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Lot 324
A collection of costume jewellery to include a Scandinavian silver and enamel brooch of black and white abstract design stamped Balle Sterling Norway 925S, a silver and enamel abstract leaf brooch, silver and blue enamel leaf brooch and earrings, various mid 20th century brooches and earrings, a Sterling silver expandable bangle with bright cut decoration and a silver cigarette box with engine turned cover. (lot)
Lot 361
A silver gilt Norwegian Skonvirke brooch by Marius Hammer, of pierced circular form with hanging convex discs, approx 6cm diameter, together with a silver gilt and green enamel leaf design bracelet by David Andersen, approx 17cm long and a textured silver bracelet of abstract design with blue enamel detail, stamped 800 AR(?) approx 20.5cm. (3)
Lot 495
Ralph Leslie Swinden ARCA, British 1888-1967- "First Night Back-Stage"; pencil, watercolour and gouache, inscribed, bears numerous signatures of the cast in pen and ink on the mount, to include Nancy McDermid, Charles Simon, Elizabeth Home, John Blagden, Olga Smith, Maurice Hansard, Pat Ray, Arthur Lloyd and others, 37x25cm: Mid 20th Century- Standing female nude, (recto) (verso); gouache, 61.7x44.3cm: South East Asian School, early-mid 20th century- Exotic dancer by a shrine; gouache, 27.543cm: Mid-Late 20th Century- Abstract composition; acrylic on paper, signed in pencil, 40x28.5cm: British School, late 19th/early 20th century- Portrait of a young boy standing full-length; watercolour, 19.5x10.2cm: Late 20th Century- Portrait of an Oriental lady; pen and black ink and wash, 50.5x37.5cm: British School, late 20th century- Still .life with a Staffordshire figurine; pencil, squared, signed with initials `WI` and dated 88, 42x29.5cm: European School, early 20th century- Figures and farm animals in a paddock; watercolour, 19x23.5cm., (8) (unframed) (may be subject to Droit de Suite)
Lot 585
AMENDMENT- The correct description for this lot is as follows and not as previously stated - Rudolph Jacobsen, Danish 1894-1955- Flowers in pots; oil on canvas, signed and dated 37, 63.5x80.5cm., (unframed) (may be subject to Droit de Suite) Estimate £120-180 - Elizabeth Neylan, British b.1946- "Mariachi Band Ambush"; oil on canvas, signed, titled and dated 2006 on the reverse, 60x60cm: Anthea Stilwell, British late 20th/early 21st century- Abstract composition in blue and green; oil on board, signed with initials, 51x76.5cm, (2), (part unframed), (may be subject to Droit de Suite)Provenance: from the collection of Joanna Lumley
Lot 622
Alison Turnbull, British b.1956- Untitled abstract composition; oil on paper, signed and dated 1989 in pencil, 40x54cm. (may be subject to Droit de Suite) Provenance: The Deloite Art Collection: lot 112 Lyon & Turnbull sale January 10th 2008 Note: to be sold with three exhibition catalogues on the artist`s work
Lot 655
Nicky Neate, British, late 20th/early 21st century- Untitled abstract composition; watercolour, gouache and mixed technique, 68x72cm: Nicky Neate, British, late 20th/early 21st century- Untitled abstract composition; gouache and silver coloured paint, 44x32cm., (mounted) (unframed): Pauline Poupko Meehan, Irish b.1963- Untitled; etching with aquatint, signed, numbered `1/10 and dated 95 in pencil on the mount, 49x33cm: together with three hand-coloured monoprints by the same hand of similar subjects, various sizes, 48x36cm., (max): Russian School, late 20th century- Seashell in landscape; batik, bears label attached to the reverse, 70x60cm., (7) (may be subject to Droit de Suite)
Lot 656
Harry Edward Busby, British 1919-1984- Untitled abstract composition; oil on board, 21x29cm: together with a male nude life study in oils on canvas by the same hand, bears inscription on the reverse of the frame, 56x76cm., (2) (may be subject to Droit de Suite) Note: The artist Harry Edward Busby trained at The Slade School in London and lived the majority of his adult life in Dover, Kent where he taught art locally.
Lot 677
Nina Moti Hosali MBE MSc FRSA, British 1898-1987- "Incident"; mixed technique on board, signed with initials, signed and dated 68 on the reverse, bears label for Free Painters and Sculptors attached to the reverse, 107x61cm: together with one other abstract study titled `Mediterranean` in mixed media on board by the same hand, signed with initials, signed and dated 68 on the reverse, 61x107cm., (2) (may be subject to Droit de Suite)
Lot 1115
An Inuit style carved black stone abstract figure, 20th century, carved in the round and seated with hands placed upon head; together with a quantity of miscellaneous items to include carved stone grapes on vine, Oriental style bronze female figures, a tray, a white metal dish, gilt metal posy vases and a collection of coins, (a lot).
Lot 1081
Linda Charles (Contemporary) ``Blue & Silver`` signed, mixed media on paper, together with a signed limited edition giclee and hand embellished print ``Abstract`` after Ron Kempton, signed and numbered in pencil 108 from an edition of 395 and a further oil on canvas by Richard Hall ``Abstract`` 39cm by 28cm, 30cm by 30cm & 48.5cm by 49.5cm respectively (3)
Lot 299
Airy (George Biddell, 1801-1892). A group of four autograph letters signed ‘G. B. Airy’, 1849/1870, the first and last to Archibald Smith, the second to Lady Parker and the third to William Scoresby, the first concerning the shipwreck of St. Paul and the main Adria, 3 pp., the second offering his good wishes to Lady Parker on the engagement of her daughter Susan to Archibald Smith, 2 pp., plus integral blank, the third to Scoresby (11th January 1856), regretting that he cannot give a quick abstract of a paper sent to the Royal Society, ‘but I may mention that, on reducing the changes of compass to changes of intensity in the ships’ magnetism, it appeared that even as far as the Cape of Good Hope there was only one instance in which the maximum error (supposing the Liverpool errors to have been corrected by magnets), would have been 5 degrees in other instances, it would have been much less.’, and later, ‘The most satisfactory way of doing this, I think, would be by the use of Gray’s adjustable correctors, finding and registering the position of the correctors proper for complete correction at each station’, 4 pp., the final letter on Oil Observatory Greenwich letterhead and explaining his reasons for separating the various periodic terms in the earth currents and ‘A good deal less laborious and more easily trusted to a young computer than that given by Fourier’s theorum’, and noting three characteristic differences between his results and those of Fourier and continuing with an explanation of same and other matters including a vibrating string, 4 pp., first and last page a little toned, all 8vo. (4).
Lot 620
A SIX PIECE CONTEMPORARY ART GLASS AND POTTERY GROUP, 20TH CENTURY. Comprising a Baccarat crystal abstract sculpture, a large Lunberg vase, a Roland Correia threaded vase, a black glass pinch bottle with silver deposit decoration, a Moorcroft pottery vase dated 2007, and a small Lunberg pulled feather vase (damaged). Largest height 11.5 inches (29 cm).
Lot 748
STYLE OF FRANK AUERBACH (British 1931- )Expressive Portrait of a Woman (JYM Seated) Oil on canvasBears inscription on verso “VAL” and “Frank Auerbach” and bears a Courtauld Institute of Art, London label 32 inches x 21.5 inches (81.3 x 54.6 cm)Together with a New York Times painted newspaper dated Monday, November 21, 1977 with abstract painted images, bearing the inscription "To ROSE, Bill de Kooning". Overall paper size 23 inches x 14 inches.
Lot 454
J. MILLER "Estuary scene with boats", oil on board, signed lower right, JAPANESE SCHOOL "Cranes in prunus branches", a set of three studies, watercolour, signed, mounted as one, AFTER ANTONIO LUOND "An abstract study", with hand colour, limited edition lithograph No'd 38/50, 19TH CENTURY CONTINENTAL SCHOOL "Mountainous lakescape with two figures standing in foreground", watercolour, unsigned, AFTER J. VETTRIANO "Midnight Blue", coloured print, O. DEKLAVS "Sydney Cove", oil on board, and an assortment of further pictures and prints
Lot 41
Michael Argov (Israeli, 1920-1982) Untitled, 1961 Oil on canvas, 49 x 60cm (19.25 x 23.5") Signed, dated 1961; artist's reference 466 verso Provenance: David Hendriks Gallery Michael Argov was born in 1920 in Vienna to a family of Jewish merchants. In 1933 the family immigrated to Palestine. Argov studied art in Tel Aviv and had his first solo show in 1947, where one of his works was acquired by the Tel-Aviv Museum. He leaves for Paris the same year and studies briefly at the Ecole des beaux-arts. When the Israeli independence war in brakes out in 1948, he returns as an intelligence officer in the Navy. Argov continues to exhibit in both Israel and Paris, winning several accolades for his painting. The artists early work is figurative, inspired by artist such as Matisse and Bernard Buffet. However his output becomes increasingly abstract as his career progressed. The present work is typical of Argov's oeuvre and is a strong example of post war geometric abstraction. Michael Argov exhibited in Dublin at the Hendriks Gallery, where this work was purchased
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