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Lot 1513
VICTORIAN FRAMED PHOTOGRAPH - BENOIT 'BENNO' HOLLANDER a photograph of Benoit 'Benno' Hollander playing a Violin as a child, mounted in an elaborate bronze surround. Marked on the back Hallstaff & Hannaford, Manufacturers, 228 Regent St, London. Also with a later framed photograph of Hollander in middle age, inscribed From his old pulpit. (2) *Formally owned by Benoit 'Benno' Hollander (1853-1942), Dutch Violinist and Composer.
Lot 1586
WWI NAVAL DIARY - WHITE STAR LINE INTEREST an interesting diary in 2 sections by Peter K Prowse, titled Annals of our time during the Great War 1914-1915-1916-1917, with reports every few days about various Ships at a port. For example, 8/5/16 Olympic White Star in Government service, painted black and grey arrived from sea, westerly gale, 10/5/16 Teutonic passed the Rock perch 7.25pm, liner showing up bold and clear against the bronze and gold sunset light of a calm quiet evening'. Also with 2 envelopes to Mr Prowse whilst living in Liverpool, and a letter from 1895 confirming he was promoted to 3rd Mate. Also with a small sketch book from the 1910-20's, with various drawings and watercolours including British ships, Dogs etc, and a 19thc scrap book (1830-50's') with various drawings and other items. (3) *Peter K Prowse was a Merchant Seaman who lived in Liverpool, who is listed as a Mariner in the 1901 census and appears to have been 34 at that time. We presume this diary was made in Liverpool as he watched the various ships coming into port.
Lot 273
A WWII Second World War German Nazi Third Reich Kriegsmarine U-Boat Combat clasp bronze grade award by N W Peekhaus, Berlin. The clasp having a wreathed U-Boat motif with eagle clutching a swastika to top and crossed swords to bottom, laurel leaves flanking the central wreath. To the reverse retaining it pin and hook and the clasp back having makers ' N W Peekhaus Berlin Ausf Scherwin SW '. Measures; 7.5cm wide.
Lot 491
A WWII Second World War US Army Purple Heart medal awarded to a Coy Vern Stinnett who was awarded a Bronze Star and Oak Leaf Cluster. He served as a Private, First Class, with 133rd Infantry in North Africa and Italy, landing at the Anzio Beachhead as part of the 34th Infantry Division. The medal presented within its original case.
Lot 50
A good antique 18th century Sea Service or Light Dragoon flintlock pistol. Lock plate engraved for ' Rawle ' (Rawle & Wilson), with a crown over GR. Bronze furniture. 9" barrel with English proof marks, elongated side plate as in sea service pistols, and decommissioning marks (double crowsfoot) behind sideplate along with inspectors mark ' W '. Original or contemporary horn-topped ramrod present with original worm. Measures approx; 40cm long in total.
Lot 75
A pair of circa 1900 Chinese bronze baluster shaped vases chocolate patinated and decorated in relief with birds amongst blossom unsigned CONDITION REPORTS Has some knocks and bumps. In need of a good clean. Has a small dent to one area of the bulbous body. Remnants of some script to the bases. General wear and tear conducive with age and use. Approx 16 cm high x 10 cm diameter at the widest point.
Lot 72
A 19th Century Chinese bronze censer with all over decoration of four toed dragons raised on three foliate decorated feet bearing cast sixteen character mark to base CONDITION REPORTS Weight 1142 g. Size 16.9 cm x 15.5 cm x 10.4 cm high max. Condition - has some holes and in need of a good clean but overall appears good with signs of wear and tear conducive with age and or use - some small knocks, bumps, etc. See images for more details.
Lot 73
A pair of 19th Century Japanese chocolate patinated bronze vases with relief work decoration of panels of birds CONDITION REPORTS No visible signature. One vase has a small hole to the main body on the panel and there are general knocks and bumps throughout. Both bases are somewhat mis-shapen. In need of a good clean. General wear and tear to include surface scratches, verdigris, etc., conducive with age and use. Approx 37 cm high.
Lot 227
Artist's proof, signed, dated and inscribed in pencil (in the margin), and inscribed 'For Denis and Jane, Terry, 1971', no edition, possibly only 6 proofs pulled, etching (Dimensions: 26cm x 21cm (10.25in x 8.25in))(26cm x 21cm (10.25in x 8.25in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
Lot 228
Signed and numbered 19/50 in pencil, screenprint with collage and hand-colouring in crayon on wove paper, printed at the Royal College of Art, London, unframed (Dimensions: 31.5cm x 33.5cm (12.37in x 13.25in))(31.5cm x 33.5cm (12.37in x 13.25in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
Lot 236
Fibreglass on marble base (Dimensions: Overall 53cm high, 207cm across (20.87in high, 81.5in across))(Overall 53cm high, 207cm across (20.87in high, 81.5in across))Footnote: Exhibited: Marjorie Parr Galleries, London, 1969; Bath Festival, Bath, 1969; Penwith Gallery, St. Ives; Glynn Vivian Art Gallery, Swansea, 1979. The first version of Carngalver appeared in bronze in 1967. Early in the following year Mitchell acquired some fibreglass material and in March began work on a scaled up version of Carngalver using the fibreglass. He completed this in October. It was shown at the Bath Festival in 1969 and in 1979 at Mitchell's major solo show at the Glynn Vivian Gallery in Swansea. He used the remaining fibreglass to make Phillack , a tall (9ft high) work which, sadly, has not survived. Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
Lot 233
Signed, titled and dated in pencil (to reverse), oil on canvas (Dimensions: 30cm x 60.5cm (11.75in x 23.75in))(30cm x 60.5cm (11.75in x 23.75in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
Lot 238
Initialled, titled and dated, yew (Dimensions: Overall 59cm high (23.25in))(Overall 59cm high (23.25in))Footnote: Exhibited: Newlyn Art Gallery, Newlyn, 1985; Crane Kalman Gallery, London, 1986; Gillian Jason Gallery, London, 1990; Penwith Gallery, St. Ives, 1996; Bridge Gallery, Dublin, 1997. Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
Lot 30
Bronze, on a polished hardstone base (Dimensions: 22cm high (8.7in high) (bronze), 37.5cm high (14.8in high) (including base))(22cm high (8.7in high) (bronze), 37.5cm high (14.8in high) (including base))Footnote: Lyon & Turnbull are delighted to offer these two sculptures, some of the last remaining works from the collection of F.G. ‘Peter’ Stone. Peter Stone lived in St Johns Wood, London, and was Art Critic for the Jewish Chronicle. He moved in artistic circles and knew many artists personally, as both friends and colleagues. He purchased work directly from them as a gesture of support and endorsement, and well as offered financial support to many new artists as they tried to establish themselves in the London art scene. By the time of his death in 1985, he had amassed a collection of over 60 paintings. His will, in which he bequeathed the majority of his collection to his son, makes for an interesting read as it references much of his art and the specific bequests he made to the people in his network including Lilian Bomberg, Harry Barr, and ‘to my son, Dr William Michael Hunter.’ William arranged the sale of some of the paintings from his father’s collection, including Carel Weight's Allegro Strepitoso, which is now in the collection of the Tate. Over the years, many other items from the collection have been given away and sold, leaving only a small, yet considered, group of works. The paintings passed to Peter’s son, Dr William Hunter in 1985 and have remained in the family ever since.
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