: first, a holographic plate of a diver was isolated in a metallic box with laser. This was then incorporated within another larger box which had a separate source of lighting shining onto a transparency of Pablo Picasso's masterpiece, Les Demoiselles d'Avignon. This second box projected the image around the hologram – contained within the first box - like stained glass. Finally, Dalí painted an oil portrait of a Catalan girl on a glass plate – the present work – which he superimposed over the holographic plate. The multi-layered result showed the portrait of the Catalan girl projected over the hologram of a diver in the sea, superimposed on the reproduction of Les Demoiselles d'Avignon. The superposition of the oil portrait and the hologram was measured by Dalí so that the nose of the girl would coincide with the elbow of the diver in the holographic image projected. Dalí thus produced a three-dimensional image while mixing media and merging artistic and scientific dimensions, at the crossroads of painting, sculpture, and photography. Selwyn Lissack, who witnessed the creation of Submarine Fisherman, recalls that he 'stood mesmerized as Dalí created a perfect merging of three-dimensional space on a two-dimensional plane' (S. & L. Lissack, Dalí in Holographic Space, Charleston, 2013, p. 23).Dalí's choice of imagery for the final hologram was no coincidence and the individual images each have their own importance. Picasso's Les Demoiselles d'Avignon depicts prostitutes in a Spanish brothel on Avignon Street in Barcelona, and Dalí's Catalonian face is thought to be one of the young girls, her visage certainly reminiscent in appearance to the figures in Picasso's work, with her abstracted features and Cubist appearance. For Dalí, the underwater world, with its deep and dark waters, was the place of all buried secrets and a perfect metaphor for the human subconscious. As such, the diver is projected onto the Picasso, which we can interpret as a materialisation of the deeply buried sexual desire in the human psyche. This interpretation is further confirmed by the luscious red lips which recall Dalí's lifelong obsession with Mae West, a sex-symbol and an often recurring motif in his oeuvre. Visage féminin pour l'hologramme 'Submarine Fisherman' is an extremely rare piece, as Dalí only ever conceived of six other holograms. Thus, creating a new way of painting using light and technology and contributing to a new artistic paradigm, Dalí's process recalled the Renaissance geniuses who had been revolutionising painting with camera obscuras. The Nobel Laureate Dr. Gabor himself saw in Dalí, 'a genius [...], creating a new art of which old, great painters may have dreamed, but which could only be realized by combining art with the most modern technology' (Gabor quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 2).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 5
GIORGIO DE CHIRICO (1888-1978)Vita silente signed 'G. de Chirico' (lower right); signed, inscribed and dated 'Opera eseguita nel 1931 a Parigi Giorgio de Chirico' and further signed 'Giorgio de Chirico' (on the reverse)oil on canvas38.3 x 55.5cm (15 1/16 x 21 7/8in).Painted in Paris in 1931Footnotes:ProvenanceGalleria d'Annunciata, Milan, no. 1908 (probably acquired directly from the artist in the 1940s).Private collection, Italy (acquired from the above in the 1950s).Galleria Bergamini, Milan.Galleria Gussoni, Milan.Anon. sale, Brera Galleria d'Arte, Rome, 16 December 1964, lot 241.Private collection, Rome (acquired at the above sale).Private collection, Rome (by descent from the above).LiteratureC. Bruni Sakraischik, Catalogo Generale Giorgio de Chirico, Vol. III, Opere dal 1931 al 1950, Milan, 1983, no. 180 (illustrated; incorrect dimensions).Vita silente presents assorted fruits; apples and lemons stand alongside a ripe tomato and a clementine, delicately arranged on a white cloth. The bed of ivory fabric accentuates the contrast of this chromatic range of warm colours, with a diffuse light that crosses the work, casting soft shadows. The work is a harmony of yellow, red and orange hues, enhanced by a complementary blue woven softly into the background and foreground through classically Impressionistic strokes.Painted in Paris in 1931, the present work stands testament to the renewed interest for the still life genre from twentieth century Italian painters and it remained an important subject for artists until well into the 1960s. Arguably Giorgio de Chirico and Giorgio Morandi were at the forefront of this revival and the style's most prolific protagonists in Italy, however, the subject was also widely explored by many fellow Italian artists such as Carlo Carrà, Gino Severini, and Renato Guttuso. Despite this modern revival of the subject, de Chirico sought to draw inspiration from the past more than from his contemporaries. When he settled in Rome in 1918-1919, he spent his time in museums, copying and studying the works of Old Masters. Thus when he returned to Paris in 1925, his technique was imbued with the influences of the Baroque and the Renaissance, which reveal themselves through his luxurious brushwork, dramatic stage settings and grandiosity in sumptuously elaborated paintings. Nevertheless, despite de Chirico's negative opinion of the Impressionist group, his pared down composition in the present work is brighter, and his technique tends more to their handling, particularly through the thin strokes of complementary colours etched into the background. His focus on volumes standing out on the white cloth also recalls one of the masters of still life and of the modern painting genre, Paul Cézanne. The most unequivocal reference here however, is to Pierre-Auguste Renoir. One of the few Impressionists de Chirico openly admired, he once wrote that: 'Renoir [was] the only French painter to hold his own without camphor oil injections or oxygen tents, [...] because his painting pleases and because he was a real painter.' (G. de Chirico, 'L'eterna questione', in L'Ambrosiano, Milan, March 1938). Following Renoir's example, de Chirico applied vibrant strokes of paint, using diagonals to his advantage while playing on the convolution of folds, and combining the broken lines of the cloth with the circular volumes of the fruit. Another of Renoir's greatest talents was his masterful use of coloured shadows, which de Chirico subtly implements here, with soft blue shadows tucked into the folds. As with his contemporary Giorgio Morandi, whose almost vocational pursuit of the still life sculpted some of the most renowned pieces of twentieth century Italian painting, for de Chirico, a still life was more than a simple exercise in style and technique, hence his peculiar choice of title: Vita silente rather than 'natura morta', the Italian translation of 'still life'. As much a painter as a theorist, he wrote extensively on the subject: 'In the German and English language 'natura morta' has another name that is far more beautiful and correct. Its name is Still leben and Still life: 'vita silenziosa' (silent life). It refers to a painting, in fact, which represents the silent life of objects and things, a calm life, without sound or movement, an existence that expresses itself by means of volume, form and plasticity.' (G. de Chirico, 'Le Nature morte', in L'Illustrazione Italiana, Milan, 24 May 1942). This form of inner life, hidden beyond reality, is the essence of what metaphysical painting was all about. Indeed, the term 'metaphysical' refers to the painter's perpetual search for the hidden meaning of objects. De Chirico's work was always guided by the idea that there was meaning hidden behind the surface of the objects represented. Thus, the subject of the silent life is not so far removed from de Chirico's imagined impossible landscapes, his juxtapositions of objects, and his oneiric scenes that seem to come directly from the subconscious and go beyond physical reality. As he explained in a 1919 text: 'every object has two appearances: one, the current one, which we nearly always see and which is seen by people in general; the other, a spectral or metaphysical appearance beheld only by some rare individuals in moments of clairvoyance and metaphysical abstraction, as in the case of certain bodies concealed by substances impenetrable by sunlight yet discernable, for instance, by X-ray or other powerful artificial means' (G. de Chirico, 'Sull'arte metafisica', in Valori Plastici, April-May 1919, p. 16).Despite the apparent simplicity of Vita silente, the composition illustrates de Chirico's mastery of both practice and theory. While referring to a traditional subject inherited from the Old Masters, later reinvented by Impressionists, he gave it new meaning while subtly showing that the genre also belonged to the metaphysical dimension. As J.M. Faerna writes: 'throughout his long career [de Chirico] spoke with different voices [and] he entered and left different spheres with freedom; but in some sense, the Metaphysical realm was the domain of all his paintings.' (J.M. Faerna, De Chirico, Barcelona, 1995, p. 14).Aside from its rich heritage among de Chirico's oeuvre, the present work comes from the family of the artist's notary, who compiled an eminent private collection of carefully curated Italian Novecento works, assembled during the twentieth century. Having since descended through the family to the present owners, Vite Silente has not been seen publicly since its acquisition in the 1960s.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 52
NICOLAS TARKHOFF (1871-1930)Trois tournesols stamped with the artist's signature 'N. Tarkhoff' (lower left)oil on paper 42.6 x 26.1cm (16 3/4 x 10 1/4in).Painted circa 1920-1925Footnotes:The authenticity of this work has been confirmed by Dr. Oscar Ghez. This work will be included in the forthcoming Nicolas Tarkhoff catalogue raisonné, currently being prepared by the Nicolas Tarkhoff Committee. We are grateful to Guy Abot, Director of the Nicolas Tarkhoff Committee, for his assistance cataloguing this work.ProvenanceDr. Oscar Ghez Collection, Geneva, no. 14368.Private collection, Geneva (acquired from the above in 1989).Private collection, Geneva (by descent from the above).ExhibitedGeneva, Musée du Petit Palais, 1980 - 2000.San Francisco, Harcourts Gallery, Nicolas Tarkhoff, A retrospective exhibition, September – November 1989, no. 25.Nicolas Tarkhoff moved to Paris in 1899 where he attended the École des Beaux-Arts, and soon after, started exhibiting his paintings at the Salon des Indépendants and the Salon d'Automne. His artwork was regarded as pioneering and extremely desirable, and Tarkhoff was granted solo exhibitions at Galerie Ambroise Vollard (where Cézanne, Gauguin, and Renoir had all exhibited) in 1906 and Galerie Drouet in 1909. As early as 1910, an extraordinary list of collectors had acquired his work, including Sergei Shchukin and Sergei Diaghilev. The artist kept ties with Moscow and participated in several exhibitions in Russia; his pictures were included in the Mir Iskusstva (World of Art) exhibitions of 1899, 1911 and 1913. He also exhibited seventeen paintings in Sergei Diaghilev's landmark exhibition of Russian art, Two Centuries of Russian Painting and Sculpture, in October 1906 at the Grand Palais in Paris.Tarkhoff's distinct style aligned him closely with the Fauves, a style indebted to Impressionistic canons as it often stressed varying qualities of light, visibly broad brushwork and an exploration of pure colour. He was continually influenced by Van Gogh and Post-Impressionism, as evidenced by his oft chosen themes of rural landscapes and floral still-life compositions. In particular, Tarkhoff held a fondness for sunflowers, utilising them as a constant vibrant environment through which to develop his Impressionistic style. In this, Tarkhoff was influenced by the writings of Edmond Duranty, who wrote in his 1876 article 'La Nouvelle Peinture': 'Painters must try to capture the motion... and render the shaking of the leaves, the glistening of the water and the vibration of the sun-soaked air...' (Duranty quoted in N. Tarkhoff, Impressions of a Russian Painter in Paris, Ahlen, 1999, pp. 65-66).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 8
CARL MOLL (1861-1945)Der Park von Schönbrunn mit Blick zur Gloriette signed 'C. Moll' (lower right)oil on panel34.3 x 35.6cm (13 1/2 x 14in).Painted circa 1910Footnotes:ProvenanceArthur Schnitzler Collection, Vienna (acquired directly from the artist on 6 December 1913).Heinrich & Lilly (née von Strakosch-Feldringen) Schnitzler Collection, Vienna (by descent from the above in 1931). Private collection, Vienna and US (by descent from the above). Private collection, Los Angeles (by descent from the above).Exhibited(Probably) Vienna, Galerie Miethke, Kollektiv-Ausstellung Max Kurzweil und Carl Moll, March 1911.LiteratureA. Schnitzler, 'Samstag, 6. Dezember 1913', in Tagebuch, December 1913.C. Cabuk, Carl Moll. Monografie und Werkverzeichnis, online catalogue, no. GE 256 (illustrated).Depicting the immaculately pruned Baroque gardens of Schönbrunn Palace, a UNESCO World Heritage site and to this day one of Vienna's most iconic, scenic and important cultural locations, the present works are undeniably bursting with Austrian cultural significance. Painted by Carl Moll circa 1910, the works have not been seen publicly in more than a hundred years, remaining as cherished heirlooms in the Schnitzler family since the day they were acquired directly from the artist by Arthur Schnitzler, on Saturday 6 December 1913.Widely unacknowledged outside of his native Austria, Arthur Schnitzler was in fact arguably one of the most important European authors of the twentieth century. A contemporary of Sigmund Freud, Ludwig Wittgenstein and Stefan Zweig, his writings were landmarks of European Modernism. As an accomplished doctor in his pre-writing years and as a regular correspondent with Freud, Schnitzler was fascinated by the human psyche. He often explored dreams and the unconscious in his writings; most notably, he was the first German-speaking writer to pen fiction using the Freudian stream-of-consciousness technique. As a subject for his writings, Schnitzler sought to dissect and comment on the hypocrisy of bourgeois life in Vienna, simultaneously exploring society's hidden impulses and motivations. As had been done to his infamous contemporary, Egon Schiele, he was in fact branded a pornographer after the release of his play Reigen, in 1900. Perhaps his depiction of a supposedly morally superior Viennese society exposed and shown to be as promiscuous and sexually driven as the common man, cut too close to the bone. After his death in 1931, Schnitzler's works were subsequently subjected to the Nazis, who deemed them Entartete ('Degenerate') and burned them. Stanley Kubrick's final film, Eyes Wide Shut, is based on Schnitzler's 1926 novella, Traumnovelle.As Arthur Schnitzler was to literary modernism, Carl Moll was a leading proponent of the Austrian avant-garde. A founding member of the Wiener Secession and close friend of Gustav Klimt, he was an integral artist to the development of Modernism in Austria at the turn of the century. Whilst certainly remaining more conservative in his style, opting to emulate more the French Impressionists and Pointillists, he was nevertheless a very prominent proselytiser for younger, more Expressionistic, artists. He would thoroughly encourage important galleries such as the Belvedere to show Modern Austrian art and was extremely active in supporting these displays, even after his separation from the Secession in 1905 with Klimt and other important members. One of his most notable contributions to the exhibition scene was the first Viennese show of Vincent van Gogh's work. Moll clearly appreciated the young artist's skill and in fact included Van Gogh's Portrait of the artist's mother in his 1906 self-portrait. He placed the work above a version of George Minne's Small Kneeling Youth, a beautiful marble figure, clasping themselves under the burden of sorrow at the dawn of the Modern age.The present two works are classically Modern-Austrian in their square format, a shape favoured by the Secessionist artists and immortalised by Moll, as well as the likes of Klimt, Schiele and Koloman Moser. Indeed, the present panels are particularly reminiscent of the small 'jewel-like' Bretter that Schiele was gifted by Arthur Roessler during his time in Krumau and Neulengbach, in 1911. These smaller panels enabled Schiele to engage in a more spontaneous working method due to their manoeuvrable size; especially the ability to work en plein air. This immediacy and intention to capture the light and the moment is especially prevalent in both of these depictions of Schönbrunn. In lot 8, identified by the edge of the famous Gloriette building in the south of the gardens, Johann Wilhelm Beyer's 1777 statue of Bacchantin and the long westward shadows cast over the tall hedgerows, Moll has evidently set up his easel near the Taubenhaus, on the edge of the wide Grosses Parterre that runs between the hilltop and the palace. He quietly captures a serene summer's morning, with people ambling their daybreak stroll; a pair of elegantly dressed ladies in their summer blouses seated in the centre, perhaps quietly discussing the latest in the Viennese art scene. A more solitary but nonetheless tranquil view in lot 9, the gentle flow of one of the two Najadenbrunnen fountains can be seen, caught in a ray of sun, whose beams have trickled through the branches to dapple the shaded foreground. It is most likely the Östlicher Najadenbrunnen, or Eastern Naiad Fountain, just down from the Taubenhaus.The palace was originally intended as a hunting lodge, however swiftly developed into a palatial residence over the course of the eighteenth century. Evidenced in its popularity to the present day it has remained a favoured recreational amenity for the Viennese populace since its creation. Its connection to the Imperial Monarchy of Austria-Hungary meant that the subject was particularly en vogue for collectors of the time and in fact Moll was focusing on the gardens of Schönbrunn in the 1910-1911 period for an exhibition at the Galerie Miethke, Kollektiv-Ausstellung Max Kurzweil und Carl Moll. The present two works are part of this group and were most likely shown in the exhibition, though their number in the catalogue is difficult to discern. Other panels from the series are held by the Neue Galerie Graz, Van Gogh Museum, Amsterdam, and other private collections, with works from Moll's entire oeuvre held in almost all of Austria's leading public collections.Arthur Schnitzler, whilst focusing his written themes on cross-examining the conservative classes of high-brow Vienna, clearly was also taken by the beauty of these works shortly after their creation. Having kept a meticulous diary from the age of 17 until two days before his death in 1931, his flowing dialogue offers us a snapshot into his visit to Moll's studio with his wife, Olga Gussmann: '6/12 With O. at Antiquitäten Berger's. - Then at Moll Hohe Warte, in the studio. His pictures (Schönbrunn, Venice, Göding) very fine. Choice? [...] We took five pictures with us, want to keep 2 of them. [...] Julius, Helene, Richard Paula Gustav with us in the evening. The Moll pictures were very pleasing.' (A. Schnitzler, 'Samstag, 6. Dezember 1913', in Tagebuch, December 1913). It was in fact Schnitzler's dedication to note writing that later saved the life of his then ex-wife, Olga (listed as 'O.' in the aforementioned diary). With the rise of the Nazis and the subsequent persecution of Jews and those deemed Entartete, she escaped Vienna by convincing Cambridge University - the guardians of Schnitzler's notes and archives - that she was the only person who could... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 183
780 Friedensreich HundertwasserFALL IN CLOUD - FALL IN FOG - FALL OUTVenice 197935 x 29 x 3,2 cmDreidimensionales ObjektHerausgegeben von: Gruener Janura AG, Glarus, 1979Entwickelt und ausgeführt von 1973 bis 1979Technische Forschung, Entwicklung und Koordination: Alberto della Vecchia, VenedigAcrylplatten: Rimpla, TrevisoSiebdruck und Metallprägung: Giuseppe Barbato, VenedigInsgesamt 61 Druckvorgänge, davon 29 mit Siebdruck in 13 Farben und 32 Metallprägungen in 7 FarbenMontiert in handgebeiztem HolzrahmenAuflage: 999, signiert und nummeriert 1-999/999Three-dimensional objectPublished by: Gruener Janura AG, Glarus, 1979Developed and executed from 1973 to 1979Technical research, development and coordination: Alberto della Vecchia, VeniceAcrylic plates: Rimpla, TrevisoSilkscreen printing and metal embossing: Guiseppe Barbato, VeniceA total of 61 printing runs, comprising 29 with silk screen using 13 colours, and 32 metal embossings in 7 coloursIn hand-stained wooden framesEdition: 999, signed and numbered 1-999/999Fürst APA 158Das dreidimensionale Bild besteht aus fünf Platten aus Plexiglas. Eine grüngetönte Platte wurde zur Verbesserung des Ferneffektes in der Mitte hinzugefügt. Jede Plexiglasplatte wurde mit farbserigraphischen Druckvorgängen überzogen, dazu mehrfarbige Metallprägungen."Das Plexiglas ist ein faszinierendes Material, durchsichtig wie die Luft, mit erstaunlichen Lichtbrechungen, die durch den bearbeiteten Plexiglasschnitt zur Geltung kommen.", so Alberto della Vecchia, Koordinator, in einem Text über die komplexe Entstehungsgeschichte des Objekts von 1980.*The three-dimensional piece is made up of five Perspex panels, called metacrilato in Italian. Later, a panel with a green tint was added in the centre to enhance the distance effect.Each Perspex panel was layered with 10 to 15 colour silkscreen print stages, in addition to multicoloured metal embossing,"Perspex is a fascinating material, it is transparent like air, with amazing light refraction visible in the prepared Perspex cut" wrote Alberto della Vecchia, coordinator, in a text on the complex genesis of the object in 1980.Nr. 959/999780 Friedensreich HundertwasserFALL IN CLOUD - FALL IN FOG - FALL OUTVenice 197935 x 29 x 3,2 cmDreidimensionales ObjektHerausgegeben von: Gruener Janura AG, Glarus, 1979Entwickelt und ausgeführt von 1973 bis 1979Technische Forschung, Entwicklung und Koordination: Alberto della Vecchia, VenedigAcrylplatten: Rimpla, TrevisoSiebdruck und Metallprägung: Giuseppe Barbato, VenedigInsgesamt 61 Druckvorgänge, davon 29 mit Siebdruck in 13 Farben und 32 Metallprägungen in 7 FarbenMontiert in handgebeiztem HolzrahmenAuflage: 999, signiert und nummeriert 1-999/999Three-dimensional objectPublished by: Gruener Janura AG, Glarus, 1979Developed and executed from 1973 to 1979Technical research, development and coordination: Alberto della Vecchia, VeniceAcrylic plates: Rimpla, TrevisoSilkscreen printing and metal embossing: Guiseppe Barbato, VeniceA total of 61 printing runs, comprising 29 with silk screen using 13 colours, and 32 metal embossings in 7 coloursIn hand-stained wooden framesEdition: 999, signed and numbered 1-999/999Fürst APA 158Das dreidimensionale Bild besteht aus fünf Platten aus Plexiglas. Eine grüngetönte Platte wurde zur Verbesserung des Ferneffektes in der Mitte hinzugefügt. Jede Plexiglasplatte wurde mit farbserigraphischen Druckvorgängen überzogen, dazu mehrfarbige Metallprägungen."Das Plexiglas ist ein faszinierendes Material, durchsichtig wie die Luft, mit erstaunlichen Lichtbrechungen, die durch den bearbeiteten Plexiglasschnitt zur Geltung kommen.", so Alberto della Vecchia, Koordinator, in einem Text über die komplexe Entstehungsgeschichte des Objekts von 1980.*The three-dimensional piece is made up of five Perspex panels, called metacrilato in Italian. Later, a panel with a green tint was added in the centre to enhance the distance effect.Each Perspex panel was layered with 10 to 15 colour silkscreen print stages, in addition to multicoloured metal embossing,"Perspex is a fascinating material, it is transparent like air, with amazing light refraction visible in the prepared Perspex cut" wrote Alberto della Vecchia, coordinator, in a text on the complex genesis of the object in 1980.Nr. 959/999Signiert und nummeriert.Signed and numbered.
Los 184
780 Friedensreich HundertwasserFALL IN CLOUD - FALL IN FOG - FALL OUTVenice 197935 x 29 x 3,2 cmDreidimensionales ObjektHerausgegeben von: Gruener Janura AG, Glarus, 1979Entwickelt und ausgeführt von 1973 bis 1979Technische Forschung, Entwicklung und Koordination: Alberto della Vecchia, VenedigAcrylplatten: Rimpla, TrevisoSiebdruck und Metallprägung: Giuseppe Barbato, VenedigInsgesamt 61 Druckvorgänge, davon 29 mit Siebdruck in 13 Farben und 32 Metallprägungen in 7 FarbenMontiert in handgebeiztem HolzrahmenAuflage: 999, signiert und nummeriert 1-999/999Three-dimensional objectPublished by: Gruener Janura AG, Glarus, 1979Developed and executed from 1973 to 1979Technical research, development and coordination: Alberto della Vecchia, VeniceAcrylic plates: Rimpla, TrevisoSilkscreen printing and metal embossing: Guiseppe Barbato, VeniceA total of 61 printing runs, comprising 29 with silk screen using 13 colours, and 32 metal embossings in 7 coloursIn hand-stained wooden framesEdition: 999, signed and numbered 1-999/999Fürst APA 158Das dreidimensionale Bild besteht aus fünf Platten aus Plexiglas. Eine grüngetönte Platte wurde zur Verbesserung des Ferneffektes in der Mitte hinzugefügt. Jede Plexiglasplatte wurde mit farbserigraphischen Druckvorgängen überzogen, dazu mehrfarbige Metallprägungen."Das Plexiglas ist ein faszinierendes Material, durchsichtig wie die Luft, mit erstaunlichen Lichtbrechungen, die durch den bearbeiteten Plexiglasschnitt zur Geltung kommen.", so Alberto della Vecchia, Koordinator, in einem Text über die komplexe Entstehungsgeschichte des Objekts von 1980.*The three-dimensional piece is made up of five Perspex panels, called metacrilato in Italian. Later, a panel with a green tint was added in the centre to enhance the distance effect.Each Perspex panel was layered with 10 to 15 colour silkscreen print stages, in addition to multicoloured metal embossing,"Perspex is a fascinating material, it is transparent like air, with amazing light refraction visible in the prepared Perspex cut" wrote Alberto della Vecchia, coordinator, in a text on the complex genesis of the object in 1980.Nr. 960/999780 Friedensreich HundertwasserFALL IN CLOUD - FALL IN FOG - FALL OUTVenice 197935 x 29 x 3,2 cmDreidimensionales ObjektHerausgegeben von: Gruener Janura AG, Glarus, 1979Entwickelt und ausgeführt von 1973 bis 1979Technische Forschung, Entwicklung und Koordination: Alberto della Vecchia, VenedigAcrylplatten: Rimpla, TrevisoSiebdruck und Metallprägung: Giuseppe Barbato, VenedigInsgesamt 61 Druckvorgänge, davon 29 mit Siebdruck in 13 Farben und 32 Metallprägungen in 7 FarbenMontiert in handgebeiztem HolzrahmenAuflage: 999, signiert und nummeriert 1-999/999Three-dimensional objectPublished by: Gruener Janura AG, Glarus, 1979Developed and executed from 1973 to 1979Technical research, development and coordination: Alberto della Vecchia, VeniceAcrylic plates: Rimpla, TrevisoSilkscreen printing and metal embossing: Guiseppe Barbato, VeniceA total of 61 printing runs, comprising 29 with silk screen using 13 colours, and 32 metal embossings in 7 coloursIn hand-stained wooden framesEdition: 999, signed and numbered 1-999/999Fürst APA 158Das dreidimensionale Bild besteht aus fünf Platten aus Plexiglas. Eine grüngetönte Platte wurde zur Verbesserung des Ferneffektes in der Mitte hinzugefügt. Jede Plexiglasplatte wurde mit farbserigraphischen Druckvorgängen überzogen, dazu mehrfarbige Metallprägungen."Das Plexiglas ist ein faszinierendes Material, durchsichtig wie die Luft, mit erstaunlichen Lichtbrechungen, die durch den bearbeiteten Plexiglasschnitt zur Geltung kommen.", so Alberto della Vecchia, Koordinator, in einem Text über die komplexe Entstehungsgeschichte des Objekts von 1980.*The three-dimensional piece is made up of five Perspex panels, called metacrilato in Italian. Later, a panel with a green tint was added in the centre to enhance the distance effect.Each Perspex panel was layered with 10 to 15 colour silkscreen print stages, in addition to multicoloured metal embossing,"Perspex is a fascinating material, it is transparent like air, with amazing light refraction visible in the prepared Perspex cut" wrote Alberto della Vecchia, coordinator, in a text on the complex genesis of the object in 1980.Nr. 960/999Signiert und nummeriert.Signed and numbered.
Los 2504
Modern silver box, of circular form, the cover mounted with an an Arts & Crafts enamel panel of a fruiting vine by H G Murphy, circa 1920, hallmarked Jon Braganza, London 2018, H4.5cm D8cm, approximate gross weight 7.84 ozt (244 grams)Henry George Murphy was a silversmith and jeweller known for his work in the Arts & Crafts and Art Deco styles. This enamel panel was acquired in the dispersal sale of Murphy's Falcon Studios at 58 Weymouth St, Marylebone, and is also featured in Paul Atterbury and John Benjamin's book Arts and Crafts to Art Deco The Jewellery and Silver of H G Murphy (page 29). Condition Report:General light wear, predominantly in the form of surface scratches and nicks.Hallmarks clear and legible.
Los 2520
Modern silver mounted cut glass decanter, with silver collar and glass stopper, hallmarked Charles S Green & Co Ltd, Birmingham 1982, H 27cm, together with two similar smaller silver mounted examples, the first hallmarked Laurence R Watson & Co, Birmingham 1990, H24cm and the second hallmarked Harrison Brothers & Howson Ltd, Birmingham 2000, H19.5cmCondition Report:Good overall condition, with light wear predominantly in the form of surface scratches. One with small indentation to collar. Smallest example with chip to glass. Hallmarks clear and legible.
Los 2522
Victorian Scottish silver Kings pattern soup ladle, engraved with crest, hallmarked Millidge & Son, Edinburgh 1857Condition Report:Approximate weight 6.88 ozt (214 grams), length = 32cm General light wear commensurate with age and use, including surface scratches, small indentations and nicks. Some deeper scratches to bowl. Hallmarks with slight wear but clear and legible.
Los 2527
Victorian silver Monteith style rose bowl, of plain circular form with shaped rim, upon spreading circular foot, hallmarked Wakely & Wheeler, London 1900Condition Report:Approximate weight 15.15 ozt (471 grams), H11cmWith general light wear commensurate with age and use, predominantly in the form of surface scratches, nicks to edges, and a few small knocks. Small repaired split to rim. Hallmarks slight wear to maker's mark but generally clear and legible.
Los 2542
Two small modern silver mounted cut glass decanters, the first example of squat bulbous form, the body with navette, octagonal and hobnail cut decoration, with conforming stopper, the silver collar hallmarked Barker Ellis Silver Co, Sheffield 2005, H19cm, the second example, a ships decanter, with hobnail cut star decoration and conforming stopper, the silver collar hallmarked C J Vander Ltd, Sheffield 2005, H19cm, with boxesCondition Report:General wear predominantly in the form of surface scratches and nicks to silver and glass body. Bulbous decanter with couple of chips to cut glass. Hallmarks with light wear but clear and legible. Boxes scuffed to edges.
Los 2560
Pair of early 20th century silver specimen vases, each of faceted trumpet form with pierced flared rim, upon spreading filled foot, hallmarked Thomas Bishton, Birmingham 1911, H19.5cm, together with a 20th century Maltese silver dish, of circular form, with flower head centre and embossed flower heads to rim, various marks including purity 917 mark, D15cmCondition Report:Approximate weighable silver 3.19 ozt (99.1 grams)General wear commensurate with age and use, including surface scratches and nicks.Vases with a few small indentations, and one example slightly unsteady on foot.Maltese dish with some knocks to rim.Marks with some light wear, but generally clear and legible.
Los 2606
Modern limited edition silver goblet to commemorate the 500th anniversary of York Minster and the completion of five years of restoration, designed by Hector Miller for Aurum, the tapering cylindrical bowl with planished finish and gilt interior, upon gilt foot with cast and chased decoration depicting the restoration of York Minster, hallmarked Hector Miller, London 1972, number 351/500, in original fitted case with paperwork Condition Report:Approximate weight 15.81 ozt (492 grams), H16.5cm Generally in good overall condition, with some light wear predominantly in the form of some surface scratches and wear to gilding. Hallmarks clear and legible. Box with some slight scuffs and marks to exterior.
Los 2607
Modern limited edition silver goblet to commemorate the 350th anniversary of the Act of Parliament founding the Company of Cutlers, the tapering cylindrical bowl engraved with crest, with gilt interior and upon parcel gilt textured knopped stem and pierced circular foot, hallmarked James Dixon & Sons, Sheffield 1974, number 21/210 , in original fitted box with paperworkCondition Report:Approx 9.38 ozt (292 grams), height = 13.7cmGeneral light wear commensurate with age and use, predominantly in the form of surface scratches and nicks. Wear to inner gilding. Hallmarks clear and legible. Box with some discolouration to exterior and certificate marked.
Los 2608
Modern limited edition silver bowl to commemorate the 150th anniversary of The Royal National Lifeboat Institution, the circular bowl with stylised wave decoration, with gilt cast and chased decoration to centre depicting the rescue of the crew of the St George in 1830, hallmarked Aurum, London 1974, number 385/750, in original fitted case with paperworkCondition Report:Approximate weight 10.28 ozt (320 grams), W19.5cm Generally in good overall condition, with some light wear predominantly in the form of some surface scratches and wear to gilding. Hallmarks with slight wear but remain clear and legible. Box with some discoloured marks and small knocks to exterior.
Los 86
Minichamps 1:18 scale model of a Bentley 4.5ltr (4 1/2) Blower racing car Minichamps 1:18 scale model of a Bentley 4.5ltr (4 1/2) Blower racing car finished in British Racing Green Ed.7 (BL474)Some signs of wear with a couple of areas of light scratchingNote: This lot is subject to VAT of 20% on the hammer price
Los 3110
Innukjuakju Pudlat (Inuk, 1913-1972), 'Spirit of the Fisherman' (1964), stone-cut print on paper, ed. 2/50, signed in pencil lower right, 62 x 55cm, framed and glazed.Condition Report: Generally good condition overall, with the delicate texture of the print well-preserved by its current glazing. Some light fading otherwise.
Los 2
1975 Rover 2200TC 2.2 litre 4 door saloon Offered for sale with both leather and spare set of cloth seats Registration: KPV 646P Chassis: 49110335A Odometer: 85,500 Transmission: Manual MOT: March 2023 No Reserve • 85,500 recorded and credible miles • Offered with a collection of old MOT certificates and owner's manual • V5C and collection of invoices • Fitted with optional spot lamps Outside Finished in the original and period colour of Mexico brown which suits the car very well. The bodywork is very good indeed and shows no signs of rust. The paintwork is very appealing with only a few tiny touch ups on the bonnet and a small micro blister on the offside front wheel arch and near side rear wing top. The chrome is good as are the wheel trims. It is worth noting that the rubber on the rear window has some damage and would benefit from silicone sealing to prevent any water ingress. The wheels and hub caps are good and the tyres have plenty of tread. Inside The seats from a V8 are good and in fair condition apart from some delamination on the driver’s seat which could be repaired. They would benefit from a deep clean. Please note a full set of original cloth seats are supplied with the car. The door cards and carpets are without issue as are very good. The dashboard appears without damage and the instrumentation is excellent as is the steering wheel. The interior light lens is missing. Mechanicals The Rover starts readily, runs sweetly and emits the distinctive P6 exhaust note. Driving around our yard, it performed well and with good brakes and easy gear changing. History Sadly there is very little paperwork apart from a V5c , some sundry invoices and various MOT certificates dating back until 2004. Our Opinion Supplied new to its first Owner by A & D Hammond of Molesworth, Ipswich. Our Rover presents extremely well both inside and out and the paintwork being in particularly good order. It is worth noting that the usual rust areas under the rear seats are rock solid. Nice to see that all the electrical ancillaries are in working order including the interior lights. On the road, the car performs well and is a pleasure to drive. These cars represent superb value for money and are supporting by the excellent P6 and Rover Sports Register clubs. Spare parts are widely available and these cars are simple to maintain and inexpensive to run.
Los 144
WORKMAN (Fanny Bullock): 'Ice-Bound Heights of the Mustagh..', London, Constable, 1908: folding maps at rear, recent green half calf gilt, VG: SPENDER (Harold) 'Through the High Pyrenees..', London, A D Innes, 1898: publishers red cloth gilt, folding maps at rear, light foxing but a VG largely unopened copy, 8vo: with 2 others, mountaineering. (4)
Los 146
CHERRY-GARRARD (Apsley): 'The Worst Journey in the World..Antarctic 1910-1913': produced by the author and published by Chatto & Windus, 1939: publishers blue cloth with dustjacket, a bit rubbed and browned, 8vo: SMYTHE (F S) 'Over Tyrolese Hills..', London, Hodder & Stoughton, 1936: publishers blue cloth, dustjacket, light wear and marks, 8vo: with 21 others, mountaineering/travel. (23)
Los 2
MINIATURE ALMANAC: Almanac for 1782, London, Company of Stationers: 12pp inc. printed card covers closing wallet-style, a little rubbed and frayed along 2 edges, tax-stamped, first page and some light marks and dust soiling, 48mo: together with another miniature almanac for 1823, in red morocco wallet-style binding with metallic closure. (2)
Los 242
SHAKESPEARE (William): 'Pocket Portrait Shakespeare...complete with glossary': Glasgow, David Bryce & Son, n.d (c.1900): 8 vols, original burgundy grained leather covers, aeg, contained in matching custom box lined with gilt floral paper, some light wear and scuffing externally, contents very good, 16mo. (8)
Los 63
MILNE (A A): 'Now We Are Six': 4th edition, 1928: 'Winnie the Pooh', 2nd edition, 1926: 'When We Were Very Young', 4th edition, 1924: all original cloth, good copies with some light wear: with 32 others by A A Milne, various editions, some in dustjacket, generally in good or better condition. (35)
Los 140
Vienna porcelain sixteen piece dessert service, comprising twelve plates (one repaired) and four comports, each piece painted with a named portrait within cobalt blue and gilt borders, beehive mark, plates diameter 22.5cm, comports height 8.5cm.Condition report:All items have very light surface wear, some light rubbing to the gilding, some have randomly lost the white beading to the borders. No crazing. All plates have old wire hanging frames which would need careful removal to avoid subsequent damage. No restoration, chips, or hairlines except for: Plate titled 'Unter Bluten' has been broken in half and crudely reglued with a large resulting area on the rim that has been lost/ filled and repainted/ gilt, and on the same plate elsewhere on the rim there is another crudely repaired chip.Plate titled 'Geschmak' - there is a section of the wavy rim of the plate that is uneven but it appears to be in the firing.
Los 142
Pair of Vienna porcelain vases, flared collars with gilt trellis pattern, ovoid bodies painted with figures on a gilt ground, beehive mark, 21cm.Qty: 2Condition report:Both vases in good condition, no hairlines or restoration. One or two of the gilt beading details to the borders have pinpoint losses, otherwise light surface wear elsewhere.
Los 148
Ruskin Pottery, a tapered high fired vase, 1913, deep red sang de boeuf with veining, stamped 'Ruskin 1913, 20cm.Condition report:There is a triangular under-glaze chip to the exterior rim, approximately 0.5cm wide. Elesewhere on the internal rim there is another underglaze firing flaw which in the right light looks like a hairline. Small pin point chips to the baseline. No other damages or issues.
Los 181
Scottish dirk, 71st Regiment, Highland Light Infantry, 35cm blade fully engraved with battle honours to Waterloo, Regimental badge, inset "Proved", carved handle with cairngorm set pommel, gilt metal mounts to the handle and scabbard with Regimental badge, with knife and fork, overall length 52cm.Condition report:Further images have been uploaded to the lot page on our website for you to view.large crack to the main handle (small loss of wood) cairngorm is still properly mounted and mount is good, one pin missing from the main handle, cracks to the handle of the fork, some wear to handles of knife and fork where they fit into the mounts but all pins seem to be there, gilt metal mounts are all there and slightly worn consistent with age, leather on the scabbard is good, lots of wear to the leather strap.We can confirm this is not a reproduction. No makers name visible on the blade.
Los 196
Pair of silver models, Cock and Hen Pheasant, by Edward Barnard, London 1964, 15cm, 8oz.Condition report:Additional images have been uploaded to the lot page on our website for you to view.Cock - tail and wings are good, stands well on both feet.Hen - tip of tail very slightly bent up, wings are good, stands but leans slightly forward on bent claws.Both have some light wear to the feathers overall.
Los 233
Matched canteen of silver cutlery, twelve place setting, Hanoverian pattern, including;twelve table forks - six UC, Sheffield 1996, six A Haviland-Nye, London 1973eighteen dessert forks - twelve UC, Sheffield 1996, six A Haviland-Nye, London 1973twelve dessert spoons - six UC, Sheffield 1996, six A Haviland-Nye, London 1973twelve soup spoons - six UC, Sheffield 1996, six A Haviland-Nye, London 1973eight coffee spoons - UC, Sheffield 1996twelve table knives with steel blades - UC, Sheffield 1996twelve dessert knives with steel blades - UC, Sheffield 1996eight table spoons - four UC, Sheffield 1996, four A Haviland-Nye, London 1973131oz weighable silver.Condition report:Good overall condition. It has clearly been used as all of the handles have light surface scratching through handling and use. Spoons have a good edge. Hallmarks are good. They have been kept in cloth rolls, so no tarnishing from having elastic bands wrapped around them.
Los 264
George VI silver epergne, Daniel & Arter, Birmingham 1938, central vase with two fixed side vases, two scrolled brackets with hanging bonbon dishes, 38.5cm, 65oz.Condition report:Overall good condition, one scrolled arm supporting a bonbon dish very slightly bent upwards at the very end but not really noticable unless you are really looking, one foot on each bonbon is bent up slightly, no holes or tears, no dents, light surface wear consistent with age, no repairs, clear hallmarks.
Los 399
Chippendale revival mahogany display cabinet, early 20th Century, serpentine front with moulded cornice, glazed door and side panels above two drawers and cupboards, carved cabriole legs with ball and claw feet, width 117cm, depth 42cm, height 187cm.Condition report:Light wear through use, but generally very good, a light surface scratch across the bowed front to one of the drawers. The veneer is splitting slightly. No damage to the bowed glass. Some scuffs to the supports.
Los 407
Walnut chest of drawers, 18th Century and later, the top with broad crossbanding and moulded edge, two short and three long graduating drawers with central moulding, bracket feet, width 96cm, depth 54cm, height 92cm.Condition report:Old drawers in a later carcass, drawers are an nice 'old' alnut colour with later paler carcass, the drawers are all sound and run well, replaced handles and some changing around of the locks, some veneer splits mainly to the right side and some light wear to the top. I would think pretty much ready to go and would not need to be repolished.
Los 411
Victorian rosewood and marquetry occasional table, square top inlaid with central fan and fan spandrels, four shaped drop leaves, inlaid with classical urns, turned and fluted legs joined by a galleried shelf, 59x59cm, height 74cm.Condition report:The top and leaves have numerous random splashes and water marks with the overall finish being uneven. Some light surface scratching across the top and leaves also. Some colour fading to two of the leaves with the heaviest marks. The supports and undertier are generally fine.
Los 2002
Early 20th century 18ct gold pearl and old cut diamond flower brooch, stamped 18.c, total diamond wight approx 2.60 caratCondition Report:Approx 16.85gm, tested 18ct also, back pin tested 12ct, length = 58mm x 30mm, old cut diamonds culets facing top facing, bright with good colour, a few with light inclusions visible under 10x loop only, central pearl diameter = 9mm, smaller pearl mounted onto another flat pearl
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