There are 641361 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeEarly George V Art Deco style silver punch bowl of faceted form, with twin handles and a crenelated rim, on an octagonal pedestal base (Sheffield 1910) Roberts & Belk Ltd. All at approximately 36ozs. 36cm across handles.General overall condition very good, some minor denting, surface scratching and wear, but no major damage or repair, the rim, on one side between the handles, has shadow traces of a removed inscription. Hall marks are clear.
Art Deco sapphire and diamond cocktail ring with a rectangular openwork plaque centred with a hexagonal cut blue sapphire, calibre cut blue sapphires and rose cut diamonds in millegrain setting, pierced gold gallery on reeded gold shank. Ring size O.Good condition commensurate with age. No obvious damage or repairs. The plaque measures approximately 21 x 14mm. Weighs approximately 4.65 grams.
Art Deco diamond, ruby and sapphire three row eternity ring with a platinum band set with calibre cut sapphires to one side and rubies to other, two hinged half bands each set with thirteen eight cut diamonds, can be worn on either side, ring size L½.Good condition commensurate with age. alignment of the bands are as they should be, the hinges work well. All stones appear to be original, minor chips and abrasions to the stones, commensurate with wear and age. Weighs approximately 6.1 grams.
Art Deco gold emerald and diamond ring, the stylized gold bow with a line of calibre cut emeralds and graduated single cut diamonds, ring size approximately N-O.Not hallmarked, tests as appropriate 18ct gold, weighs approximately 9.90 grams. Good condition commensurate with age, minor abrasions to the emeralds. Width of the band is approximately 9mm.
Art Deco emerald and diamond ring with three rectangular step cut emeralds surrounded by a border of old cut diamonds in platinum setting on 18ct yellow gold shank, ring size MWeight 2.6 grams. Very good condition commensurate with age. Platinum setting, 18ct gold shank (not hallmarked but tests as 18ct). Tiny gap between the setting and one shoulder, possibly needs a repair but seems secure. Slight scratches to the emeralds commensurate with age.
VICTORIA CROWE HEALING HERB, VIOLA Silkscreen, an artist's proof aside from the edition of 75 produced for Art in Healthcare, signed, titled and numbered A. P. in pencil 76.5cm x 56cm (30.25in x 22in) The Scottish Gallery, Edinburgh from where acquired by the current owner in 2012Exhibited:The Scottish Gallery, Edinburgh, Victoria Crowe: Ti Sorprendo, 1 - 24 December 2012;The Artist's studio
GERALD LESLIE BROCKHURST 6 ETCHINGS: CORINNE; SEULE; MAUREEN; STUDY FOR A DECORATION; FRANCIS MCNAMARA; HEAD OF A GIRL Etching, signed in plate, signed in pencil to margin;SEULE, Etching, signed in pencil to margin;MAUREEN, Etching, signed in plate, signed in pencil to margin;STUDY FOR A DECORATION, Etching, signed in pencil to margin;FRANCIS MCNAMARA, Etching, signed in plate, signed in pencil to margin;HEAD OF A GIRL, Etching, signed in plate, signed in pencil to margin (6) plate sizes: 14cm x 10cm (5.5in x 4in); 15cm x 17.5cm (6in x 7in); 11.5cm x 7.5cm (4.5in x 3in); 15.75cm x 12cm (6.25in x 4.75in); 12cm x 9.5cm (4.75in x 3.75in); 9.5cm x 7cm (3.75in x 2.75in) Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Walter Sickert CARYATID AND BOX AT THE NEW BEDFORD MUSIC HALL, C.1915 Signed and inscribed 'New Bedford Music Hall' lower right, indistinctly inscribed lower left, pencil, crayon and ink on brown paper 29.75cm x 12.5cm (11.75in x 5in) Moore-Gwyn Fine Art, London;Redfern Gallery, London;Mrs K. Allison, and thence by descent;Phillips, London, 17th November 1998, lot 117, where acquired by Ruth and Joseph Bromberg Literature: Ruth Bromberg, Walter Sickert Prints, New Haven and London, 2000, illustrated no.160b (illustration incorrectly numbered 160e);Wendy Baron, Sickert, Paintings and Drawings, New Haven and London, 2006, p.439, no.470.6Exhibited: The Fine Art Society, London, The Ruth and Joseph Bromberg Collection of Sickert Prints and Drawings, 21 September-21 October 2004
GERALD LESLIE BROCKHURST 4 ETCHINGS: CHARLES CLAUDE CARPENTER - 1931; MR WIGGIN - 1932; MRS ALBERT H. WIGGIN - 1932; DR CHARLES LEE REESE Etching, signed and dated in plate, signed in pencil to margin;MR WIGGIN, Etching, signed and dated in plate, signed in pencil to margin;MRS ALBERT H. WIGGIN, Etching, signed and dated in plate, signed in pencil to margin;DR CHARLES LEE REESE, Etching, signed in plate, signed in pencil to margin (4) plate sizes: 30cm x 22cm (11.75in x 8.75in); 25cm x 18.5cm (9.75in x 7.25in); 25cm x 19cm (9.75in x 7.5in); 20cm x 16.5cm (8in x 6.5in), each unframed Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
GERALD LESLIE BROCKHURST 5 ETCHINGS: MARQUETT; HENRY BELL - 1930; PEPITA; A BALLYNAKILL WOMAN; A CONNEMARA PEASANT Etching, signed in plate, signed in pencil to margin;HENRY BELL, Etching, signed and dated in plate, signed in pencil to margin;PEPITA, Etching, signed in plate, monogrammed 'C. P.' in plate, signed in pencil to margin;A BALLYNAKILL WOMAN, Etching, signed in plate, signed in pencil to margin;A CONNEMARA PEASANT, Etching, signed in plate, signed in pencil to margin (5) plate sizes: 21.5cm x 17.5cm (8.5in x 6.75in); 21cm x 15.5cm (8.25in x 6.25in); 11.5cm x 11cm (4.5in x 4.25in); 14cm x 10.5cm (5.5in x 4.25in); 16.5cm x 11.5cm (6.5in x 4.5in), each unframed Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
GERALD LESLIE BROCKHURST 4 ETCHINGS: RANUNCULUS - 1921, ELIZABETH; PAQUITA; CHIQUITA Etching, signed in pencil to margin;ELIZABETH, Etching, signed in plate, signed in pencil to margin;PAQUITA, Etching, signed in plate, signed in pencil to margin;CHIQUITA, Etching, signed in plate, signed in pencil to margin (4) plate sizes: 20cm x 15cm (8in x 6in); 15cm x 10cm (6in x 4in); 14cm x 10.75cm (5.5in x 4.25in); 16cm x 13cm (6.25in x 5.25in) Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
A George IV goncalo alves folio cabinet attributed to GillowsCirca 1830The sliding top section comprised of two opposing hinged adjustable ratcheted leather inset surfaces and the uppermost top incorporating two laterally opposing hinged adjustable ratcheted surfaces, above a pair of pleated silk and brass grill inset panelled doors enclosing five adjustable mahogany shelves, with a pair of opposing panels and panelled sides, on a plinth base, with concealed castors, with one detachable book rest, the other missing, the hinges numbered: '3072', approximately: 87cm wide x 65cm deep x 82cm high, (34in wide x 25 1/2in deep x 32in high)Footnotes:ProvenanceProperty of a UK collector.The offered lot was purchased Bonhams, New Bond Street, 21 January 2009, The Gentleman's Library Sale, lot 607.A comparable goncalo alves folio cabinet, one attributed to Gillows, sold Christie's, London, 3 July 1996, Works of Art from the Bute Collection, lot 40. The model for this type of folio cabinet, with its distinctive opposing twin hinged adjustable ratcheted surfaces and detachable book rests, relates to a design which appears in an entry dated 1836 in the Gillow Estimate Sketch Books, MSS., No. 51906, City of Westminster Archives Centre. An example of another similar folio cabinet of this type, one which is stamped 'Gillow', was supplied for the Library at Mere Hall, Cheshire, as part of a furnishing project commissioned by Peter Langford-Brooke (d.1840). This was listed as a 'mahogany folio stand and cabinet with rising top' in the 1840 inventory, subsequently sold Christie's, Mere Hall, Cheshire, 23 May 1994, lot 196.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A near pair of late 19th century oil on panel pictures depicting dead game trophies together with a frame picture of a larder interior with dead gamethe pair of panels depicting a hare, a duck and a snipe and o pheasant and another game bird , each 15cm x 17.5cm approximately, the picture with applied label to the rear 'A RAWORTH, ...& FINE ART DEALER RD, 8 CANWICK RD, LINCOLN', 32cm x 37cm overall (3)Footnotes:ProvenanceProperty of a UK collector.For further information on this lot please visit Bonhams.com
An Art Deco 9ct gold petrol cigarette lighterimported by Cohen & Charles, London 1930 Slim rectangular form, with engine turned body, together with a pair of gold lorgnettes, unmarked, with spring mechanism, height lighter 3.5cm, weight lighter 34gms. (2)For further information on this lot please visit Bonhams.com
HISTORIC INTEREST: an exhibition silver and gilt electrotype clockthe case designed by John Bell (1811-1895) for Elkington Mason & Co, Birmingham 1853, stamped 'ELECTRO DEPOSITED & PUBLISHED BY ELKINGTON MASON & CO APRIL 1853' Shaped triangular sculptural form, highly decorative the 'Hours Clock-Case', the whole embellished in silver-plate and gilding, the apex crowned with a figure of Psyche, winged and looking upward, emblematic of eternity, stylised sunrays and clouds beneath her feet, the case front embellished with a dramatic bas-relief, sinuous classical figures representing the twelve hours are cast encircling the enamelled clock dial, to the base are two further figures symbolising 'Night', a woman in repose, and 'Morning', a man waking, rocky outcrops beneath them, the reverse encasing a brass twin train clock movement with outside count wheel striking on a bell, includes pendulum and two winders, all raised on three ball feet, width 29cm, height 40cm.Footnotes:ProvenanceExhibited at the 'Paris Universal Exhibition' of 1855 - see the 'Illustrated London News' from 17th November, 1855, p.592.Lot EssayThe prototype of this sculptural clock, designed by John Bell (1811-1895) for Elkington Mason & Co in Birmingham, was first exhibited at the 'Great Exhibition' of 1851. This landmark exhibition was probably the most successful, memorable and influential cultural event of the 19th century. From May to October 1851, the magnificent Crystal Palace in Hyde Park, London, was filled with visitors to the 'Great Exhibition of the Works of Industry of All Nations'. The exhibition's phenomenal success confounded the predictions of its many doubters in both parliament and the press. Visited by over six million people (equivalent to a third of the British population at that date), it generated a vast profit of £186,000.The 1851 exhibition was the first ever international exhibition of manufactured products. It inspired a long succession of international fairs in other cities, including Paris, Dublin, New York, Vienna and Chicago – almost one a year for the rest of the 19th century.As discussed and illustrated in the 'Exhibition Supplement to The Illustrated London News', published on August 9th 1851, p.188, this fine Elkington clock-case comes 'within the scope of legitimate sculpturesque decoration of a work of utility. It is styled the 'Hours Clock-Case' ... it is prettily conceived, and pleasingly designed; though it might, perhaps, be improved in subsequent copies ...' The commentator then goes on to list the improvements they feel would enhance John Bell's original design. It is therefore interesting to note that the clock-case on offer here is the new and improved version, which takes on board the criticisms cited in 1851, and was subsequently displayed at the 'Exposition Universelle' in Paris (otherwise known as the 'Paris Universal Exhibition'), in 1855.As per the description and text quoted in 'The Illustrated London News' dated November 17th 1855, p.595, under the heading 'The Paris Universal Exhibition', it states; 'We have engraved three of the beautiful works of British Art which have been attractive even in the Art-Capital of Paris ... Next is a Clock Case, designed by John Bell and manufactured and exhibited by Messrs Elkington Mason and Co. The dial is encircled with figures of the twelve hours; and at the base are figures of Night and Morning. The design is more in the French taste than Mr Bell's compositions usually are ...' It is therefore apparent that this lot currently on offer, was exhibited at the 1855 'Exposition Universelle' in Paris, which took place on the Champs-Elysees from 15 May to 15th November, in 1855. Its official title was the 'Exposition Universelle des Produits de l'Agriculture, de l'Industrie et des Beaux-Arts de Paris 1855'. Held at the height of the Crimean War, the spectacle was the Second French Empire's attempt to surpass London's Great Exhibition of 1851.In considering the interconnection of industry and industrial display with sculpture in mid-nineteenth century Britain, the name of one sculptor in particular stands out. During the 1850s, John Bell was Britain's foremost sculptor, modelling for manufacturers of earthenware and metal statuary. A prominent exhibitor and curator of sculpture displays in the international exhibitions, Bell was the chief sculptor associated with Henry Cole's design reform movement and a prolific lecturer on sculpture. At the same time, Bell successfully maintained a conventional sculpture workshop, producing marble and bronze statues for private collections and national monuments. At the international exhibitions, Bell's designs could be found embodied in statues in marble, plaster, Parian, cast iron and electrotyped bronze, as well as silver-plated clocks and tableware. Bell therefore was prominently positioned at the centre of the nexus between fine art and industry during the 1850s. Whilst Bell's work as a modeller featured prolifically throughout the industrial displays at the early international exhibitions, he also curated displays of 'fine art' sculpture. Therefore the teaming up of John Bell and Elkington Mason & Co was a match made in creative and industrial heaven - fine art and industry combined. From 1836, Elkington were the pioneering British electroplating company who had invented, patented and developed the key elements of the art of electro-metallurgy. They were the world's pre-eminent art-metalwork manufacturer's of the 19th century, harnessing the power of electricity for the creation of artworks and mass consumer goods. Critically acclaimed at the Great Exhibition of 1851, Elkington became one of the world's first multinational brand identities and luxury trademarks. It was the only British company to consistently win the highest awards at all seven of the international exhibitions held from 1851-1878. The history of Elkington's achievements is the great, untold British success story of the Victorian era.LiteratureAlistair Grant - Sculpture, Metalwork, Ceramics and Glass V&A Museum, 'Elkington & Co. Visitors' Book, 1855-1878', accessed via https://www.vam.ac.uk/blog/projects/elkington-co-visitors-book-1855-1878 17/1/24Christopher Marsden - senior archivist Victoria and Albert Museum, 'The Gazette Official Public Record', accessed via https://www.thegazette.co.uk/all-notices/content/100717, 17/1/24Gabriel Williams, 'Industry and the ideal - ideal sculpture and reproduction at the early international exhibitions - two volumes', Volume 1, PhD thesis University of York, History of Art, September 2014For further information on this lot please visit Bonhams.com
A specially commissioned dual purpose pair of palmwood console tables and/or palmwood serving tableafter E.J. Ruhlmann, in the Art Deco styleEach pier table with a concave rippled frieze incorporating one long drawer enclosing a divided interior, on a tapering U-form support, with a reverse ogee rectangular pedestal terminating in a concave rippled plinth base, the additional attachable slide-in central section comprised of a concave rippled frieze front with one long drawer, the width of the serving table (with central section included): 364cm, each console table approximately: 120.5cm wide x 45cm deep x 92cm high, (47in wide x 17 1/2in deep x 36in high) (3)This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A George IV large silver six-light candelabrumPaul Storr, London 1828, underside of base stamped 198The broad slightly tapering ribbed column terminating in spume and rising from bold acanthus leaves, on three imposing lion leg and paw supports, capped with flutes, acanthus and divided by anthemia, all on a triform base, each side on a shallow scroll bracket foot, the detachable six-branch section formed by two graduated tiers of scrolling arms, fluted and with acanthus and open-work anthemia, with foliate embellished drip pans and the shaped sconces with shells and flutes over a stippled ground, centred with a berry-cluster finial, height 77cm, weight 267oz.Footnotes:Provenance Purchased by the present owner from Sotheby's auction, Silver and Russian Works of Art, October 2003, lot 170.For further information on this lot please visit Bonhams.com
A collection of approximately seventeen art reference books on sculpture, metalwork and coralincluding: Pope Hennessy, Renaissance Bronzes in the Kress Collection; Gnoli, La Marmora Romana; Metropolitan Museum, Bronzes etc in the collection of Irwin Untermeyer; Pedrini, Il Ferro Battuto; Schiller, Iconography of Christian Art (2 vols); Trapani, Coralli, Talismani sacri e profani, and others (collection) (qty)Footnotes:ProvenancePrivate Collection UKThis lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
An impressive pair of large modern silver and parcel-gilt four-light candelabraGeorge Grant MacDonald, London 1986Each of the circular bases applied with six models of Arabian Oryx, realistically modelled in varying stances with fur effect chasing, on a textured ground, with four upswept curving columns issuing from the centre, polished flat sides and the front of each column applied with a gilt band with fine geometric circular designs, the circular drip-pans and bases with applied gilt bead bands, loaded bases, height 40cm, diameter at base 31cm, weight total 495oz.Footnotes:George Grant Macdonald graduated as a silversmith in 1969 after completing his training at the Central School of Art and the Sir John Cass College in 1969.He established a workshop in Clerkenwell, specifically concentrating on the development of new techniques in texture and finish. Macdonald went on to purchase Gerald Benny's workshop on Bear Lane, Southwark in 1979. His now established London based studio is world-renowned for its high quality designs. He now holds a Royal Warrant from the Prince of Wales for his work.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Douglas Percy Bliss (Scottish, 1900-1984)Renoir Old signed 'Douglas Percy Bliss' (lower right), titled 'Renoir old.' (lower left)watercolour, pen and ink and gouache on paper25 x 28.5cm (9 13/16 x 11 1/4in).Footnotes:ProvenanceWith Chris Beetles Gallery, LondonPrivate Collection, U.K.ExhibitedLondon, Chris Beetles Gallery, The Illustrators: The British Art of Illustration 1780-1993, November 1993 - January 1994, no. 382The present lot was drawn for, but not illustrated in, The Sketch Christmas 1936 issue, which included the series titled More Mockery of the Old Masters.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
George Havard Thomas MA (British, 1893–1933): A patinated bronze reduction of the Waterhead (Oldham, Greater Manchester) Great War Memorialmodelled as a private soldier in battle dress holding his brodie or tin hat aloft in his left hand in salute and his upheld rifle and bayonet in his right hand, on square base, signed and date George Thomas Sc. 1921, raised on a contemporary ebonised wood pedestal of tapering moulded square section, on shallow plinth base with applied laurel wreath trophy mount and applied bronzed presentation plaque inscribed PRESENTED TO COUNCLR ELISHA BARDSLEY. J.P. BY THE MEMBERS OF THE WATERHEAD WAR MEMORIAL COMMITTEE AND FRIENDS, IN APPRECIATION OF HIS UNSTOPPING EFFORTS ON BEHALF OF THE WORTHY MEN WHO FOUGHT AND DIED FOR THEIR COUNTRY, SEPTEMBER 1921, the figure, 64.5cm high, the pedestal, 69.5cm high (133.5cm high) (2)Footnotes:George Havard Thomas studied at the Slade School of Art. From 1920 he worked as an Assistant Lecturer, joining his father, James, who was the first Professor of Sculpture at the School of Art from 1915 until his death in 1921. He had a studio in London and exhibited at the Royal Academy from 1919 until his early death in 1933. The full size bronze memorial statue by Thomas mounted on a stone pedestal was originally situated at the junction of Oldham Road, Huddersfield Road and Brideoak Street in Waterhead, but was later moved a short distance in 1976 to its present position within a small landscaped area.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A late 15th century carved and polychromed wood figural relief depicting the departure of the MagiFlemish or Lower RhenishThe elaborately dressed kings all seated on horseback, their steeds with plumed bridles and bell hung tack, standing on a naturalistic humped base and raised on a later moulded rectangular plinth, 108cm high overall, 73cm wide and 24cm deepFootnotes:ProvenancePurchased by St John Brodrick, Earl of Midleton.Inherited by George Brodrick.Thence by descent to the current owner, Sir Robert Corbett, KCVO,CB.George St John Brodrick, 2nd Earl of Midleton purchased the present lot to form part of his extensive art collection in 1925. The piece was then inhereted by George Brodrick. He was educated first at Eton and then joined the Irish Guards from Cambridge. He served with distinction in Palestine before the onset of WWII and in the Norwegian campaign in the early days of the War. Here he was mentioned in despatches for gallant and distinguished conduct. He married Mhari Gourlay in the Guards Chapel in 1940. Retiring as a Captain and decorated with an MBE at the end of the War, he later moved to Dunley Manor in Hampshire. The Three Wise Men came here with him and stood in the hall until his death in 2003. When George Brodrick died in 2003, he left the statue to a close family and Irish Guards friend, Sir Robert Corbett, in his will.It is interesting to note that throughout the late 15th century, works such as the present lot, were produced in large numbers for the open market. Subjects such as the Infancy of Christ or the Passion had the most 'mass appeal' so became a huge part of the fabric of artistic production in the Low Countries. Between 1380-1550 specifically, carved wooden altarpieces became a major art industry in the South Netherlands. With their rich polychrome, and heightened realism, for many they seemed to bridge the gap between sculpture and painting.It was not until the late medieval period that the representation of one of the Magi as a Black King became more widespread. In the present lot, it is interesting that the Black Magus is leading the other Kings on their decorated steeds -typically in Adoration scenes, he would be furthest from Christ and not the most prominent (an example of this can be found in Jusutus of Ghent's Adoration scene (active ca. 1460-1480). Around the third century, writers interpreted the Magi as three kings based on the number of gifts they brought to the infant Christ. Later they were given the names Caspar, Melchior and Balthazar. It was in the eighth century that an author (only known as Pseudo Bede) spoke of a 'dark, fully bearded king called Balthazar' LiteratureP.Williamson, Netherlandish Sculpture, 1450-1550, V & A Publications, 2002.L.F.Jacobs, Early Netherlandish Carved Altarpieces, 1380-1550 Medieval Tastes and Mass Marketing, Cambridge University Press, 1998.For further information on this lot please visit Bonhams.com
An Art Deco French silver cocktail shakerLimousin & Souche, Paris circa 1920, first standard Minerva head mark Of vase form, in the style of an oversized sugar caster, the removable pierced cover surmounted by a pinecone finial, lifting off to reveal a gilt interior and an inner removable domed cover, a bayonet cap fitting beneath with pouring hole, the exterior featuring neoclassical decorative motifs with reeding and cross ribbons to the collar, scrolling laurel leaves below, raised on a compressed baluster stem terminating in a spreading circular foot, height 29cm, weight 22.5oz.For further information on this lot please visit Bonhams.com
A pair of 1930's green verdigris patinated metal deer bookendsin the Art Deco stylemodelled as a stylised models of a stag and doe standing on Porto marble plinth bases with canted ends to one side, 19cm high, 20cm wide, 8cm deep (2)Footnotes:ProvenanceProperty of a UK collector.For further information on this lot please visit Bonhams.com
An Art Nouveau silver hand mirrorpossibly Charles Horner, Birmingham 1903The reverse embossed with a maiden with diaphanous dress and long flowing hair, among stylised scrolls and flowers, handle initialled, together with an Art Deco silver two-handled dish, Barker Brothers Silver Ltd, Birmingham 1937, shallow circular form with stepped border and tapering stepped handles on a stepped circular foot, length of mirror 28cm, dish length handle to handle 27.7cm, weight of dish 10.2oz. (2)For further information on this lot please visit Bonhams.com
An American silver-mounted cut-glass 'Art Nouveau' covered syrup jugW B Durgin Co, Concord New Hampshire, circa 1900, incuse stamped STERLING, 5 and the retailer BULLARD With bulbous glass lower body and tall bombé stem, cut with irises and engraved petals, surrounded by whiplash foliage, the overlapping leaves continued in silver to form the organic scroll handle, the curved hinged cover with thumbpiece and embossed iris, the neck mount shaped with intricately cast flowers and petals in high and low relief flaring out to a wavy petal-edge rim, all standing on a spreading silver domed foot embossed with lily pads, height 18cm, weight total 15oz.For further information on this lot please visit Bonhams.com
An Art Deco six-piece silver, enamel guilloche and gem set dressing table setAlbert Carter, Birmingham 1936 All featuring silver mounted powder-blue starburst guilloche enamel, emanating from an off-centre mounted blue rose-cut gem stone surrounded by marcasites, includes a casket with hinged cover all raised on four scroll feet; a hand mirror; a pair of handled hair brushes and a pair of clothes brushes. (6)For further information on this lot please visit Bonhams.com
An Art Deco silver cocktail shakerS Blanckensee & Son Ltd, body and cap Chester 1936, cover Birmingham 1936 The domed pull-off cover with cap, the tapering body with curved shoulder and with fine engraved bands, height 18cm, weight 9.9oz.For further information on this lot please visit Bonhams.com
Bruno Zach (Austrian, 1891-1945): A patinated bronze Orientalist figural group of 'The Slave Trader'circa 1920the crouching seated male figure clad in draped robes and headdress beside a nude maiden covering her modesty, her coiffure arranged in a stylised upswept chignon, standing on a draped platform, raised on a canted integral base, signed Zack within the cast to the rear left corner and with foundry monogram to the front left corner, mounted on a corresponding verde antico marble plinth, 70cm high overallFootnotes:Bruno Zach was an Austrian art deco sculptor of Ukrainian birth who worked in the early-to-mid 20th century. His output included a wide repertoire of genre subject although he is perhaps best known for his erotic sculptures of young women.LiteratureSee V. Arwas 'Art Deco Sculpture', Academy Editions/St Martins Press, 1992, p. 228 for a a similar study.Zachs work was cast by several foundries including Argentor of Vienna, Bergmann and Altmann AG.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
ROCK / POP - LPs. A collection of approx 67 x LPs. Artists/ Titles include Can - Opener (SLS50400 Ex+/ VG), Led Zeppelin - II (588198, VG/VG), Nina Simone - Forbidden Fruit, Champion Jacks - Natural & Soulful, Free - Fire And Water, Genesis - Foxtrot, The Strangler - IV, Public Image - First Issue, Fleetwood Mac - Rumours, Michael Jackson - Bad, Wings - At The Speed Of Sound, Soft Cell - The Art Of Falling Apart, The Undertones - Hypnotised, The Cream Castle, The Rolling Stones, Woodstock, The Beach Boys and The Rolling Stones. The condition is generally VG to Ex with some records falling below this.
A print of an image by photographer John Rowlands depicting David Bowie onstage Feb 26th 1976 in Toronto, Canada at Maple Leaf Gardens. Signed by John Rowlands. Measures 17x22". Excellent condition, printed onto fine art paper."This iconic image of David Bowie as The Thin White Duke was taken by renowned Rock photographer, John Rowlands, on February 26th, 1976, at Maple Leaf Gardens in Toronto, Canada. Having seen the previous evening’s show on the 1976 Station To Station tour, Rowlands was primed to capture the image of Bowie as The Archer while the singer was preparing to fire his imaginary bow and arrow. The pose was used as a signal for Bowie's lighting engineer to kill the lights. The picture was taken moments before the lights were killed. Rowlands took the shot about 30 feet away from the stage and he credits his Hasselblad camera for producing an image that is striking in its sharp tonal range of whites, blacks and grays".
STACK WADDY/ KEVIN COYNE/ TRACTOR/ THE DOORS - LP WHITE LABEL TEST PRESSINGS. A quality pack of 6 LP white label test pressings. Artists/ titles include Kevin Coyne & Siren - Strange Re-Locomotion (Live In Concert - 2003) (OZITDAN LP 8022, 2 LP), Stack Waddy - The Lost Dandelion Jams (DAN LP 8012), Tractor inc The Art Of Being Steve Clayton (OZITLP8000, 2LP), Bugger Off 2 (The Strawberry Studios Outtakes) (OZITDANLP8023) & Shubunkin Over Rochdale College Bank (OTIZDANLP7005) & The Doors Isle Of Wight (OZITLPEXP1970). Condition is generally VG+ to Ex+.
STACK WADDY/ KEVIN COYNE/ TRACTOR - LP WHITE LABEL TEST PRESSINGS. A quality pack of 5 LP white label test pressings. Artists/ titles include Kevin Coyne & Siren - Strange Re-Locomotion (Live In Concert - 2003) (OZITDAN LP 8022, 2 LP), Stack Waddy - The Lost Dandelion Jams (DAN LP 8012), Tractor inc The Art Of Being Steve Clayton (OZITLP8000, 2LP), Bugger Off 2 (The Strawberry Studios Outtakes) (OZITDANLP8023) & Shubunkin Over Rochdale College Bank (OTIZDANLP7005). Condition is generally VG+ to Ex+.
INDIE / WAVE / ALT - LP / 12" COLLECTION. A collection of 25 x LPs / 12". Artists/ Titles include The Sound inc From The Lions Mouth (kode 5, UK original Ex+/ Ex), In The Hothouse (STAT DLP 1, Ex+/ VG+), Lowlife inc Diminuendo, Godhead, Art Bears - The World As It Is Today, Talking Heads - More Songs About Buildings And Food, Bauhaus, John Cale, Nico - Behind The Iron Curtain, This Mortal Coil, Opposition, The Weather Prophets and The Comsat Angels. The condition is generally VG+ to Ex+.
WAVE / INDIE / ALT - 12" COLLECTION. A collection of around 80 x 12". Artists/ Titles include The Smiths inc This Charming Man (2 x copies), Heaven Knows I'm Miserable Now, A Certain Ratio - Do the Du, New Order - Blue Monday, Kate Bush - Running Up That Hill, Radiohead - Everything Is In Its Right Place, Depeche Mode, Sylvian, David Bowie, Visage, Madonna, The Art Of Noise, Jane's Addiction, Patti Smith, Steely Dan, Yello, Thom Yorke, Duran Duran, The Dream Academy and Associates. The condition is generally VG+ to Ex+ with some falling slightly below.
ART/ KRAUT/ GLAM - ROCK LP PACK. A super selection of 16 mixed rock genre LPs. Artists/ titles include The Velvet Underground inc & Nico (V6-5008, early US stereo pressing in gatefold 'non torso' sleeve - VG glossy record with some non-feelable marks/scuffs, sharp Ex condition sleeve), White Light/ White Heat (2353 024), A Collection Of Previously Unreleased Recordings. Nico + The Faction - Camera Obscura (x2). John Cale inc Fear, Artificial Intelligence, Slow Dazzle. Klaus Schulze - Dig It, peter Baumann - Romance 76, Kraftwerk inc The Man Machine (E-ST 11728), Kraftwerk 2 (early German pressing, gatefold sleeve, Philips 6305 117, matrix/runouts (machine stamped): 10 AA6305117 1Y 320 & 10AA6305117 2Y 320 - lovely Ex+ condition record/Ex neat condition sleeve with some light ringwear). Edgar Froese - Ages, Roedelius Selbstportrait - Vol II, David Bowie inc Low (INTS 5065) & Heroes (PL 12522). Condition is generally VG+ to Ex+.
PETE BROWN - LP RARITIES PACK. A wonderful pack of 2 LPs by Pete Brown. Titles include Bond + Brown: Two Heads Are Better Than One (CHS-R-813, UK stereo pressing on Chapter 1. Record Ex/ sleeve VG, has some light water damage at the bottom of the back spine edge) & Pete Brown & Piblokto - The Art School Dance Goes On For Ever (SHVL 768, A-1G/ B-1G matrix. Labels have no EMI logo. Record VG+/ sleeve strong VG+).
Loading...
