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Preisdatenbank abonnierenMake & Model: L'Rover Freelander SE TD4Date of Reg: BU08 HSAColour: Greycc: 2179MoT: 12-03-2021Fuel Type: DIESELMileage: 228KTransmission: AUTOSummary: Privately owned and entered since April 2016. 2 keys (not tested).Vehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=120300
Make & Model: BMW X5 D SportDate of Reg: YX02 VYGColour: Blackcc: 2926MoT: 24-05-2021Fuel Type: DIESELMileage: 156KTransmission: AUTOSummary: Service book x 4 stamps and bill/invoices. 2 keys (not tested).Sold with an after sales test driveVehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=120302
Dame Barbara Hepworth (British, 1903-1975)Seated Figure and Reflection signed and dated 'Barbara Hepworth. Dec. 1947' (lower right)oil and pencil on card35.5 x 36 cm. (14 x 14 1/4 in.)Footnotes:ProvenanceDr Andrew RevaiPauline Hayward, thence by family descentPrivate Collection, U.K.ExhibitedLondon, The Lefevre Gallery, Paintings by Barbara Hepworth, Paintings by L.S. Lowry, April 1948, cat.37Apparently unseen in public for over seventy years, this sublime drawing by Hepworth, Seated Figure and Reflection, is among her earliest pieces from a series of figurative drawings begun late in 1947 which introduced her surgical works of 1948-49.They are commonly referred to as 'drawings' rather than paintings as the employment of gesso and oil are used to prepare the board, remaining secondary to the draughtsmanship. In the present lot a subtle, pale green wash has been applied to the ground which brings the picture to life. The pencil lines are purposeful and delicate, with areas of sensitively applied shading to indicate form, such as under the thighs and breasts.In 1966 Alan Bowness remarked:'The earliest of the figure drawings were done at the end of 1947 and in 1948. In each case we have two views of the same model. One subsidiary to the other. There is no suggestion of a fixed pose – which the artist dislikes intensely. She asks the model to move about naturally, pausing or resting at certain moments, but never taking up an artificial position. By preference she has used trained dancers on holiday, rather than professional artists' models. In the 1930s she had often watched dancers at work, and even drew ballet subjects, but as with Degas the interest was not in ballet as such, but in the nature of human movement.' (Alan Bowness, Barbara Hepworth, Drawings from a Sculptor's Landscape, Cory, Adams & Mackay, London, p.20).Unlike most of the drawings from this period both studies of the same model carry equal weight. They are as its title suggests, reflected, but at the same time could be engaged in dialogue, separated by playful curvy lines which mirror those of the naked bodies. This sense of movement is paramount and expertly conveyed by the artist's rhythmic lines, from the waves of the hair to the overlapping marks of their legs. Nothing in this exquisite study seems still or fixed.We are grateful to Dr Sophie Bowness and Jenna Lundin Aral for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Dame Barbara Hepworth (British, 1903-1975)Maquette (Variation on a Theme) bronze with a brown and white patina43.8 cm. (17 1/4 in.) high (excluding the wooden base)Conceived in 1958, the present work is number 2 from the edition of 9Footnotes:ProvenanceWith Laing Gallery, TorontoMichael Tollemache, 1970With James Goodman Gallery, New York, 1971Private Collection, U.S.A.With James Goodman Gallery, New York, September 1999, where purchased byWith New Art Centre, Salisbury, February 2000, where purchased byRoss D. Siragusa Jr., from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedOttawa, National Gallery of Canada, Recent British Sculpture, organised by the British Council, 13 April 1961, cat.no.4 (another cast); this exhibition travelled to Québec, Montreal Museum Of Fine Arts, May, Winnipeg, Art Gallery, June, Regina, Norman Mackenzie Art Gallery, July, Toronto, Art Gallery Of Ontario, August, London (Ontario), Regional Art And Historical Museum, September, Vancouver, Vancouver Art Gallery, 1-30 April 1962, Aukland, City Art Gallery, 5-29 July, Wellington, Dominion Gallery, 21 August-9 September, Dunedin, Otago Museum, 9-28 October, Christchurch, Canterbury Museum, 20 November-9 December, Adelaide, Art Gallery Of South Australia, January 1963, Canberra, Australian National Museum, 13 January-23 February, Perth, Art Gallery Of Western Australia, 24 January, Adelaide, Adelaide Festival, 4 April-5 May, Hobart, Tasmanian Museum And Art Gallery, May, Launceston, Queen Victoria Art Gallery, 30 May, Melbourne, National Gallery Of Victoria, July, Sydney, Art Gallery Of New South Wales, August, Brisbane, Queensland Art Gallery, September, Newcastle, Newcastle Region Art Gallery, October and Canberra, National Gallery, 1 January-31 March 1964London, Whitechapel Art Gallery, Barbara Hepworth: An Exhibition of Sculpture from 1952-1962, May-June 1962, cat.no.37 (another cast)Florence, British Arts Council, Barbara Hepworth: Mostra Fotografica con Disegni e Originali, 8-16 October 1966, cat.no.4 (another cast)New York, Memorial Art Gallery, Twentieth Century Art: The Charles Rand Penny Collection, November 1983-August 1984, cat.no.47 (another cast); this exhibition travelled to New York, State University Art Gallery, October-December 1984, California, San Jose Museum of Art, September-November 1985, Wheeling, Stifel Fine Arts Centre, January-March 1986, Baton Rouge, Louisiana Arts and Science Centre, April-May, Tampa, Tampa Museum of Art, June-July, Little Rock, Arkansas Art Centre, August-September, Oklahoma, Oklahoma Art Centre, November-December, Jackson, Mississippi Museum of Art, January-February 1987, Spokane, Cheney Cowles Memorial Museum, June-July, Oshkosh, Paine Art Centre, September-November, Texas, Beaumont Art Museum, January-February 1988 and Shreveport, Meadows Museum, March-May 1988Liverpool, Tate, Barbara Hepworth: A Retrospective, 14 September–4 December 1994, cat.no.57 (another cast); this exhibition travelled to New Haven, Yale Centre for British Art, 4 February-9 April 1995 and Toronto, Art Gallery of Ontario, 19 May-7 August 1995LiteratureJ.P. Hodin, Barbara Hepworth, London, Lund Humphries, 1961, cat.no.247 (ill.b&w) (another cast)Matthew Gale and Chris Stephens, Barbara Hepworth, Works in the Tate Collection and the Barbara Hepworth Museum St Ives, Tate Publishing, London, 2001, p.182Owing to her desire to have direct contact with materials, Barbara Hepworth came to bronze casting somewhat later in her career with the first appearing in 1956. Alongside wood and stone, bronze was a medium which the artist would continue to explore until the end of her life, producing some of her finest and most memorable work from it. Maquette (Variation on a Theme) was conceived in 1958 and belongs to the early stages of development in one of the artist's important commissions. At Lillian Somerville of the British Council's recommendation, Hepworth was put in touch with the architects Trehearne & Norman Preston who were designing a sixteen-story office block on High Holborn for The Wohl Group. This was to become the now demolished State House with the sculpture presiding over the entrance titled Meridian. As Somerville explained, 'for once these architects do not want symbolism or a subject or a theme but an abstract sculpture', which must have been a particular draw for the artist (M. Gale and C. Stephens, Barbara Hepworth, London, 1999, p.182). Indeed, in an interview at the time, Hepworth described how 'with this commission I felt no hesitation whatsoever. By next morning I saw the sculpture in my mind quite clearly. I made my first maquette, and from this, began the armature for the working model. The architect must create a valid space for sculpture so that it becomes organically part of our spiritual perception as well as our three-dimensional life. To do less is to destroy sculpture and admit to an impoverished architecture' (P. Curtis and A.G. Wilkinson, Barbara Hepworth, A Retrospective, Liverpool, Tate Gallery, 1994, pp.154-155). Following an initial plaster model, Hepworth first created Maquette for State House (Meridian) (BH 245), which was later cast in an edition of 9. The present work, Maquette (Variation on a Theme), followed and was also to be cast in an edition of 9 with this being number 2. The work displays a complex tangle of ribbons which bind together and form triangular loops with the ultimate intention of contrasting with the building's linear architecture. The sculpture is clearly derived from the landscape with its strong sense of form and texture which was always at the forefront of the artist's mind. Maquette (Variation on a Theme) conveys a vivid sense of the artist's experience with the childhood memories of hills in Yorkshire and the weathered coast of Cornwall both translated into sculptural form. When explaining her choice of title for Meridian to the architect Harold Mortimer, Hepworth commented that 'it refers either to an imaginary arc of longitude (quintessentially, the Greenwich Meridian) or to the highest point in the arc of the sun' (M. Gale and C. Stephens, loc. cit.). Meridian was erected in London in 1960, the year after Hepworth claimed the Grand Prix at the Sao Paulo Art Biennial and was unveiled in front of a wall of Cornish granite by Sir Philip Hendy, Director of the National Gallery. Upon its demolition in 1990, the sculpture was sold to the Donald M. Kendall Sculpture Gardens in Purchase, New York, which is the headquarters of PepsiCo. The success of Meridian was an important development for Hepworth and led to future commissions including Winged Figure for the John Lewis building on Oxford Street. We are grateful to Sophie Bowness for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Yiannis Tsarouchis (Greek, 1910-1989)Portrait of a Young Man signed in greek and dated '16-10-66' (upper left) oil on canvas47 x 38 cm. Painted in 1966.Footnotes:ExhibitedThessaloniki, Tellogleio Art Institute, Selections of a Bold Collector, Stavros Tsigkoglou, February 2017, no. 94 (illustrated in the exhibition catalogue, p. 175).Distilled with marvellous restraint, this captivating portrait of a young Greek male epitomizes the artist's signature subject. Impeccably painted in earthy colours, highlighted by solid outlines, and handled with confident brushwork, the work conveys a sense of immediacy and presence, distantly echoing Gysis's psychologically acute portraits. The honesty of representation, genuineness of character and purity of form give this portrait its power and directness, impelling the viewer to scratch beyond the veneer to seek the inner world of the young Greek. As noted by D. Kapetanakis, 'Tsarouchis managed, with the wisdom of his art, to elevate a model posing in his studio into a symbol of the Modern Greek spirit.'1 As noted by Athens National Gallery Director M. Lambraki-Plaka, 'in Tsarouchis's work, the human figure managed to survive three sins: the primordial, the academic and the 'modern'. With the latter one I mean modern art's iconoclastic crusade, which never tired to demolish, distort or expel the human form. Tsarouchis did not give in to this negative aesthetic theory which preached the systematic rejection of the rules of Western tradition. He is one of the few painters who managed to cross the tempestuous 20th century by keeping intact the precious human figure.'2 1 D. Kapetanakis, Yiannis Tsarouchis, Return to Roots, Nea Grammata magazine, 1937.2 M. Lambraki-Plaka, 'Yannis Tsarouchis, the Icon and the Work' [in Greek], Lexi magazine, no. 73, March-April 1988, p. 229. See also Osei Myra, Yannis Tsarouchis 1910-1989 [in Greek], Kastaniotis editions, Athens 1998, p. 452. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Voyages.- Anson (George) A Voyage Round the World in the Years MDCCXL, I, II, III, IV..., edited by Richard Walter, first edition, first issue with p.319 misnumbered "219", list of subscribers, 41 folding engraved maps and plates only (of 42, lacking 'View of Commodore's Tent at the Island of Juan Fernandes'), with Directions to Binder leaf at end, some foxing and browning, a few creases to maps at folds and minor tears repaired, paper flaw tear to 2Q4 but no loss, bookplate of M.H.Bloxam, contemporary calf, a little rubbed and scuffed, corners worn, rebacked preserving old gilt spine with red roan label, another label renewed, [Hill 1817; Sabin 1625 & 101175], 4to, for the Author, by John and Paul Knapton, 1748.⁂ The official account of Anson's voyage, with reference to Alexander Selkirk (the model for Robinson Crusoe) on p.120.
HERMÈS Eperon. HERMÈS Eperon. France. Ca. 1952. Pig's leather with sailcloth H, 22,5 x 19,0 x 10,0 cm. The Sac EPERON from Hermès is certainly a highlight of the pre-Christmas auction in our house. This model was first designed in black crocodile leather in 1940 for Rita Hayworth by Robert Dumas. Rita Hayworth, Hollywood goddess of the time, was so popular that her face adorned even the bombers of the American army. The international customers of the Hermès company were later able to have a model made individually in various colors and materials. Each bag was a unique piece of craftsmanship from the studios on Rue du Faubourg Saint-Honoré. The bag offered today was individually ordered by the then customer for his wife in natural pigskin leather in a combination with Toile H, an iconic fabric of the house, and delivered to her before Christmas 1952 with her initials embossed on it. Even the order card still exists and impressively documents the provenance. This piece is a special example of how the classic and valuable workmanship is still just as desirable and highly topical after 68 years. The Toile H combined with Barenia leather is today one of the favorite combinations of true Hermès connoisseurs. Now the wonderfully preserved piece is back on the Christmas table after 68 years. Original packaging enclosed. Condition as good as new. Explanations to the Catalogue Hermès Luxury goods Estimated Shippingcost for this lot: Germany: 26,89 Euro plus 5,11 Euro VAT EU: 46,22 Euro plus 8,78 Euro VAT Worldwide: 92,44 Euro plus 17,56 Euro VAT additional shipping insurance
TIFFANY & CO. TIFFANY & CO. USA. Um 1990. 750/- Gelbgold, Punze, Gesamtgewicht: ca. 17,5 g. Collier 39,0 cm, Ohrstecker Länge 2,1 cm. Ca. 118 Akoya-Zuchtperlen Ø ca. 3,0 - 8,2 mm. Perlen in feiner Qualität. Signatur "T & Co" sowie Datumsstempel des Modells "1994". Tiffany Blue Box, Etui und Staubbeutel anbei. Tiffany & Co. Schmuck 1990er Set Gelbgold Perle USA Erläuterungen zum Katalog TIFFANY & CO. Pearl-Set: Necklace and Ear Studs. TIFFANY & CO. USA. Ca. 1994. 750/- yellow gold, with mark, total weight: ca. 17,5 g. Necklace 39,0 cm, ear studs length 2,1. Approx. 118 Akoya cultured pearls Ø ca. 3,0 - 8,2 mm. Pearls in fine quality. Signature "T & Co" as well as date stamp of model "1994". Tiffany blue box, etui and dust cover enclosed. Explanations to the Catalogue Tiffany & Co. Jewellery 1990s set Yellow gold Pearl USA
A. LANGE & SÖHNE A. LANGE & SÖHNE Lange 1. Deutschland. Um 2009. Handaufzug. 950/- Platin, Orig.-Armband und Faltschließe, Zffbl. bedruckt, lackiert, Zeiger silbern. Gesamtgewicht: ca. 121,0 g. Ø 3,8 cm. Gehäuse-Nr.: 133099. Referenz-Nr.: 101.025. Werk-Nr.: 21975. Handaufzugs-Manufakturwerk mit Doppelfederhaus in massivem Platingehäuse. Mit dem Modell "Lange 1" sorgte die Manufaktur zum Neubeginn 1994 in der Fachwelt für großes Aufsehen. Die Datumsanzeige setzte weltweit neue Trends. Orig.-Box, Umkarton und Papiere anbei. Zustand C: Werk: Guter Zustand, leicht oxidiert. Zifferblatt: Sehr guter Zustand. Gehäuse: Guter Zustand, Tragespuren. A. Lange & Söhne Deutschland Armband- & Taschenuhren Armbanduhr Handaufzug 2010er Platin Deutschland Erläuterungen zum Katalog Lange 1. A. LANGE & SÖHNE Lange 1. Germany. Ca. 2009. Hand wound. 950/- platinum, orig. strap and deployant clasp, dial imprinted, lacquered, hands silver. Total weight: ca. 121,0 g. Ø 3,8 cm. Case-No: 133099. Reference-No: 101.025. Movement-No.: 21975. Hand-wound, manufactored movement with mit double barrel in solid platinum casing. After its refoundation in 1994, the manufacture house attracted much attention in specialist circles with its model \"Lange 1\". The date display set new trends world wide. Orig.-box, carton and papers enclosed. : Movement: Good condition, slightly oxidised. Dial: very good. Case: Good condition, worn. Explanations to the Catalogue A. Lange & Söhne Germany Wrist & Pocket Watches 2010s Platinum Germany
CARTIER CARTIER Frankreich. Um 1930. Platin, getestet, Gesamtgewicht: ca. 18,5 g. Länge 18,0 cm. 36 Altschliff-Diamanten zus. ca. 3,3 ct., 32 Achtkant-Diamanten zus. ca. 0,8 ct., J-L/VS-SI. 56 eingeschliffene, facettierte Onyx-Elemente in Rauten- und Karree-Form. Cartier Modell-Nummer 4004. Signatur "Cartier". Französische Platin-Punze ab 1927, vgl. Tardy S. 33. Cartier-Ledermäppchen anbei. Cartier Schmuck 1930er Armband Platin Diamant Frankreich Erläuterungen zum Katalog CARTIER Art Déco Diamond-Onyx-Bracelet. CARTIER France. ca. 1930. Platinum, tested, total weight: ca. 18,5 g. Length 18,0. 36 old-cut diamonds in total ca. 3,3 ct., 32 8/8-cut diamonds in total ca. 0,8 ct., J-L/VS-SI. 56 faceted onyx-elements in diamond- and carré-shape. Cartier model-no. 4004. Signature "Cartier". French platinum mark from 1927, comp. Tardy p. 33. Cartier etui enclosed. Explanations to the Catalogue Cartier Jewellery 1930s Bracelet Platinum diamond France
NARDI NARDI Italien, Venedig. Um 2010. 750/- Gelbgold, Punze, Silber, Gesamtgewicht: ca. 26,8 g. 5,7 x 3,8 cm. 7 rosa Saphire im Brillant-Schliff zus. ca. 0,9 ct., 13 Tsavorite zus. ca. 1,1 ct. 5 weiße Zuchtperlen Ø ca. 4,4 - 8,5 mm, geschnitztes Holz. Signiert Nardi, 03/11, Modell Paola, Juwelierpunze. Originaletui anbei. Provenienz: Aus süddeutschem Adelsbesitz. Nardi Schmuck 2010er Brosche Gelbgold Saphir Italien, Venedig Erläuterungen zum Katalog NARDI Paola. NARDI Paola. Italy, Venice. Ca. 2010. 750/- yellow gold, with mark, silver, total weight: ca. 26,8 g. 5,7 x 3,8. 7 rose sapphires in brilliant-cut in total ca. 0,9 ct., 13 tsavorites in total ca. 1,1 ct. 5 white cultured pearls Ø ca. 4,4 - 8,5 mm, carved wood. Signed Nardi, 03/11, model Paola, jewellers mark. Original etui enclosed. Provenance: from southern Germany noble property . Explanations to the Catalogue Nardi Jewellery 2010s Brooch Yellow gold Sapphire Italy, Venice
A MEISSEN GROUP OF AUGUSTUS III AND MARIA JOSEPHA, LATE 19TH CENTURY after the model by Johann Joachim Kändler (1706-1775), depicted standing holding hands, he with a snuff box in his other hand, she in wide crinoline dress holding a fan, on a mound base applied with flowers, underglaze blue crossed swords mark, incised 550, impressed 137, painted 18. 28cm long
A FRENCH MINIATURE GILT BRONZE BUST OF AN ELEGANT YOUNG WOMAN, CAST FROM A MODEL BY EUGENE HANNOTEAU, C1900, ON MARBLE SOCLE WITH BRONZE BASE, 15CM H AND A MINIATURE BRONZED METAL STATUETTE OF SANTA MARIA DE MONTSERRAT (2) Bust - gilding rubbed and socle re-stuck. Second item in good condition
RAILWAY INTEREST. A RARE MAHOGANY AND MAHOGANY STAINED NIGHTWATCHMAN'S WALL TIMEPIECE FOR THE LONDON, MIDLAND AND SCOTTISH RAILWAY CO, JOHN SMITH & SONS DERBY, SECOND HALF 19TH C, THE FUSEE MOVEMENT WITH SQUARE FRONT PLATE AND TAPERED BACKPLATE, ROTATING DIAL INSCRIBED JOHN SMITH & SONS MIDLAND CLOCK WORKS DERBY IMPROVED TELL TALE, 44.5CM H, MAKER'S ROUND ENAMEL TRADE LABEL AND OVAL EMBOSSED BRASS LMS NUMBER PLATE STAMPED 10991, HOBBS & CO BRASS LEVER DOOR LOCK, PENDULUM AND TWO KEYSPROVENANCE: (REPUTEDLY) BURTON ON TRENT RAILWAY STATIONCOMPARATIVE LITERATURE: LYMAN (I. P.) - RAILWAY CLOCKS, 2004, Fig. 4.131 AND 4.132, AN IDENTICAL EXAMPLE SUPPLIED TO THE MIDLAND RAILWAY WITH LM & SR PLATE NUMBER 12419, FROM AN ORIGINAL UNKNOWN LOCATION A good example of this rare model in apparently complete and working order, dial plate much worn and showing brass, but most of the inscription legible
Byron (May) & Preston (Chloe) The Peek-A-Boos in Town, Henry Frowde/Hodder & Stoughton, no date, oblong folio, sixteen colour plates, original cloth-backed pictorial boards (wear to edges); Weedon (L.L.), Fletcher (Evelyn) et al, The Model Menagerie, A Novel Picture Book of Wild Animals, Ernest Nister/ Dutton, no date, oblong folio, six pop up colour plates, original cloth-backed pictorial boards (worn); with one other (3)
Victorian and later miscellaneous ceramics A/F to include a Wedgwood creamware part dinner service, soup tureens and ladles, mixed tea cups with saucers, a Royal Copenhagen coffee can, a Union Reform jug A/F, together with mixed items to include shirt studs, a trio of modern Chinese boxes, and hardstone necklace, a lighthouse model and mixed glassware
A collection of 1980s and later figurines to include a model of an Essex cricketer batsman artist monogram JM '89, a policeman, a cameraman from the Fairweather collection, two resin owls, and other items, a group of Del Prado painted metal figures of Napoleon, Wellington and Imperial Guard drummers
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