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Lot 524
1906 Pope-Toledo Model XII 35/40HP Roi Des Belges Engine no. 35-40-1821352.8ci 4-Cylinder Engine35/40bhp3-Speed Sliding-Gear Manual Transmission with Double Chain DriveFront and Rear Semi-Elliptic Leaf SpringsRear-Wheel Drum Brakes*A well-known, largely original example with 1950s cosmetic restoration*Exceptionally beautiful, handsomely designed coachwork*Offered with a significant history and maintenance file*An outstanding early Brass Era car with power, quality, style and character'DON'T TAKE 'THE OTHER FELLOW'S' DUST''Buy a...Pope-Toledo, and your 'right of way' on any road, anywhere, will be absolute, supreme and acknowledged. It matters not what make 'the other fellow' drives, nor what price he paid, you can pass him if you want to. Isn't it a great satisfaction to know that your car has this quality – even though you do not want extreme speed? It is positive assurance of Power, Power at the Wheels, Power for Emergencies, Power for Hills, for Sand and Heavy Roads; Reserve Power, so that your engine is exerting itself scarcely more than idling when bowling along at a 30 mile clip.' There can be little doubt that the advertising copywriters knew how to summarize the essence of these majestic cars. Produced in Ohio from 1903 to 1909, the Pope-Toledo was in its time the peak of Colonel Albert Pope's Brass Era automotive empire, which produced fine cars in most all the major cities of the United States. It was noted for grand, almost baroque styling, with the largest models boasting ornate 'Roi-des-Belges' bodywork, quite literally a translation of 'King of Belgium' since this monarch was noted to favor this style of coachwork with tulip-like complex curves and dramatic swaging, atypical for this period. A particular aspect being that he preferred there to be a partition between the front seats, where many cars of this period simply carried a bench front seat, it was a characteristic that no doubt suggest that he liked to be firmly held in his seat when driving. And, given the sturdy, durable engineering and no small measure of power, that would have stopped him being 'thrown about' at speed!The 1906 Model XII was, in fact, among the most powerful automobiles then on the American road, challenging the famous offerings of Packard, Peerless, and even Thomas, with a 35hp four-cylinder engine and a three-speed sliding gear transmission, with a direct-drive 'speed gear' and double chain drive. It combined brawn and elegance as did few others of its time, and became one of the most respected and, today, sought-after early American automobiles.THE MOTORCAR OFFEREDIn 1951, Bob and Herb Horn, recent emigres from Iowa, opened Horn Bros. Cars of Yesteryear in Sarasota, Florida. In an era when roadside car museums were the norm, the Horns filled their facility with some truly exceptional early automobiles. The museum was sold in the mid-1960s to Walter Bellm, who continued to operate it until the mid-1990s. In its heyday, Cars of Yesteryear was a fabulous, weird and wonderful place, with the great cars of the Brass and Classic Eras complemented by Bantams, a Lincoln designed for Jacqueline Kennedy, and microcars hung off the walls and ceiling.The Horns brought this Model XII with them from Iowa, based on the period Hawkeye State registration no. 4639 still attached, as well as the Iowa license plates with which it was photographed in the museum in-period, including an appearance on the cover of the December 1954 issue of Car Life. After nearly forty years in the museum, the car was sold by Mr. Bellm to Fred Weber of St. Louis, from whom it was acquired by Don C. Boulton in 1991.The car's present restoration hails from the Horn ownership and it maintains a good look for a car of its age. The red and black color scheme is well-suited to the ornate curves of the original body and bell-shaped radiator and is picked up by elaborate hand-laid striping. Clearly the work was largely cosmetic and the car beneath remains well-preserved, as it retains all of its gorgeous original trim and such often-lost original features as storage drawers under the driver's seats and additional compartments within the running boards. Leather aprons are mounted between the fenders and the body. The Selden plate is still attached, and the car carries its matching set of brass Solar model 626 cowl lamps, model 684 headlamps, model 404 tail lamp, and acetylene generator with pride. The dashboard boasts a Junghans 8-day clock, made in Germany, and a Jones 100 mph speedometer.Even the engine of this car is a work of mechanical art, with external overhead valve gear that is a joy to watch in operation. Certainly Mr. Boulton thought so, as after acquiring the Pope-Toledo he invested considerable time and money in returning it to operational condition. A significant file of restoration and repair receipts attests to this fact, and accompanies the Model XII along with two Pope-Toledo instruction manuals, many other documents and articles, and artifacts of its Horn Brothers and subsequently Bellm's ownership.The Pope-Toledo was one of the highlights of the Donald C. Boulton Collection at Bonhams dispersal sale in 2019 at Amelia Island. Father and son were enthusiastic attendees of the auction, they may well have been the first through the door of the first day of preview if memory serves the cataloguer right and were clearly determined to secure a car from that group. Ultimately, they settled on this fabulous Pope-Toledo as their souvenir of the day. Its transition would no doubt have been one that Mr. Boulton approved of, and as evidenced from the cars on offer today, it was a natural fit for the collection, where it sat alongside the later roadster of its same maker. In preparation for the sale, the car has received the care and attention that latterly had alluded its past two owners, the car has been sympathetically and carefully cleaned. The comprehensive set of brass work has been laboriously polished, and the car was checked over and made to run once again. The 1906 Pope is a remarkably original and certainly very rare survivor of this period of production. Its mechanical aspect is extremely powerful for its day, while atop the running gear is one of the most beautifully sculpted examples of coachwork of this period, with not a flat surface anywhere on the body. The Two Generations, Boulton Pope is as richly rewarding on the road as to look at. Its appearance on the market is only owing to the sad and untimely passing of its owners and it deserves to return to long term appreciative custody where it will unquestionably grace any collection.For further information on this lot please visit Bonhams.com
Lot 720
A William IV mahogany Scottish longcase clock, circa 1830-39, the crenellated pediment over hood with circular bezel flanked by reeded pilasters, plain full length trunk door over waisted base, standing on compressed bun supports, the associated 13" circular white enamel dial with Roman chapter ring and Arabic subsidiaries for date and time, inscribed by maker Thomas Steel, Kirkintilloch, eight day twin train movement striking the hours on a bell. H226.5cm, W52cm, D25cm.
Lot 373
George III longcase clock with a brass dial and silvered chapter ring inscribed "Geo. Clarke White Chappel", and a seconds dial enclosing an 8 day movement striking on a bell, in an inlaid mahogany case, the hood with an arched panelled door flanked by corinthian columns, swan neck pediment and orb finial, H.223cm, (loss to lower right corner of dial, hidden by door)
Lot 220
WWII Multisigned Book Air Battle of the Ruhr by Alan Cooper 2001 Second Edition Hardback Book with 228 pages Multisigned by 28 Veterans including Flt Lt Reg Barker, Nav Roy Smith, Tail Gunner Len Manning, John Bell D.F.C. Reg Cleaver, Pilot James Corman, Pilot Leo Dunn D.F.C. plus others on the Second and Third page published by Wrens Park Publishing (W J Williams and Sons Ltd) spine in good order, good condition. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Lot 229
WWII Multisigned Book Target Tirpitz X Craft, Agents and Dambusters The Epic Quest to Destroy Hitler's Mightiest Warship by Patrick Bishop 2012 First Edition Hardback book with 390 pages Multisigned by 5 Veterans including John Bell D.F.C. Frank Tilley, John Laughton, plus others on the Title page published by Harper Press (Harper Collins Publishers) spine in good order, good condition. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Lot 143
SHIGEYOSHI: AN INLAID DARK WOOD NETSUKE OF KIYOHIMEBy Shigeyoshi, signed Shigeyoshi 重敬 to 刀Japan, 19th century, Edo period (1615-1868)Finely carved to depict the enraged witch Kiyohime, her inlaid face well detailed, her monstrous serpentine body coiled around the bell of Dojo-ji temple, inside which the priest Anchin is hiding, his face visible through a hole to one side. The handle of the bell can be turned to alternate between the two expressions of Anchin, one showing a pale, frightened expression and the other burnt-red from fire. The underside with large himotoshi and the signature SHIGEYOSHI.LENGTH 3.6 cmCondition: Very good condition with minor wear and traces of use.Provenance: German private collection.The present netsuke is mentioned in Davey, Neil K. (1974) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 521, artist no. 2382: “One recorded. Wood. Figure of Kiyohime. Early”.Kiyohime is a character in the story of Anchin and Kiyohime. In this story, she fell in love with a Buddhist monk named Anchin, but after her interest in the monk was rejected, she chased after him and transformed into a serpent in a rage, before killing him in a bell where he had hidden in the Dojo-ji temple. The story originally appeared in two collections of setsuwa (tales), Dainihonkoku hokekyo kenki (c. 1040) and Konjaku Monogatarishu (c. 1120).Auction comparison: Compare a related inlaid ebony netsuke by Tanaka Minko depicting the same subject at Galerie Zacke, Fine Netsuke, Sagemono & Okimono, 24 November 2018, Vienna, lot 70 (sold for 8,469 EUR).
Lot 144
TOMOKAZU: A FINE WOOD NETSUKE OF KIYOHIME WITH THE TEMPLE BELL OF DOJO-JIBy Kano Tomokazu, signed Tomokazu 友一Japan, Gifu, 19th century, Edo period (1615-1868)Superbly carved, the serpentine monster winding around the bell of Dojo-ji, her scales meticulously rendered, her facial features well crafted, appearing almost like a Hannya mask, her long flowing hair in the back neatly incised. The vengeful witch holds a T-shaped striker in one hand and a loose strand of her hair in the other. The bell is finely carved as well with a neatly stippled ground and raised bosses, the removable and turnable handle carved with two dragons. Anchin's face is visible through a small hole in the bell. Good himotoshi to Kiyohime's back and underneath and signed TOMOKAZU within the typical oval reserve.LENGTH 3.7 cmCondition: A small chip to the edge of the handle and to one horn. Repair to the interior mechanism. Otherwise good condition.Provenance: Christie's, 4 November 2009, New York, lot 131. A noted private collection, USA, acquired from the above.Auction comparison:The subject. which is usually associated with Minko and the Tsu school. is rare for Tomokazu. For an example of the same subject depicted in a different manner see Sotheby's, The Swedlow Collection of Inro, Lacquer and Ojime, 31 March 1993, London, lot 69.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Lot 190
RYOJI: A FINE IVORY NETSUKE OF A SAMBASO DANCERBy Ono Ryoji, signed Ryoji 凌次Japan, Tokyo, late 19th centuryWell carved as a sambaso dancer standing on his right foot, wearing a characteristic striped eboshi with roundels, his voluminous robe neatly incised with pine saplings, leafy chrysanthemum sprays, and a foliate design. He holds a bell tree with cords attached in his right hand. The ivory bearing a subtle stain and fine polish. The back of his robe with two himotoshi. Signed to the underside above his right foot RYOJI.HEIGHT 4.9 cmCondition: Excellent condition with minor wear.Provenance: Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam.Auction comparison:Compare to a related ivory netsuke of a sambaso dancer, with movable tongue, by Rakumin, at Zacke, Asian Art Discoveries, 20 January 2023, Vienna, lot 1408 (sold for 2,340 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2207506036-K).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
Lot 269
A RARE LACQUER NETSUKE OF A GOSHO NINGYO DOLL PERFORMERUnsignedJapan, late 19th centuryThe gosho ningyo performer lacquered in gold, silver, and red, the face typically enlarged and chubby with red lips, placing one hand on its head and the other holding a bell tree. The doll's robe is embellished with various ornate patterns such as geometric designs, leaves and plovers. Large, asymmetrical himotoshi to the back.HEIGHT 4.5 cmCondition: Chip to one foot, one loss to the knee and a repair to the bell tree. Otherwise fine condition with minor wear to lacquer.Gosho ningyo are characterized by their chubby figures, fair skin, small hands and legs, their large heads, and simple eyes and noses. Their history goes back some 400 years, when they were treasured in the Imperial court. Over time they became expressions of hope for happiness and prosperity in life.Literature comparison:A closely related lacquer netsuke depicting a Gosho ningyo is illustrated in Bushell, Raymond Netsuke (1975) Familiar & Unfamiliar, p. 109, no. 111.Auction comparison:Compare to a lacquer netsuke of a boy from the same workshop, at Lempertz, Asian Art, 27 June 2020, Cologne, lot 317 (sold for 4,000 EUR). Another lacquer netsuke from the same workshop was sold at Bonhams, Netsuke from the Collection of Joseph and Elena Kurstin, 16 December 2022, New York, lot 17 (sold for 10,200 USD).
Lot 5
A RARE MARINE TOOTH NETSUKE OF KIYOHIMEUnsignedJapan, 18th century, Edo period (1615-1868)The serpentine, wrathful monster Kiyohime tightly wrapped around the Dojo-ji bell, her snake-like tail encircling the top and her body surmounting the bell, the face with an enigmatic smile, holding a striker and a loose strand of her long, finely incised hair. Very large himotoshi through the side of the bell. The marine tooth bearing a beautiful lustrous polish.HEIGHT 6 cmCondition: Very good condition, some natural age cracks and few inlaid nerve channel plugs.In this tragic story, Kyohime fell in love with a Buddhist monk named Anchin but was rejected. In despair she pursues the monk and transforms herself into a Hannya-like demon with a snake body and horned head. The pursued Anchin hides under a temple bell. When she discovers him there, she wraps her snake body around the bell and the glow of her passion melts the metal and burns the monk hiding in the bell.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
Lot 67
MASAKAZU: A SUPERB NAGOYA SCHOOL WOOD NETSUKE OF KIYOHIMEBy Masakazu, signed Masakazu 正一Japan, Nagoya, first half of 19th century, Edo period (1615-1868)The vengeful monster Kiyohime depicted here in humanoid form with long flowing hair, leaning against the Dojo-ji bell, hunched forwards with a menacing expression, one hand grasping the double-dragon handle of the temple bell, the other holding a striker. The details are superbly carved, the bell is adorned with raised studs and minutely carved rain dragons, and the reddish cherry wood bears a fine patina. Himotoshi through the bell and signed underneath MASAKAZU.HEIGHT 4 cmCondition: Excellent condition, minor wear.Provenance: Ex-collection Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam, purchased at Lempertz, The Papp Collection of Netsuke, 16 June 2018, Cologne, lot 1052. Formerly collection Papp, collection no. 449, purchased from Helmut Laudenbach, Berg, January 1989.In this tragic story, Kyohime fell in love with a Buddhist monk named Anchin but was rejected. In despair she pursues the monk and transforms herself into a Hannya-like demon with a snake body and horned head. The pursued Anchin hides under a temple bell. When she discovers him there, she wraps her snake body around the bell and the glow of her passion melts the metal and burns the monk hiding in the bell.Literature comparison:Compare to a closely related wood netsuke of Kiyohime, by Masakazu, depicted in a similar posture, illustrated in Eskenazi (1997) Japanese Netsuke, Ojime and Inro from the Dawson Collection, pp. 24-25, no. 25. Another closely related wood netsuke of Kiyohime, by Masakazu, depicted in a different posture, is illustrated in Jirka-Schmitz Patrizia, The World of Netsuke, The Werdelmann Collection at the Museum Kunst Palast Duesseldorf, p. 83, no. 263.Museum comparison:Compare to a closely related wood netsuke of Kiyohime, depicted in a similar posture as the present netsuke, by Tadatoshi, late 18th century, Nagoya, at the Walters Art Museum, accession number 61.236.Auction comparison:Compare to a related wood netsuke, by Tametaka, depicting Kiyohime in a similar posture, at Zacke, Fine Netsuke & Sagemono, 4 November 2022, Vienna, lot 57 (sold for 6,175 EUR).
Lot 180
A brass car horn missing rubber end (h: 32cm) a late 18thc pewter tankard with knop handle to top and initials GSB 1784, (h: 27cm x 10cm) a china maize pattern cheese bell cover with gilt decoration, (h: 16cm x 20cm) a brass Elizabethan style candlestick, (h: 16cm) two white metal mounted circular ash trays and an Epns trophy on stand (a lot)
![Houghton (Rev. W.)British Fresh-Water Fishes.William Mackenzie, no date [1879] two volumes, folio in fours, forty-one chromol](https://cdn.globalauctionplatform.com/0c95c8d6-8175-4a6b-a19b-af9d00b63a24/6e58054c-e00f-4160-a29d-afed00ee68a3/468x382.jpg)
Lot 88
Houghton (Rev. W.)British Fresh-Water Fishes.William Mackenzie, no date [1879] two volumes, folio in fours, forty-one chromolithographic plates, Salmon and Grilse stained, Powan badly stained, foxing to Trout, binding weak with some loose pages/plates, all edges gilt, original cloth gilt;Couch (Jonathan), A History of the Fishes of the British Islands.George Bell, 1877, four volumes, coloured plates throughout, original cloth gilt, (bindings weak and breaking, one backstrip detached).[Not collated]
Lot 252
Bell & Ross, a black stainless steel BR03-94 chronograph wrist watch, circa 2008, reference BR03-94, automatic movement with quick date set, case numbered BR03-94-S-00975, fitted to an unsigned brown leather strap with stainless steel pin buckle, box and papers, case measures 42mm Condition- Movement is currently functioning- The chronograph counts one minute, but the hour counter has not been tested due to time constraints - Dial appears to be in very good condition- Hands are in very good condition- Case has a few very light marks only- Glass has a few small marks- Strap shows minor marks and light creasing only- The case measurement stated in our main descriptions always excludes the crown unless otherwise stated- Papers dated 13-MAR-2008- Please note that we cannot guarantee the working order, accuracy or water resistance of any watches sold in our auctions- Clients are advised to view and inspect items before bidding and they must satisfy themselves as to the condition of every lot- For enquiries about this lot please contact David Pregun at david@kinghamsauctioneers.com
Lot 47
Porthia Prints Design Proofs By Robert Adams, Trevor Bell, Peter Lanyon and Denis Mitchell, screenprinted on paper and linen Dimensions:Various sizes, the largest 39.5cm x 49.5cm (15 1/2in x 19 1/2in)Provenance:ProvenanceThe Estate of an important St. Ives artist.Note: In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints. They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976, Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 49
Porthia Prints Four Table Linens By Barbara Hepworth, Trevor Bell, John Forrester and Denis Mitchell, screenprinted linen Dimensions:various sizes, the largest 30.5cm x 43cm (12in x 17in)Provenance:ProvenanceThe Estate of an important St. Ives artist.Note: In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints. They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976, Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 91
§ Kaj Franck (Finnish 1911-1989) for Nuutajärvi Notsjo 'Kremlin Bells' Double Nested Decanter, 1961 signed K Franck Nuutajärvi Notsjo 61 (to base), glass, in clear and pale blue, the stopper in green, grey and black spiral designDimensions:35cm high (13 3/4in high)Provenance:ProvenancePrivate Collection, UK.Note: Franck’s Kremlin Bell nested decanter was designed in 1957 as a juice set. It is arguably Franck’s most sought-after design. The round carafe which forms the lower section is intended to hold water, whilst the decanter with ball stopper is for juice. The double decanter was exhibited at the 11th Milan Triennale in 1957, where it was awarded the Grand Prix, the highest accolade.
Lot 3
Sport Collection 14 items includes signed photos and signatures pieces includes great names such as Derek Bell, Dennis Taylor, Wladimir Melanin, Antonin Panenka, Larry Shyatt, Alain Menu, Hilary Green, Glyn Watts, Jim Watt and Duncan McKenzie. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
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123939 item(s)/page