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Los 146
POOLE POTTERY COFFEE SERVICE, bright blue and mushroom colourway, 6 cups, saucers & plates, bread & butter plate, coffee pot, teapot, milk jug, sugar bowl, three butter dishesComment: 1 plate chippedCondition report: The larger teapot has a large internal rim chip.One of the saucers has a few light scratches.One side plate has a rim chip.
Los 47
A collection of thirty seven vinyl single and LP vinyl records, primarily from the 1970s/80s, artists to include - Bruce Springsteen, Status Quo, Blondie, Bon Jovi, The Three Degrees, E.L.O, Meat Loaf and others.Bruce Springsteen - Born In The U.S.AThe Three Degrees - Album Of LoveBon Jovi - Slippery When WetStatus Quo - Pro BX 1 (15146 of 50000)Mirage - Jack Mix IIBonnie Tyler - The Greatest HitsTerry Farlan - Sings The Hits Of Buddy HollyCompilation - Music Explosion The Cars - DriveShowaddy Waddy - Greatest HitsSoundtrack - That'll Be The DayStatus Quo - 12 Gold bars Volume IISpandau Ballet - Through The BarricadesMeat Loaf - Bat Out Of HellElectric Light Orchestra - Out Of The BlueCompilation - Now That's What I Call Music 1Compilation - Now That's What I Call Music 9Compilation - Hits 5Phil Collins - Face ValueCompilation - Life In The Fast LaneBlondie - Parallel LinesCompilation - Now That's What I Call Music, The Christmas AlbumOrchestral Manoeuvres In The Dark - Architecture and MoralityMile Oldfield - Tubular BellsCompilation - Music' n MotionBrother Beyond - Get EvenPhilip Baily & Phil Collins - Easy LoverBilli Connolly - SPR 8530Blastermind - Blaster Bates Volume Seven Modern Lovers - Rock 'n' RollUltravox - The CollectionCliff Richard - Live!Darts - Everyone PlaysLeo Sayer - The Very Best OfCompilation - Top Of The Pops (SHM 975)Compilation - Top Of The Pops (SHM 885)Compilation - Nonstop Xmas 20
Los 11
LÉONARD TSUGUHARU FOUJITA (1886-1968)Maternité signed and inscribed 'Foujita Paris' (lower right)gouache, watercolour, brush, pen and India ink and gold leaf on paper23 x 17.5cm (9 1/16 x 6 7/8in).Executed circa 1957Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenanceGalerie Claude Bernard (1957).Private collection.Anon. sale, Christie's, New York, 15 November 1990, lot 147.Sayegh Collection, France.Acquired by the present owner (2020).ExhibitedParis, Musée de Montmartre, Léonard Tsuguharu Foujita et l'École de Paris, 10 April - 23 June 1991, no. 47 (later travelled to Tokyo; titled 'Mère et Enfant').LiteratureS. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 57.92 (illustrated p. 458).Léonard Tsuguharu Foujita may not have converted to Catholicism until 1959, but he took an early interest in painting ecclesiastical subjects from 1917. Maternité was executed circa 1957 and shows the artist's understanding of this traditional religious subject as an intimist and tender depiction of a mother and a child. Born in Japan into a high-ranking Samurai family, Foujita was attracted to Western culture and France in particular at a very early age. As Sylvie Buisson explains, Foujita's love affair with France began very early in Tokyo whilst stood in front of a painting by Claude Monet. As a child, he would also be fascinated by the church that was located on his school path. At school, he studied French with the Marianist brothers, a Catholic branch that looked to the Madonna as a model of faith and spirituality and emphasised the importance of Jesus not only as the Son of God, but as the Son of Mary. A monumental sculpture of the Virgin Mary was placed in the courtyard that he passed daily. Foujita arrived in Paris in 1913 and quickly became a key figure of the bohemian art scene, meeting painters, sculptors and writers of the Montmartre and the Montparnasse districts. Along with his peers Picasso, Soutine, Kisling, Zadkine, van Dongen and Modigliani, he was one of the main figures of the first École de Paris. This term, coined by the art critic André Warnod in 1925, refers to the group of avant-garde artists who came to exercise their talents in the capital between 1905 and 1930. Although all the artists in this movement had their own particular style, they came together around the idea of developing artistic modernity. Foujita's success was almost immediate and his originality soon charmed the public at the Galerie Chéron and Galerie Paul Pétrides. Through meetings in Parisian bars and cabarets he was introduced to the Tout-Paris, the fashionable and affluent elite of the city, and became a well-known figure of this bustling and fascinating milieu of the interwar years. Foujita later returned to Japan to act as an official painter of the Imperial Army during the Second World War. His work was criticised by some of his peers for being war propaganda, but he remained appreciated and protected by wealthy patrons who enabled him to return easily to Paris in the 1950s, accompanied by Kimiyo, his new wife. This was the start of a new era for Foujita, who settled once again in Montparnasse, but to lead a rather quieter life. It was during this more mature and settled period that the present work was executed. Maternité is a gentle and delicate image, reflecting Foujita's unwavering optimism. The present work, with its soft and elegant figures set in a timeless scene, proves that his art remained untouched by the horror of war and man's cruelty. The depiction of the mother and child has always been an important subject in Western art, whose origins are rooted in the religious presentation of the Virgin and Child. The French word 'maternité' emphasises the secular relationship between the woman and her offspring, and indeed in the present work there is no aureole or halo to denote the holiness of the figures. However, the religious connotations remain obvious: the child's outstretched hand, whose two fingers make the distinctive Christian sign of blessing, is an undeniable reference to the religious origins of this subject. For Foujita though, the Madonna, the mother and the woman came together as one entity, hence perhaps the title Maternité, a more secular and universal choice than 'Virgin and Child'. Similarly, the child has a very lively charm, unlike the usual figures of the Christ Child.Delivering an original vision of this traditional subject, Foujita also took inspiration from the past and used artistic codes historically attached to this motif. In the gothic tradition for example, the figures stood out on a golden background, which recalled the supernatural and miraculous character of the subject. This was also used to metaphorically suggest to the viewer that it was from this majestic image that Christian faith radiated. Thus the present work is reminiscent of the static elegance seen in the figures of Giotto and of the Northern Italian schools, which are known to have inspired Foujita. The expressive treatment of the mother's hands in the present work echoes that of artists such as Carlo Crivelli (1435-1495), whose Madonnas cradled their child with exaggeratedly long hands, creating a cocoon for the child and emphasising the figure's protective role. Foujita was similarly inspired by the Italian Renaissance, during which the Virgin was typically painted in a more realistic manner to emphasise the idea that she was first and foremost a mother. The gracefulness of her body was emphasised, giving an impression of serenity and maternal softness to this image of devotion, as in Raphael's Madonna del Granduca. The forms are pure and simple, but the arabesques formed by the figure are strongly accentuated and the neck elongated.Yet Maternité is not devoid of modernity. Of mutual influence, the artists of the Montparnasse circle left a lasting impression upon each other. In the present work, one recalls the long and slender figures of Amedeo Modigliani, whose slim faces and almond eyes bear a strong resemblance to the mother in Maternité. One could also think of Constantin Brâncuși's style, his experimentation in modelling human form and his investigation into purity and cleanliness of line. Although it is more subtle, the influence of the Cubist revolution is also visible in Foujita's use of local colour, which focuses on the subject seen under a flat light with no adjustments for form with shadows or colours. Moreover, the present work is characteristic of Foujita's style from the 1920s onwards. It combines the fine black line reminiscent of the distinctive ink line of traditional Eastern paintings, with an absence of perspective and the sinuous line of traditional Japanese pictorial art. Foujita himself described this dialogue of influence and inspiration in the 1950s - 'My body grew up in Japan, but my painting grew up in France' - as he became a Japanese painter who joined the world of Western painters. His adoption of the name 'Léonard' when he was baptised, as a tribute to Leonardo Da Vinci, confirmed his debt to Italian primitive painting and to the Florentine and Sienese Madonnas of the 15th and 16th centuries. But Foujita remained true to this double culture and strove to blend them both in a style that would remain his. Indeed, regardless of the Western origin of the present subject, the Japanese calligraphic tradition is still evident in the precision and finesse of the l... 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 2500
1930's silver four piece tea service, comprising teapot, hot water pot, twin handled open sucrier, and milk jug, each of oval form upon four ball feet, the teapot and hot water pot with ebonised handle and finial, hallmarked Z Barraclough & Sons, London 1930, 1931, teapot H15cm hot water pot H21.5cm, approximate total gross weight 67.36 ozt (2095.3 grams)Condition Report:General light wear, predominantly in the form of surface scratches and nicks.Some staining to interior of teapot.Hallmarks clear and legible.
Los 2501
Early 20th century four piece tea service, comprising teapot, hot water pot, twin handled open sucrier and milk jug, each of faceted oval form with scrolling rim, the teapot and hot water pot with ebonised handle and finial, the open sucrier and milk jug with scroll handles, each upon four scroll mounted scroll feet, hallmarked Manoah Rhodes & Sons Ltd, Sheffield 1919, including handle teapot H15.5cm hot water pot H21.5cm, approximate total gross weight 64.32 ozt (2000.8 grams)Condition Report:General light wear commensurate with age and use, predominantly in the form of surface scratches and nicks.Hallmarks clear and legible.
Los 2502
Modern silver Bead Edge pattern canteen, for six place settings, comprising dinner forks, dinner knives, side forks, side knives, soup spoons, dessert spoons, and teaspoons, plus four dessert forks, and a butter knife, hallmarked William Yates Ltd, Sheffield 1984, 1985, 1986 and 1987, approximate total weighable silver 82.65 ozt (2571 grams)Condition Report:General light wear, commensurate with age and use, predominantly in the form of surface scratches and nicks.Hallmarks clear and legible.
Los 2503
Early 20th century silver four piece tea service, comprising teapot, coffee pot, twin handled open sucrier and milk jug, each of bellied form with gadrooned beaded rim with cast shell and foliate detail, the tea and coffee pots with acanthus decoration to spouts and curved wooden handles, the sucrier and milk jug with acanthus and flower head detailed curved handles, each upon four ball feet, hallmarked James Dixon & Sons Ltd, Sheffield 1918, including handles coffee pot H22.5cm teapot H15cm, approximate gross weight 76.35 ozt (2374.8 grams)Condition Report:General light wear commensurate with age and use, including surface scratches and nicks.Remnants of gilding to interior of sucrier and milk jug.Some tea staining to interior of teapot.Generally in good overall condition.Hallmarks clear and legible.
Los 2506
Late Edwardian silver Monteith bowl, the plain body with moulded foliate detailed and shaped rim, upon a circular stepped foot, hallmarked Selfridge & Co Ltd, London 1908, H17cm D21.5cm, approximate weight 31.64 ozt (984.4 grams)Condition Report:With general light wear commensurate with age and use, predominantly in the form of surface scratches, nicks to edges, and a few small knocks.Hallmarks clear and legible.
Los 2508
1920's silver mounted cigarette box, of rectangular form, the hinged cover with engine turned border to edge, opening to reveal a soft wood lined interior, hallmarked Sampson Mordan & Co, London 1928, H4.5cm W22cm D11cmCondition Report:General light wear, predominantly in the form of surface scratches and nicks.Hallmarks generally clear and legible, however makers mark to base worn and indistinct.
Los 2509
1930's silver salver, of circular form with pie crust edge, upon three scroll feet, hallmarked Adie Brothers Ltd, Birmingham 1934, D31cm, approximate weight 30.47 ozt (948 grams)Condition Report:General light wear commensurate with age and use, predominantly in the form of surface scratches and nicks.Hallmarks clear and legible.
Los 2510
Edwardian silver pedestal bowl of navette form, hallmarked Goldsmiths & Silversmiths Co Ltd, Sheffield 1904, H12.5cm W31cm, approximate weight 18.44 ozt (573.7 grams)Condition Report:General light wear commensurate with age and use, predominantly in the form of surface scratches and nicks to edges.Hallmarks clear and legible.
Los 2512
Modern Irish silver goblet, the plain circular bowl with slightly flared rim and gilt interior, upon a baluster knopped stem and spreading circular foot with stepped edge, hallmarked Royal Irish Silver Co, Dublin 1971, also bearing import marks for Sheffield Assay Office, Sheffield 1970, and stamped 925, H14cm, approximate weight 9.38 ozt (291.8 grams)Condition Report:General light wear, predominantly in the form of surface scratches and nicks to edges. Bowl with slight knock to side.Hallmarks clear and legible.
Los 2513
Victorian silver dish, the centre engraved with personal dedication, surrounded by sides with alternating pierced panels divided by beaded scrolls, upon a pierced spreading circular foot, hallmarked Atkin Brothers, Sheffield 1894, H8.5cm D26cm, approximate weight 12.10 ozt (376.5 grams)Condition Report:With general light wear commensurate with age and use, predominantly in the form of surface scratches.Foot is knocked to sides, and slightly misshapen, but bowl remains stable on foot,Hallmarks clear and legible.
Los 2516
Pair of early 20th century Art Nouveau silver and enamel open salts, of bellied form with lipped rim, upon three stylised pad feet with blue enamel stylised tendril mounts, hallmarked James Fenton, Birmingham 1905, H3cm, approximate weight 1.49 ozt (46.4 grams)Condition Report:General light wear commensurate with age and use, predominantly in the form of surface scratches.Generally in good overall condition.Hallmarks clear and legible.
Los 2517
Seven modern silver mounted photograph frames, of various size and form, comprising shaped example with fluted detail, hallmarked Keyford Frames Ltd, London 1989, two smaller example of similar decoration, hallmarked Keyford Frames Ltd, London, one 1989, date letter to other indistinct, small rectangular example and small oval example each with beaded edge, hallmarked Carr's of Sheffield Ltd, Sheffield 1992 and 1995, and two further examples, largest overall H18.5cm W14cm aperture H12cm W8cmCondition Report:General wear commensurate with age and use, including surface scratches, nicks and some small indentations.Largest example with a few small knocks.Hallmarks with varying degrees of light wear, but mostly clear and legible.
Los 2518
Four modern silver mounted photograph frames, each of rectangular form with beaded edge, and easel style support verso, hallmarked Carr's of Sheffield Ltd, Sheffield 1998, Laurence R Watson & Co, London 2000, Arthur Price & Co Ltd, London 2001, and Arthur Price Ltd, Sheffield 2003, each of similar size, largest overall H16cm W12.5cm same example aperture H12cm W8cmCondition Report:General wear commensurate with age and use, predominantly in the form of surface scratches and nicks.Earliest example with knock to one corner, and silver mounted front lifting. Hallmarks with some light wear, but mostly clear and legible.
Los 2522
1960's silver comport of circular form with shaped rim and scrolling foliate pierced sides, upon a short circular foot, hallmarked Viner's Ltd, Sheffield 1962, H5cm D23cm, approximate weight 14.32 ozt (445.6 grams)Condition Report:General light wear, predominantly in the form of surface scratches and nicks.Hallmarks clear and legible.
Los 2523
1930's silver tazza of hexagonal form with shaped rim and scrolling foliate pierced sides, upon a spreading circular foot, hallmarked Viner's Ltd, Sheffield 1937, H10cm D25cm, approximate weight 12.14 ozt (377.6 grams)Condition Report:General light wear, predominantly in the form of surface scratches and nicks.Hallmarks clear and legible.
Los 2527
Mid 20th century Art Deco style silver mounted Bakelite table cigarette dispenser, of cylindrical form with engine turned decoration, the cover rising to reveal a compartmented interior with four brass dividers, upon a short spreading circular foot, hallmarked Joseph Gloster Ltd, Birmingham 1951, H11.5cmCondition Report:With general light wear, predominantly in the form of surface scratches and nicks. Hallmarks with light wear but clear and legible.
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534325 Los(e)/Seite