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Los 143
c1902 District Railway MAP OF LONDON, 6th edition (3rd version). The first tube lines are shown in blue with the Great Northern, Piccadilly & Brompton and the Baker St & Waterloo shown as under construction. The proposed City & Brixton Railway is still shown but now terminating at St George's Circus. An inset states that the District's new route to Upminster, Southend etc is now open. Linen-backed inside hard covers, opens out to 42" x 26" (107cm x 66cm). Light wear but generally in very good condition. [1]
Los 181
Quantity (11) of London MAPS & PLANS prepared in 1903/04 for the Royal Commission on London Traffic. Includes plans for an elevated railway along Chelsea Embankment, tramway subways in the Strand, proposed new street with trams above and trams/trains below, City & South London Railway with proposed extensions and Light Railways and Tramways in the County of Middlesex. A treasure trove of fascinating information. Generally in very good condition. [11]
Los 202
1919 London Underground Group (General Omnibuses) double-royal (approx) POSTER 'Barnes - route no 9' by L MacLeish. Depicts a peaceful river scene in the then tranquil municipal borough with a quote from 'The Lord my pasture shall prepare' by Joseph Addison. The 9 is one of London's oldest bus routes, largely unchanged throughout its history although the section covering Barnes is now numbered 209. Backed onto linen, the poster is in very good condition with some light staining at the edges and a short, repaired inward tear. [1]
Los 339
1839 "Gilbert's Railway Map of England and Wales" (so titled on cover) being a fold-out map from a small, hard-cover booklet "The Railways of England, containing an account of their origin, progress and current state; a description of the several parts of a railway and the history of their invention, together with a map with all the lines carefully laid down, both of those already constructed and those which are projected or in course of execution." 138pp booklet, the linen-backed, coloured map opens out to 12.5" x 15" (32cm x 38cm). Very good condition, just light wear. [1]
Los 353
c1928/9 London Underground linen-card POCKET MAP from the Stingemore-designed series of 1925-32. This is one of the two first issues of the larger, second series and is the one with the light green cover. These were issued before any of the early 1930s line extensions were projected. A very good example, crisp and firm, with just a little age-staining to the front part of the cover. [1]
Los 181
Vinyl & Autographs - Three vinyl records to include Peter Green's Fleetwood Mac Self Titled (Blue Horizon 7-63200) sleeve is Vg+ and signed to rear by Peter Green, Mick Fleetwood, John McVie and Jeremy Spencer with provenance from vendor, vinyl Vg- with many noticeable scuffs and light scratches, Mr Wonderful (Blue Horizon (s) 7-63205) Vg / Vg, and Cream Fresh Cream (Reaction 593001) mono Vg / Vg-
Los 162
A Chinese porcelain conical dragon lamp, painted in green, yellow, blue and aubergine enamels with reticulated hardwood base, 32 cm high o/a to/w a pair of large famille rose domed covers with guardian lion finials, painted with elegant ladies in various leisure pursuits, (3) The lamp has light wear to some areas or enamels, hardwood stand has several losses and some splitting, the famille rose covers have light wear to enamels but otherwise good condition
Los 188
An 18th century Chinese floriform cup and saucer, decorated in underglaze blue and iron red enamels, Qing period, to/w Japanese Imari box and cover and chrysanthemum shaped dish, both painted in the typical pallet or polychrome enamels with floral designs, and a Japanese gilt and green floral enamelled bowl with crackled glaze, signed, 11 cm diameter Chinese cup with 1 cm rim chip and repair to rim, saucer also chipped Imari box cover inside rim chipped, some areas of light wear to enamels
Los 291
Bronze fire-giltChina or Tibet , 17th centuryWeight: 1020 gramsDimensions: 17 x 12 x 8 cmSeated Buddha on reverse lotus base with both his legs crossed and the soles of the feet facing to the sky. The robe is covering his left shoulder and lower body. With his hands he is forming the dharmachakra mudra, the teaching of the dharma. The face is oval with tiny features, a light smile and the eyes are closed. The eyebrows are shaped in high arches with a stone inlet dot in the center. Elongated earlobes frame the face, tiny black curls cover the head and ushnisha topped by a diamond.
Los 152
Ink and light Colour on PaperChinaDimensions: 95 cm x 46 cmWang Shizi was a professor of traditional Chinese painting. The painting with spilled ink depicts a lotus pond after rain. After being washed by rain, the lotus leaves are more tender and the lotus flowers are more delicate. There is a lovely bird standing on the curved lotus stem. Everything looks vibrant and the whole painting is full of vitality. There is an inscription by Wang describing the painting in the lower left.
Los 161
Ink and light Colour on PaperChina , dated 1983Dimensions: 89 cm x 49 cmZhu Qizhan was a famous Chinese painter and professor of the Art Department of Shanghai Normal University. He was mainly engaged in oil painting creations before the 1950s, and began to devote himself to traditional Chinese painting since the 1950s. He was good at painting flowers. This picture shows three pots of calamus, vivid and lovely. There is a poem inscribed by Zhu on the right part of the painting. The text was inspired by the calamus and praises the calamus for its obscurity and perseverance, which also symbolizes the spirit of Chinese literati.
Los 28
James Cauty (British, b.1956)Covidian Culture, 2020A set of three Stamps of Mass Destruction sheets, gummed and perforated, initialled ‘AC’ and numbered 2/10 recto, gallery stamped and numbered 2/10 verso Each sheet measures 25 x 17 cm (9.8 x 6.7 in)Donated by L-13 Light Industrial Workshop.Condition:Good Condition / Unframed
Los 29
Jamie Reid (British, b.1947)Who Killed Bambi?, 2021Giclée printed in colours, signed in pencil lower right, with a logo, and numbered 24/300, published in Japan from Jamie Reid Archives Collection. Print on 290gsm Hahnemühle bamboo paper, with full marginsMeasures 63 x 61 cm (24.8 x 24 in)Donated by L-13 Light Industrial Workshop.Condition:New Condition / Print on Paper Unframed
Los 159
Pick Of Punch hardback book edited by William Davis. Published 1977 Hutchinson Of London 1st edition ISBN 0 09 127410 9. 192 pages. Fine condition. Dust cover has some shelf wear and a few light marks. End papers have some shadow from dust jacket. From TV Blockbusters presenters Bob Holness collection. All proceeds are being donated to the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £9.99. We can ship a 20KG box in UK for £12, Europe £40, US/ROW £80.
Los 160
TV's Greatest Hits hardback book by Anthony Davis. Published 1988 Boxtree Ltd 1st edition ISBN 1 85283 237 1. 141 pages. Fine condition. Dust jacket shows some shelf wear and a few light scratches. From TV Blockbusters presenters Bob Holness collection. All proceeds are being donated to the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £9.99. We can ship a 20KG box in UK for £12, Europe £40, US/ROW £80.
Los 213
VACHERON & CONSTANTIN. RARE ET LEGERE MONTRE DE GOUSSET EN ALUMINIUM REMONTAGE MANUELVACHERON & CONSTANTIN. A RARE AND LIGHTWEIGHT ALUMINIUM KEYLESS WIND OPEN FACE POCKET WATCHReference: 4348Date: Circa 1953Movement: Aluminium 17-jewel Cal.439/7 Swiss lever, cut and compensated bi-metallic balance, adjusted to temperatures, No.497837Dial: Silvered, applied polished Arabic numerals, black outer minute divisions, subsidiary seconds at 6, steel Breguet style handsCase: Polished aluminium, snap on back inscribed 'ALEXANDRE ALCONI, 1928 - 1953, BAUXITES DU MIDI', No.336629Signed: Case, dial & movementSize: 44mm Accompaniments: Vacheron & Constantin boxFootnotes:In the mid 20th Century Vacheron & Constantin were commissioned with the difficult job of making a series of watches predominantly out of aluminium. Despite being so notoriously lightweight, Vacheron & Constantin were able to succeed and the case and plates of these watches were all made out of aluminium. The result was an exceptionally light but sturdy watch.For further information on this lot please visit Bonhams.com
Los 230
FAVRE-LEUBA. MONTRE BRACELET DE PLONGEE EN ACIER AVEC PROFONDIMETRE MOUVEMENT MECANIQUEFAVRE-LEUBA. A STAINLESS STEEL MANUAL WIND DIVER'S WRISTWATCH WITH DEPTH GAUGEModel: Bathy 50Date: Circa 1960Movement: 17-jewel Cal.320 Peseux manual windDial: Grey with light grey and red chapter, applied faceted baton hour markers, outer 50 meter division scale, subsidiary seconds at 6, pointed baton hands with lollipop minutes, red baton hand for depth indicationCase: Brushed and polished cushion form, screw down crown and back, 60-minute graduated bi-directional revolving bezel, No.53253Strap/Bracelet: Black tropicBuckle/Clasp: Stainless steel buckleSigned: Case, dial & movementSize: 43mmFootnotes:One of the most revolutionary diver's watches ever made, the groundbreaking Favre-Leuba 'Bathy' was the world's first wrist watch to incorporate a mechanical depth gauge for measuring depth underwater.Dive time can be adjusted and monitored using the rotating bezel with 60-minute graduations and the minute hand. A diaphragm inside the case transmits the pressure changes underwater to the red hand of the depth gauge, which indicates depths up to 50 m on the outer dial scale. On ascent, a red scale on the dial supports the diver in keeping within the necessary decompression times.For further information on this lot please visit Bonhams.com
Los 198
A SITZENDORF PORCELAIN CANDELABRA, putti mounted stem, rose encrusted, fitted a triple branch, four light candle branch top, 53cmCondition Report: Two sconces loose on arms, losses to leaves and flowers part of one sconce missing. Stem leaf & flower losses, toes missing one cherub, and something one cherub holding in right hand, but considering how delicate and prone to damage, not as bad as could be.
Los 310
stretch jersey fabric over foam and metal frame74cm high, 228cm wide, 66cm deep (29in high, 89.5in wide, 26in deep)Footnote: "At Artifort, I started using new foam and rubber from Italy and a light metallic frame, combined with "stretch" material. Those new, rounder, more comfortable shapes were such a success that they're still being copied today. I have always considered design to be a mix of invention and industrial innovation." (Pierre Paulin) Renowned as a visionary and one of the great French 20th-century designers, Pierre Paulin (1927-2009) was revered for his modernist vision and chic style. His forward-looking furniture was embodied by simplicity, durability and functionality that had been inspired by the work of Charles and Ray Eames, Scandinavian furniture and the Japanese aesthetic. Somewhere between the organic and naturalistic, the flowing lines, surreal forms and use of rich colours and fabrics fostered a new space-age style that made him a firm favourite with the rich and famous, including two French presidents who commissioned him to decorate areas of the Élysée Palace in Paris.The Multimo sofa and armchairs were conceived in 1969 at a critical point in Paulin’s oeuvre. He was by then working for the Dutch firm Artifort, in that year he won the Chicago design award, whilst his furniture designs had also been acquired for the collection of the Museum of Modern Art, New York. The Multimo series conveys the main characteristics which placed him at the forefront of 20th-century furniture design practice with their graphic colours, smooth sculptural curves and chic sensuality. This is a rare and outstanding example of the designer’s furniture that infrequently comes to the market due to the fact that it was only made in very small numbers.
Los 311
stretch jersey fabric over foam and metal frame74cm high, 107cm wide, 84cm deep (29in high, 42in wide, 33in deep)Provenance:Private Collection, London.Footnote: "At Artifort, I started using new foam and rubber from Italy and a light metallic frame, combined with "stretch" material. Those new, rounder, more comfortable shapes were such a success that they're still being copied today. I have always considered design to be a mix of invention and industrial innovation." (Pierre Paulin) Renowned as a visionary and one of the great French 20th Century designers, Pierre Paulin (1927-2009) was revered for his modernist vision and chic style. His forward-looking furniture was embodied by simplicity, durability and functionality that had been inspired by the work of Charles & Ray Eames, Scandinavian furniture and the Japanese aesthetic. Somewhere between the organic and naturalistic - the flowing lines, surreal forms and use of rich colours and fabrics fostered a new space-age style that made him a firm favourite with the rich and famous, including two French presidents who commissioned him to decorate areas of the Élysée Palace in Paris.The Multimo sofa and armchairs was conceived in 1969 at a critical point in Paulin’s oeuvre, as he was now working for the Dutch firm Artifort, and in the same year he had won the Chicago design award, whilst his furniture designs had also been included in the collection of the Museum of Modern Art. The Multimo series conveys the main characteristics which placed him at the forefront of 20th Century furniture design practice with the graphic colours, smooth sculptural curves and chic sensuality and is a rare and outstanding example of the designer’s furniture that infrequently comes to the market due to the fact that it was only made in very small numbers.
Los 120
signed and dated (lower right), oil on canvas61cm x 51cm (24in x 20in)Provenance:Ernest, Brown & Phillips, The Leicester Galleries, London.Footnote: Ivon Hitchens was born into an artistic family and studied at St John’s Wood School of Art and the Royal Academy in London where Clausen and Sargent were among his teachers. Along with contemporaries Ben Nicholson, John Piper and Barbara Hepworth, he joined the Seven and Five Society and the London Group in the 1920s, both of which declared a firm position away from the artistic mainstream of the time. Hitchens had a quiet demeanour but maintained close contact with his contemporaries, holidaying with the Nicholsons, Barbara Hepworth and John Skeaping and exhibiting with Victor Pasmore and Ceri Richards. He did, however, prefer the peaceful surrounds of East Sussex to the hustle and bustle of London. Marrying Mary Cranford Coates in 1935, the war forced him to leave London in 1939 and he bought a caravan and six acres of woodland at Lavington Common near Petworth, East Sussex, whilst keeping his Hampstead studio. The following year a bomb damaged that and the Hitchens family moved permanently to Lavington Common, retaining the caravan which later on in his life served as guest living quarters. It was in the mid to late 1930 that Hitchens departed from his experiments with reductive abstraction to evolve his own personal style of abstract figuration.In art historical terms, the biggest influence felt in Hitchens’ work is that of Cézanne. Not only did he find Cézanne’s approach to deconstructing the motif helpful to his own work but in the same way that Cézanne was able to paint his own artistic vision of Provence, Hitchens dedicated much of his career to depicting his beloved East Sussex. His approach to painting is enormously indebted, as with many twentieth-century artists, to Cézanne’s insistence on conveying the underlying structure of his subject matter. The viewer is always aware of the backbone of his composition and how all components fit together.The vast majority of the Hitchens’ large output is painted on canvases of three specific sizes. In narrow long ‘Cinematoscope’ shape, Hitchens was dedicated to painting the Sussex landscape but he did depart from that to depict the nude and some impressive still lifes, the present canvas being a splendid example. In a conversation with T G Rosenthal, he stated: "I love flowers for painting. One can read into a good flower picture the same problems that one faces with a landscape, near and far, meaning and movements of shapes and brush strokes. You keep playing with the object." The flowers appear to have been posed in the artist’s home in East Sussex.Hitchens’ painting style can be described as highly selective, with economical brushstrokes, long sweeping lines of paint and a delicate balance between light and shade, substance and void. He describes his approach to painting volume and space as such: "I am really only interested in the structure of the three-dimensional canvas – the visual structure...It’s really converting the current distance of reality, near and far and half-way, into two dimensions so that only as your eye travels around the passage, the two dimensional passage, dark to light and light to dark, warm to cool, cool to warm or broad up to narrow – as it travels along those things – so it suddenly subconsciously finds that it’s doing something in depth as well."In a conscious effort to distract the viewer from immediately and instinctively seeking a recognisable figurative pattern, a conventional three dimensional object, Hitchens paints in a way which first demands that we explore the two dimensional canvas: the juxtaposition of cool and warm shades, light and dark tones, a variety of edges, textures and organic lines. Then and only then do we identify the flowers bowing their heads towards the viewer, perhaps the blue sky seen through a window on the left. It is not three-dimensional shading that conveys the presence of the flowers in conventional perspective but rather the layering of fields of colour one on top of each other that implies recession into space. The compositional elements in this flower piece take on a general structural role, and Hitchens, not unlike Cézanne, blurs the lines between still life and landscape. Thus the area on the left becomes a general sign for the sky whereas the dark linear shape on the right could be a wall by a country lane or a fence.Unlike that of some of his contemporaries, Hitchens’ work did not undergo dramatic shifts in style or subject matter so that after he synthesised his approach by around the early to mid 1930s his works can be difficult to place precisely within a chronology.
Los 309
series 3, number 96, titled and numbered on 'Unlimited Bath Widcome Manor' label (to underside), enameled aluminium, chrome-plated metal, plastic, glass and electric system220cm high, 23cm wide, 26cm deep (86.7in high, 9in wide, 10.25in deep)Footnote: “It’s only about revealing, in one way or another, the sensory vibrations or the interlacing potentials for energy that exist in the universe […] I think that’s the role of an artist” (Takis in an interview in G. Brett & M. Wellen (ed.s), Takis, Tate Modern, London and tour, exh. cat., 2019) Panayiotis Vassilakis, known as Takis, is considered one of the most important figures of international contemporary art. Despite having no formal training and not beginning to practice art until the age of twenty, Takis became one of the leading artists of the twentieth and twenty-first century, in particular for his development of kinetic art from the late 1950s. His early work in the 1940s was strongly influenced by Picasso and Giacometti – their exaggerated, caricatural figures were particularly interesting to the young artist. The 1950s saw Takis begin his instantly recognizable Signals series, one which he returns to throughout his career. It is said that his inspiration for this series arose while waiting for a train and becoming fascinated by the trackside signals, which provoked him to reject representational art and pursue sculpture that includes light and movement. These sculptures are imposing, otherworldly creations topped with metal shapes or flashing lights which sway in response to vibrations around them. This series would go on to include motors, bulbs, and fireworks and demonstrates his interest in researching movement and energies. His interest in the interlacing potentials for energy was so prolific that he was awarded a scholarship at the Massachusetts Institute of Technology in the Center of Advanced Visual Studies where he continued his studies into electromagnetic forces and the importance of energy binding us together. We are delighted to offer the important number 96 from Series 3 of the Signals series dating to 1968. This piece comprises two long enamelled aluminium poles standing over two metres high with flashing green, amber, and orange lights to the top. These long, flexible rods bend and move to create an almost musical harmony of colour and vibration. Takis’s legacy is clear from his extensive career: from his first one-man show in London in 1955 to his retrospective at Tate Modern in 2019, months before his death at the age of 93. Not only remembered for his important contribution as a visual artist, in 1969 he was also a co-founder of the Art Workers’ Coalition who fought for economic and political rights for artists in New York. Moreover in 1986 he founded the Takis Foundation in Athens, a foundation whose mission is to research and develop the arts and sciences, continuing his work and ensuring his legacy. The works of Panayiotis Vassilakis are important both in the development of a new aesthetic language exploring vibrations and light, and in their scientific exploration of energy. His work, and particularly his celebrated Signals series can be found in many important public collections such as Tate Modern in London, MoMA in New York, and in the UNESCO art collection in Paris.
Los 134
maker's label, the drop-in seat stamped '17', laminated wood88cm high, 54cm wide, 42cm deep (34.6in high, 21.2in wide, 16.5in deep)Footnote: Literature: Studio Yearbook of Decorative Art, 1949, p. VIII (advertised);''Austerity to Affluence: British Art & Design 1945-1962'', The Fine Art Society, London, 1997, p. 14 and p. 22, cat. no. F27 (an example of chair illustrated);Long, Philip and Thomas, Jane (Edit.) ''Basil Spence'', Architect National Galleries of Scotland in Association with RCAHMS, Edinburgh 2008, p. 52 and p. 54, fig. 55 (another example illustrated). Sir Basil Spence was one of the leading British architects and designers of the 20th century, whose monumental or ''brutalist'' style came to define modern architecture in Britain. Noted commissions include designs for several exhibitions including the Sea and Ships Pavilion for the Festival of Britain (1951), Sussex University (1962), Glasgow Airport (1966), and Coventry Cathedral (1954-62), for which he received a knighthood. In 1947 Neil Morris of manufacturers Morris of Glasgow asked Spence to collaborate on a range of plywood furniture, which was to include his Bambi chair and celebrated Cloud table. The result was the Allegro dining suite, which was awarded a Diploma by the Council of Industrial Design in January 1949. In March of the same year it was exhibited at the Glasgow Today and Tomorrow exhibition, where it was commended, and an example of the armchair was commissioned by the Museum of Modern Art, New York for their collection. In September 1949 it was displayed at the Morris stand, also designed by Spence, at the Scottish Industries Exhibition. In 1951 another single armchair was commissioned for the collection of the Victoria & Albert Museum in London (V&A CIRC.183-1951). The manufacture of the Allegro suite found its origins in wartime innovation. The Southampton-based manufacturer of helicopters, Cierva Autogiro, had developed techniques of laminating and shaping wood to make strong and light helicopter blades - these blades were supplied by Morris of Glasgow by 1946, and the same technology was applied to this remarkable suite of furniture soon afterwards. Over one hundred layers of wood were bonded together under high frequency electrical pressure with phenoformaldehyde, a synthetic resin. The wood is then shaped and carved to produce the chairs, table and sideboard. Whilst it is now acknowledged as a landmark in immediate Post-War British furniture design, the immense expense of this manufacturing process meant that it went into extremely limited production, and as a result examples are extremely rare. In 1950 a single chair was advertised at £31 18s 3d, at a time when the average British annual income was just £101.
Los 356
aluminium and glass bulbsapproximately 93cm diameter (36.5in diameter)Footnote:The Taraxacum 88 hanging lamp was designed for the Euroluce international lighting show in Milan. The lamp was manufactured in three sizes. The smallest version has three bulbs per triangular facet, the medium-sized lamp has six bulbs per facet (offered here) and the largest lamp has ten bulbs on each side. Being sold with 50 light bulbs which fills approximately half the light.
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534325 Los(e)/Seite