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534325 Los(e)/Seite
Los 3564
ROYAL WORCESTER; a blush ivory pedestal vase and stand with reticulated rim, the main body painted with thistles, raised on a single column with three moulded mythical creatures terminating on paw feet, numbered 1639 to the underside, height 23cm.Additional InformationLight wear to the gilding, but good condition.
Los 3570
BAYARD; a French gilt brass eight day carriage timepiece, the enamelled dial set with Roman numerals, height 12cm.Additional InformationThe timepiece is currently running, though we cannot guarantee that it is in full working order. Some scratches and scuffs to the metalwork at the back. Light tarnishing, but generally ok.
Los 3698
A George III style hardwood desk, with an arrangement of drawers and pigeon holes above two frieze drawers on cabriole legs with claw and ball feet, height 107cm, width 107m, depth 61cm.Additional InformationThe item ins in two sections, the top sits loosely onto the base, a few light scuffs and scratches and rubbing through use but essentially ok.
Los 3699
A Victorian mahogany buffet, with elaborately carved cabriole supports, with two base cupboard doors, raised on plinth base, width 135cm, depth 55.5cm, height 106cm.Additional InformationThe piece is possibly missing a gallery back, the back board has also been cut, light scratches and scuffs as expected.
Los 3764
A set of five Edwardian golden oak dining/salon chairs, comprising four singles and one with arms, with turned spindle supports, and pattern beige upholstery, on turned legs, height of the chair with arms 104cm (5).Additional InformationUpholstery with some marks, frames with light scratches and scuffs around the base of the legs consistent with use but overall fair.
Los 3837
A 19th century beech and ash country kitchen Windsor chair, with spindle back and saddle seat, on turned legs, height 108cm.Additional InformationThe seat with an non-threatening hairline crack to the back right, general age wear patina to the surface throughout of rubbing and light scratches consistent with age and use, overall appearance ok.
Los 3845
GRANGE FURNITURE; a suite of modern cherry wood bedroom furniture comprising four drawer chest with triple back dressing table mirror, width 114cm, depth 50cm, a pair of bedside cabinets each with single doors, and a dressing table stool (5).Additional InformationLight surface wear to each, the chest with minor chips to edges, one of the cabinets with scuffs.
Los 3883
A reproduction mahogany fold-over card table, the swivel fold-over top enclosing baize material, raised on baluster column terminating on swept legs terminating on brass castors, width 85cm, depth 42.5cm, height 76cm. Additional InformationLight scratches and scuffs to the top, surface wear as expected, knocks to the legs, heat damage to surface.
Los 74
GUCCI; a Monogram cloth G Zipper Hobo Tote vintage handbag with single leather handle, silver tone hardware, zip top, leather base, internal pocket, and dust bag, No.115003 205011, 28 x 29 x 10cm. Additional InformationThe bag is in good condition with overall signs of light wear, and the zip works well.
Los 264
WINIFRED STRANGMAN (BRITISH, 1874-1955) (3)A kingfisher overlooking a pond; Flowering branches with the coast beyond, India; Indian flowers and butterflies, a set of threeoil on canvas96 x 168cm, 103 x 173cm and 102 x 143cmARR(3)ProvenanceThe artist, thence by direct descentCondition reportAll original canvas. Two small tears to ‘Waterlilies’, upper left; paint surfaces have light traces of dirt, traces of stretcher marks; small patch to a repair on one canvas (flowering branches). Held in plain gilt frames in fair condition.Not inspected un er uv light.
Los 275
SVEN BERLIN (BRITISH, 1911-1999)Woman With Violet Eyessigned and dated 'Sven Berlin 46' (lower right)oil on canvas25.5 x 18cmARRProvenancePrivate collectionCondition reportSurface and ingrained dirt.Small brown marks/stains visible, most noticeable to face.Spots of paint loss, including to right edge of face and hair and top of hair/head.Not examined under uv light.
Los 303
E*** J*** BROOKS (BRITISH, 20TH CENTURY)Indispensable Yetsigned and dated 'J. Brooks 1955.' (lower left)oil on board56 x 71.5cmProvenancePrivate collection, UKExhibitedIngot Industrial Britain ExhibitionThe board is sound and paint surface in good, clean condition. Ultraviolet light reveals no sign of retouching.
Los 309
FRANCIS MCCRACKEN (NEW ZEALAND, 1879-1959)The Quayside, Concarneauinscribed with artist's name (to stretcher and back of frame)oil on canvas46 x 55cmProvenanceWilliam Hardie Ltd., GlasgowPrivate collection, UKCondition reportThe canvas is relined.Generally appearance is good.Inspection under uv light reveals a diagonal line to upper left corner suggesting an old repair.
Los 324
ALAN COTTON (BRITISH, B. 1936)Provence Farm and Orchard Near Bonnieuxsigned 'Alan Cotton' (lower right), inscribed with title and artist's name (to back of stretcher)oil on canvas51 x 62cmProvenanceDavid Messum Fine Art, where purchased by the present ownerExhibitedAutumn Exhibition, David Messum Fine Art, 1995Condition reportSmall horizontal crack in paint upper right in sky.Otherwise appears in generally good condition.Not inspected under uv light.
Los 349
FRANK ARCURI (AMERICAN, B. 1946)Still life of tulips in a blue and white vasesigned and dated 'F S acuri 2002' (lower left)oil on canvas102 x 76.5cmCondition reportOriginal canvas; minor spots of staining, lower left, otherwise paint surface is sound. Ultraviolet light reveals no sign of retouching.
Los 369
JOHN NEWLAND (BRITISH, B. 1936)Summer Clouds, Burnham Overytitled (on label attached to backboard)acrylic on board45 x 61cmARRProvenanceBircham Gallery, NorfolkMessums, LondonCondition reportSmall brown marks/stains visible in places, including to centre right on cloud, upper left and upper right in sky, lower centre and lower right on ground.Surface dirt.Not inspected under uv light.
Los 87
FERNANDO ZÓBEL (Manila, Philippines, 1924 - Rome, Italy, 1984)."The View XXVIII", 1974.Oil and graphite on canvas.Dated in the lower right corner. Signed, dated and titled on the back.This work will be included in the artist's Catalogue Raisonné.We thank Mr. Alfonso de la Torre for his invaluable help in cataloguing this lot.Measurements: 80.5 x 80.5 cm; 83.5 x 83.5 cm (frame).A soft, vaporous and reticulated brushstroke defines this conceptual landscape, in which Zóbel retains a certain vibration in the stroke, which denotes the transmutation of a changing reality, immersed in a completely personal atmosphere, which stands out for its lyricism and poetic aesthetics in the manner of artistic synesthesia. This work made in 1974 reflects the artist's interest in the landscape, and that balanced tension, which generates a view where the elements of nature are adapted to a contained abstraction. However, it should be noted that this work is also close to the series he made during the 80's, in which he introduced a change in the way of applying color, providing greater chromatic activity and playing with the gradations of tones, creating more dynamic and daring compositions.Historian, patron of the arts, university professor and collector are some of the adjectives corresponding to the figure of Fernando Zóbel, one of the most outstanding painters of the 20th century in Spain. The formation and cultivation of his personality, never ceases to develop, highlighting his love for books. He studied Medicine in the Philippines and graduated in Philosophy and Arts at Harvard University in the United States, being at this time when he became interested and involved with the pictorial world influenced by the Boston School, whose palette showed almost pure colors framed by a very marked drawing. Thus, in 1951 he took up the chair of Fine Arts at the Ateneo de Manila. Zóbel's evolution and need to develop a personal artistic language led him to explore the world of abstraction influenced by Rothko, or the expressionism of Pollock or de Kooning, working on very valid non-figurative proposals. To this, it is necessary to add the great influence and interest he felt towards oriental cultures, increasing this eagerness with his participation in a Chinese archaeological excavation discovered in the Philippine peninsula of Calatagan. As it was said, Zóbel's work drinks from the East, so much so that oriental calligraphy is the one that favors the presence of sinuous lines of great elegance, which can be appreciated in the work that concerns us, in which the meticulous and thoughtful previous work can be appreciated. And there is nothing left to chance in his apparently spontaneous painting, all of them contain a period of reflection and previous execution, because, as he said: "my process is the process of sketch, drawing, sketch and painting", a planning that gives rise to perfect scenographies formed by movement, lines, speed, space and light. His work is represented in important museums such as the Museo de Arte Contemporáneo Español in Valladolid, the Museum of Fine Arts in Boston, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Brooklyn Museum of Art in New York, the Joslyn Art Museum in Omaha (Nebraska), the Hispanic Society of America, as well as in collections such as Chase Manhattan Bank, the AENA Art Collection of Contemporary Art in Madrid, as well as the Banco Urquijo in Barcelona.
Los 88
MARÍA GUTIÉRREZ BLANCHARD (Santander 1881 - Paris 1932)."Woman's head", 1932.Oil on canvas.Work reproduced in the catalog raisonné of the artist, p. 660- 661 nº 309.Signed in the lower left corner (MB). Signed and dated on the back.Measurements: 60 x 50 cm; 62 x 52 cm (frame).In this portrait made in the last year of the artist's life, the author presents us with a work in which she unites and harmonizes all the plastic experiences that were part of her artistic trajectory. For this reason Blanchard conceives a portrait of cubist heritage, an influence that can be seen in the chromatic range based on ochers and grays, and in the treatment of the background, which seems to pounce on the figure, totally reducing the spatiality. However, Blanchard does not abandon realism, but forms a portrait of recognizable forms, heir to the portrait tradition and also brings a mature vision, typical of his last stage, defined through the use of a broad, fast and vibrant brushstroke, thus obtaining a work that stands out for its expressionist aesthetic.María Gutierrez Blanchard, usually known by her mother's surname, trained as a painter in Madrid, where she moved in 1903. Here she studied under the guidance of the painters Emilio Sala and Álvarez de Sotomayor. In 1909 she obtained a scholarship from the Diputación de Santander to study in Paris. In the French capital he received classes from Anglada Camarasa and Kees van Dongen, freeing him from his academic training and introducing him fully into the world of avant-garde art. In 1914 he returned to Madrid and began to attend Ramón Gómez de la Serna's gatherings at the Pombo café, participating in the controversial exhibition "Pintores íntegros". After devoting himself temporarily to teaching in Salamanca, in 1916 he returned definitively to Paris. From that year until 1920 he developed a cubist stage in which figurative references never disappeared. He was part of the Parisian cubist group and became friends with some of its members, such as Juan Gris, Lipchitz and André Lhote. In the 1920s he exhibited in exhibitions organized in Paris and Belgium. Among the works of his first stage stands out "The Communicant", presented with great success at the Salon des Indépendants in 1921. Between 1920 and 1932 he returned to a type of figurative painting, although cubist from the compositional point of view, in which the light treatment generates cottony textures. In Spain there have been two anthologies dedicated to the painter, one at the Biosca Gallery in Madrid (1962) and the other at the former Spanish Museum of Contemporary Art (1982). Maria Blanchard was both a great painter and a theoretician, since she organized gatherings in her Paris apartment, where different artists, including Juan Gris, discussed painting and the new trends that were taking place at the time.
Los 244
Rolex. A lady's stainless steel automatic bracelet watchModel: Oyster PerpetualReference: 177200Date: Purchased 9th November 2014Movement: 31-jewel Cal.2231 automatic, adjusted to 5 positions and temperature, No.56K5U869Dial: Sunburst blue, light blue Roman numerals with applied polished Roman numeral quarters, outer white minute divisions, polished baton hands, centre secondsCase: Brushed and polished tonneau form, screw down back, inside case back stamped 2300, No.17540477Strap/Bracelet: Brushed and polished 70160 Oyster linkBuckle/Clasp: Signed folding clasp, stamped X8TSigned: Case, dial & movement Size: 31mm Accompaniments: Rolex box, outer card, International Guarantee card, spare links, service pouchFor further information on this lot please visit Bonhams.com
Los 116
Printania Geneve - a gentleman's wristwatch, the 34mm light champagne baton dial having a subsidiary seconds dial and carries the emblem of Saudi Arabia, plain 38mm yellow metal cased marked 750, 18K and numbered 161873 119, strap model, in original Saudi box, the watch is running at present time although no guarantee is given.
Los 257
2 Dinky Toys. Triumph 1300 (162), finished in Light Blue, red interior and silver spun wheels and black tyres. Plus a Triumph Spitfire (114) finished in metallic gold with red seats complete with lady driver and seatbelt. Both boxed, some wear/creasing. Vehicles GC-VGC some light chipping only. £50-70 QGC-GC £50-70
Los 155
2 Corgi Toys racing cars. Vanwall Formula 1 Grand Prix (150S). In red with RN25, 'Vanwall' to one side and silver front. Plus a B.R.M. Formula 1 Grand Prix Racing Car (152S). In turquoise with Union flag and RN1 to front. Both with smooth spun wheels, black tyres and with drivers. Both boxed, minor wear. Vehicles VGC some light chips to Vanwall. £80-120
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534325 Los(e)/Seite