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Click here to subscribe§ Alan Green (British 1931-2003) Drawing No. 96, 1975 signed, dated and titled in ink (lower right)gouache, pencil and India ink on wove paper, mounted on boardDimensions:79cm x 79cm (31 1/8in x 31 1/8in)Provenance:ProvenanceAnnely Juda Fine Art, LondonGalerie De Gestlo, HamburgSammlung Erik und Lilott Berganus, inventory 118/75/IX (label verso)Grisebach Auktionen, Berlin, 2 December, 2017, lot 286Private Collection, London
§ Sir Eduardo Paolozzi R.A. (British 1924-2005) Maquette for Great Ormond Street, 1993 bronze, on a wooden baseDimensions:28cm x 24cm x 22.5cm (11in x 9 1/2in x 8 3/4in) including baseProvenance:ProvenancePrivate Collection, UKBonham's Knightsbridge, 4 June 2013, lot 182, where acquired by the previous ownerTheir sale, Sotheby's, London, Modern & Post-War British Art, 21 November 2017, lot 165, where acquired by the present owner
§ ‡ Alan Davie C.B.E., R.A., H.R.S.A. (British 1920-2014) Flutter By Night, 1962 signed, titled, dated and inscribed Opus O.445 (verso) oil on canvas Dimensions:122cm x 152.4cm (48in x 60in) Provenance:Provenance Gimpel Fils, London, where acquired by Mrs Charles Benenson, August 1963 Gimpel Fils, London, where acquired by the present owner, November 2007Literature Alan Bowness, Alan Davie, Lund Humphries, London, 1967, cat. no.381, Note: Alan Davie once noted: ‘Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT’. This sentiment remained his guiding principle across a career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his paintings and printmaking internationally, he also designed and made jewellery, wrote poetry and performed as a professional music, most notably as a jazz saxophonist, but also as a cellist and pianist. Davie felt that all these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie was equally as diverse in the sources of his inspiration, seeking it across space and time. He, like many artists of his generation, had a specific interest in Jungian ideas of the ‘collective unconscious’, aiming to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance, a method similar to that of improvisation in jazz. Yet, as was so concisely put in the artist’s obituary, published in The Guardian, ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his and this is particularly clear in an example like the present work. Flutter by Night dates from 1962, an interesting moment in Davie’s artistic life. With the benefit of hindsight and the awareness of the longevity of his career, it feels like a relatively early work but is in fact from a period in which he had already gained significant momentum as an artist. It follows his visit to the U.S.A. in 1956 where he exhibited (with the ground-breaking Catherine Viviano Gallery) and also met artists including Willem de Kooning, Robert Motherwell, Jackson Pollock and Mark Rothko. It also follows a significant retrospective at the Whitechapel Gallery in London in 1958. Another retrospective took place at the Stedelijk Museum in Amsterdam, in the same year as this painting was made. It is easy to feel a sense of this inspiration and energy in Flutter by Night; expressive and energetic, the gestural brushwork and bright colour break their way through the swathes of grey. Davie was said to have developed his understanding of the role of the artist from Paul Klee: ‘he neither serves nor rules – he transmits.’ In Flutter by Night Davie succeeds in this quest, his painterly improvisation viscerally conveying his vigorous vision, reaching across time and space all the way out to reach us, in the here and now.
Henri-Edmond Cross (French 1856-1910) Un Pin en bord de mer, c.1905 signed HE.C in pencil (lower left)watercolour and pencil on paperDimensions:22cm x 15.5cm (8 5/8in x 6 1/8in)Provenance:ProvenanceAlexander Schick, BerlinChristie's, Paris, Art Impressioniste et Moderne, 21 May 2008, lot 27 (as L'arbre)Stephen Ongpin Fine Art, London, where acquired by the present owner, 2010Note: This work will be included in the forthcoming supplement to the catalogue raisonné of watercolours by Henri-Edmond Cross, being prepared by Patrick Offenstadt, number 23.05.31/857.
§ † Trevor Bell (British 1930-2017) Untitled, 1958 signed, dated and inscribed to Mabel & Victor - for a belief / Saint Ives 1958 / from Trevor (verso) oil on canvas Dimensions:61cm x 51cm (24in x 20in) Provenance:Provenance Private Collection, UK Sotheby's London, 20th Century British Art, 13 December 2007, lot 93 Paisnel Gallery, London, where acquired by the present owner, 2008 (as Black and White Abstraction)Exhibited Paisnel Gallery, London, 25 Years of Post-War British Art, 1952-1976, Summer 2008, un-numbered exhibition, illustrated
§ Colette Morey de Morand (Canadian/British 1934-2022) Stunning Streak, 1986 acrylic polymer and Caran D'Ache Neocolor oil pastel on paper Dimensions:76cm x 56.5cm (30in x 22 1/4in) Provenance:Provenance The Estate of the Artist Note: Colette Morey de Morand was born in Paris in 1934, to a French father and Ukrainian mother. Whilst she was an infant her family moved to Canada, where she was to spend her formative years. Whilst she always had designs on being an artist, her mother made her take a science degree at the University of Toronto as a more ‘sensible’ option. Morey de Morand, however, was not to be deterred and not long after graduating she moved to New Zealand, first studying at Wellington University and later establishing a reputation for herself as a landscape painter. Whilst in New Zealand she met Clement Greenberg, the high priest of Abstract Expressionism, an encounter that could well have been significant in her shift in direction towards abstraction, which she was to explore for the rest of her career.On separating from her first husband, Morey de Morand travelled overland through India and the Far East with her two young children, arriving in London in 1975, where she was to stay for the rest of her life – although she carried on showing in New Zealand, where her work continued to be highly regarded. She was soon ensconced in the London art scene – albeit the part of the scene that set itself against the prevailing fashion for Minimalism and Conceptualism. She had met Anthony Caro and his wife, the painter Sheila Girling, in New Zealand and they were to remain close friends throughout their lives. Both artists’ approaches at that time – loose, lyrical (even for Caro when working in heavy slabs of metal) – were to find confluences in her painting of the same period.
§ ‡ Gwyther Irwin (British 1931-2008) Albino, 1963 collaged paper on board Dimensions:122cm x 183cm (48in x 72in) Provenance:Provenance Private Collection, UK, acquired circa 1980sExhibited British Pavilion, Venice, XXXII Biennale, 1963 Stedelijk Museum, Amsterdam, Roger Hilton, Gwyther Irwin, Bernard Meadows, Joe Tilson, 1965 Gimpel Fils, London, Gwyther Irwin - Work in Progress, 1967 Sotheby's, London, The New Situation: Art In London in the Sixties, 4-11 September 2013, cat. 47
§ William Gear R.A. (British 1915-1997) Untitled, 1947 signed and dated (lower right) watercolour, ink and crayon on paper Dimensions:27cm x 43cm (10 3/4in x 17in) Provenance:Provenance Karl & Faber Kunstauktionen, Munich, Auction 287: Preuss Collection, 6 December 2018, lot 1126 Gwen Hughes Fine Art, London, where acquired by the present owner, 2021
Face, eyes, hair and clothing finely carved by Chinese artisans, masters in the art of ivory carving in both Macau and the Philippines. Christ measurements: 33 x 22 cm. Measurements with Cross: 65 x 37 cm, CITES is attached, provenance: important Catalan private collection. Reference bibliography: Reference bibliography: Gavin Bailey, Jean Michel Massing and Nuno Vassalo e Silva, "Marfins no Império Português", p. 277.
In the shape of a lyre, this exquisite table clock stands out for its excellent state of conservation, both in the enamel of the dial and in the gilding and in the French-style rhinestones from the mid-19th century and forming part of the decoration of an important Madrid residence. From 1860, Jules Graux's foundry was installed at 8 rue du Parc-Royal. He exhibited at the last national exhibition in Paris in 1849 and again in Paris in 1855. At the London exhibition of 1862, his work was described as "furniture bronzes, cheminée and cheminée fittings, lustres, vases, statues, groupes, objects of table service, malachite gueridon". It is mentioned that they export 35% of their production and that they make bronzes for the Hotel de la Commission. They also contributed to the Paris exhibition of 1867. In 1870, his sons M Graux-Marly took over from his father and, from then on, his works bore the GRAUX-MARLY or GRAUX-MARLY seal. FRÈRES. The foundry is famous for the quality of its cast, chiseled and gilded bronze pieces, such as clocks, candelabras, figurines and other decorative works of art. Jules Graux - Graux-Marly Fondeurs also cast bronzes for many of the most renowned sculptors of the period, including Jean-Baptiste Carpeaux (French, 1827-1875), James Pradier - born Jean-Jacques Pradier (Swiss/French, 1790- 1852), Emmanuel Frémiet (French, 1824-1910), Albert-Ernest Carrier-Belleuse (French, 1824-1887), Alfred Emmanuel Louis Beurdeley (French, 1847-1919), as well as the reproduction of important and popular antique models, of the Renaissance and later. Related bibliography: P. Kjellberg, Les Bronzes du XIX Siecle, Les Editions de l'Amateur, Paris, page 660.
Waring & Gillow Cocktail Cabinet Waring & Gillow, Bold Street, Liverpool, Art Deco walnut cocktail cabinet, opening to reveal a fitted interior, the lid with six matching cocktail stirrers and metal lemon squeezer, over a mirrored back and shelf, with 20 cutouts for storing drinks glasses, above a single cupboard door enclosing further cutouts and a frame to hold bottles and a wine cooler.58cm wide, 35.5cm deep, 103.5cm highLosses to the veneer and damage to the mirrors, mainly loss of silvering to the edge and some small chips.
Occasional table by Max Cooper Occasional table by Max Cooper of Yarnfield, signed to the underside in parquetry inlay. The top is designed with symmetrical art nouveau style parquetry made out of Indian rosewood, walnut, satinwood and other hardwoods. Below is a single pedestal composed of four separate pieces of bent wood that splay out at the bottom to become the legs. 39cm wide, 39cm deep, 50cm high Good overall condition with signs of use and wear commensurate with age. Some cracking to the parquetry decoration on the top likely caused by central heating and some surface scratches. One small dent to the top. No missing pieces of parquetry. Please view all additional images.
Early 20th century Daum vase Early 20th century Daum green conical-shaped footed vase of Art Deco design, etched signature 'Daum ‡ Nancy, France' to the base with cross of Lorraine28cm highSome small nicks and scratches to the vase, mainly to the interior and corners of the base. The worst scratching is inside the vase and can be seen through the sunburst decoration. There are a couple of inclusions around the rim beneath the surface, this is shown in the final photograph, this is beneath the surface.
Art Deco Walnut Display Cabinet Early 20th century art deco walnut display cabinet, the central octagonal cabinet with two doors glazed in a sunburst pattern enclosing two fixed glass shelves, raised on two supports each incorporating adjustable shelving to the side120cm wide, 29cm deep, 121cm highThere are a few areas of missing veneer where it has chipped away, worst areas have been photographed. Also general wear commensurate with age such as some scuffing and light scratching. No damage to the glass.
Keith Wilson (British, 1941-2011) - Original artwork on board, mixed media, showing an exterior waterfall city from 'Dinotopia' (TV Mini Series 2002-03), initialled by Keith Wilson, 78 x 52 cm. Provenance: From the archive of British production designer Keith Wilson (1941-2011). Wilson had a long association with AP Films and Gerry Anderson from the 1960s and was highly regarded within the science-fiction genre. Keith Wilson's set designs for numerous film and television productions included Thunderbirds (1965) UFO (1970) Space 1999 (1975-78) Great Expectations (1989) Oliver Twist (1997) The Seventh Scroll (1999) Dinotopia (2002) A Christmas Carol (2004) and The Ten Commandments (2007). He was awarded an Emmy for Outstanding Individual Achievement in Art Direction for Starlin (1992) and a Cable ACE Award for Art Direction for The Old Curiosity Shop (1995).
NO RESERVE Spain.- Architecture.- Laurent (Juan) A group of c.50 mainly architectural black & white photographic prints of Granada, Seville, Cordoba, Segovia, Toledo, Madrid etc., mostly exteriors, a few interiors, most 260 x 350mm. or vice versa, a few smaller, some captioned in the plate, the majority with ink stamp of J.Ruiz Vernacci of Madrid to verso, one or two of N.Portugal, a few with embossed stamp in corner of image, a little dusty, a few frayed at edges, [mid-20th century].⁂ Juan Laurent (1816-86) was a French photographer settled in Spain who is known particularly for his photographs of Spanish art and architecture. In 1930 his archive was purchased by the photographer Joaquin Ruiz Vernacci (1892-1975) and then in 1975 by the Spanish government.
Two stamp albums 19th/20th Century UK and Worldwide - Two stamp albums, one United Kingdom and further album with Worldwide stamps, UK example including 19th Century Penny Blacks, One Penny Reds, various stamps including a range of George V, Edward VIII, George VI, 1935 Silver Jubilee, George VI Coronation, others including higher value stamps, Ten Shillings, Five Shillings, Centenary of First Adhesive stamps, WWII Victory stamps, Olympic Games 1948, Festival of Britain, Queen Elizabeth II stamps, World Scout Jamboree 1957, Commonwealth Games 1958, together with some Australian stamps, Antarctic map, Royal Visit to Australia, Aboriginal art etc - approx 360 stamps in the album, further album with Worldwide stamps, mainly 20th Century including examples from British Guiana, Barbados (Coronation of George VII), Bahamas, Hong Kong, 1912-21 and 1938-52, India, George V Inaurguration of New Delhi, 1931 North Bornea, 1889-92, 1897-1902 South Africa 1941-42 Gold Coast, Guana Independence, Ceylon, Pakistan, Singapore, Malta, Mauritius, Nigeria, Sierra Leone, Seychelles, Tonga, Trinidad & Tobago, Uganda and Egypt
Two lady's 9ct gold cased wristwatches, the Art Deco style example with silvered Arabic chapter ring, the 15-jewel manual wind movement having two adjustments, stamped 'M. Beguilin', to a black silk strap, the second with plaited strap, together with gold fob frame (vacant) on part chain, and two cufflink fragments, 25g gross approx
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