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Preisdatenbank abonnieren'Link', date aperture, ref: WJ1113.BA0575, black dial, centre seconds, rotating bezel, with Tag Heuer box, booklet and International guarantee card 39mm diamProvenance: private collection North Somerset, consigned via our Carmarthen OfficeCondition report: Comments: Movement – appears currently functioning. Dial – very good. Glass – very good. Hands – very good. Case – typical light marks. Crown – adjusting correctly. Strap – typical light marks
'Monaco', ref: CAW211PA, serial no. RHG74xx, date aperture, subsidiary dials for running seconds and 30 minute recording, crown at 9, outer white 1/4 sec. track, polished baton horizontal hour markers, cal. 11 automatic movement, black leather strap with folding clasp, with Tag Heuer box and International Guarantee card39mm diamProvenance: private collection North Somerset, consigned via our Carmarthen OfficeCondition report: Comments: Movement – appears currently functioning. Dial – very good. Glass – very good. Hands – very good. Case – typical light marks. Crown – adjusting correctly. Strap – typical light marksBuyer’s Premium = 24% + VAT (28.8) on all lots in this auction (BP is not scaled as with other auctions).
'Avenger', ref: E13360, uni-rotational bezel, quarter riders, navy dial, white split-second markers, white / luminous Arabic hour markers, date aperture at 3 o'clock, cal.13 automatic movement, in Breitling box with service booklet and spare NATO style strap44mm diam.Provenance: private collection North Somerset, consigned via our Carmarthen OfficeCondition report: Comments: Movement – appears currently functioning. Dial – very good. Glass – very good. Hands – very good. Case – typical light marks. Crown – adjusting correctly. Strap – typical light marks
'Precision', block baton markers, dagger style hands, manual wind movement, subsidiary seconds dial, engraved to back cover ‘Teifi Lodge 4648, 13th October 1966, Presented to Wor. Bro. Arthur Thomas, P.G.D. For Masonic Services’Provenance: deceased estate Ceredigion, consigned via our Carmarthen OfficeCondition report: Comments: Movement – not currently functioning. Dial – good. Glass – typical light marks and scratches. Hands – pitted. Case – typical marks / scratches. Crown – adjusting correctly. Strap – vintage leather replacement
'Datejust,' Ref. 1603, Cal. 1560 26-jewel movement, circular silvered sunburst dial with baton markers with back insets and luminous dots, outer black 1/2 minute markers, date aperture, sweep centre seconds, minute and hour hands with luminous inserts, polished and brushed case no. 63**16, with rare faceted hour marker bezel, screw down crown, replaced B200 Jubilee bracelet with 62510H deployant clasp and 555b end links, dial and bracelet signed, original green box, service papers for 1994, 1995 and 2001, together with original box, original dial, original hands, and original Jubilee bracelet with single endpiece36mm diam.Provenance: private collection North Wales, consigned via our Colwyn Bay officeCondition report: Comments: Movement: currently functioning. Dial: replaced 2001, good. Glass: surface scratches. Hands: replaced 2001, good, adjusting correctly. Case: unopened, surface scratches, spring bar holes worn. Crown: adjusting correctly. Bracelet: replaced 2001, moderately streched, light surface marks.Buyer’s Premium = 24% + VAT (28.8) on all lots in this auction (BP is not scaled as with other auctions).
Group of nine rectangular snuff and match boxes with agate in varying colors. The boxes are mounted in gilt metal and silver. The agate is worked to allow the light to show through and allow the natural veining of the stone to be displayed.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Height ranges from 1/2 in to 1 1/4 in; width ranges from 2 in to 3 1/2 in; depth ranges from 1 1/4 in to 3 in.
Group of ten rectangular snuff and match boxes with agate patchwork designs. The boxes are mounted in gilt metal. The agate is worked to allow the light to show through and allow the natural veining of the stone to be displayed.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Height ranges from 1/2 in to 3/4 in; width ranges from 2 in to 2 3/4 in; depth ranges from 3/4 in to 1 1/2 in.
Group of twelve oval snuff boxes with red agate hinged lids and bottoms. They are mounted with silvered and gilt metal. The agate is worked to allow the light to show through and allow the natural veining of the stone to be displayed.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Height ranges from 1/2 in to 3/4 in; width ranges from 1 1/4 in to 2 1/2 in; depth ranges from 1 in to 2 in.
Group of three cylindrical match boxes with agate showing veining in brown, white, and black. The boxes are mounted in gilt metal. The agate is worked to allow the light to show through and allow the natural veining of the stone to be displayed.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Shortest box; height: 2 1/2 in x diameter: 1 in. Tall, circular box; height: 2 3/4 in x diameter: 1 1/4 in. Tall, oval box; height: 2 3/4 in x width: 1 in x depth: 3/4 in.
Group of ten snuff and match boxes with black lace agate, seven oval and three rectangular. The boxes are mounted in gilt metal. The agate is worked to allow the light to show through and allow the natural veining of the stone to be displayed. One box (pictured upper right) with silver marks and inscribed along the rim "Edward FitzGerald May 1892 from his Godmother E. Lady Clancurry."Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Height ranges from 1/2 in to 3/4 in; width ranges from 1 in to 3 in; depth ranges from 3/4 in to 2 in.
John Hull and Robert Saunderson (American, 17th Century). One 1652 large planchet pine tree shilling with no pellets featuring a pine tree design along the obverse surrounded by "MASATHUSETS ∑ IN ∑" with a reversed 'N.' The reverse reads "NEW ENGLAND ∑ AN ∑ DOM ∑ 1652 XXI." Graded by PCGS as AU55 meaning that there is full detail with light friction on the high points and considerable luster remains.This coin was among the very first minted in the United States in the Boston mint. The Boston mint, operated by John Hull and Robert Saunderson, began to produce coins in 1652 with the authorization of the General court of Massachusetts Bay. As creating coinage was not the right of colonists, this was among the first acts of rebellion by the American colonists prior to the Revolutionary War. The Boston mint produced coins from 1652 to1682, when the contract expired. The same year, British loyalist Edward Randolph traveled to London to present seventeen charges against Massachusetts Bay Colony, the first of which was operating a "Publik mint in Boston."
John Chalmers (American, 18th century). One exceedingly rare 1783 three pence coin featuring two arms clasped in friendship along the obverse surrounded by "I. CHALMER, ANNAP'S." The reverse features a branch and wreath surrounded by "THREE ∑ PENCE ∑ 1783 ∑" Graded by PCGS as AU55 meaning that there is full detail with light friction on the high points and considerable luster remains.In the year 1783 John Chalmers produced threepence, sixpence, and shillings in Annapolis, Maryland. These coins served as a means to promote himself as well as earn income. He was a member of the Common Council and may have attended meetings with the Continental Congress. There are very few examples of Chalmer's threepence with an estimated surviving population of around twenty specimens.
Rookwood Pottery, Ohio, USA. Group of eight Arts & Crafts pottery pieces dating from 1921 to 1929.Includes one blue basket bowl impressed with the Rookwood mark, shape number 1641, and dated "XXI" for 1921 along the underside; one orange square bowl impressed with the Rookwood mark, shape number 2569, and dated "XXII" for 1922 along the underside; one brown bowl impressed with the Rookwood mark, shape number 957 C, and dated "XXIII" for 1923 along the underside; one blue planter impressed with the Rookwood mark, shape number 2365, and dated "XXVI" for 1926 along the underside; one green planter impressed with the Rookwood mark, shape number 2365, and dated "XXVII" for 1927 along the underside; one teal vase impressed with the Rookwood mark, shape number 2935, and dated "XXVII" for 1927 along the underside; one blue vase impressed with the Rookwood mark, shape number 2937, and dated "XXVI" for 1926 along the underside; one pair of blue bookends impressed with the Rookwood mark, shape number 6023, and dated "XXIX" for 1929 along the underside; one green bowl impressed with the Rookwood mark, shape number 2169, and dated "XXVII" for 1927 along the underside; one white and blue oval bowl impressed with the Rookwood mark, shape number 2847, and dated "XXVII" for 1927 along the underside; one large blue oval bowl impressed with the Rookwood mark, shape number 643 B, and dated "XXIII" for 1923 along the underside; one light brown bowl impressed with the Rookwood mark, shape number 2151, and dated "XXI" for 1921 along the underside; one blue flower frog impressed with the Rookwood mark, shape number 2612, and dated "XXVI" for 1926 along the underside.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Height ranges from 2 3/4 in to 7 3/4 in; width ranges from 5 1/2 in to 12 in; depth ranges from 3 1/4 in to 9 in.
Rookwood Pottery, Ohio, USA. Group of eight Arts & Crafts pottery pieces dating from 1931 to 1959.Includes one beige narrow necked vase with handles impressed with the Rookwood mark along the underside, shape number 6649 E, and dated "XXXVII" for 1937 along the underside; one fan-shaped vase impressed with the Rookwood mark along the underside and shape number 6816 A; one bright yellow vase impressed with the Rookwood mark along the underside, shape number 2122, and dated "L" for 1950; one tall pink and brown vase impressed with the Rookwood mark along the underside, shape number 6676, and dated "XXXIX" for 1939; one shorter pink and brown vase impressed with the Rookwood mark along the underside, shape number 2282, and dated "XXXII" for 1932; one rectangular vase impressed with the Rookwood mark along the underside, shape number 7057, and dated "L" for 1950; one blue tri-form vase impressed with the Rookwood mark along the underside, shape number 6250, and dated "XXXI" for 1931; one cream flower-shaped bowl impressed with the Rookwood mark along the underside, shape number 6132, and dated "XLV" for 1945; one pitcher impressed with the Rookwood mark along the underside and shape number 251; one small green vase impressed with the Rookwood mark along the underside, shape number 6591, and dated "LIX" for 1959; one light brown vase with flowers impressed with the Rookwood mark along the underside, shape number 6830, and dated "XLVI" for 1946; one blue drip glaze vase impressed with the Rookwood mark along the underside, shape number 6641 E or 6541 E, and dated "LI" for 1951; one vase impressed with the Rookwood mark along the underside, shape number 2145, and dated "XXXI" for 1931.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Height ranges from 3 in to 8 in; width ranges from 2 3/4 in to 10 3/4 in; depth ranges from 2 1/4 in to 7 1/2 in.
Art Deco ceiling lamp lampshade. France, ca. 1920.Acid-etched salmon-coloured translucent glass.Measurements: 29 cm (diameter); 9 cm (height).This ceiling lamp lampshade corresponds to the Art Deco taste of the first half of the 20th century, with stylised shapes tending towards geometry and a striking colouring. Art Deco glass is characterised by clean, refined forms based on the geometric play of Greek classicism. The decorative motifs respond to this same sintering of shapes, hence examples such as this lampshade or ceiling light, decorated with floral motifs.
ÉMILE GALLÉ (Nancy, France, 1846 - 1904).Vase, ca. 1910.Acid-etched cameo glass.Signed on the reverse.Procedure: Private Collection, Spain between 1970-1990.Measurements: 19 cm (height); 10 cm (diameter).Acid-etched cameo glass vase, with a narrower circular body and mouth. It is decorated with floral decoration that is freely arranged on the surface, as is typical of Gallé cameo glass. It is composed of two layers of glass, white, red and brown in colour, cut at different levels to create tonal variations and details that add three-dimensionality to the flowers.Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing Art Nouveau glass to the public. It was a quicker and cheaper form of decoration, resulting in more affordable, mass-produced but handmade pieces, as no stencils were used and the motif was hand-drawn on each piece.Émile Gallé began his career working for his father, who owned a glass and ceramics factory, producing designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he travelled around Italy, England and Germany, taking an interest in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return he settled in Meisenthal, where his family's glass furnaces were located, in order to fully learn the craft of glassmaking. He also travelled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory and soon achieved great international success, winning prizes at International Exhibitions and selling works to important collections and museums. Today, works by Emile Gallé can be seen in the Hermitage Museum in St Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others.Nature is one of the main sources of inspiration for Gallé, whose style is characterised by the naturalistic rendering of the elements, as if observed through a macro, at a large size, or in the form of landscapes. This piece is worked with hydrofluoric acid, which was Gallé's main industrial production technique. It is a cameo glass, which consists of making a piece with two or more layers of glass of different colours so that, after immersion in the acid, the decorative motif is in relief on a plain background of a different colour. The decoration in this case has three levels, with variations in relief, the dark motif on the light background and, finally, a twilight sky in ochre tones. Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing Art Nouveau glass to the public. This was a quicker and cheaper form of decoration, resulting in more affordable pieces, which were mass-produced but handmade, as no stencils were used and the motif was drawn by hand on each piece.
ÉMILE GALLÉ (Nancy, France, 1846 - 1904).Art Nouveau soliflore vase, ca. 1898.Acid-etched cameo glass.Signed on one side.Procedure: Private Collection, Spain between 1970-1990.Measurements: 33 cm (height); 9 cm (diameter).Nature is one of the main sources of inspiration for Gallé, whose style was characterised by depicting the elements in a naturalistic way, as if observed through a macro, at a large size, or in the form of landscapes. This piece is acid-etched, which was Gallé's main industrial production technique. It is a cameo glass, which consists of making a piece with two or more layers of glass of different colours so that, after dipping it in the acid, the decorative motif is in relief on a plain background of a different colour. The decoration in this case presents different levels, with variations in relief, with a landscape dominated by slender trees in the foreground and imposing mountains in the background. Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing Art Nouveau glass to the public. It was a quicker and cheaper form of decoration, resulting in more affordable, mass-produced but handmade pieces, as no stencils were used and the motif was hand-drawn on each piece.Émile Gallé began his career working for his father, who owned a glass and ceramics factory, producing designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he travelled around Italy, England and Germany, taking an interest in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return he settled in Meisenthal, where his family's glass furnaces were located, in order to fully learn the craft of glassmaking. He also travelled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory and soon achieved great international success, winning prizes at International Exhibitions and selling works to important collections and museums. Today, works by Emile Gallé can be seen in the Hermitage Museum in St Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others.Nature is one of the main sources of inspiration for Gallé, whose style is characterised by the naturalistic rendering of the elements, as if observed through a macro, at a large size, or in the form of landscapes. This piece is worked with hydrofluoric acid, which was Gallé's main industrial production technique. It is a cameo glass, which consists of making a piece with two or more layers of glass of different colours so that, after immersion in the acid, the decorative motif is in relief on a plain background of a different colour. The decoration in this case has three levels, with variations in relief, the dark motif on the light background and, finally, a twilight sky in ochre tones. Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing Art Nouveau glass to the public. This was a quicker and cheaper form of decoration, resulting in more affordable pieces, which were mass-produced but handmade, as no stencils were used and the motif was drawn by hand on each piece.
FRATELLI TOSO. Murano, Italy ca. 1920.Murano blown glass vase with murrine decoration in the form of a pumpkin, made by Vetreria Fratelli Toso ca. 1920. The vase is executed in multicoloured polychrome murrine arranged in vertical rows and has two side handles. An authentic example of early 20th century Murano art glass.Measurements: 14 cm (height); 11 cm (diameter).Founded in 1854 by six brothers, Fratelli Toso was one of the main glassmakers behind the revival of glass art on the island of Murano as an active part of an important process of renewal. In the first decades of activity, production was based mainly on the imitation of the glass art of the past, but from the beginning of the 20th century, the production of blown glass and classic glass was accompanied by the rediscovery of murrine, which was destined to become the true trademark of the Fratelli Toso factory.On the one hand a mass production based on classic models, on the other hand an artistic production with the creation of unique works to be presented at the most important international events. The artistic direction was already taken over in the late 1920s by Ermanno Toso, who remained in charge until the end of the 1960s. Under Ermanno's direction, production ranged from the light and linear blown products typical of the 1920s to the more massive and heavy forms favoured during the 1930s and 1940s, without ever abandoning the experimentation in murrino that achieved the best results. 1950
Art Nouveau vase FRANÇOIS THEODORE LEGRAS. France, ca. 1910.Hand-painted blown glass.Signed on the reverse.Measurements: 23 cm (height); 8 cm (diameter).Art Nouveau vase with a bulbous body and rounded angles, worked with the technique of blown glass in different layers of hand-applied colour, with the representation of light poppies arranged on an orange background, emerald green at the bottom.The firm of F. Th. Legras was founded by Auguste Jean-François Legras (1817 - 1887) around 1864 in St. Denis, near Paris. At the beginning of the 20th century, the firm specialised in the production of acid-etched cameo glass, inspired by Gallé's pieces. Legras & Cie. produced a multitude of pieces for sale, as well as several of particular quality for display at international fairs.
Jugendstil vase by LOETZ; Austria, ca. 1910.Iridescent glass.No signature.Measurements: 16 cm (height) x 16 cm (diameter).This vase is made of iridescent glass, widely used in Central European Jugendstil, characterised by its chromatism, which changes according to the angle of incidence of the light on its surface, and by its metallic appearance. This material, the result of intensive technical research carried out in the artistic glass workshops of the second half of the 19th century, is obtained by adding various metallic oxides to the base mass of glass. It has a design in the form of curved curtains that fall to create flowing, graceful forms.The manufactory was founded in 1840 by Johann Loetz in Klostermuhle, Bohemia. Dedicated to the production of artistic glass, it was a pioneer in the use of new techniques and materials, following the line of experimentation of the glass artists of the second half of the 19th century. The firm took part in the Paris International Exhibition of 1889, where its pieces were unanimously acclaimed by critics. His opalescent blown glass vessels with metallic applications were particularly famous.
LOUIS VUITTON: AN AMANDE ELECTRIC EPI LEATHER ALMA PM2012Glossy light green Epi leather with two rolled handles, tonal alcantra lining, silver tone hardwareCondition Grade A-29cm wide, 23cm high, 10cm handle drop, includes padlock, keys and clocheFor further information on this lot please visit Bonhams.com
LOUIS VUITTON: A LIGHT PINK MONOGRAM GIANT 'BY THE POOL' NEVERFULL MM2021Gradient pastel yellow to pink coated canvas with giant monogram, leather trim and gold tone hardwareCondition Grade A31cm wide, 28cm high, 21cm shoulder drop, includes removeable charms and dust bagFor further information on this lot please visit Bonhams.com
With a moulded c-scroll border, painted in the centre with two goldfinches perched on a leafy branch and a brightly coloured butterfly, the border with further birds and butterflies, solid gilt rim, impressed NANT-GARW CW25cms diamprivate collection Swansea, unsold with Bonhams 2019Condition report: Comments: no structural problems, fading, light surface scratches and surface marks
1994 Gwasg Gregynog / Gregynog Press limited edition (66/330) folio (300 x 172mm) edition retold by Glyn Jones and T J Morgan, edited by Jenny Rowland, with engravings by Harry Brockway, bound in quarter cloth with boards with pointillism illustration of the mourning central character300 x 172mmprivate collection Los AngelesAuctioneer's Note: a collection of early Welsh englyn-poems which are rare among medieval Welsh poems for being set in the mouth of a female characterCondition report: Comments: excellent overall, signs of light usage, extremely light early foxing to paper edges
(1) Nanteos: A Welsh House and its Families, by Gerald Morgan, Gomer, 2001, well illustrated collection of essays in a remarkable recent but old style full panelled light and dark brown Morocco leather(2) Llanarthney Past and Present, by Tom & Delyth Jones, Carmarthenshire County Council. 2002. Small folio profusely illustrated in colour and monochrome rich in local details. Fine copy in full blue leather gilt.(3) Historic Carmarthenshire Homes and their Families, by Francis Jones, Carmarthenshire Antiquarian Society. 1987, Small folio. Illustrated with charming vignette drawings. Special Binding of full brown leather(4) Carmarthenshire Memories of the 20th Century, by the Carmarthenshire Antiquarian SocietyThe Jeff Towns Collection of Welsh related antiquarian books
London 1830. 4to. Good copy in black half calf gilt. 6 views on 48plates plus text together with 'A Topographical and Historical Description of North Wales', by Rev Mr. Evans, London 1812. Map lacking.(2)The Jeff Towns Collection of Welsh related antiquarian booksCondition report: Comments: (1) some light staining to early sections, (2) good copy in contemporary half calf
GEORGE E BOLTON: A SPECIALIST IN CRIME, London, Grant Richards, 1904, 1st edition, original pictorial cloth worn + EDGAR WALLACE: THE FIGHTING SCOUTS, London, C Arthur Pearson, 1919, 1st edition, 3pp adverts at end, leaves browned, original blind stamped cloth + H H MUNRO ('SAKI'): THE TOYS OF PEACE AND OTHER PAPERS, London, John Lane, 1919, 1st edition, portfrontis, secondary issue binding, light blue black letter cloth with some fading and foxing to spine + R C SHERRIFF: THE HOPKINS MANUSCRIPT, London, Victor Gollancz, 1939, 1st edition, original cloth (4)
Ladies clothing to include a sapphire blue, strapless evening gown, 30" chest, a Yzian Shzin green felt jacket with waterfall collar, new with tags, size Small, a Misshill beige mesh top with hood, size 36" chest, new with tags and a Xargo light brown leather ladies skirt and matching jacket, size 12/14(5 items in total) Location:Rail
F M BOSTWICK: OYUCHASAN, [Tokyo, Hasegawa] circa 1895, scarce UK issue with Essex & Chambers, Piccadilly, Sole agents label on top wrap and tipped in label 'Banjo accompaniment arranged by Mr Clifford Essex', on 3rd page of musical notation, original pictorial textured paper wraps, ribbon ties, vgc, one copy on COPAC held at The University of Liverpool Library + THE CUB'S TRIUMPH, Tokyo, Kobunsha, circa 1890, UK issue with Griffith, Farran & Co, London and Sydney, NSW imprint, crepe paper issue, original wraps with some light wear (2)
BEATRIX POTTER: 2 titles: THE TALE OF TWO BAD MICE, London and New York, Frederick Warne, 1904, 1st edition, 27 coloured plates as called for, contemporary inscription on half title, inner joints totally split, contents loose, 16mo, original grey boards crudely re-backed, pictorial paper label; THE TALE OF BENJAMIN BUNNY, London and New York, Frederick Warne, 1904, 1st edition, 26 (of 27) coloured plates, lacking the frontis, inscription on pictorial ffep, 'Muffatees' page 15, light pencil scribble on title page, inner joints split, contents loose, 16mo, original tan boards, small split at spine, small part loss at head of spine, pictorial paper label (2)
λ Arthur Delaney (British 1927-1987)StrangewaysOil on boardSigned (lower right); further signed, titled, and inscribed (verso)42 x 42cm (16½ x 16½ in.)Provenance:The Selwyn Demmy Collection'STRANGEWAYS' not a popular subject - what it stands for sees to that. However, once I had come face to face with this strange building, I suddenly forgot what it was and was inspired by its unusual silloette [sic.] and powerful shape and form. Not a very colourful subject but in the early morning light I could not ignore its appeal and after all I was looking for old Manchester places and here was a building unique to our city. A suggested title was 'Early Visitors' but I find this far too romantic, I think 'Strangeways' says it all.'
λ Felix Kelly (British 1914-1994)The LighthouseOil on boardSigned and dated 1950 (lower right)35 x 47cm (13¾ x 18½ in.)Exhibited:The Arts Council of Great Britain, Painters of the Sea, 1951, cat no. 14Condition Report: Patches of yellowing varnish causing some discolouration. Three areas of retouching visible in natural light two in the upper left quadrant and one in the lower right, just above the roof. A small cluster of loss to the left of the roof. This is hardly noticeable. Inspection under UV reveals an uneven varnish and retouching in the areas specified above. Condition Report Disclaimer
λ Frederick Gore (British 1913-2009)Mountain Landscape, Mallorca, no. 2Oil on canvas Signed (lower left)73.5 x 92.5cm (28¾ x 36¼ in.)Gore frequented the village of Fornalutx under the Puig Major mountain each summer during the 1960s to capture this exotic landscape. He was mesmerised by the way the light bounced off the deep pink earth of the mountainous terrain in Mallorca and the vibrant colours that spread across the landscape; orange groves, red plants, blue flowering morning glory. The present lot Mountain Landscape, Mallorca, no. 2 captures the warmth of the pinks, oranges and yellows in juxtaposition to the cool blue of the shadows and sky. Frederick Gore, born in 1913 was the son of Spencer Frederick Gore (1878-1914), who founded the Camden Town Group in 1911 alongside Walter Sickert. Frederick Gore studied at the Ruskin School and later at the Slade. In the 30s Gore began exhibiting with shows at renowned galleries such as Coolings and Madox Gallery. After the war Gore was represented by the Redfern Gallery which held five one-man exhibitions. During the 1950s Gore took up a teaching post as Head of Painting at St. Martin's School of Art and later became an Associate of the Royal Academy in 1964 and an Academician in 1973. Gore continued to regularly exhibit at the Royal Academy Summer exhibition. Condition Report: This work has not been relined. Canvas is slightly slack and there is a slight protrusion to the tree in the middle of the left edge. Light surface dirt throughout. Slightly rubbing tot he framing edges. Otherwise appears to be in good original condition. Condition Report Disclaimer
λ Michael Ayrton (British 1921-1975)Six skull and sculptureOil on boardSigned and dated Dec 1954 (lower right); further signed and titled (verso)100 x 75cm (39¼ x 29½ in.)Exhibited:Paris, Galerie Creuze, Salle Balzac, La Peinture Britannique Contemporaine, October 1957Condition Report: Some very light rubbing to the extreme framing edges. The work is slightly loose in the frame and would benefit from securing in place. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
λ Théo Tobiasse (French-Israeli b. 1927)Les jours se suivent a St. Germain-des-PrésOil on canvasSigned (upper left) and titled (lower right)54 x 65cm (21¼ x 25½ in.)Condition Report: Light craquelure scattered in patches across the work. A broken line of white paint running horizontally across the upper edge. A small white blemish to the upper part of the right edge and to the upper left quadrant. Light surface dirt throughout. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
λ Henry Moore (British 1898-1986) Mother and Child Lead 17.2 x 13 x 6.5cm (6 3/4 x 5 1/8 x 21/2in.) (excluding base)Conceived c.1939-1940.Provenance: Hubert de Cronin Hastings (1902-1986), Private Collection Gifted by the above to his son John Hastings (1928-2019) by 1974 Thence by descent to the present ownerThis previously unknown work is now recorded in the Henry Moore Foundation database with the reference number LH213a.Left undiscovered for over 40 years, nestled amongst trinkets on a mantelpiece in a Wiltshire farmhouse, a previously unknown sculpture by Henry Moore comes to market for the very first time. The present lot Mother and Child was authenticated by the Henry Moore Foundation in October 2021 and has been added to their archives under the reference number LH 213a. The work, produced in lead, was conceived in c. 1939-1940 at a time when Moore was experimenting with casting in different materials and incorporating elements in string and wire.This very special piece comes from the former collection of architectural publisher and editor, Hubert de Cronin Hastings (1902-1986), whose near fifty-year stewardship of the Architectural Review saw him shed a light on the many challenges and debates posed across the architectural world during this transformative period.Mother and Child (LH 213a) most likely entered the collection of Hubert de Cronin Hastings(1902-1986) (more commonly known as H. de C. or by his pseudonym Ivor de Wolfe) in the 1940s. H. de C. was chairman of the Architectural Press and Architects Journal and editor of the Architectural Review (AR) from 1927-1973.H. de C. was born at Merton Surrey in 1902 and was the third son of Percy Hastings, who owned the Architectural Press and founded the Architectural Review in 1896. H. de C. studied at Berkhamsted School before attending the Bartlett School of Architecture at UCL. However, he never went on to qualify, instead moving to the Slade School of Arts where he is likely to have met John Piper during the early-mid 1920s.In 1927, he joined the family business and became joint editor of the AR with Christian Berman. The magazine was published monthly and together they changed the style of the magazine putting an emphasis on the arts with contributions from the likes of Evelyn Waugh, Osbert and Sacheverell Sitwell and Paul Nash, whilst the editorial board included Sir Hugh Casson and cartoonist Osbert Lancaster.The AR became one of the leading architectural magazines to promote modernism throughout the 1930s and regularly featured articles on painting, sculpture and interior design. He deemed architecture an art form and believed that the understanding of one could support the other. H. de C. 'saw the logic of this as a bright new future for society' as quoted in the Oxford Dictionary of National Biography.H. de C. was first introduced to Henry Moore by Jim Richards who was assistant editor at the AR alongside John Betjeman. Richards who had befriended the artist early on in his career published an article on Moore's work in the AR in 1934. Moore later commented in an interview in 1979 with Jonathan Glancey, architectural critic and writer, that he was appreciative of the AR's support. It would be interesting to think that Moore repaid his appreciation by gifting this sculpture to H. de C. or perhaps H. de C.'s support and encouragement of the artist extended to supporting his career by purchasing the work.By 1974 the sculpture had been passed to his son, John Hastings (1928-2019) where it sat on his mantelpiece in the living room beside a Papier Mache elephant and a china bull, objects which were valued for their sentimental rather than monetary value. John was a countryman and farmer who bred sheep and livestock, more interested in animals than fine art. To John, the Mother and Child that made its home on his mantelpiece was a sentimental family object and nothing more.During the authentication process the panel were able to link the present lot to a known sketch by Moore titled Eighteen Ideas for Sculpture (HMF 1460a). This sheet of sketches shows how Moore was working with his traditional forms; reclining nude, standing figure and mother and child whilst adding a new dimension of movement through exploration of materials such as string and wire. Close comparisons can be drawn between the study at the centre of the sheet and the present lot. The study shows the smooth curve of the mother's arm embracing the figure of the child. Around the child, leading towards the mother's face, are lines suggesting placement of string.What is particularly amusing is the same characterful face that shows the mother's eyes looking toward the child and the small dot used to depict the mouth which is whimsical and endearing. It is possible that Mother and Child (LH 213a) was originally intended to be stringed, connecting the dots and intersecting the space around the sculpture.During this same period that Moore was experimenting with stringed sculptures he also began exploring the use of lead to cast his works. Evidence of this exploration is visible in both finished sculptures but also preparatory drawings such as Reclining Lead Figures c. 1940 (HMF 1550) and Ideas of Lead Sculptures, 1939 (HMF 1473). The production of works cast in lead is concentrated to the years 1938-1940 and it is believed that the present lot was conceived during the latter part of this period.It is interesting to compare Mother and Child (LH 186) which was conceived in 1938. Moore has taken a markedly more abstract approach compared to the present lot (LH 213a). The design has been fulfilled connecting the curved forms of each figure with string creating a fluidity across the sculpture. However, it illustrates his continued experimentation with the mother and child motif, casting in lead and other materials such as string and wire.The theme of Mother and Child remained a dominant theme throughout Moore's career. He was particularly drawn to the subject matter for it is a raw and deeply embedded relationship which every human will experience on some level. On a simpler note, Moore was compelled by the compositional opportunities that a large form and contrasting small form can create. The present lot shows two figures bonded as one. The child's head and face turning up towards the mother who looks directly at the viewer with her distinctive markings. The mother's arms swoops down and around the sculptural form to embrace the child on the other side, creating an area of negative space which creates balance and fluidity in the sculpture.
λ Frederick Gore (British 1913-2009)Spring landscape, Clement's Reach, Meopham, KentOil on canvasSigned (lower left); further signed, titled, and dated 1980 (to stretcher)70 x 90cm (27½ x 35¼ in.)Provenance:Sale, Christie's, London, 27 November 1997, lot 129Condition Report: This work has not been relined. Light surface dirt throughout. There is an area of yellowing varnish in the upper right corner causing discolouration to the upper right quadrant. There are a number of vertical lines of cracking to the lower right corner. Along the lower section of the right edge is also evidence of some old newspaper stuck to the surface circa. 2mm, a small loss circa. 2mm and an area of scratching with associated loss circa. 2 x 3cm. Condition Report Disclaimer
λ†Frank Dobson (British 1886-1963)Head of a girlRed chalkSigned and dated 32 (lower right)35.5 x 25.5cm (13¾ x 10 in.)Provenance:The Artist's EstateGillian Jason Gallery, LondonCondition Report: Unexamined out of glazed frame. Light discolouration to the sheet most notable at the edges. Slight undulation the sheet. Condition Report Disclaimer
λ David Hockney (British b. 1937)Portrait of Richard Hamilton (S.A.C. 126/Tokyo 118)Etching with aquatint, 1971An unsigned proof aside from the edition of 3034 x 26.5cm (13¼ x 10¼ in.)Provenance:A gift to the present owner circa 1985/86Condition Report: Unexamined out of glazed frame. Light discolouration to the image with a white circular blemish to the middle of the left edge. There is one light stain to the lower left corner of the margin and two areas of foxing, one to the left middle edge and one to the right middle edge. There are some light handling creasing visible to the lower margin and very slight undulation to the sheet. Otherwise the work appears to be in good original condition.Condition Report Disclaimer
λ Mr Brainwash (French b. 1966)Beautiful Life - Mickey and Minnie MouseMixed media, stencil and acrylic on canvas laid on boardSigned (to lower right edge); further signed, dated 2011 and inscribed (verso)162.5 x 122.5cm (63¾ x 48 in.)Artist to the stars Thierry Guetta aka. Mr. Brainwash has worked with some of music industry's biggest stars including Madonna for whom he designed the 2009 'Celebration' album cover. He has collaborated with TV and film productions including the Kardashians and Shameless whilst working on creative partnerships with Coca Cola and Marvel Comics. Mr. Brainwash first shot to fame through the widely circulated documentary 'Exit Through the Gift Shop' directed by Banksy featuring artists Shepherd Fairey and Space Invader. The film highlights the accessibility of street art and how art can be inclusive, shaping the world we live in. Mr. Brainwash combines elements from the pop art era drawing on motifs from artists such as Keith Haring and Jean-Michel Basquiat together with components from his street art and graffiti works, drawing on imagery from popular culture. At the centre of the piece, Mickey and Minnie Mouse embrace. To the left of Mickey's ear you see the eye of Madonna from his 'Celebration' album cover. To the right of the eye is a the identity card of Marilyn Monroe stating birth name Norma Jean. Behind the frontal images, small Campbell soup tins are scattered across the background. In the lower right corner we see the left eye of John F. Kennedy, the late president of the United States peeking out from beside Minnie Mouse. Every time you look at the image more details emerge. Mr. Brainwash has taken a canvas and thrown famous faces, iconic pop art and recognisable logos straight onto its surface finishing the composition with Disney's most celebrated, joyous, and recognisable characters to create an enchanting and striking piece of work. Condition Report: Light surface dirt. Small areas of glue residue but most likely caused at conception of the piece. Otherwise in good original condition. Condition Report Disclaimer
λ Peter Mcdonald (British/Japanese b. 1973)Untitled Acrylic on canvas 81.5 x 114cm (32 x 44¾ in.)Condition Report: There are visible water drips across the canvas. Consultation with a restorer has confirmed this would be difficult to repair. There are some light scuff marks to the left edge. Condition Report Disclaimer
λ Peter McDonald (British/Japanese b. 1973)New Fontana Acrylic on canvas Signed, titled and dated 2008 (verso)81.5 x 114cm (32 x 44¾ in.)Condition Report: There are visible water drips across the canvas. Consultation with a restorer has confirmed this would be difficult to repair. There are some light scuff marks across the surface. There is an area of cracking to the lower right quadrant approximately 3x4cm Condition Report Disclaimer
λ Peter Mcdonald (British/Japanese b. 1973)Ice Cream Acrylic on canvasSigned, titled and dated 2007 (verso)82 x 114.5cm (32¼ x 45 in.)Condition Report: Light scuffs and surface dirt visible mostly to the edges. Consultation with a restorer has confirmed this would be difficult to repair. There is a horizontal mark running along the lower edge and running vertically along the right hand edge. There is evidence of water damage to the upper right edge. There is a small white scuff to the dark green upper lip. Condition Report Disclaimer
λ Peter Mcdonald (British/Japanese b. 1973)PanpipesAcrylic on canvas Signed, titled and dated 2008 (verso)81 x 114cm (31¾ x 44¾ in.)Condition Report: There are visible water drips across the canvas. Consultation with a restorer has confirmed this would be difficult to repair. There are some light surface dirt and scuff marks, most notable to the edges. There is some green pigment to the upper right edge and some scattered dots of white paint across the canvas surface. Condition Report Disclaimer
λ John Wonnacott (British b. 1940)View from Lloyds Building I, DaytimeOil on boardSigned (verso)95 x 136cm (37¼ x 53½ in.)John Wonnacott is one of Britain's most celebrated portrait painters, with The Royal Family and Prime Ministers amongst his most notable commissions. However, these immersive portraits would not be possible without his exploration into how we physically see and experience the world around us and in turn how he, as a painter can capture this moment; this experience.The present works form part of a series of London landscapes painted from the glass elevators of the Lloyd's Building. Although these paintings are topographically accurate, placing the onlooker unmistakably above the city of London skyline, Wonnacott uses the glass lift to construct a dynamic space that draws the viewer into the canvas and suspends them hundreds of feet above the ground. The dramatically foreshortened perspective of the intricately congested cityscape in View from Lloyds Building I, Daytime contrasts with the expansive open sky above giving that feeling of joyous vertigo as one is propelled into the air by the glass elevators. Through his masterful use of palette, perspective, and pictorial construction Wonnacott has brought a wonderful immediacy to these pictures that allows us, the viewer, to share his experience both physically and emotionally.Condition Report: Examined under ultra violet light there is no fluorescence. The painting appears to be in excellent condition. Condition Report Disclaimer
λ John Wonnacott (British b. 1940)View from Lloyds Building IV Night TimeOil on board105 x 133.5cm (41¼ x 52½ in.)John Wonnacott is one of Britain's most celebrated portrait painters, with The Royal Family and Prime Ministers amongst his most notable commissions. However, these immersive portraits would not be possible without his exploration into how we physically see and experience the world around us and in turn how he, as a painter can capture this moment; this experience.The present works form part of a series of London landscapes painted from the glass elevators of the Lloyd's Building. Although these paintings are topographically accurate, placing the onlooker unmistakably above the city of London skyline, Wonnacott uses the glass lift to construct a dynamic space that draws the viewer into the canvas and suspends them hundreds of feet above the ground. The dramatically foreshortened perspective of the intricately congested cityscape in View from Lloyds Building I, Daytime contrasts with the expansive open sky above giving that feeling of joyous vertigo as one is propelled into the air by the glass elevators. In View from Lloyds Building IV, Night Time Wonnacott subverts this feeling into one of a sensory claustrophobia. Reflections of the city and the Lloyds Building behind bounce off the glass elevator, enclosing the onlooker as the surrounding buildings crowd in. Through his masterful use of palette, perspective, and pictorial construction Wonnacott has brought a wonderful immediacy to these pictures that allows us, the viewer, to share his experience both physically and emotionally.Condition Report: Examined under ultra violet light there is no fluorescence. The painting appears to be in excellent condition.Condition Report Disclaimer
λ Pamela Jane Crook (British b. 1945)FridayLiquitex acrylic on canvas and wooden frameSigned (lower right) further signed, dated 1995 and titled (verso)86 x 147cm (33¾ x 57¾ in.)Condition Report: Light surface dirt. A small area of unstable paint to the right of 'The Times Today'. Some small areas of yellowing varnish most notable to the upper edge of the frame. Otherwise the work appears to in in good original condition. Condition Report Disclaimer
Brett Whiteley (Australian 1939-1992)MagpieSugarlift etching, 1977Signed in pencil and numbered 36/60Plate: 49.5 x 49cm (19¼ x 19¼ in.)Condition Report: Unexamined out of glazed frame. Light discolouration to the sheet with staining to the extreme edges. Otherwise appears to be in good original condition.Condition Report Disclaimer
λ Philip Sutton (British b. 1928)Heigh-ho! Into the Green HollyOil on canvas with painted frameSigned, titled, dated 2001 and inscribed Manorbier (verso)Overall: 88 x 78cm (34½ x 30½ in.)Provenance:Piano Nobile, London Purchased from the above by the present owner in 2001Condition Report: Examined under ultra violet light there are no signs of fluorescence. There is a tiny nick to the upper edge of the painted frame, otherwise the work appears to be in excellent condition.The colours in the original painting are deeper and richer than the catalogue illustration.Condition Report Disclaimer
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![F M BOSTWICK: OYUCHASAN, [Tokyo, Hasegawa] circa 1895, scarce UK issue with Essex & Chambers, Piccadilly, Sole agents lab](https://cdn.globalauctionplatform.com/8b018ddd-ef12-4715-b992-ae5200884c4f/4c9f6f0e-8a97-4b2b-82ac-ae5900ed956c/468x382.jpg)
