Lynn Chadwick R.A. (British, 1914-2003)Maquette Jubilee II signed and numbered 'CHADWICK/C3S 9/9' (on the cloak of the male figure) and stamped with the Morris Singer foundry stamp (on the cloaks of both figures)bronze with a grey patina and polished facesMale figure: 86.5 x 60 x 119.5 cm. (34 x 23 5/8 x 47 in.) high, wide, longFemale figure: 88 x 85 x 108 cm. (34 5/8 x 33 ½ x 42 ½ in.) high, wide, longConceived in 1983 in an edition of 9(2)Footnotes:ProvenanceThe Artist, thence by family descentExhibitedLondon, Marlborough Gallery, Masters of Modern and Contemporary Sculpture, 8 November-4 December 1984 (another cast)Yorkshire, Yorkshire Sculpture Park, September 1991-February 1992 (this cast)LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1992, p.334, cat.no.C3SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.342, cat.no.C3SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.347, cat.no.C3S'The two noble figures walk against the wind, their robes flying in the air and floating on the ground. A magnificent pattern is created by their noble stance, as their feet move forward and their heads rise in pride' (Judith Collins, Lynn Chadwick, The Collection at Lypiatt Park, Ruder Finn Press, New York, 2006, p.152)Whilst the 'Jubilee' series was first conceived in 1977, it was a theme that Chadwick returned to numerous times over the following decade and the present lot, Maquette for Jubilee II dating from 1983 and enjoying outstanding provenance directly from the artist's family, can be seen as a tour de force by an artist at the height of his sculptural prowess. The series is widely considered as a pinnacle of a long, triumphant career and this academic admiration is echoed by commercial success with the top two (seven-figure) prices at auction for the artist both being for versions of 'Jubilee'.When Lynn Chadwick was awarded the coveted prize for sculpture in the 1956 Venice Biennale, it was the sensation of the show and he became the youngest sculptor ever to do so. Contemporaries heralded him as the natural successor to Henry Moore, intended as the highest compliment one could pay a sculptor. However, where Moore focussed on curves, naturalism and the mother and child theme, Chadwick was forming his own entirely unique vocabulary of line, mass and motion with his passion being the male and female couple. Throughout his career, he conceived of them in a multitude of forms, finishes and poses. Beginning in the 1950s, they were youthful 'Dancing figures' and 'Teddy boys and girls' who gave way to the 'Watchers' of the 60s. Sometimes they were 'conjoined' or bound together with wings and cloaks and sometimes they were placed apart, a couple still but independent from one another. Nearly always, however, they were standing and it was not until the 1970s that Chadwick's couples began to rest and could be found sunk to the floor, sitting or reclining. Further to the theme of the male and female couple was the artists obsession with action in sculpture, both actual and implied. From his early mobiles to the later walking women with windswept hair, movement was a lifelong concern and in the present work, we can see the successful culmination of both pursuits – the romantic couple and figures in motion.Michael Bird has explained the 'Jubilee' of the title is derived from the 25th anniversary of Queen Elizabeth II's accession in 1952 but also acknowledges the ceremonial feel of a man and woman striding side by side. Certainly, in the present work, the couple advance forwards, stately in their motion. This formal attitude is reinforced through the artist's use of drapery, they move through space majestically and with quiet dignity in the face of the invisible wind that surrounds them. Their garments are most noticeable from the back where 'these billowing cloaks assume the fan shape of a dove displaying its tail feathers' (Dennis Farr and Eva Chadwick, Lynn Chadwick, Sculptor, Lund Humphries, 2014, p.28) however head on, the female is presented in what is suggested as a dress. It clings to her form like that of a Hellenistic goddess and allows a sculptor consumed by angularity to introduce some curves. The male is rendered with a deep fissure running the central length of his torso to represent a shirt/cloak but in formal terms, for both figures, these flowing vestments serve to contrast with the angularity of the bodies they help to define. On a structural note, the cloaks are physically longer (119.5 cm.) than the figures are tall (88 cm.) so the bold presence of these protruding elements had an important practical role to play as it spread the weight of the heavy bronze to a point away from the thinner legs. Thus, 'while thinking always in sculptural terms of mass, weight and movement, Chadwick invest[s] his abstract shapes with allusive vitality' (Ob. Cit., p.24).The faces are, as always, blank, with Chadwick once famously declaring 'no expression is an expression' (Lynn Chadwick: The Couple, exh.cat., Pangolin London, 2011, p.3). He looked to body language as a more useful device for conveying attitude than facial features which could be limiting but here they are burnished to a flawless golden lustre and serve to juxtapose beautifully with the dark textured bodies of the figures and their swirling cloaks, like bronze beacons in the midst of an imagined storm.We are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
We found 16074 price guide item(s) matching your search
There are 16074 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
16074 item(s)/page
2012/2016 Wadkin-Snaith Brooklands Sprint SpecialTotally artisan built 500cc sprint machine constructed on the lines of a 1920’s Brooklands race bikeThe creation of specialist engineer Carl Wadkin-Snaith over a period of 4 years No castings were used for the engine and gearbox as all components were machined from solid using non C&C machines From the owner: A more complete version of this is available on Easy Live Auction.I selected the Suzuki DR800 engine as a donor for it's huge 90mm stroke and purchased one from a breaker on eBay. The plan was to use a Velocette piston for a long stroke 500cc. But on stripping the engine it turned out to be a 750 with 6mm shorter stroke, at this point my Father unfortunately died and returning the engine was obviously not a priority, so when work started again a Yamaha SR500 piston was selected for 500cc.CAD design work began in April 2012. Much midnight oil was spent with my artist's hat on to arrive at an aesthetically pleasing result, for example the cant of the engine was varied in 2° increments back and forth until I was happy.The DR engine has conventional modern gear primary drive on the right and rotates forward, I needed chain primary on the left to look period correct: As a consequence the engine had to rotate backwards, driving the upside down, flipped over DR gearbox internals in reverse for forward motion! It all sounds a little unlikely, but the gearbox dogs are not undercut and I'm relieved to say it all worked fine.Metal cutting began in late June 2012, no castings are used, everything carved from solid billet on my manual milling machines and lathes (no CNC). A vast amount of time was spent hand finishing the billetparts which I then bead blasted to give the illusion of castings. Much of the really tricky machining, of crankcase webs for example, was done on my trusty pre-WW2 Alexander Master Toolmaker milling machine, whereas the heavier work was completed on my large turret mill.After discovering period racing bike experiments with total loss battery ignition, it was decided to have the ignition on the end of the cam and drive the oil pump from the cam wheel. This pump is my own design; a simple feed and scavenge gear type. There are feeds to the end of the crankshaft and the camshaft/follower interface, scavenge from the bottom of the crankcase and the timing cover, the latter prevents excess oil leaking past the seal onto the digital ignition circuit board. I used the Pazon digital ignition; a very impressive unit with built in timing light and digital advance etc.I decided to go with the Mikuni Yamaha SR500 race carburettor as I hoped this would avoid aggravation setting up, this proved to be the case, only needing a change of pilot jet.The clutch was converted to chain driven dry operation by cutting off the primary drive gear and replacing it with a custom made sprocket incorporating the DR shock absorbing springs. The DR lifting mechanism is in the clutch cover, pulling the clutch off and obviously not suitable. By drilling right though the gearbox mainshaft I was able to convert the clutch to push off from the opposite side in the conventional manner. Despite now running dry the clutch works fine. Replicating the complex die cast interior of the Suzuki gearbox casing was probably the most difficult task in the whole construction saga. Initially I set the bike up with hand/knee change, partly because I had a nice piece of teak to make the knob; more on this later.The frame is my own design and manufacture and aimed at spinning the wheel rather than wheelying. I took a punt at the unidentified bare girder fork blades on eBay after no one showed interest, these were then bushed and a stem, spindles, links, yokes, steering damper etc made to suit. The spring is a modified auto jumble find. I bent the handlebars myself for the authentic Brooklands style, this proved to be a mistake as they were incredibly uncomfortable and impractical, they have since been replace with some flat bars. I was not happy with the quality of commercial classic style throttle and handlebar controls, the chrome plate just looked totally wrong too so I carved the clamps, choke control and a quick action throttle from billet steel. None period ball end levers are necessary to comply with ACU Regs.Front wheel is a from a Yamaha DT50 (21” rim) though I made a new period style backplate with anchor to suit my forks, plus an aluminium brake lever. Rear hub is from a Honda CB250RSA, much modified and laced into a 19” rim. Chainguards made to suit, the primary one having a quickly detachable outer plate as this is required for ACU competition events. I bent up the exhaust pipe with the characteristic large radius front bend myself and made the Brooklands can as the ones available just weren't right for the period, theoretically this should not protrude beyond the rear wheel for ACU sprints, though no one has noticed yet.The oil tank was a piece of cake compared to the petrol tanks: Fortunately only the right one needed to be leak free as the left is a dummy containing the Pazon ignition module, coil, ignition switch and gel battery (mounted upside down) for the total loss system. As a result the whole electrical system can be removed as one unit in minutes.This is secured with a couple of charity shop sourced leather belts.Apart from the exhaust pipe and handlebars I dull nickel plated everything myself. Fasteners are all stainless steel, the heads of commercial bolts were machined flat to be more in keeping with my period. Naturally I used slotted screws and traditional fabricinsulation tape where necessary.Since then I've refined various features, added an oil filter in the scavenge return and making primary chain adjusters. At the Brooklands Museum the bike flies up Test Hill, in fact the wide ratio DR750 gear set is ideally suited to the engine.The bike has proved an ideal publicity vehicle for my one man business resulting in some interesting projects, for example:A commission to design and build the new vintage style Wardill Motorcycle, subsequently officially launched at the Brooklands Museum in 2018, I recently completed the first production model. A one off fishtail silencer for the Perry Barwick/Brooklands Museum Freddie Clarke Triumph Tiger 80 replica, created using the only existing photo of the bike. A new billet front brake back plate incorporating improvements for a Parilla 175 MSDS racer.My Brooklands SS has been exhibited at two shows and won an award at both. It is always satisfying when older enthusiasts are thrown by the bike believing it to a genuine 20's racer, however when an auction house valuer said he could see it on display in a collector's house as a work of art I was delighted. I wonder what my Art School tutors would have thought?
WW1 24th (2nd Sportsman) Bn Royal Fusiliers Casualty DCM, MM Group of Five Medals. Awarded to Company Sergeant Major Frederick Herbert Read DCM.,MM who was Killed in Action on the 16th April 1918. Comprising: Distinguished Conduct Medal, 13438 SJT F.H. READ 8/R. FUS, Military Medal, L-13438 SJT F.H. READ 24/ R. FUS, 1914/15 Star, L-3438 CPL R.FUS, British War Medal, Victory Medal, L-13438 W.O. CL2 R FUS. Group mounted for display with a quantity of research. Distinguished Conduct Medal London Gazette 26th September 1916. For conspicuous gallantry during operations. He repulsed enemy bombing attacks almost single-handed. On two occasions, with one man only, he broke up strong parties of the enemy. Military Medal London Gazette 21st August 1917. Company Sergeant Major Frederick Herbert Read DCM.,MM a native of Poplar enlisted at East Ham into the Royal Fusiliers, posted to the 8th Bn he landed in France on the 18th January 1915. He is believed to have been awarded the DCM for gallantry at Pozieres between the 4th and 5th April 1916 or at Ovillers 7th July 1916. Transferring to the 24th (2nd Sportsman) Bn Royal Fusiliers he won the Military Medal. He was Killed in Action on the 16th April 1918 and now rests in the Berles New Military Cemetery.
WW1 12th Bn Highland Light Infantry DCM, MM, Croix de Guerre Triple Gallantry Group of Six Medals. Awarded to Sergeant Thomas Gardner DCM, MM a native of Glasgow who was reported wounded on five occasions. Comprising: Distinguished Conduct Medal, 8264 SJT T GARDNER MM 12/HIGH L.I., Military Medal, 8264 SJT T GARDNER 12/HIGH L.I.. 1914/15 Star (blank display medal original returned by Gardner), British War Medal, Victory Medal, SJT H.L.I, French Croix de Guerre. Group mounted for display with detailed research. Distinguished Conduct Medal London Gazette 3rd September 1918. For conspicuous gallantry and devotion to duty when, with one other man, he advanced across the open at imminent risk of his life to a position from which fire could be directed against a machine-gun which was harassing our troops. This he silenced. He remained in this position until dark, sniping the enemy, who were endeavouring to percolate into the valley. Military Medal London Gazette 18th June 1917. Sergeant Thomas Gardner DCM, MM was born in Glasgow and volunteered in August 1914, posted to the 1st Bn Highland Light Infantry he found himself soon in France landing on the 19th January 1915 earning the 1914/15 Star. It is interesting to note that his MIC clearly states the star was returned in 1936 and was scrapped. The Battalion was soon in action and Gardner was officially reported wounded the first of five times on the 15th May 1915, for the fighting at Ypres. It is likely that he was then posted to the 12th Bn and saw action on the Somme, where in July 1916 he was once again wounded and in October 1916 was reported for a third time wounded whilst being heavily shelled. The Battalion saw action at the Battle of Scarpe Arras where he is believed to have been awarded his Military Medal. The Regimental chronicle reported him wounded for a fourth time in October 1917 whilst in action at Polygon Wood and in April 1918 he was taken out the line for a short time suffering from Trench Foot. The DCM was awarded for his gallantry on the Marne and his name was listed for the fifth time as wounded on the 26th June 1918, this resulted on his return to Blighty and discharge as unfit on the 14th September 1918. He was awarded the silver War Badge for his services.
WW1 Royal Sussex Regiment Victoria Cross Action Military Cross & Bar Group of Seven Medals. A scarce MC & Bar group spanning both world wars awarded to Brigadier Thomas Edward Chad who won the Bar to his MC in the action at Sambre-Oise canal where his Commanding Officer Lt Col Dudley Graham Johnson and Major George De Cardonnel Elmsall of the Royal Engineers won the Victoria Cross. Comprising: Military Cross & Bar, 1914/15 Star (12596 PTE T.E. CHAD C GDS), British War Medal, Victory Medal, MID Oak Leaf (CAPT T E CHAD), 1939/45 Star, Defence Medal, War Medal. Group mounted for display ... Accompanied by a quantity of detailed research. Military Cross London Gazette 1st January 1917 Military Cross Bar London Gazette 2nd April 1919 Lt. (A./Capt.) Thomas Edward Chad, M.C., 2nd Bn., R. Suss. R. During, the operation of forcing the passage of the Canal at the lock, two miles south of Catillon, on 4th November, 1918, he did conspicuous work under shell fire, hurriedly getting the bridges man-handled by men of the assaulting troops on the spot, thus greatly assisting in getting the passage over the Canal effected. He has previously rendered valuable service. (M.C. gazetted 1st January, 1917.) Mentioned in Despatches London Gazette 28th December 1918 Brigadier Thomas Edward Chad MC* was born in 1893 and at the outbreak of the Great War volunteered into the Coldstream Guards landing in France on the 24th February 1915. He was wounded on the 12th March 1915 near Nevel Chapel. Selected for a commission he was appointed a Second Lieutenant in the Royal Sussex Regiment and joined his regiment in France during October 1915. He was once again wounded in August 1916 , but remained with the Battalion. In the closing days of the war on the 4th November 1918, he was with his Commanding Officer at the Sambre-Oise Canal, Lt Col Johnson VC CB,DSO*MC when he won the Victoria Cross when under heavy fire he lead his men forward and secured a crossing. After the war Chad, remained with the Army being attached to various TA units as Adjutant these included Royal Sussex Regiment and the King Liverpool Regiment. At the outbreak of WW2 he held the rank of Major with promotion to Lt Col in January 1942. He was granted the rank of honorary Brigadier on the 24th July 1944 on his retirement.
This lot will be auctioned on Tuesday, June 29th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 30th or July 1st. A hand-painted one-sheet comprehensive artwork made for the promotion of Robert Zemeckis' detective comedy Who Framed Roger Rabbit. Designed by renowned posterist Steven Chorney with art by Mick McGinty, the completed one-sheet featured iconic stills that showcased the film's groundbreaking blend of live-action and animation, as well as the tagline, "It's the story of a man, a woman, and a rabbit in a triangle of trouble." This one-sheet "comp" artwork (short for a comprehensive study of a design concept) featuring Roger Rabbit's (Charles Fleischer) silhouette outlined with unraveling celluloid is hand-painted in mixed media on white poster board. The piece is very close to the final poster artwork, which also included photographic elements, with minor differences in detailing. It is in good overall condition with a couple light stains and some bending to the board from storage. Dimensions: 27" x 41" (68.75 cm x 104.25 cm) Sold without copyright; see notice in Buyer's Guide. Estimate: $8,000 - 10,000
This lot will be auctioned on Wednesday, June 30th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or July 1st. A "B" camera clapperboard from the production of Tony Scott's action drama Man on Fire. This yellow acrylic clapperboard with a black-and-white wood slate is labeled for Scott, director of photography Paul Cameron, and the shoot date "06/30/03." Roll number "2" and take number "7" are also marked in ink, while "xb" is marked on pink tape next to both the roll and camera. This lot is in good overall condition with erased ink residue and pink liquid streaks on the acrylic from production. Dimensions: 12" x 10" x 1" (30.5 cm x 25.5 cm x 2.5 cm) Estimate: $800 - 1,200
WORLD WAR IPapers of Captain Duncan Warrand (1877-1946) of the 2nd Seaforth Highlanders, comprising:i) Series of some 72 letters and 8 postcards from Duncan Warrand, the majority to his sister Carrie ('Dearest C', 'D.C.'), three to his brother Redmond ('Dear Redmond'), long, detailed letters written from the trenches and latterly from his billet in Rouen, including one seven-page letter written on Christmas Day 1914, describing the famous truce ('...Later on Wednesday night there was much shouting and singing in the German lines... Last night no sniping took place... The Germans lit fires and just sang on. So some of our sergeants and men went up to their lines returning with boxes of cigars! They have no drink... The officer who spoke to our Sgt was an American German, recalled in the war, who was heartily sick of it. He said they would not fire today... it may be partly due to the thick mist which was surely sent by Providence to give us a peaceful Xmas... Our opponents are Saxons and Bavarians and have so far proved themselves gentlemen. About 11 o'clock this morning I went outside the lines and we were all busy mending wire entanglements... We were right out in the field and could see the Germans walking about just as we were... And how lovely it was this morning! The star in the East so bright & clear... picked a bit of ivy... off a tree to commemorate this extraordinary Xmas of peace in war... At this point Sgt Smith looked in to say that a large number of Germans were walking about on our left and talking freely with our men and what was to be done... Tall men in grey coats fraternising with the men... what Bishops & Clergy could not do, the troops have done for themselves...'); other letters much concerned with asking for supplies ('...Please send me a box of cigarettes as the ones here are 'orrid... 'Bromo'!... some soup tablets for dissolving in hot water... shirts, khaki hosetops, cardigans... safety matches... shortbread, plum pudding etc... everything to be packed in oiled canvas... candles are difficult to come by... Colgate toothpaste... I wonder if mince pies would travel in a tin box?... a bottle of Worcester Sauce...'); reporting on troop movements as far as the censor allows ('...seems no harm in saying we are now in Belgium and not far from (2 miles south) of Messines...') and on 18 December 1914 includes a drawing of their position ('...without mentioning any names...'); with vivid descriptions of the horrors of war ('...continued action throughout the night... The trenches are awful, knee deep in mud... higher up the road there is destruction on all sides, houses in ruin, large shell holes and broken trees... I saw a hand and arm today just outside, who knows what unfortunate man it belonged to...'); the constant threat of being fired upon ('...planted shells all around us... They made a horrid whizzy noise when they really mean business... One falling bullet just grazed my ear yesterday...'); conditions in the trenches ('...It has rained incessantly... the trenches are ghastly... this place is called 'The Piggeries'... we are nearly all crawling – it's disgusting but a fact...'); news of mutual friends ('...I hear Patrick Grant was shot in the jaw...'), family news and talk of home ('...I wish the dogs could come out here...'), suggesting '...you might keep these rotten letters... my collection of letters to you are the best diary I can keep...'; the majority with envelopes, c.230pp., dust-staining, some small tears and other signs of wear, mostly 8vo (210 x 134mm.), 2nd Seaforth Highlanders, British Expeditionary Force, Grand Hôtel de la Poste, Rouen, 6 January 1914 to 20 January 1917 ii) Five pocket diaries 1914-1918, containing intermittent entries in pen and ink on the weather and various engagements, accounts and other notes (2 April 1917 noting 'Brigadeer General F.J. de Gex Base Cdnt has died suddenly of heart failure while sitting in the lounge after lunch at the Hotel des Postes. A very good man.'; 26 March 1918 'The great German attack causes anxiety'; 11 November 1918 'Guns fired to announce armistice signed. Crowds begin at once... have to walk through Trafalgar Square. Pouring rain. Cheerful crowds...'), calf, worn, four c.150 x 95mm., one 100 x 70mm.; with another notebook including lists and brief entries for 11 August to 18 November 1914 regarding training, drills etc. iii) Various papers including: hand drawn and annotated map of the trenches south of the river Douve, depicting troop positions, annotated 'Issued in Trenches/ 1914. DW', purple, red and blue pencil, 200 x 320mm.; carbon copy of 'Standing Order re Trenches', 5 pages, lined paper torn from notebook, 8vo (196 x 145mm.), dated 23 January 1915; with various ephemera such as photographs including one of his sister Carrie, mimeographed concert programmes 1917-18, trench whistle engraved with Aldershot Stores/Aldershot/Patent on original? cord; two printed folding maps, linen backed, one of Belgium, depicting the area around Ypres, the other of St Yves with trench positions marked as of 14 November 1915, (440 x 575mm.), in an envelope annotated 'This is not the map I had in the trenches, but shows very clearly the position we held at Seaforth Farm', etc.Footnotes:'THIS EXTRAORDINARY XMAS OF PEACE IN WAR'.The men of the 2nd Seaforth Highlanders were engaged in several important actions on the Western Front including the Battle of Messines in 1914, the second Battle of Ypres in 1915 and Passchendaele in 1917. These letters illustrate one soldier's experience in the trenches during 1914 into 1915 including the famous Christmas Truce of that year. They paint an evocative picture: '...On Wednesday we were shelled by 'Little Willie', a most elusive and persistent piece of small artillery... Then they sent about 25 large howitzer shells right over... a big hole in the ground about the size of a large dog basket... They are at it now, like continuous thunderclaps... The officers and men's dugouts are just little caves made into the sides of the trenches about 6ft by 5ft... The floor is covered in deep straw... One can see the Germans now and again moving about in their trenches at dawn and dusk. They snipe us and we snipe them... I have not changed my socks since Tuesday or had my shirt off... I hope they may run short of shells soon... When this poor country will recover goodness knows... I feel like a rabbit going to ground by day and walking about at night... Yesterday (17th) we were ordered to fire at the trenches ahead... By afternoon their guns replied... The noise was deafening... We lost only 3 men, all by rifle fire... I was plastered in mud from head to foot... We are standing by...'.Warrand returned to Rouen in the spring of 1915 to take up the duties of a staff officer, billeted in the Grand Hôtel de la Poste and later with a French widow and her family. Part of his duties involved sorting out the personal effects of those killed in action – in one of his final letters he reflects '...I often wonder if anything matters: foolish young souls pass through here full of spirits & then their belongings come back a few days afterwards – white label with blue stripe & that means they have done with life here...'. This collection has been retained in the family until now.For further information on this lot please visit Bonhams.com
SECOND ANGLO-AFGHAN WAR 1878-1881Papers of Lieutenant Colonel Hardin Burnley-Campbell (1843-1920) of the 6th Dragoon Guards (Carabiniers), relating to his service in India during the second Afghan Campaign of 1878-1881, comprising:i) Two army regimental order books for 'Troop B', written in ink in several hands, volume one detailing daily orders from 17 September to 28 November 1879, volume two continuing until 23 March 1880, mostly covering the minutiae of camp life such as the daily timetable ('...Reveille 6.30, Stables 7...'), parades and inspections, court martials, lists of men and support staff ('...grass cutters... native farriers... cooks...'), the care and exercising of horses ('...Horses heels will be thoroughly dried with rubbers...'), uniform ('...the kharki jacket to be worn over the patrol jacket... 2 pairs of cloth pantaloons if possible...'), equipment ('...owing to the destruction of saddlery &c by white ants in future the saddles will be placed on a portion of the hoop grass in piles of 6...'), ammunition ('...any man losing it will be severely delt with...'), welfare of the men ('...All men off duty will... be marched to the left bank of the Cabul River for bathing...'), preparations to move camp ('...not more than 3 horses length distance to be between each troop...'), the troops ready for action ('...After orders by Capt. Burnley. Every Man will sleep tonight with his cloak Belts & Arms on ready to turn out at a moments notice...'), including mention of their involvement at the Battle of Gara Heights at Dakka on 15 January 1880 ('...The Commanding Officer begs to thank most heartily the Officers and men... for their steady and soldier like bearing when exposed to the fire of the enemy this day... the patrol and scouting duties (the later especially) were entirely carried out to his satisfaction, likewise the dismounted skirmishing...'), final entries reversed, c.470pp, some pages excised, 'Bengal Form 358' notebooks, original calf with printed paper labels ('Order Book'), brass clasps (broken), worn with some ink stains, oblong 4to (120 x 180mm.), Umballa, Camp Basawal, Camp Jellalabad, September 1879 to March 1880ii) Group of six autograph letters signed ('Hardin Burnley') to his father ('My dear Father'), the first commenting on bad news from the Cape ('...if we do not learn a lesson now... Afghanistan may furnish us with a like tale...') and that they must not underestimate the natives' fighting capabilities, with envelope; the second in pencil describing escorting the deposed Emir, Mohammad Yaqub Khan into exile in December 1879 ('...with my squadron 80 men & 4 officers... he only halted 20 minutes... sitting on a chair with his attendants on the road side – I got aides to ride on his right hand side all the way... this I did for 2 days – He was most communicative and chatted on all topics freely... no attack was made on us – all well... most shocking dust storm... carrying away some tents & nearly suffocating everyone...'); the next reporting on '...serious fighting Kabul way...', that they will soon have to relieve the 9th Lancers, skirmishes with locals ('...met with no resistance... otherwise the guns were in position... & would have shelled the village at once...'), believing they will be 'in this inhospitable' country for the long haul, talking of disease and casualties ('...considering this is but Guerrilla warfare.. it is grand training...'), and asking if he received the tiger and panther skins; one written 6 August 1880 on the eve of joining General Gough as his ADC on the Kandahar march ('...I leave here tomorrow... If the Afghans get hold of me I wish you to send to my servant... £50... I have given him this letter to give to you if anything should happen to me...'); another expressing pleasure at receiving two medals and clasps, talking of parties, shooting and other entertainments, with envelope; the last on social engagements in London, 41 pages, 8vo (180 x 114mm.), Umballa, Basawal, Cabul, Naval & Military Club, Piccadilly, 13 February 1879 to [23 May 1881] iii) Three autograph letters from General Sir Hugh Gough signed ('Hugh Gough'), reminiscing '...I hope you have not forgotten our old days on the Kabul Kandahar March. I look back to them with much pleasure and can never forget the best ADC I ever had – I wish I could have more of my old soldiering days over again...'; one thanking him for the grouse; each with envelope, 8 pages, 8vo (150 x 95mm.), Canterbury, August [18]93; one other earlier letter, undated iv) Other papers, including pocket almanack for 1878 containing troop and staff rolls, with pencilled notes on orders, rates of pay, bets with other officers, notable skirmishes ('...the attack on village near Peswar took place early morning of 6th July. Rpt 2 squadrons got up too late...'), rations ('...1 lb Bread & Biscuit/ 1 dram of rum...') etc., c.60 pages, some pages roughly excised, calf with broken brass clasp and integral pencil, small 8vo; official request from Burnley to Lieut. Col. John Fryer, commanding the Carabiniers at Simla that he should be '...employed on active service with any expeditionary force that may be deployed to the Frontier...', one page, folio (332 x 208mm.), Umballa, 25 September 1878; portrait cabinet photograph of a young Burnley in civilian dress; various loose notes, incoming correspondence, etc. including a typed biography annotated 'Some incidents of my life'v) The Khandahar Pantomime Ayoub Khan. Written and composed by Mr F. C. Keyser and now printed by special request, original blue mottled paper wrappers, 8vo (180 x 105mm.), Poona, Printed at the Orphanage Press, 1884; two folding maps printed on linen: 'Afghan'... Enlarged at the Survey Office in Dehra Dun October 1878, 870 x 655mm., annotated in ink by Burnley; and 'Istan' by Col. J. T. Walker, Surveyor General of India, 890 x 655mm., with routes marked in red crayonFootnotes:Lieutenant Colonel Hardin Burnley-Campbell (1843-1920) was gazetted Cornet in the 6th Dragoon Guards (Carabiniers) in 1865. After several years in Ireland, he was posted to the Umballa station in India in 1878 where duties consisted of escort and transport tasks along the Khyber lines of communication. Whilst commanding a squadron at Basowal, following the murder of the political agent Cavagnari and the failure of the Treaty of Gandamak, he was charged with accompanying the deposed Emir Yaqub Khan into exile in India. He was present at the affair at Dakka on 15 January 1880, as mentioned in our notebook, before rejoining the Headquarters of the Regiment at Jellalabad. In August 1880 he was appointed Orderly Officer to the Cavalry Brigadier, General Sir Hugh Gough and with the Cavalry Brigade accompanied Lt. General Sir Frederick Roberts on his famous, impressively fast, march from Kabul to Kandahar, and was present at the battle of Kandahar on 1st September. He was the only member of the regiment to receive a bronze star for this epic journey and was mentioned in despatches.After the Afghan campaign, Major Burnley saw service in the first Boer campaign (see lot 13) and retired in 1882, receiving the honorary rank of Lieutenant Colonel in consideration of his distinguished service during the Afghan War. In June 1907 he became a real-life Phileas Fogg by circumnavigating the globe in 40 days, 19 hours and 30 minutes, breaking the previous record of 54 days, a record which he held for four years. His papers have been in the possession of his family until now.For further information on this lot please visit Bonhams.com
A Great War ‘Battle of Bourlon Wood 1917’ D.C.M. group of three awarded to Lance-Corporal Fred Morris, 17th (Glamorgan Bantams) Battalion, Welsh Regiment, one of four D.C.M.s for Bourlon Wood to this battalion which ‘ceased to exist’ following the action Distinguished Conduct Medal, G.V.R. (25788 Pte. F. Morris. 17/Welsh R.); British War and Victory Medals (25788 Pte. F. Morris. Welsh R.) mounted for display, small edge bruise to the first, otherwise nearly extremely fine (3) £900-£1,200 --- D.C.M. London Gazette 28 March 1918: ‘For conspicuous gallantry and devotion to duty. Though wounded, he carried on with another wounded man after the remainder of the team had been wiped out in the early stages of an attack. He kept his gun in action till all his ammunition was expended, and so enabled his platoon to withstand a heavy counter-attack.’ Fred Morris was a native of Pontypridd and his award was announced in the South Wales Echo under the banner ‘D.C.M. for Pontypridd Lad - Lance-Corporal F. Morris, Welsh Regiment, son of Mr and Mrs Fred Morris, 50, Coedpenmaen-road, Pontypridd, has been awarded the D.C.M. for gallantry in action at Bourlon Wood. He enlisted in January, 1915, and has been at the front two years. He has been wounded twice. Before enlisting he was employed as a collier at the Dowlais Colliery, Abercynon.’ He died of influenza on 2 April 1919. The 17th (Glamorgan Bantams) Battalion, Welsh Regiment, was part of the 40th (Bantam) Division, composed entirely of men who were below the regulation height of 5 feet 3 inches and who had volunteered to join up and fight. The 17th Battalion was so decimated at Bourlon Wood, with the loss of 18 officers and 301 other ranks, that they were officially declared as having ‘ceased to exist’ from 26 November 1917. Sold with comprehensive research.
A rare Second War Burma Gallantry Medal awarded to Lance Naik Renu Gurung, The Burma Regiment, for his gallantry in attacking a Japanese position in the Kachin Hills, 14 March 1944, having been wounded in action less than a month earlier whilst on a recce behind enemy lines Burma Gallantry Medal, G.VI.R. (54684 L Naik Renu Gurung, The Burma Regt.) suspension re-affixed, possibly brooch mounted, naming rubbed, with test marks to edge, good fine £800-£1,200 --- Only 207 Burma Gallantry Medals, and three Bars, were awarded during the period of its existence, from 1940-47. B.G.M. London Gazette 22 June 1944: ‘In recognition of gallant and distinguished services in Burma and on the Eastern Frontier of India.’ The recommendation states: ‘At Pinsau, Kachin Hills on 14 March 1944. Before the main attack, enemy patrols were seen, this man together with three Sepoys went out to trail them. Meanwhile the main attack on our posn. went in. He and the three Sepoys attacked the enemy force from the flank. This gallant action drove part of the force back and prevented from completely encircling our posn. (Less than three weeks before he had been wounded while collecting information which proved of great value, of enemy dispositions in another sector). His bold action and determination undoubtedly assisted in the enemy being beaten off.’
The historic Great War Military Cross group of medals to Captain (Robert) Anthony Eden, King's Royal Rifle Corps, and Prime Minister of the United Kingdom from 1955 to 1957: Military Cross, George V; British War Medal 1914-20 (CAPT. R.A. EDEN), Victory Medal (CAPT. R. A. EDEN), Jubilee Medal 1935, Coronation Medal 1937, Coronation Medal 1953, the last three unnamed as issued; mounted for wearing and with tailor's copy MID emblem to the Victory Medal, good very fine or better; together with two mounted sets of corresponding dress miniatures, one pre and one post 1953. Best known as Prime Minister of the United Kingdom from 1955-57, as a young man Robert Anthony Eden was involved in the formation of the 21st Battalion King's Royal Rifle Corps (Yeoman Rifles) during the First World War. He was a member of Eton College Officer Training Corps, and the outbreak of the War had found him eager, like many of his generation, to find a place in a regiment. His brother Jack was killed in action in 1914, and this seems only to have quickened his enthusiasm. His initial efforts were hampered by poor eyesight, but his chance came when a family friend, the Earl of Feversham, set about raising the new battalion. Eden went with the Yeoman Rifles to the Western Front as a junior officer and his early exploits included an abortive trench raid following which he led the hazardous rescue of a dangerously wounded Sergeant. The battalion was deployed to the Somme front in September 1916 where its commander Lord Feversham was killed in action, and his replacement appointed the young Eden as his Adjutant, in which capacity he gave exemplary service. His M.C. was gazetted in June 1917, shortly before he went into action following the detonation of the mine under Messines Ridge at the start of the 3rd Battle of Ypres. All sources indicate that Eden was not only very brave; but that he was also compassionate and highly principled, with a deeply felt concern and respect for the men under his command. This courageous and intelligent officer went on to have a distinguished career in politics, becoming an opponent of appeasement during the 1930s, and then playing a vital role in Winston Churchill's cabinet during the Second World War. He served as Prime Minister between 1955 and 1957, and it is believed that this is the first time that the medals of a British Prime minister have been offered at auction. Military Cross: London Gazette, 4th June 1017
Collectable 21stC Packaging, Toys and Give Aways, a large quantity of toys, games and advertising items to include Frosties Water Bafflers, Kellogg's Star Wars Pocket Models and stickers, Simpsons games, Nestle race cars, Pogs, Tazos, Slammers, Sweet Cred games, Dennis the Menace, Barbie, Action Man, Asterix, Thunderbirds, Transformers, Looney Tunes, Postman Pat, Bob The Builder, football, bubble gum etc. (gd) (many 100s)
Palitoy, Action Man - A boxed Palitoy 'Action Man' Scorpion Tank. The tank appears to be in Good overall condition with signs of play and use with both hatches in place but has a broken left hand side track. The track is broken in two places and has been taped together. The first issue khaki and black cardboard box appears to be in Good, bright condition with storage wear and imperfectionsLot descriptions reflect the cataloguer's opinion only and do not constitute a guarantee. If in doubt, intending bidders should either attend public viewing or request a written condition report. All sales are final.
Palitoy, Action Man - A boxed Palitoy 'Action Man' Team Control Centre. The set appears to be in Fair Plus condition and comes with antenna, two records and original instruction leaflet. appears to be in Fair Plus condition with a broken radar operating lever loose parts inside the set. The box appears to be in Fair Plus condition with some tears to corners and cut outs to stars. Lot descriptions reflect the cataloguer's opinion only and do not constitute a guarantee. If in doubt, intending bidders should either attend public viewing or request a written condition report. All sales are final.
Palitoy, Action Man - A boxed Palitoy 'Action Man' 105mm Light Gun. The gun appears to be in Good overall condition with signs of play and has one broken elevation gear arm (quite a common problem on this model!). The gun also comes with a gold coloured breech cylinder and three plastic shells. The box appears to be in Good overall condition with a few creases and storage imperfections and is missing its inner tray. Lot descriptions reflect the cataloguer's opinion only and do not constitute a guarantee. If in doubt, intending bidders should either attend public viewing or request a written condition report. All sales are final.
Palitoy, Action Man - A boxed Palitoy 'Action Man' Scorpion Tank. The tank appears to be in Very Good condition, with tracks, exhaust, both hatches in place, and with signs of play and use. The mid issue three coloured cardboard box appears to be in Good, bright condition with stars cut out plus some general storage imperfections.Lot descriptions reflect the cataloguer's opinion only and do not constitute a guarantee. If in doubt, intending bidders should either attend public viewing or request a written condition report. All sales are final.
Cherilea, Palitoy, Action Man - Two unboxed Cherilea Scout Cars, one with machine gun, plus an unboxed Palitoy 'Action Man' Space Capsule. All three items show signs of play and use but generally range between Fair Plus - Good condition overall. (3)Lot descriptions reflect the cataloguer's opinion only and do not constitute a guarantee. If in doubt, intending bidders should either attend public viewing or request a written condition report. All sales are final.
Palitoy, Action Man - A boxed Palitoy 'Action Man' Spartan Personnel Carrier. The vehicles has both hatches in place (which appears to have some damage to the clips on the top hatch), together with rear door (which appears to have some damage to the closing clip), and both mudflaps. The machine gun is present but the mounting appears broken. The box appears to be Fair Plus condition with some taping, scuffs and cut out stars. The Carrier comes with its original leaflet. A desirable and rare Action Man vehicle!Lot descriptions reflect the cataloguer's opinion only and do not constitute a guarantee. If in doubt, intending bidders should either attend public viewing or request a written condition report. All sales are final.
Hasbro, Action Man - A platoon of approximately 24 unboxed Modern Action Man figures by Hasbro. Lot includes figures in a variety of outfits and includes some Action Man villains. All figures are in Playworn condition and are unchecked for completeness. Lot descriptions reflect the cataloguer's opinion only and do not constitute a guarantee. If in doubt, intending bidders should either attend public viewing or request a written condition report. All sales are final.
Karl Hofer - - 1878 Karlsruhe - 1955 Berlin Drei Frauen. 1941. Öl auf Leinwand. Wohlert 1547. Rechts unten monogrammiert und datiert. 74 x 51 cm (29,1 x 20 in). • Hofers einzigartig entrückte Mädchenbildnisse gehören zu den eindringlichsten Schöpfungen des Künstlers. • Hofers Figurengemälde waren bereits 1957 auf der legendären Ausstellung 'German Art of the 20th Century' im Museum of Modern Art, New York, neben Dix, Grosz und Beckmann ausgestellt. • Durch den schönen Kontrast des schwarzen und weißen Kleides und dem blauen Kopftuch erhält die herausragende Komposition eine subtile Spannung. • Seit 60 Jahren Teil einer deutschen Privatsammlung. • Vergleichbare Figurenkompositionen aus dem Jahr 1943 befinden sich im Museum der bildenden Künste, Leipzig, und im Karl Ernst Osthaus Museum, Hagen. PROVENIENZ: Privatsammlung Krefeld (wohl seit 1961, Lempertz 1./2.12.1961, bis 1980). Privatsammlung München (1980 vom Vorgenannten durch Erbschaft erhalten). LITERATUR: Kunsthaus Lempertz, Köln, Auktion 467, 1./2.12.1961, Los 250, S. 47 (mit SW-Abb. Tafel 16). 'Nie habe ich eine Figuration nach der äußeren Natur des Zufälligen geschaffen. Der Impressionismus vermochte mich darum nicht zu berühren. Die Extasen des Expressionismus lagen mir nicht. Der Mensch und das Menschliche war und ist das Objekt meiner Darstellungen.' Karl Hofer, zit. nach: Karl Hofer. Von Lebensspuk und stiller Schönheit, Ausst.-Kat. Kunsthalle Emden 2012, S. 14. Einzigartig ist die Melancholie und Beziehungslosigkeit, die in besonderer Weise Hofers mehrfigurige Kompositionen auszeichnet. Figurengruppen aus drei weiblichen Gestalten gehören dabei zu den wiederkehrenden Themen in Hofers malerischem Œuvre. Variationen dazu lassen sich bereits in seinem Frühwerk finden. Das Motiv hat seinen ikonografischen Ursprung in den in der Renaissance verbreiteten Darstellungen des 'Urteil des Paris' und der 'Drei Grazien'. Hofer aber emanzipiert sich mit seiner Darstellung zugleich deutlich von diesen grundlegenden mythologischen Bezügen. Sein Fokus liegt ganz auf der Schilderung einer in sich gekehrten, seltsam entrückten Beziehungslosigkeit. Es ist eine stumme Zusammenkunft der drei jungen Frauen, die von der Regungslosigkeit ihrer Gesichter und ihrem sentimental nach innen gerichteten Blick getragen wird. Gleichzeitig ist die latente Spannung zwischen den drei leicht bekleideten, körperlich einander zugewandten Frauen spürbar, die durch den spannungsvollen Kontrast des schwarzen und weißen Kleides und der Nacktheit des gegenübergestellten Rückenaktes noch gesteigert wird. Besonders schön ist auch der farbliche Akzent des hellblauen Kopftuches, der einmal mehr von Hofers kompositioneller Meisterschaft zeugt. Die Isoliertheit und Introvertiertheit der Figuren ist sicherlich zum einen Hofers neusachlicher Prägung geschuldet, aber zum anderen auch gleichsam empfindsames Sinnbild einer aufgrund der nationalsozialistischen Kulturpolitik in innerer Emigration verharrenden Künstlergeneration. Hofers Protagonisten sind in einem aktionslosen Moment des Innehaltens gezeigt, werden im Moment eines kaum bestimmbaren Empfindens und Fühlens erfasst und verweigern sich auch aufgrund des konsequenten Verzichtes auf Attribute jeder konkreten Interpretation. Gerade in dieser offenen Formulierung liegt der einzigartige, subtile Reiz von Hofers unverwechselbaren Figurenkompositionen. [JS] Aufrufzeit: 18.06.2021 - ca. 17.24 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONKarl Hofer -1878 Karlsruhe - 1955 Berlin Drei Frauen. 1941. Oil on canvas. Wohlert 1547. Lower right monogrammed and dated. 74 x 51 cm (29.1 x 20 in). • Hofer's unique portraits of engrossed girl are among the artist's most touching creations. • In 1957 Hofer's figure paintings were part of the legendary show 'German Art of the 20th Century“ at the Museum of Modern Art, New York, alongside works by Dix, Grosz and Beckmann. • The contrast of black and white dress and the blue of the scarf add subtle tension to the composition. • Part of a German private collection for 60 years. • Similar figure compositions from 1943 are in possession of, among others, the Museum der bildenden Künste, Leipzig, and the Karl Ernst Osthaus Museum, Hagen. PROVENANCE: Private collection Krefeld (presumably since 1961, Lempertz December 1/2, 1961, until 1980). Private collection Munich (inherited from the above in 1980). LITERATURE: Kunsthaus Lempertz, Cologne, auction 467, December 1/2, 1961, lot 250, p. 47 (with black-and-white illu. on plate 16). 'I never modeled my figuration on the outer nature of chance. That's why Impressionism did not touch me, neither did the ecstasy of Expressionism. Man is the object of my depictions.' Karl Hofer, quote from: Karl Hofer. Von Lebensspuk und stiller Schönheit, ex. cat. Kunsthalle Emden 2012, p. 14. The melancholy and unrelatedness that characterize Hofer's multi-figure compositions is unique. Groups of three female figures are among the recurring themes in Hofer's oeuvre of paintings. Variations thereof can be found in works from his early creative period. The motif has its iconographic origin in the representations of the 'Judgment of Paris' and the 'Three Graces' that were quite popular in the era of the Renaissance. At the same time, however, Hofer clearly emancipated himself from these fundamental mythological references. His focus was entirely on the portrayal of an introspective, strangely remote unrelatedness. It is a silent gathering of the three young women, characterized by motionless facial expression and their sentimental, inwardly gaze. At the same time, the latent tension between the three lightly clad women, physically facing each other, is palpable, and is increased by the fascinating contrast of the black and white dress and the opposite nude in rear view. The color accentuation of the light blue headscarf, which once more testifies to Hofer's compositional mastery, is particularly beautiful. The isolation and introversion of the figures is certainly due to Hofer's neo-objective character, but also owed to a sentimental symbol of a generation of artists forced to an ‘internal‘ emigration as a consequence of National Socialist‘s cultural policies. Hofer's protagonists are shown in a moment of pause without action, they are captured in a moment of sensations and feelings that are difficult to determine and also refuse any concrete interpretation due to the artist‘s consistent renunciation of attributes. It is precisely this open formulation that makes for the unique, subtle appeal of Hofer's unmistakable figure compositions. [JS] Called up: June 18, 2021 - ca. 17.24 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Hans Hartung - - 1904 Leipzig - 1989 Antibes T 1975 - R 25. 1975. Acryl auf Leinwand. Links unten signiert und datiert. Auf der umgeschlagenen Leinwand signiert, betitelt und bezeichnet. Auf dem Keilrahmen nochmals betitelt und bezeichnet sowie mit Richtungspfeil. 130 x 162 cm (51,1 x 63,7 in). [SM]. • Hans Hartung, einer der wichtigsten Vertreter des europäischen Informel und einer der einflussreichsten Protagonisten der École de Paris. • Das Musée d’Art Moderne de la Ville de Paris würdigte den Mitbegründer des deutschen Informel jüngst mit einer großen Retrospektive (11. Oktober 2019 bis 1. März 2020). • Mithilfe dieser großen schwarzen und blauen, offensiv in Szene gesetzten Zeichen suggeriert der Künstler eine Bildperspektive, einen räumlich wirkenden und belebten Farbraum. So wirkt die Abstraktion wie eine Übersetzung von inspiriertem Gefühl. Das Werk ist im Archiv der Fondation Hans Hartung et Anna-Eva Bergman registriert und wird in das in Vorbereitung befindliche Werkverzeichnis aufgenommen. PROVENIENZ: Galerie Kallenbach, München (1987 direkt vom Künstler erworben). Privatsammlung Nordrhein-Westfalen. 'I am always, always looking for a law, the alchemic rule that can turn rhythm, movement and color into gold; to transmute apparent disorder with the sole aim of conveying perfect movement and so creating order in disorder, and order through disorder.' (Hans Hartung zit. n. Jennifer Mundy, Hans Hartung. Works on Paper 1922-56, London 1996, S. 20) „Die Bildmittel rücken als Sprache des Malers so weit in den Vordergrund', so der Kunsthistoriker Will Grohmann, „daß man zunächst nur sie sieht. Mit Recht, denn sie sind mehr als bloße Mittel, sie spiegeln das, was wir früher als persönlichen Ausdruck bezeichneten.“ Die Komposition 'T 1975' zeigt vor einem hellen lila und gelben, leuchtkastenartigen Hintergrund eine von Hartung nahezu parallel entwickelte und mit einer Gummiwalze aufgetragene Figurine. 'T 1975' ist typisch für die Zeit und den unerhörten Reichtum an Formen und Farben, die Hartung zu einer harmonischen Idee vereint. Ab Anfang der 1970er Jahre setzt Hartung Werkzeuge ein wie eben eine Gummiwalze, die eigentlich zum Einfärben eines Lithografiesteins dient, um die Farbe, oft Schwarz und hier bisweilen Blau, auf einen vorab mit der Spritzpistole gleichmäßig eingefärbten Hintergrund zu rollen. Es bleibt nicht bei der Gummiwalze; Hartung präpariert etwa unterschiedliche Bürsten, Rollen, Besen, Pinsel, Schaber, Kratzer, Spachtel, Fächer und vieles andere mehr, um mit diesen Gerätschaften erstaunliche Effekte zu erzielen. Er entwickelt dabei ein technisch variables System, mit dem er die großen Gesten in seinen Bildern formuliert. Aber seine Malerei erschöpft sich nicht in ihren Werkzeugen, sie dienen ihm wie hier die Gummirolle, um unterschiedliche Möglichkeiten des Malprozesses als Experiment mit unvorhersehbarem Ergebnis zu gestalten. Ein Malprozess, den er nicht so sehr als ein Ereignis mit unvorhersehbarem Ausgang versteht, sondern eher als ein Experiment, das zu einem gewissen Anteil präzise steuerbar ist; - eine Technik, die schon K. O. Götz mit dem Rakel sich zu eigen macht, eine Technik, die nicht zuletzt Gerhard Richter zu einer eminent charaktervollen Bildformulierung steigert. Dunkle Farben, eine schwarze und eine blaue Form, stehen hier vor lichtdurchflutetem Hintergrund. Diesen extremen Gegensatz präzise herauszuarbeiten, trotz der Zweidimensionalität der monochromen Farben einen imaginären Tiefenraum zu kreieren, befördert Assoziationen beim Betrachten. Mithilfe dieser großen schwarzen und blauen, offensiv in Szene gesetzten Zeichen suggeriert der Künstler eine Bildperspektive, einen räumlich wirkenden und belebten Farbraum. So wirkt die Abstraktion wie eine Übersetzung von inspiriertem Gefühl. [MvL] Aufrufzeit: 18.06.2021 - ca. 17.30 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONHans Hartung -1904 Leipzig - 1989 Antibes T 1975 - R 25. 1975. Acrylic on canvas. Signed and dated in lower left. Signed, titled and inscribed on the folded canvas. Once more titled and inscribed, as well as with a direction arrow, on the stretcher. 130 x 162 cm (51.1 x 63.7 in). • Hans Hartung is one of the most important representatives of European Informalism and one of the most influential protagonists of the École de Paris. • The Musée d’Art Moderne de la Ville de Paris lately honored the co-founder of German Informalism with a grand retrospective (October 11, 2019 - March 1, 2020). • Through the aggressively staged large blue and black signs the artist suggests a perspective of a three-dimensional and vivid color space. Thus the abstraction is like a conversion of inspirational sensation. The work is registered in the archive at Fondation Hans Hartung et Anna-Eva Bergman and will be included into the forthcoming catalog raisonné. PROVENANCE: Galerie Kallenbach, Munich. (acquired from the artist in 1987) Private collection North Rhine-Westphalia. 'I am always, always looking for a law, the alchemic rule that can turn rhythm, movement and color into gold; to transmute apparent disorder with the sole aim of conveying perfect movement and so creating order in disorder, and order through disorder.' (Hans Hartung, quote from Jennifer Mundy, Hans Hartung. Works on Paper 1922-56, London 1996, p. 20) 'The pictorial means come to the fore as the painter's language', said the art historian Will Grohmann, 'that at first one only sees them. Rightly, because they are more than mere means, they reflect what we used to describe as a personal expression'. The composition 'T1975' shows a figurine in front of a light purple and yellow, background that looks like a light box, developed by Hartung in almost parallel manner and applied with a rubber roller. 'T1975' is typical of the time and the audacious abundance of shapes and colors that Hartung combined in a harmonious concept. Since the early 1970s Hartung has been using tools like the rubber roller, which is actually a tool used to dye a lithographic stone in order to roll the color, often black and sometimes blue, onto a background evenly colored with a spray gun beforehand. But there is a lot more than the rubber roller: Hartung prepares various types of brushes, rollers, brooms, paint brushes, scrapers, spatulas, fans and much more devices with which he achieves amazing effects. He developed a technically variable system with which he formulated the grand gestures in his pictures. But his painting is not limited to its tools; like the rubber roller here, they serve him to make the painting process an experiment with unpredictable results. A painting process that he does not understand as an action with an unpredictable outcome, but rather as an experiment that can be precisely controlled to a certain extent - a technique that C.O. Götz has made his own with the squeegee, a technique which, not least, Gerhard Richter elevates to an eminently characterful image formulation. Dark colors, a black and a blue form, stand here against a light-flooded background. Precisely worked out extreme contrasts, an imaginary depth of space despite the two-dimensionality of the monochrome colors, provokes associations in the observer. With the help of these large black and blue, aggressively staged signs, the artist suggests a pictorial perspective, a deep and lively color space. So the abstraction works like a translation of an inspired feeling. [MvL] Called up: June 18, 2021 - ca. 17.30 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Günther Uecker - - 1930 Wendorf - lebt und arbeitet in Düsseldorf Kunstpranger. 1983. Nägel und Asche-Leim-Gemisch auf Holzstamm. Rückseitig unten signiert und datiert. Höhe: 293 cm (115,3 x 37,4 x 29,5 in). Durchmesser: ca. 95 cm (37,4 in). • Die während der Aktion 'Kunstpranger' entstandene Skulptur ist der Erste: Der Ur-Nagelbaum. • Der monumentalste jemals angebotene Nagelbaum. • Seit der Entstehung stets in der Sammlung Deutsche Bank. Dieses Werk ist im Uecker Archiv unter der Nummer GU.83.046 registriert und wird vorgemerkt für die Aufnahme in das entstehende Uecker-Werkverzeichnis. PROVENIENZ: Aktion 'Kunstpranger' bei der Galerie Annelie Brusten, Wuppertal. Sammlung Deutsche Bank (vom Vorgenannten erworben). Der 'Kunstpranger' gehört zu den bekanntesten Skulpturen Günther Ueckers. In einer Aktion mit der Wuppertaler Galeristin Annelie Brusten, die er 1979 während eines Akademie-Rundgangs in Düsseldorf kennenlernt, schafft er ein Mahnmal für die sterbende Natur. Eine von Borkenkäfern befallene Ulme wird im Klophaus-Park gefällt, durch Uecker aber als Kunstwerk konserviert. Die Idee entsteht im Herbst des Jahres 1983, als Annelie Brusten zufällig die Forstarbeiter im Park beim Markieren der 80 Jahre alten Ulme bemerkt. Sie erfährt, dass der kranke Baum gefällt und verbrannt werden soll. Annelie Brusten holt den bereits sehr bekannten 'ZERO'-Künstler und Professor an der Kunstakademie nach Wuppertal: Uecker kommt, markiert einen etwa 3 Meter langen Abschnitt am Stamm und Ueckers Schüler Herbert Koller dokumentiert fotografisch was dann geschieht. Im Park-Pavillon bearbeitet Uecker, auf einer Leiter stehend, über zehn Tage den mächtigen Stamm und bestückt ihn mit einer wehrhaften Krone aus Zimmermannsnägeln. Insgesamt etwa eintausend Nägel mit einem Gewicht von 130 Kilogramm verwendet er für dieses Kunstwerk. Die Asche der verbrannten Baumkrone vermischt er mit Leim, einer Art Heilsalbe, mit der er die Wunden des Baumes verschließt. Es ist sein erster Baum, den er mit Nägeln bearbeitet. Im Park-Pavillon verbleibt die Skulptur 'Kunstpranger' als gleichnamige Ausstellung der dort ansässigen Galerie Annelie Brusten, dem Waldsterben gewidmet - ein Thema, das heute brisanter ist als jemals zuvor. Bei seiner Rede zur Eröffnung der Ausstellung prangert Uecker die Umweltzerstörung durch den Menschen an und erklärt die Nägel zur 'Rüstung', mit der er den Baum 'eingerüstet, ihn stark gemacht' habe. Herbert Kollers Aufnahmen sind nebst handschriftlichen Gedanken Ueckers in dem kleinen Ausstellungskatalog 'Kunstpranger' enthalten, den Annelie Brusten später als Auflage herausgibt. Auch ein Multiple in 35 Schubern mit jeweils einer benagelten Baumscheibe und Kohlezeichnung der Ulme macht die Entstehung des Kunstwerks nachträglich zu einer Art Performance. Mithilfe des damaligen Direktors des Von der Heydt-Museums, Günter Aust, verkauft Annelie Brusten den 'Kunstpranger' nach vier Monaten an die Deutsche Bank. Die Neuerwerbung wird dort über 20 Jahre in der Eingangshalle der Wuppertaler Filiale präsentiert. Der Nagelbaum wird zu einem Thema in Ueckers Œuvre, das ihn nicht gleich wieder loslässt. Noch 1984 folgt ein achtteiliger Wald, ein zweiter und dritter entsteht 1988 und 1991. Günther Uecker ist ein steter Kommentator der Geschehnisse in der Welt, er lebt in der Gegenwart und nimmt aktiv an seiner Zeit teil. 'Die Kunst kann den Menschen nicht retten, aber mit den Mitteln der Kunst wird ein Dialog möglich, welcher zu einem den Menschen bewahrenden Handeln aufruft.' (Günther Uecker, 1983, zit. nach: Kritisches Lexikon der Gegenwartskunst, S. 2). Seine Werke sind Zeugen ihrer Zeit und künstlerischer Protest gegen Zerstörung und Vernichtung. [SM] Aufrufzeit: 18.06.2021 - ca. 17.38 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONGünther Uecker -1930 Wendorf - lebt und arbeitet in Düsseldorf Kunstpranger. 1983. Nails and ashes-glue compound on tree trunk. Signed and dated on the reverse. Height: 293 cm (115.3 x 37,4 x 29,5 in). Diameter: ca. 95 cm (37,4 in). • The sculpture was made in context of the campaign 'Kunstpranger' (Art Pillory) and is the first nail tree ever made. • The most monumental nail tree ever on the market. • Part of Deutsche Bank Collection since it was made. The work is registered in the Uecker Archive with the number GU.83.046 and is earmarked for inclusion into the forthcoming Uecker catalog raisonné. PROVENANCE: Art campaign 'Kunstpranger' at Galerie Annelie Brusten, Wuppertal. Deutsche Bank Collection (acquired from aforementioned). The 'Kunstpranger' (Art Pillory) is one of Günther Uecker's most famous sculptures. In an action with the Wuppertal gallery owner Annelie Brusten, whom he met in 1979 during the academy tour in Düsseldorf, he created a memorial for the destruction of the environment. An elm tree infested with bark beetles was chopped down in Klophaus Park, but Uecker conserved it as a work of art. The idea came up in the autumn of 1983 when Annelie Brusten happened to notice the forest workers in the park marking the 80-year-old elm. She learned that the sick tree had to be taken down. Annelie Brusten called the well-known 'ZERO' artist and academy professor to Wuppertal: Uecker came, marked an approximately 3 meter long section on the trunk and Uecker's student Herbert Koller photo-documented what happened next. In a pavilion in the park Uecker stood on a ladder and worked on the mighty trunk for ten days, equipping it with a defensive crown of carpenter nails. He used a total of around one thousand nails weighing 130 kilograms for this work of art. He mixed the ashes of the burned treetop with glue, as a kind of healing ointment, with which he closed the tree’s wounds. This was the first tree ever that Uecker performed his nailwork on. The sculpture 'Kunstpranger' (Art Pillory) remained in the park pavilion as an exhibition of the same name by the Annelie Brusten gallery and was dedicated to forest dieback - a problem that was more topical than ever at that point. In his speech on occasion of the opening of the exhibition, Uecker decried the destruction of the environment by man and declared the nails to be 'armor' with which he 'equips the tree, in order to make it strong'. Herbert Koller's photographs, along with Uecker's handwritten thoughts, were included in the small exhibition catalog 'Kunstpranger', which Annelie Brusten would later publish in an edition of 35 multiples in slipcases, each with a nailed tree disc and a charcoal drawing of the elmtree, turns the creation of the work of art into a kind of performance. With the help of the then director of the Von der Heydt Museum, Günter Aust, Annelie Brusten sold the 'Kunspranger' to the Deutsche Bank Collection after four months. The new acquisition was presented in the lobby of its Wuppertal branch for over 20 years. The nail tree became a theme in Uecker's oeuvre that the artist would not let go. In 1984 he made an eight-part fores, a second and third one followed 1988 and 1991. Günther Uecker remained an artistic commentator on current events in the world, he lives in the present and makes contributions to the issues of our time. 'Art cannot save people, but with the means of art a dialogue becomes possible which calls for actions that will then protect people.' (Günther Uecker, 1983, quote from: Kritisches Lexikon der Gegenwartskunst, p. 2) His works are witnesses to the urging questions of their days and an artistic protest against destruction and annihilation. [SM] Called up: June 18, 2021 - ca. 17.38 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).
Günther Förg - - 1952 Füssen - 2013 Freiburg Untitled. 1993. Acryl auf Leinwand. Links oben signiert und datiert. 195 x 160 cm (76,7 x 62,9 in). • Aus der kleinen Werkreihe der grau-schwarz-weißen Farbfelder, zu denen Förg seine ab den 1970er Jahren entstehenden grauen Bilder weiterentwickelt. • Selten. Bisher wurden erst zwei weitere Arbeiten dieser Werkreihe auf dem internationalen Auktionsmarkt angeboten (artprice.com). • Schönes Beispiel von Förgs meisterlichem Spiel mit der Adaption kunsthistorischer Traditionen von Paul Klee bis hin zu Blinky Palermo und Cy Twombly. • Außergewöhnliche Komposition, die durch ihre minimalistische Farbwahl und die sanft nuancierte Farbmodulation begeistert. • Großformatige Farbfelder befinden sich in zahlreichen internationalen Museen, wie u. a. dem Museum of Modern Art, New York, dem Städel Museum, Frankfurt a. M., dem Stedelijk Museum, Amsterdam, und dem San Francisco Museum of Art. Wir danken Herrn Michael Neff vom Estate Günther Förg für die freundliche Bestätigung der Authentizität dieser Arbeit. Das Gemälde ist im Archiv unter der Nummer 'WVF.93.B.0716' verzeichnet. PROVENIENZ: Luhring Augustine Gallery, New York (direkt vom Künstler erworben). Privatsammlung (1993 vom Vorgenannten erworben -2021). 'Es heißt immer, das graue Bilder nicht farbige Bildern sind. Im Gegenteil! Grau kann eine starke Farbigkeit entwickeln.' Günther Förg, zit. nach: Kunst Heute Nr.18, Köln 1997, S. 57. Günther Förgs Werk ist eine Hingabe an den Eigenwert der Farbe, der unablässige Versuch, ihr Eigenleben und ihren schier unendlichen Variationsreichtum durch immer neue Kombinationen herauszuarbeiten. Seine Malerei bringt das scheinbar Unvereinbare nahezu mühelos auf der Leinwand zusammen, sie vereint Elemente der konkreten Kunst mit gestischen Elementen: Geometrische Strenge trifft auf expressive Spontaneität, ein kalkuliertes System auf die spontane Intuition des Farbauftrages. Förgs Gemälden gehen bis in die 1980er Jahre maximal grobe Konstruktionsskizzen voraus, er lässt seine Arbeiten stets aus nur einer einzigen Malschicht entstehen. Förgs Malerei muss auf einen Schlag gelingen, in einem Zug muss das Bildereignis in nur einer Malschicht realisiert werden. Förgs Malerei sucht dabei stilistisch die Auseinandersetzung mit anderen Künstlern. Neben Einflüssen der abstrakten Vorkriegsmoderne, des Konstruktivismus und Suprematismus spielt dabei in den 1970er Jahren das Schaffen des früh verstorbenen Blinky Palermo für den Kunststudenten Förg eine prägende Rolle. Später dann tritt das amerikanische Action- und Color-Field-Painting als reiche Inspirationsquelle hinzu. Förg adaptiert und transformiert Gesehenes, macht auf diese Weise in farblicher oder formaler Hinsicht immer wieder neuartige Impulse für sein eigenes, facettenreiches Werk nutzbar. In unserer großformatigen Arbeit 'Untitled' (1993) spielt Förg souverän mit der kunsthistorischen Tradition der Gitterbilder und kombiniert diese formale Struktur mit seinem gestischen Farbauftrag und der Farbpalette seiner berühmten grauen Bilder. Während seiner Akademiezeit in den 1970er Jahren beginnt Förg in unablässiger Konsequenz wöchentlich graue Bilder zu malen, bei denen er schwarze Farbe auf eine grundierte Leinwand gibt und mit einem Schwamm zu einer grauen Struktur vermalt. 'Die Bilder entstanden wie auf einer Schultafel. Es blieb ja auch eine Ähnlichkeit. So habe ich von Anfang an gearbeitet, was ja im nachhinein etwas komisch ist. Man kommt an die Akademie und hat dann eine gewisse Freiheit vor Augen [..] und ich habe mich dann gleich in eine Art Unfreiheit begeben, indem ich jede Woche ein graues Bild gemalt habe.' (G. Förg, zit. nach: Kunst Heute Nr.18, Köln 1997, S. 20). Teils strukturiert er diese grauen Bilder dann in den 1980er Jahren auch mit gewischten, nahezu monochromen Gitterstrukturen, die er dann - angeregt durch das kleinformatige abstrakte Schaffen Paul Klees - in der kleinen, 1993 entstandenen Werkfolge zu großformatigen, mehrfarbigen Karostrukturen aus schwarzen, weißen und grauen Feldern weiterentwickelt. Formal verarbeitet diese Werkfolge, zu der auch unser großformatiges Gemälde zählt, Einflüsse von Paul Klee bis hin zum früh verstorbenen Blinky Palermo, während die reduzierte Farbwahl zudem Vorläufer in den grauen Gemälden Cy Twomblys hat. Allen Gemälden Günther Förgs gemeinsam ist die nuancierte, vibrierende Farbgebung, die er einmal folgendermaßen beschrieben hat: 'Technisch ist es so, dass ich mit dem Pinsel in die nächste Farbe reingehe, so das ich von selbst nicht etwas Monotones in die Palette bekomme, sondern eine Art von Reichtum.' (G. Förg, zit. nach: G. Förg im Gespräch mit Siegfried Gohr, Köln 1997, S. 43). 2014 präsentierte das Museum Brandhorst, München, eine erste postume Werkübersicht des Künstlers. Im Jahr 2018 folgte dann die Retrospektive 'Günther Förg. A Fragile Beauty' die im Stedelijk Museum, Amsterdam, und im Dallas Museum of Art zu sehen war. Förgs Gemälde befinden sich in zahlreichen internationalen Museumssammlungen, darunter das Museum of Modern Art, New York, und die Pinakothek der Moderne, München. [JS] Aufrufzeit: 18.06.2021 - ca. 18.16 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Joseph Beuys - - 1921 Krefeld - 1986 Düsseldorf Goldhase. Um 1982. Goldbronzespray auf Karton. Unten signiert. 60,5 x 44 cm (23,8 x 17,3 in). • Das Motiv dieses Hasen taucht auch auf den 'Hasensteinen' auf. • Joseph Beuys ist einer der bedeutendsten Künstler der deutschen Nachkriegszeit. • Der Hase - für Beuys ein Tier mit Energiefunktion. • Unikat. PROVENIENZ: Galerie Heinz Holtmann, Köln. Sammlung Sal Oppenheim. LITERATUR: 10 Jahre Sammlung Sal.Oppenheim 1997-2007, S. 418, Abb. S.71. 'Der Hase ist das Element der Bewegung, der Aktion, der den starren Kunstbegriff ändert. Dann ein Bewohner von Eurasien, der über alle Grenzen hinweggeht und sogar mit der Berliner Mauer fertig wird. Damit hängt die Idee der großen Einheit zusammen, die von Mitteleuropa ausgeht' Joseph Beuys im Abendzeitung-Gespräch vom 15.11.1985. Schon in seiner Aktion 'Wie man dem toten Hasen die Bilder erklärt' in der Galerie Schmela, Düsseldorf, am 26.11.1965, verbindet Joseph Beuys die Farbe Gold mit dem Hasen. Beuys’ Kopf ist damals mit Blattgold, Goldstaub und Honig bedeckt. Sein Kopf, das wertvolle, gedankenbildende Zentrum des Menschen und Künstlers, ist mit dem edlen Metall kenntlich gemacht. Der Hase nimmt damals die Position des Betrachters ein; wohingegen die realen Betrachter:innen (= Ausstellungsbesucher:innen) auf der Straße vor dem Schaufenster bleiben müssen und noch keinen Einlass erhalten. Der Hase taucht in Zeichnungen, Aktionen und Multiples von Joseph Beuys immer wieder als wichtiges Bindeglied des Verständnisses auf. In Verbindung mit Gold etwa in seiner Aktion auf der documenta 7 in Kassel im Jahr 1982, als Joseph Beuys eine getreue Kopie der goldenen Zarenkrone Iwans des Schrecklichen einschmilzt und in die Gussform eines Schokoladenosterhasens gießt, es entsteht ein 'Hase mit Sonne'. Die Silhouette des schnell rennenden Hasen, wie sie hier zu sehen ist, begegnet uns auch auf den 'Hasensteinen'. Der Hase rennt und ist in seiner Schnelligkeit und Wendigkeit charakterisiert. Joseph Beuys sieht darin die geistige Beweglichkeit des Denkens und Wollens verkörpert. Eigenschaften, die im Verständnis des Künstlers für die Errichtung einer sozialen Plastik unabdingbar sind: Nur wer in seinem Denken beweglich und nicht verkrustet ist, kann Neues schaffen. Dieser Gedanke erscheint banal, in der deutschen Gesellschaft der Nachkriegszeit haben verkrustete, festgefahrene Gewohnheiten und Strukturen jedoch noch einen ganz anderen Beigeschmack als heute. Eine Neubelegung der Symbolik von Gold in Abtrennung vom Kapitalgedanken findet auf derselben Ebene statt. Es wird durch seine Wandelbarkeit des Zustandes ein prädestiniertes Material für Beuys, es kann geschmolzen oder fest, flächig oder gesprüht, massiv oder flüssig, kalt oder warm sein. Es ist nicht primär der materielle Wert, der interessiert, auch wenn die tradierte Würde und Erhabenheit des Materials immer mitschwingt. [EH] Aufrufzeit: 19.06.2021 - ca. 12.36 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONJoseph Beuys -1921 Krefeld - 1986 Düsseldorf Goldhase. Um 1982. Gold-bronze spray on board. Signd on the bottom. 60.5 x 44 cm (23.8 x 17.3 in). • The motif of the hare also appears on the 'Hasensteine'. • Joseph Beuys is one of the most importand artists of the post-war era in Germany. • The hare - for Beuys an animal with an energy function. • Unique object. PROVENANCE: Galerie Heinz Holtmann, Cologne. Collection Sal Oppenheim. LITERATURE: 10 Jahre Sammlung Sal.Oppenheim 1997-2007, p. 418, illu. on p.71. 'The rabbit is the element of movement, of action that changes the rigid concept of art. A resident of Eurasia who transgresses all borders and can even deal with the Berlin Wall. This is related to the idea of the great unity that Central Europe stands for. Joseph Beuys in an interview on November 15, 1985. In his campaign 'How to explain pictures to a dead hare' at Galerie Schmela in Düsseldorf on November 26, 1965, Joseph Beuys connected the color gold with the hare. Beuys’ head was covered with gold leaf, gold dust and honey. His head, the valuable, intellectual control center of man and artist, was marked with the noble metal. At that time the hare took the position of the observer; whereas the real viewers (= exhibition visitors) stood on the street in front of the gallery and followed the scene inside through the window. Time and again the hare appears in Joseph Beuys‘ drawings, actions and multiples. It serves as an important link for comprehension. Often in connection with gold, like in his action at documenta 7 in Kassel in 1982, for which Joseph Beuys melted an exact copy of the golden tsar crown of Ivan the Terrible, pouring it into the mold of a chocolate bunny, and creating a 'Hase mit Sonne' (Hare with Sun). We also find the silhouette of the running hare, as it can be seen here, on the 'Hasensteine'. The running hare is characterized by its speed and agility. To Joseph Beuys it embodies mental agility of thinking and will. In the understanding of the artist, these properties are essential for the establishment of a social sculpture: Only those flexible in their thinking and not narrow-minded can create something new. This thought seems banal, but in post-war German society narrow-mindedness and habitual thinking were of strong relevance for stagnant social development. A reinterpretation of the symbolism of gold outside its material value took place on the same level. Its changeability made it a perfect material for Beuys‘ art; it can be molten or solid, flat or sprayed, cold or warm. It is not primarily the material value that is of interest, even if the material‘s traditional dignity and sublimity always resonate. [EH] Called up: June 19, 2021 - ca. 12.36 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).
Lt. Gerald Archibald Arbuthnot (1872-1916) A collection of approx. 200 letters and photographs, ranging from 1878-1916The only son of Major General William Arbuthnot (1838-1893) and his second wife Selina Moncreiffe (1851-1877), Gerald served in the Navy as a young man, before becoming the MP for Burnley in 1910. During the First World War, Gerald rose to the rank of second lieutenant whilst serving in the Grenadier Guards, however he was later killed in action during the Battle of the Somme.A large proportion of the early letters are to his father, aunt Frances Gertrude Arbuthnot (1896-1938) and aunt Frances Rose Muir Mackenzie (née Moncreiffe 1850-1923) many of which were written whilst aboard the HMS Temeraire in his youth. Later letters are to his wife, daughter Cynthia, and other family members.Gerald's fate during WW1 is revealed in a series of letters within the collection. On September 18th 1916, Gerald writes his last letter to his wife Dulcie (née Mary Johanna Antoinette Dulcie Oppenheim) describing his movements:"We shall move about a bit the next 2 or 3 days. Don't get worried if you don't hear from me. We have heaps of officers killed and wounded...Asquith's son is killed and his nephew one of the Tennants. The latter was killed close to me and I helped bury him. I can't describe the horrible things I have seen- in the 24 hrs of it I had, this of course I missed, the most important part. Still I saw quite enough...Our men were splendid of course, many a good chap has gone. Now the rain is coming down in sheets I expect it will stop all of action for the moment. Mercifully I have a comfy tent! Give my love to Kenneth and May. Dear old Egton- how nice it would be to find oneself in that comfortable smoking room in all the cheerful surroundings that I associate with them both. I owe some of the best times I've ever had to old Ken. Yours Lovingly, Gerald...I'm awfully well"However, tragically, in a letter dated October 2nd 1916 written to Gerald?s Wife by his comrade Alex F. Irvine, he describes how Gerald meets his death just six days later:"...his last few hours were spent as he and I were the only two officers in the No. 1 Coy that day. In the night of the 24th we left our billets in Bernafay Wood to Guillemont station, where we picked up our guides. We then struck north leaving Ginchy on our right and came into our trenches about 1000 yards south of Les Bouefs, our objective for the next day. That night we spent in the trench. The next day till 12:35 the weather was fine and warm which was as well as there was no company headquarters of any sort and we had to sleep out with the men. Your husband had a narrow escape that morning as a bomb which had been buried detonated when struck with the spade. He escaped but the two men were each wounded. At 12:35 as arranged the assault took place and we both left the trench together, he going off to the right and I to the left a little way. We shouted good luck to each other as we parted, and that was the last time we spoke. I came very close to him again a minute or so later and it was there I was hit after which I can tell you nothing more. Both my orderlies had instructions that if I fell they were at once to report to him and I expect they did, so he carried on the company till he fell. I am afraid I can give you no more details. We were a good deal together for the last four days and we always hit it off very pleasantly together. All our plans came to nothing but the Battln. did very well, and I expect No.1 Coy with it. The senior NCO Sgt. Hant was also killed..."Amongst the condolences letters sent to Dulcie there is one from Gerald's uncle John James Hugh Henry [Murray later Stewart-Murray] (1840-1917), 7th Duke of Atholl, who describes his shock having received a letter from Gerald just "twice within the last few weeks", however he goes on to declare that "we must all die some time sooner or later and I cannot help thinking that if Gerald had had a choice he would have thought that there could be no death preferable to that he has met with"The collection also includes a 1914 Princess Mary Christmas present bullet pencil, as well as a number of photographs of Gerald during his time in the Navy, and even a typed letter from the suffragette Christabel Pankhurst received during his short time as an MP.Gerald was also recently brought back into the public eye. In 2018, Dr Kathryn Rix from the History of Parliament Trust discovered that Gerald, although having been one of only 24 members and former members of Parliament to have been killed in action, was missing from the Parliament's World War One memorial known as the Recording Angel. His name was finally added just weeks before the Armistice Day centenary.Provenance: From the estate of Lt. Gerald Arbuthnot thence by descent through the family
ACTION MAN; six boxed Anniversary sets and figures with three Nostalgic Collection examples comprising the Royal Horse Guards (The Blues), Astronaut and Soldier, British Infantryman, Scuba Diver and Ski Patrol, also two similar boxed figures and a further smaller plastic example.Additional InformationBoxes are worn, internal components appear good but bidder is encourage to judge for themselves.
Tennis Milos Raonic signed 12x8 colour photo pictured in action at Wimbledon. Canadian professional tennis player. He reached a career-high Association of Tennis Professionals (ATP) world No. 3 singles ranking on November 21, 2016. Raonic is one of the most successful Canadian singles male players in history. His career-high No. 3 ranking is the highest ever ranking for a Canadian man. He is the first Canadian male in the Open Era to reach the Australian Open semi-finals, the French Open quarterfinals, and the Wimbledon final. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Collection of vintage Palitoy/Cherilea Action Man boxed items and loose equipment, including, Cherilea, box complete life raft, in good play worn condition with a loose one, boxed complete commando kayak, Palitoy boxed armoured jeep, missing wire cutters, machine gun and mounting, jeep is in good play worn condition fair to good with edge/age wear crease with stars and instructions leaflet, boxed machine gun emplacement, near complete missing shovel, in untested good play worn condition, box is in fair to good missing stars, boxed special operations tenet, missing some poles, table and map, box has missing stars in fair condition has edge/age wear creases and tears, boxed training tower, unchecked, box is in fair condition has edge/age wear tears and creases, loose SAS dingy, plus, Bags of accessories, one bag of shoes, one bag of hat/helmets and small items, one bag of large accessories and weapons, two bags full of clothing, netting, broken bike and mix matched dolls 1970s plus parts,(a lot)
Vintage 1960s/70s Palitoy Action Man with accessories and clothing, including, 1960s paint head fixed hand action man and 1970s flocked head fixed hand pull string talking action man, voice box sadly is not working, with serval different weapons, guns pickaxe etc and helmets, hats, shoes, and dog, plus 1970s “official equipment manual” (a lot)
Loading...-
16074 item(s)/page