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Lot 303
§ Paul Neagu (Romanian, 1938–2004) Hand-drawn diagrams for the artist's 1989 sculpture 'Hyphen', with another sketch for "Fist City" verso inscribed to the top "Hyphen 1989 P. Neagu" pencil 38 x 58cm (15 x 23in) Provenance: Private collection. The vendor's company, Architectural Stainless, made the final stainless steel sculpture of "Hyphen" for the artist from these drawings. The same company made all of Neagu's stainless steel sculptures, including his well know sculpture 'Edgerunner', which was a gift to the people of Islington from the Romanian Cultural Institute, Tony Neagu and the Paul Neagu Estate - "Edgerunner" was erected at Owen's Field, Islington, London, which was near the artist's home and studio. Paul Neagu created his 'Hyphen' sculptures in the mid 1970s, and focused on these forms for the rest of his career. This lot includes photographs from the vendor of the artist with his sculptures at Architectural Steel, one featuring his 'Starhead' sculpture.
Lot 324
§ Valerie Thornton (British, 1931-1991) The Guild Hall, Lavenham, Suffolk signed lower right "Valerie Thornton '77" and numbered 39/250 etching and aquatint 37 x 50cm (14 x 20in) Valerie Thornton studied at the Regent Street Polytechnic School of Art from 1950-1953. In 1954 she went to Paris and studied printmaking with the renowned print maker Stanley William Hayter at Atelier 17. Thornton then moved to New York studying at the Pratt Institute. Her first exhibition was held in 1960 followed by shows in England and America. Valerie Thornton loved the churches of East Anglia and in the 1970s made etchings of ecclesiastical and architectural subjects, travelling extensively in France, Italy and Spain. Valerie Thornton's work is in the Victoria and Albert Museum, the Fitzwilliam Museum, Cambridge, and the Museum of Modern Art, New York. Condition appears fine.
Lot 122
An Arch Taddei Sestini moulded glass vase, architectural form mounted with silver domed panel, and another silver mounted slab vase, a Spiegelau glass vase and two others, a Pukeberg glass serving platter and a frosted glass dessert service in the style of Iitala stamped marks, 22cm. high (13)
Lot 1244
Josselin Bodley (1893-1974)oil on canvas,'Constantine' (Pont de Sidi Rached Bridge, Constantine, Algeria),signed, titled and dated 1928,18 x 15in.Exhibited Galerie Bernheim Jeune, Paris - 'Peintures de l'Afrique du Nord, du Pays Basque et de Venise' 5-16 November, 1928. Josselin Bodley (1893-1974)As much as any English artist in the first half of the twentieth century, Josselin Reginald Courtney Bodley's life and most resonant art were defined by his experiences in and near France. Though little has been written on his distinctive artistic contribution, it was moulded by a poetic appreciation of ancient architecture and its surrounds, by direct exposure to developments in painting in Europe refracted through a refined English sensibility - and by intense exposure to war. His most evocative and effective work synthesises tradition and stylistic modernity in magically realist visions of historical remnants and rural settings, rendered with exquisite care in a controlled and characteristic palette, and infused with a spectral, deeply atmospheric sense of the past. In the words of The Times art critic (4 November, 1933), his paintings offer a 'character that is very pleasing [and are] markedly linear in composition, sharply drawn, and executed in pale colours of great delicacy.' War and other sometimes dark histories leave their marks still, one feels, in the haunted presence of these buildings, in the absence of figures and the charged sense of place, in the typically bare trees and silent, unyielding skies. Yet there is a great tranquillity too - a secular equivalence to the calm rapture of early Flemish painting perhaps - an immanence opposing the ravages of time. Without the continual support of new books, articles and exhibitions, the cultural memory is surprisingly short and, perhaps because he was not prolific and his paintings surface only rarely, Bodley's achievements are now largely overlooked. However, in the inter-war period, he was considered amongst the most promising artists of his generation, a painter who bridged a gap between the still vibrant avant-garde approaches issuing from France and a typically guarded English insularity. Though standing apart from important artistic groups emerging in Britain in the 1930s, he was at this time represented by four of the most adventurous galleries in the Western world; by Bernheim Jeune in Paris who held five exhibitions of his work between 1928 and 1934; by Leicester Galleries in London with whom he exhibited first alongside Henry Moore in 1933, and then also in 1935 and 1937; by Marie Harriman Gallery in New York and by Alfred Flechtheim in Berlin. His paintings were purchased by museums across Europe and the USA. Unusually for an English painter shaped by French artistic modernity, he was also a decorated war hero. Enlisting first as a Second Lieutenant in The King's Royal Rifle Corps at the outbreak in 1914 he remained militarily active throughout much of WWI - despite being wounded at Ypres in 1915 - leaving the army in 1919 with a Military Cross and the rank of Captain. His earliest surviving paintings date from this period and their atmospheric subject matter of ruined buildings and blasted leafless trees on the frontline prefigure much of the still, melancholic resonance of his finest mature work (see 'Shelley Farm, St. Eloi' and 'Polygon Wood, Ypres' at BBC Your Paintings / Josselin Bodley). Later in life he also received one of France's highest civilian honours - for artistic achievements and cultural activities - becoming a Chevalier of the Legion d'Honneur. The artist was born into a patrician family, whose lineage included the sixteenth century founder of Oxford's Bodleain Library, Sir Thomas Bodley, and was the second son of John Edward Courtney Bodley. His father, a college and masonic friend of Oscar Wilde's at Balliol, worked first as secretary to the Liberal Minister Sir Charles Dilke but - after Dilke's political hopes were ruined in a famous divorce scandal - gradually emerged as the period's most important English historian of France. Through his father's wide circle of influential contacts and those of his brother Ronald and his sister Ava, Bodley was linked to some of the most important political and cultural figures of his generation. Ronald became a noted Arabist - recording his time amongst the tribesmen of North Africa in a life that reads somewhat like that of T. E. Lawrence in the Middle East - and Ava was married first to the diplomat Ralph Wigram and then to John Anderson, Churchill's Home Secretary and Chancellor of the Exchequer during WWII.Much of the artist's early life was spent in France with his father, visiting the great and the good and unconsciously absorbing the atmosphere of the architectural riches of the French countryside. School at Eton followed this privileged but nomadic boyhood, after which Bodley left England for a garret flat in Paris, intent on a career as an artist - though such hopes were postponed by the outbreak of WWI. He returned again afterwards, and paintings of the 1920s can be seen experimenting with and evolving through his direct exposure to the various competing styles of the period. Works in this phase manifest subtle shades of influence from post impressionism (Lot ??), decorative cubism, purism (Lot ??) and surrealism. As his work developed through the 1930s - when the artist was based in England - there is a strong sense of something equivalent to the New Objectivity in German painting (see in particular examples of Franz Radziwill's work such as 'Church in the Vendee' 1932). It was a clear and modern vision with technical and formal links to Edward Wadsworth's tranquil harbour paintings of the 1920s, to the contemporaneous landscape work of Harry Epworth Allen and particularly to the development of Tristram Hillier's less overtly surrealistic and architectural compositions of the 1930s. This small collection of eloquent and evocative works - depictions of the living past that still carry great pictorial and poetic charge - offers a long overdue insight into the oeuvre of an original, talented and noteworthy artist.
Lot 100
ARCHITECTURE:1. Bridgens, R: The Antiquities of Sefton Church. 1835; pp4 leaves, and plates 3-20 only(?);2. Shaw, Richard Norman: Architectural Sketches from the Continent. Published by For the Proprietors, London (1872). Folio. Original cloth, rebacked with leather spine. Occasional foxing; o/w G;3. Nesfield, W Eden: Specimens of Mediaeval Architecture Chiefly Selected from Examples of the 12th and 13th Centuries in France and Italy. Day & Son, London, 1862. Folio. Original cloth, rebacked with leather spine; VG;4. A Description of the Antiquities and Curiosities in Wilton-House. L, E Easton, 1786, new edn.; with plates. Original cloth; worn (4)
Lot 1896
Late 19th or early 20th Century French gilt brass and champleve enamel three piece clock garniture, the architectural case with flanking pilasters and polychrome floral decoration flanked by a pair of matching two handled pedestal urns, the two train movement by Japy Freres, striking on a gong
Lot 171
C17th CARVED PAIR OAK LION HEADS. Dating from the early to mid-c17th a well carved pair of oak lion heads; each head standing 4 ½ inches in height. The reverse has a drilled hole where a dowel would have secured it in position. Possibly a mount from a large piece of furniture or an architectural frieze. 50-80
Lot 12
Welcome to Birmingham Welcome to Birmingham is inspired by the idea of the changing infrastructure and landscape of the city. It references Birmingham’s famous canal and road networks and some of its most exciting, recent architectural developments. The human figures in the design represent Birmingham’s diverse population, interacting with spaces and buildings, and with each other. Artist: Laura Hallett Sponsor: Pertemps Network About the artist: Laura Hallett is a Birmingham born, Falmouth graduate and freelance illustrator, working in watercolour, acrylic, ink and crayon. She is inspired by vintage fashions and classic children’s books. She is also interested in social and political history. Laura has experience in narrative, educational, information and design-based work.
Lot 2
Wise Owl Stunning in its simplicity, Wise Owl is inspired by British artist Anish Kapoor’s ‘Cloud Gate’ in Chicago. The owl conveyed the culture and atmosphere of Birmingham by literally reflecting its community and architectural cityscape. This chic owl was hugely popular on The Big Hoot Trail. Artist: Georgia Henn and Simon Elman Sponsor: Eversheds About the artist: Artist Georgia Henn currently works with digital media, specialising in multi-perspective, structural photography. Her art practice is concerned with fragmentation and skewed reality and she explores these through sculpture and installation. For Wise Owl, she worked with Simon Elman, a specialist in the application of reflective surfaces.
Lot 64
Wise Old Owl Wise Old Owl is inspired by the new Library of Birmingham - a place of wisdom, learning and literacy. It is also the largest public library in Europe. Its stunning design and decorative architectural details are perfectly reflected in this extremely desirable eye-catching sculpture. Artist: Kieron Reilly and Lynsey Brecknell Sponsor: Gateley PLC About the artist: Kieron is an aspiring model maker and illustrator and Lynsey is a sculptor and prop maker. Together they collaborated to make a design based upon the architecture of the new Library of Birmingham
Lot 83
Mr Architect Mr Architect is a tribute to Birmingham’s eclectic mix of old and new buildings and the contrasting architectural patterns, that are integral to the city’s identity. From Victorian red brick, through to 1970s tower-blocks, and the contemporary Selfridges building and Library of Birmingham. The perfect owl for proud Brummies everywhere. Artist: Sam Pierpoint Sponsor: The Cube About the artist: Sam is a Tamworth-born illustrator, with a background in graphic design. She currently lives in the nature-filled Dorset countryside, in the New Forest and works in a quaint, log cabin. She has worked on many national campaigns and illustrations for books, cards, magazine covers and advertising. She exhibits in galleries and at festivals.
![Origenes, - Adamantius. Operum Tomi duo priores [tertius et quartus tomi], 4 vol Adamantius. Operum Tomi duo priores [tert](https://cdn.globalauctionplatform.com/2e1bf4f5-44a9-4253-ba95-a52500963dde/1b6d1cbe-57d4-4cd9-dbbc-dc3053ccac43/468x382.jpg)
Lot 323
Origenes, - Adamantius. Operum Tomi duo priores [tertius et quartus tomi], 4 vol Adamantius. Operum Tomi duo priores [tertius et quartus tomi] , 4 vol. in 2, double column, 2 woodcut architectural titles in red and black with large printer's device of Jean Petit at centre, woodcut criblé initials, early ink marginalia, lacking S2 & 7, 4A1 (?divisional title or blank) and blank 2X8, vol.3 first c.20 ff. torn and repaired at inner upper corner with loss of text reducing in severity in the later ff., some wormholes, affecting a few letters on several ff., mostly at end of vol.2, occasional water-staining, heavier to end of vol.2, occasional spotting or staining, contemporary blind-stamped vellum over wooden boards, rebacked in 20th century lighter vellum,[Adams O279; Renouard, Ascensius, III, 94-96], folio, Paris, Josse Badius for himself and Jean Petit, 1512-1519. sold not subject to return.
Lot 1180
An Edwardian Sheraton revival standing corner cabinet with architectural pediment above a frieze inlaid with ribbon tied drapery the upper door glazed with astragal moulding bars and with satinwood, boxwood and ebony strung border, the projecting base with conforming frieze above a panelled door inlaid with a ribbon tied drape and oval patera inlaid with a basket of flowers, square tapered legs, 200cm high, 62cm wide, Circa 1905
Lot 124
A 19th century Rosewood and marquetry portico clock, 9.5cm engine turned silvered dial inscribed with Roman numerals, twin winding holes, eight-day movement striking on a bell, the case with architectural pediment above four gilt brass mounted columns, plinth base, inlaid with summer flowers, lyre pendulum, bun feet, 48cm high, c.1870
Lot 543
HARDING (J D) The Principles and Practice of Art, 1876, folio, cloth binding rubbed; Architectural Detail of the Works of Grinling Gibbons, no date, loose plates in portfolio, foxing; GRIGGS (W) Portfolio of Industrial Art, Iron Work, 1898, plates with blindstamps; Young (J) A Catalogue of Pictures by British Artists in the Possession of Sir John Fleming Leicester, London 1821, 4to (4)
Lot 508
Literature, topography and travel. WILKINSON (J. G) Manners and Customs of the Ancient Egyptians. London, 1837, 3 vols., with 16 plates (eight colour and eight black and white) complete as per list, some light dust staining and occasional creases, original cloth gilt (worn in places); WILLIS and CLARK The Architectural History of the University of Cambridge, in 3 vol. and Plans 1886, untrimmed, t.e.g., cloth; others by Churchill, Dickens, etc
Lot 46
Garden Urn: A pair of rare Walter Macfarlane & Co. cast iron planterscirca 1870fully stamped Walter Macfarlane & Co. Glasgow No. 1092 9½ x 11½ with zinc liners59cm.; 23ins high by 105cm.; 41½ins longWalter Macfarlane and Co, also known as the Saracen Foundry, was the most important manufacturer of ornamental ironwork in Scotland. Founded in Glasgow by Walter Macfarlane I (1817-85), the firm opened its first premises in 1850, in Saracen Lane, behind the Saracen Head Inn, in the Gallowgate. They specialized in the production of drinking fountains, bandstands, lamp standards, pre-fabricated buildings and architectural crestings and ornament.
Lot 447
A vintage stereoscopic viewer, principally in mahogany with chased detail to the metallic frame, with sun sculpture (logo), a case of photographic stereoscopic slides labelled South African war through the stereoscope volume 1, with scenes depicting figures with animals, banana and other farming, lavish interiors, etc, a further unlabelled case holding further related cards, other cards of architectural interest, further entertaining slides, etc
Lot 1023
A William IV mahogany framed scroll end sofa, the moulded showwood frame with floral and reeded cresting, scroll carved arm terminals and carved seat rail, on reeded architectural panel feet and castors, partly upholstered in black woven horsehair (upholstery very damaged), 81ins wide x 24ins deep x 38.5ins high
Lot 1146
A William IV mahogany bookcase of architectural design the upper part with angled cornice with carved brackets, fitted three shelves enclosed by a pair of glazed doors, the base fitted one break front frieze drawer, cupboard under enclosed by a pair of mirrored panelled doors, on plinth base, 38ins wide x 17.5ins deep x 83ins high
Lot 889
A late 19th Century German oak cased mantel clock, the 4.25ins diameter cream enamelled chapter ring with Roman numerals to the ten day movement striking on a gong, contained in case of architectural design, 13.5ins high, and an Edwardian oak cased mantel timepiece by the British United Clock Company Ltd, contained in inlaid arched top case, 6.25ins high
Lot 939
A late 19th/early 20th Century Southern Railway "Station Regulator" by John Walker, 1 South Molton Street, London, No. 1819.S.E., the 18ins diameter painted dial with Roman numerals to the brass movement with heavy plates and turned pillars and with deadbeat escapement, the pendulum with heavy lead bob and with brass single weight, contained in oak case, the hood with architectural pediment, the trunk with carved brackets and panelled door, and angled base, 85ins high (case probably ebonised but now stripped and revarnished)
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35023 item(s)/page