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Click here to subscribeEugene Sue. The Wandering Jew., 2 vols, half red morocco with feather boards, published by Chapman & Hall, London 1844-45, together with The Associated Architectural Society's Reports and Papers, vol XXVIII, part II, 1906., and Dynamics, Construction of Machinery, etc. by G Finden Warr., published London 1851. (4)
100-300 AD. Gandharan. Superb life-size schist head of Buddha, with characteristic topknot (Ushnisha) and elongated, pendular ears. His forehead is ornamented with a well-defined urna and his heavy-lidded eyes are half closed and combined with his noble nose, small, fine lips and prominent chin, create a noble, otherworldly impression. The back is rough and unfinished, suggesting this piece was originally placed in an architectural setting. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this head belongs, was the golden age of artistic production in the area. Provenance: From an important private London Collection (H.G); previously acquired in Paris in 2006. Formerly in the collection of Alain Kottlar since 1960s. Size: L:with stand: 480mm / W:240mm ; 31kg
A mixed lot of books including topics around The Napoleonic Wars, books of architectural and material culture interest, John Gloag, The English Tradition in Architecture and Elizabeth Burton, The Early Tudors at Home together with Jane Austin's Letters compiled by Chapman, Thomas Burke, Travels in England etc. (a lot)
A LATE 19TH / EARLY 20TH CENTURY PROBABLE GERMAN LONGCASE CLOCK, finished in walnut, having decorated brass finished circular dial, over a secessionist stroke, Art Nouveau architectural case, with display pendulum, 210cm highCondition report – It is the ‘raise weight’ type, no winding holes in the dial. The pendulum end is broken off the shaft, we don’t have it set up, it will need attention & restoration.
§ ◆ LYNN CHADWICK C.B.E. R.A. (BRITISH 1914-2003) STANDING COUPLE, 1980 5/9, signed with initial, numbered and inscribed '789S', bronze with black patina and polished(43cm high, 36cm wide, 53.3cm deep (16.9in high, 14.2in wide, 21in deep))Footnote: Literature: Farr, Dennis and Chadwick, Eva, Lynn Chadwick Sculptor, Lund Humphries, 2006, pp. 338-339, no. 798S (another example illustrated). Provenance: Private Collection, South Africa; Bonhams, London, 2 July 2002, Lot 132; Private Collection, UK. Lynn Chadwick (1914-2003) is widely considered to be one of the most important British sculptors of the twentieth century, often heralded as the successor to Henry Moore. Born and raised in London, Chadwick did not have any formal art education and began to transfer his experience as an architectural draughtsman to his sculptures from the end of World War II, during which he served as a pilot. In 1956, a few years after he began to cast in his iconic bronze, Chadwick’s career received immense acclaim when he won the International Sculpture Prize at the Venice Biennale, surpassing the noted favourite Alberto Giacometti and becoming the youngest ever recipient of the prestigious prize. In 1971, he opened his own foundry at his estate at Lypiatt to produce small bronzes and jewellery. Known for his keenness to blur the lines between abstraction and figurative work, from 1973 we note a development in his bronze figures as they begin to be clothed in sumptuous drapery, adding a mysterious and elusive quality to them. These cloaked, figurative pieces became an important part of his oeuvre in the 1970s and into the 1980s and remain instantly recognisable, as he pushed the boundaries between abstraction and naturalism. Chadwick’s exploration of seated figures in the early 1970s, such as Sitting Couple from 1975, marks an important development in his work. Always a keen observer of human movement, his figures are more elongated and elegant as they become more erect, in contrast to his earlier works. In a book on the artist’s life, his wife Eva Chadwick discusses the importance of movement in his work with art historian Dennis Farr: “Chadwick has always been intrigued by movement, either actual or implied, in his sculpture. From his early mobiles to his dancing Teddy Boy and Girl series of the 1950s to his cloaked walking women with windswept hair of the 1980s, he has explored figures in motion. Sometimes their cloaks and draperies flow out in the wind from behind them, or are caught by a gust and wrap themselves around the figures. This essentially lateral progression gives place to a vertical rhythm in his groups of, usually two, figures.” (D. Farr & E. Chadwick, op. cit., 2006, p. 15). However, the importance of mass remained paramount to these groupings in the way in which the couple join to become one solid unit. This abstraction of form and elegant elongation continued towards the 1980s, which is visible in works such as Standing Couple from 1980. The long, fluid cloaks which shroud the couple add to the visually joining of the figures as one, all the while maintaining Chadwick’s signature signifier of maleness (oblong head) and femaleness (triangular head) to contextualise the couple. Figures from this period of Chadwick’s work represent his artistic maturity and allow the viewer to import their own narrative on these anonymous figures. Like the artist’s larger outdoor sculptures, the works offered here have an eminent presence and command the attention of those around them due to their imposing form and mysterious essence. We would like to thank Sarah Chadwick for her assistance in cataloguing the current work.
§ ◆ LYNN CHADWICK C.B.E. R.A. (BRITISH 1914-2003) SITTING COUPLE, 1975 E/2, 3/8, stamped 'CHADWICK', numbered and dated, bronze(21cm high, 36.5cm wide, 26.5cm deep (8.25in high, 14.35in wide, 10.35in deep))Footnote: Literature: Farr, Dennis and Chadwick, Eva, Lynn Chadwick Sculptor, Lund Humphries, 2006, p. 310, no. 708 (another example illustrated). Lynn Chadwick (1914-2003) is widely considered to be one of the most important British sculptors of the twentieth century, often heralded as the successor to Henry Moore. Born and raised in London, Chadwick did not have any formal art education and began to transfer his experience as an architectural draughtsman to his sculptures from the end of World War II, during which he served as a pilot. In 1956, a few years after he began to cast in his iconic bronze, Chadwick’s career received immense acclaim when he won the International Sculpture Prize at the Venice Biennale, surpassing the noted favourite Alberto Giacometti and becoming the youngest ever recipient of the prestigious prize. In 1971, he opened his own foundry at his estate at Lypiatt to produce small bronzes and jewellery. Known for his keenness to blur the lines between abstraction and figurative work, from 1973 we note a development in his bronze figures as they begin to be clothed in sumptuous drapery, adding a mysterious and elusive quality to them. These cloaked, figurative pieces became an important part of his oeuvre in the 1970s and into the 1980s and remain instantly recognisable, as he pushed the boundaries between abstraction and naturalism. Chadwick’s exploration of seated figures in the early 1970s, such as Sitting Couple from 1975, marks an important development in his work. Always a keen observer of human movement, his figures are more elongated and elegant as they become more erect, in contrast to his earlier works. In a book on the artist’s life, his wife Eva Chadwick discusses the importance of movement in his work with art historian Dennis Farr: “Chadwick has always been intrigued by movement, either actual or implied, in his sculpture. From his early mobiles to his dancing Teddy Boy and Girl series of the 1950s to his cloaked walking women with windswept hair of the 1980s, he has explored figures in motion. Sometimes their cloaks and draperies flow out in the wind from behind them, or are caught by a gust and wrap themselves around the figures. This essentially lateral progression gives place to a vertical rhythm in his groups of, usually two, figures.” (D. Farr & E. Chadwick, op. cit., 2006, p. 15). However, the importance of mass remained paramount to these groupings in the way in which the couple join to become one solid unit. This abstraction of form and elegant elongation continued towards the 1980s, which is visible in works such as Standing Couple from 1980. The long, fluid cloaks which shroud the couple add to the visually joining of the figures as one, all the while maintaining Chadwick’s signature signifier of maleness (oblong head) and femaleness (triangular head) to contextualise the couple. Figures from this period of Chadwick’s work represent his artistic maturity and allow the viewer to import their own narrative on these anonymous figures. Like the artist’s larger outdoor sculptures, the works offered here have an eminent presence and command the attention of those around them due to their imposing form and mysterious essence. We would like to thank Sarah Chadwick for her assistance in cataloguing the current work.
IFEANYI OGANWU (NIGERIAN 1979-) PAIR OF PEDESTAL STOOLS, 2016 1/200 and 2/200, limited editions, each numbered, with Duniake fabric by Phoebe Boswell, moulded birch plywood(each 40cm high, 47.5cm wide (15.7in high, 18.7in wide))Footnote: Ifeanyi Oganwu studied architecture at the Illinois Institute of Technology, Chicago; the Architectural Association, London; and Columbia University, New York. Prior to founding Expand Design Ltd, he worked for the offices of John Ronan Architects, Chicago; Zaha Hadid Architects, London; and collaborated with the fashion design studio of Hussein Chalayan. He was shortlisted for the 2016 Hublot Design Prize.
Cathleen Sabine Mann (1896–1959) West Wycombe lithographic poster, 1933, condition A; not backed (Dimensions: 76cm x 114 cm (30in x 45 in))(76cm x 114 cm (30in x 45 in))Footnote: Literature: Hewitt, The Shell Poster Book, 53.The ‘Everywhere you Go, You can be Sure of Shell’ series featured fine landmarks, historical sights and inspiring landscapes, all firmly located in the countryside. It was an idealized view of a rural order much sought after by the middle classes, particularly those from large towns. “By celebrating and making accessible such rural delights, Shell won the plaudits of powerful pressure groups who sought to protect the countryside from urban expansion and the destruction of rural amenities by advertising hoardings”. The first exhibition of these Shell posters took place at the New Burlington Galleries in June 1931.Born in Newcastle upon Tyne in 1896 Cathleen Mann followed in the footsteps of both her parents and became a painter of portraits and landscapes. Her father was Scottish portrait painter Harrington Mann and her mother portraitist Florence Sabine Pasley. West Wycombe was developed as an important 18th Century staging post along the old coaching route from London to Oxford. The village features many buildings of architectural value which were built between the 16th and 18th Centuries. Mann has chosen to feature the unmistakable 14th Century church, located high on West Wycombe Hill. The poster features the famous ‘Golden Ball’, a copy of the Custom House in Venice.
Piper (John).- Woods (S.John, editor) John Piper: Paintings, Drawings & Theatre Designs 1932-1954, with original aquatint frontispiece & 4 lithographs by Piper, 3 colour, original cloth, dust-jacket (price-clipped), 1955 § Evans (Myfanwy, later Piper) The Pavilion: A Contemporary Collection of British Art & Architecture, including articles on Wyndham Lewis, Edward Bawden, and stained glass featuring John Piper, original wrappers, rubbed and creased, [1946]; The Painter's Object, with contributions by Henry Moore, Paul Nash, John Piper, Pablo Picasso and others, original cloth, 1937 § Elborn (G., editor) To John Piper on his Eightieth Birthday, one of 900 copies, original pictorial boards, Stourton Press, 1983 § Gadsby Gallery. Catalogue to an Exhibition of Paintings, Drawings, Prints and Illustrated Books by John Piper, with...notes by Rigby Graham, one of 450 copies, original turquoise wrappers, a little rubbed and creased, Leicester, 1973 § Jolas (Eugene, editor) Transition: a Quarterly Review, No.26, containing part of 'Work in Progress' by James Joyce (later 'Finnegans Wake') and other contributions by Hans Arp, Paul Eluard, Man Ray, Moholy-Nagy & others and illustrating a work by Piper, original pictorial wrappers featuring a silver comb designed by Marcel Duchamp, rubbed and frayed at edges, upper cover detached, New York, 1937, plates and illustrations; and a quantity of others with contributions by or about Piper on art, stained glass, architecture etc., including many exhibition catalogues or leaflets and several issues of periodicals including Architectural Review, The Listener, Country Life, The Artist, Picture Post, Image etc., v.s. (c.100)
An Early Achromatic Compound Brass Microscope, English, c.1850, unsigned, standing on a heavy 'Y' shaped base with architectural-type turned pillar supporting main limb, with plano-concavve mirror in a gimbal, stage with wheel of stops and fine X control, course focus on triangular bar, with 4 pre RMS thread objectives in cans, height 39cm tall.
A late 19th/early 20th century German light oak-cased dome-top mantel clock, by Lenzkirch, architectural style case with pillar supports, gilt-brass dial and silvered chapter ring with Roman numeral hour markers and blued steel hands, back plate no. 635021, 8-day quarter repeat movement chiming on 2 gongs, with pendulum and keys, case height 32cm, working orderExcellent overall working order, case in extremely good clean condition, dial also very clean with only slight wear to high points of decoration, with keys and pendulum. Depth 20cm x Width 27.5cm.
Brixton Burnished A Frame Display The Brixton Burnished A Frame Is Made Using Solid European Rustic Graded Oak Which Is Renowned For Its Unique Character And The Shelves Are Burnished Resin Which Resembles Polished Stone With A Metallic Bronze Hue The Oak Is Brushed Out To Show The Grain With A Dry Natural Finish The A Frame Has An Architectural Look With Its Strong True Lines It Is Modern Yet Keeps A Connection Which Is The Arts And Crafts Movement Of The Turn Of The Century This Elegant A Frame Has 4 Shelves Of Different Sizes The Beauty Of The Character Coming Through On The Oak And The Light Catching Burnished Shelves Combined With The Strong Shapes Make The Brixton Burnished A Frame A Striking And Appealing Piece Yet One That Would Suit A Range Of Interiors 1200 X 426 X 1750mm
Brixton Burnished Coffee Table 900x900x450mm The Brixton Burnished Coffee Table Is Made Using Solid European Rustic Graded Oak Which Is Renowned For Its Unique Character And The Top Is Burnished Resin Which Resembles Polished Stone With A Metallic Bronze Hue The Oak Is Brushed Out To Show The Grain With A Dry Natural Finish The Table Has An Architectural Look With Its Strong True Lines It Is Modern Yet Keeps A Connection Which Is The Arts And Crafts Movement Of The Turn Of The Century The Beauty Of The Character Coming Through On The Oak And The Light Catching Burnished Top Combined With The Strong Shapes Make The Brixton Burnished Coffee Table A Striking And Appealing Piece Yet One That Would Suit A Range Of Interiors
CARMEN HERRERA (B. 1915)Untitled 2013 signed and dated 2013 on the overlap; signed and dated 2013 on the stretcheracrylic on canvas50.9 by 50.9 by 6.2 cm.20 1/16 by 20 1/16 by 2 7/16 in.Footnotes:ProvenanceLisson Gallery, London (HERR130014)Acquired from the above by the present owner in 2015Carmen Herrera is one of the most significant and celebrated minimalist painters of the last sixty years. An artist who has been at the very heart of late modernist practice, and has remained fastidiously committed to her singular style over the course of her life, the canon of twentieth century art has been incomplete without her inclusion until her late-life, institutional reappraisal. Presented here, Herrera's Untitled painting from 2013 is a canvas of searing simplicity; a superlative example of the Cuban-American artist's characteristic compositions that intersect space with razor sharp bars of colour. In the present work, Herrera's lifelong engagement with the formal qualities of the canvas – its objecthood, its surface, its composition – crystalises in a painting of lucid boldness. Elegant in its scale and ablaze with cobalt blue abutted by weightless solids of seething Indian yellow that fluoresce and glow over their respective corners, Untitled wonderfully demonstrates the visual poetics of Herrera's minimalist workings. Painted on the overlap and not hindered by any ornament framing, the present work gives an intensity and mass to the colours and lines that are essential to experiencing her work to its fullest.Born in Cuba in 1915, Herrera's astonishing life and career as an artist in Post-War Europe and America beckons from one of the most abundantly creative periods drifting out of living memory. Having left a politically turbulent Cuba for New York, cutting short her architectural studies to marry an American, Jesse Loewenthal, in 1939, Herrera had found her calling as an artist. They moved to Paris, residing in the city between 1948 and 1953 – a period that would be so influential and formative to her blossoming practice. In Herrera's early work, her astute sense of colour and form was evident and palpable. Akin to the blockish, tonal compositions of Paul Klee, taking cues from the work of Kazimir Malevich and Russian Suprematism, it was in Paris that Herrera would begin to refine her style and hone her rigorous relationship to colour and line. Working and exhibiting in company that included Piet Mondrian and Max Bill at the Salon des Réalités Nouvelles – where she would show five times during her stay in France – Herrera's practice was not only on the pulse of the painterly discourse of its day, but she superseded many of her male counterparts in their experimentations that deconstructed and fragmented the singular plane of the canvas; the arena of contestation that would become so significant for contemporary painting of the 1950s.Post-War Paris was a hotbed of artists and intellectuals. It was a place and time without equal, from which flourished much of the philosophy, art, and literature that would be exported to New York in the following decades. Herrera's circles testify to her place in history and the respect she earned from those at the centre of cultural discourse in period: she was close friends with Jean Genet, Yves Klein and his family, sat across from Jean Paul Sartre and Simone de Beauvoir at the Café de Flore, dined with Barnett Newman on regular weekends, and was an audience member in the first production of Samuel Beckett's Waiting For Godot. On her return to New York in the 1950s, Herrera pared back her work to the harsh minimalist guise she is so fondly revered for, one of the earliest adopters of this newfound style. Her paintings now featured typically only two colours; angular lines became singular arcs; the plane of the canvas delineated into expansive, independent forms. Her fascination with line and form became her signature, famously stating 'I never met a straight line I did not like' (the artist in an interview with Simon Hattenstone, 'Carmen Herrera: 'Men controlled everything, not just art'', Simon Hattenstone, The Guardian, 31 December 2016, online). Undoubtedly, much has been said of the dialogue between her paintings and those of Ellsworth Kelly, Frank Stella, and a generation of minimalist artists who formally emerged in the 1960s, years after Herrera had arrived on the New York scene with her vivid, breakthrough style. In spite of her being overlooked by galleries and museums alike, her place at the forefront of contemporary painting since the 1950s is now regarded as hugely significant and enduring. Her unrelenting commitment to her own practice continues to be deeply engaged with the surface and object-oriented experience of painting – resolving her canvases in the simplest, discrete, pictorial frames she can achieve.Major reassessments of artist's careers are rare, and still more during the artist's lifetime. But no one has drawn quite such praise or unanimous admiration for their late-life success as Herrera. As it was in the 2000s, institutional recognition for the artist began to gain traction, and her first retrospective exhibition in Europe took place at the IKON Gallery in Birmingham, U.K., in 2009. It was her large-scale retrospective Carmen Herrera: Lines of Sight at the Whitney Museum of American Art, however, that reestablished the history of Minimalism with Herrera in full view, exhibiting over fifty works from 1948-1978. As her career will continue to be evaluated and celebrated, Untitled stands as one of a limited number of paintings as yet to come to market. Now in global museum collections including the Museum of Modern Art, New York, the Tate Collection, U.K., and the Kunstsammlung Nordrhein-Westfalen (K20), Düsseldorf, her legacy as an artist in the realms of Kelly and Stella is assured. An exceptional late painting by one of the most underappreciated artists of the modern era, Untitled is an exquisite example of Carmen Herrera's characteristic style. In spite of her setbacks and discounts, her fortitude in the face of adversity is testament to her rightful place in the canon, and the present work boldly displays the prowess and mastery of craft of a truly historical talent.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Charles Pierre Van Der Stappen (Belgian 1843-1910), a patinated bronze relief panel entitled ‘Auld Lang Syne’ Late 19th Century, signed Ch. Van Der Stappen, J. Petermann Fondeur, Bruxelles Depicting a woman in profile holding her finger to her lips, with foliage in the background, supported in a large oak frame visible panel 78 cm x 58 cm: frame 100 cm x 80.5 cm Property from a Private London Collection. There is a similar bronze 'Auld Lang Syne' panel by Van Der Stappen hanging above the fireplace in the 'Gallery East End' in the Glasgow Art Club at 185 Bath Street, Glasgow. In 1890 this arts club was extended under the aegis of John Keppie, from the architectural firm Honeyman & Keppie, the employers of Charles Rennie Mackintosh. Mackintosh is thought to have been involved with some elements of the decoration in this room. Purchased: Lyon & Turnbull Decorative Arts sale, 7th November, 2001, lot 337Some dust in crevices. A few small scrapes to the patina around edges where it sits in the frame. Oak frame substantial - a few marks/wear.
Piero Fornasetti (Italian 1913-1988), an ‘Amphitheater’ low table c.1980, applied label to underside – ‘Fornasetti, Milano, Made in Italy’ Of convex form, in lacquered wood lithographically printed with classical architectural design, with glazed top 51cm high, 118cm wide, 57cm deep Condition Report:Light surface wear throughout, one small chip loss to top edge, some scuff marks towards lower edge of base. Glass top with light surface wear commensurate with age and use.
Piero Fornasetti (Italian 1913-1988), a ‘Grattacielo del Rinascimento’ four fold screen c.1990, with applied label to one edge - 'Fornasetti, Milano, Made in Italy' In lacquered wood lithographically printed with architectural designs, raised on castors 206cm high, 200cm wide Condition Report:Minimal light surface wear throughout, with some very minor chip losses to two edges, one screen with small dents/chips, otherwise in overall generally good condition.
Piero Fornasetti (Italian 1913-1988), a 'Casa con Colonne' umbrella stand c.1990, applied lable to underside - 'Fornasetti, Milano, Made in italy' Of cylindrical form, in lacquered metal with lithographically printed architectural design57cm high, 26cm diameter Please refer to department for condition report
Piero Fornasetti (Italian 1913-1988), an ‘Archittetura’ trumeau cabinet Numbered and dated ‘6-8-89’, with label to one drawer ‘Fornasetti, Milano’ In lacquered wood lithographically printed with classical architectural designs, the shaped top centred by concave niche with two doors enclosing six glazed shelves, above fall enclosing illuminated storage space and writing surface, over three graduated drawers, on later plinth base 216cm high, 86cm wide, 44cm deep Condition Report:Minimal light surface wear throughout, with some very minor chip losses around key holes and to base section top drawer to base is a little stiff, otherwise in overall generally good condition.
Ø A RARE SCRIMSHAW DECORATED WHALEBONE NET REPAIRER, CIRCA 1850 with single enclosed tang with inset hook to base, worked on one side with an architectural design -- 12in. (35.5cm.); together with a whalebone stay busk worked on one side with architectural designs and initialled ‘JG’ -- 13¼in. (39cm.) (2)Condition report: Modest warping to net repairer and exaggerated warp to busk
Antique probably Eastern European oil on panel, the crucifixion, in distressed state, 44 x 38cm, together with an early oil on canvas portrait, described to label verso as Venetian school, 16th century, and a 19th century oil on canvas architectural study. (3)Provenance: The Robert Barley Collection
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