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Lot 112
An early Biedermeier column mantel clock, early 19th century. Mahogany case with bronze applications, timepiece from an earlier date, signed: Gribelin a Paris, bronze dial with, among other things, relief decor of volutes, white enamelled dials with Roman numerals, running and striking movement, h 57 cm.
Lot 511
George III (1760-1820), Soho Mint, Birmingham, Proof Twopence, 1797 (early Soho), in gilt-copper, draped bust right, wreath of 10 leaves and 4 equal-sized berries, k · : on lowest fold of drapery, brooch of 6 jewels, rev. Britannia seated left on rock above two rows of waves, olive branch with 11 leaves, soho and incuse triangle of dots on rock at right, ship with ensign at stern and two ropes hanging below bowsprit, edge plain, 55.86g/6h (BMC 1064 [KT 1a]; ‘Selig’ 1260; S 3776). Some gilding rubbed off on edge, otherwise extremely fine and very rare £2,000-£2,600 --- Provenance: A Collection of Copper, Tin and Bronze Coins, Part I, Mark Rasmussen FPL 14, Winter 2007-8 (C 63); M.J. Martin Collection; bt M.J.M. June 2012
Lot 589
A silver Pattern Halfpenny with the finest bust in the Droz series George III (1760-1820), Soho Mint, Birmingham, Pattern Halfpenny, 1790 (early Soho), by J.-P. Droz, in silver, laureate bust right, 11 leaves and 3 berries in wreath, fine hair curls reach almost to circumference but do not fall under truncation which is striated, droz f below, 3 quatrefoil stops and a flower in legend, rev. Britannia seated left on globe bearing no rust marks, legs crossed, signed dr · f · in exergue, laurel branch behind shield, lozenges flanking date, first numeral with die flaw across it, edge guilloche, 16.70g/6h (BMC 956 [DH 7], this piece cited; ‘Selig’ 1329). Usual rust mark on neck, some minor marks, otherwise extremely fine and toned, extremely rare [certified and graded NGC PF 62] £1,500-£2,000 --- Provenance: E. Rogers Collection [acquired 1946]; E.A. Johnstone Collection [from Baldwin 1955]; A Collection of British Copper, Tin and Bronze, the property of a Gentleman, Spink Auction 95, 25 November 1992, lot 320 [from Baldwin]; G. Keelings Collection, DNW Auction 158, 24-5 April 2019, lot 384 [from C.D. Cooke March 1993]
Lot 594
George III (1760-1820), Soho Mint, Birmingham, Pattern Halfpenny, 1795 (early Soho), by C.H. Küchler, in bronzed-copper, laureate bust right, wreath of 11 leaves with no berries, tie ribands attached, soho on rim below flanked by ornaments and pellets, rev. Britannia seated left on globe, no grass below, oval shield behind, pellet to left of butt of spear [perhaps the first Küchler privy mark], pellet after date in exergue, edge plain, 12.87g/6h (BMC 1041 [KH 2]). Some spotting on upper obverse and on King’s neck, otherwise brilliant and virtually as struck, rare £400-£500 --- Provenance: A Collection of Copper, Tin and Bronze Coins, Part II, Mark Rasmussen FPL 15, Spring 2008 (C 200); M.J. Martin Collection; bt M.J.M. August 2017
Lot 605
George III (1760-1820), Soho Mint, Birmingham, Pattern Halfpenny, 1799 (early Soho), by C.H. Küchler, in copper, bust left wearing large crown, hair in long curl behind neck, no stops in legend, k : · on lowest fold of drapery, rev. Britannia seated left, olive branch with 14 leaves, centre prong of trident to first limb of second n in legend, soho and inverted triangle of dots on rock, ship with level deck and 6 relief gunports, shield with broad raised rim, edge centre-grained, 12.14g/6h (BMC 1220 [KH 10]; ‘Selig’ 1383; Martin, SNC 2009, p.114, this coin listed). Brilliant and virtually as struck, diffused original colour, most attractive and extremely rare [certified and graded NGC PF 62 BN] £600-£800 --- Provenance: E. Rogers Collection [acquired 1946]; E.A. Johnstone Collection [from Baldwin 1955]; A Collection of British Copper, Tin and Bronze, the property of a Gentleman, Spink Auction 95, 25 November 1992, lot 334 [from Baldwin]; I.R. Fleming-Williams Collection, Baldwin Auction 28, 9 October 2001, lot 1729; M.J. Martin Collection; bt M.J.M. March 2011
Lot 608
George III (1760-1820), Soho Mint, Birmingham, Pattern Halfpenny, 1799 (early Soho), by C.H. Küchler, in gilt-copper, laureate bust right, wreath of 11 leaves, brooch of 8 jewels, stops after iii and rex, k : · on lowest fold of drapery, rev. Britannia seated left, olive branch with 12 leaves, centre prong of trident to first limb of second n in legend, soho on rock without triangle of dots, ship with no gunports, shield with bevelled edge, edge plain, 13.11g/6h (BMC 1226 [KH 13]; S 3778). Considerable speckling, especially on reverse, otherwise extremely fine and very rare £600-£800 --- Provenance: A Collection of Copper, Tin and Bronze Coins, Part II, Mark Rasmussen FPL 15, Spring 2008 (C 213); M.J. Martin Collection; bt M.J.M. November 2010
Lot 696
Miscellaneous, Montagu, H., The Copper, Tin and Bronze Coinage and Patterns for Coins of England, from the reign of Elizabeth to that of her present Majesty, 1st edn, London/Paris, 1885, xvi + 91pp, engraved illustrations (Manville 521); Peck, C.W., English Copper, Tin and Bronze Coins in the British Museum, 1558-1958, 2nd edn, London, 1964, xx + 648pp, 50 fine collotype plates (Manville 1115) [2]. Publishers’ bindings; working copies £40-£50 --- Provenance: First ex libris The Numismatic Association, March 1894, E.F. Winkler, 1980, SNC October 2003 (S 2171)
Lot 63
Alessandro Mendini'Poltrona di Proust' armchair, designed 1978, executed 1983Painted wood, painted fabric upholstery.109 x 92 x 92 cmHand-painted by Prospero Rasulo. Together with a certificate of authenticity from the Alessandro Mendini Archive. Footnotes:ProvenanceHeal's, Tottenham Court Road, LondonAcquired from the above by the present owner, 1984ExhibitedMobili Italiani Moderni, Robot Sentimentale, Rome, May 1983Heal's, London, 1984LiteratureRosa Maria Rinaldi, 'Memphis e Alchimia', Domus, no. 646, January 1984, p. 55Andrea Branzi, The Hot House: Italian New Wave Design, London, 1984, pp. 123, 126Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, pp. 63, 65, 116Peter Weiss, Alessandro Mendini: Objetos, proyectos, construcciones, Milan, 2001, pp. 100-01, 119Glenn Adamson and Jane Pavitt, eds., Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 41Cindi Strauss, Germano Celant, et al., Italian Radical Design: The Dennis Freedman Collection, exh. cat., Museum of Fine Arts Houston, New Haven, 2020, pp. 75, 121Bonhams wishes to thank the Alessandro Mendini Archive for their assistance with the cataloguing of the present lot.Bomba Estetica The Proust Chair defines post-modernism in much the same way Gerrit Rietveld's Red Blue chair defined modernism.Rietveld took the rules of the De Stijl group as his parameters. He worked within a palette of primary colours (plus black, grey and white) and used only straight lines, to produce an economical design that served as the blueprint for modernism. Marcel Breuer's design for apprentice pieces to be made in the Bauhaus workshops is clearly derivative, his tubular steel furniture less economical, in design thus cost, whilst Ludwig Mies van der Rohe's addition of cushions to structure lacks the material integrity of Rietveld's chair. More was less so the Red Blue chair remains the Platonic ideal of the modernist chair.Alessandro Mendini's Proust Chair similarly defined post-modern. His painting of a kitsch monster-piece with a pointillist detail of a work by Paul Signac signalled a relativism between high and low culture. Rather than being its arbiter, the post-modern architect should accommodate the taste, even the bad taste, of the client. A found object, the chair also signalled the architect's wider obligation to accommodate the city as ready-made. It is a hotch-potch of different styles, mosaic colours and people which, rather than being bulldozed and built anew along rational lines as Le Corbusier advocated, should be added to it in accordance with its citizen's physical needs and emotional desires.The Proust is a big chair, as dominant in even the grandest interior as in the history of architecture. The first five or six were jointly painted by Pierantonio Volpini and Prospero Rasulo and mostly sold to museums. New York gallerist Rick Kaufman called the Proust 'the best chair I had ever seen' and began retailing it to the public. Others followed.To meet demand, Franco Migliaccio was employed to paint the next batch of chairs. His early brushwork followed Paul Signac's pattern before morphing into his own style. Jesus Moctezuma took over in 1981 using a brighter palette. Claudia Mendini followed in the mid-80s whilst in a nod to the chair's monumental status, two were painted to resemble bronze.Mendini estimated upwards of thirty Proust chairs were produced under the auspices of Alchimia but the one in this sale is unusual in two ways. Produced in 1983, its decorator has been identified by Atelier Mendini as Prospero Rasulo. In Mendini's 'Story of the Proust Chair', no mention is made of Rasulo decorating chairs beyond his initial collaboration with Volpini so this late reprise is anomalous. Second, the chair has a cushion and, although Mendini documented variations to the seat over the years, he made no mention of a cushioned version.After researching this chair, Beatrice Felis, together with Fulvia and Elisa Mendini, have determined that it was 'made for the performance Robot Sentimentale conceived by Alessandro Mendini with Alchimia and performed at the MIM showroom in Rome in 1983'. Beatrice Felis adds that the hitherto undocumented cushion 'rewrites' the story of the Proust Chair.The Proust has a huge architectural and aesthetic charge; Alessandro Mendini described it to me as a 'bomba estetica.' That bomb exploded late modernism and in the void was built the post-modern world we live in today. Moreover, the story of the Proust Chair, like the movement the chair has come to symbolise, continues to be told and, in this case, retold.Designer and author, Nick Wright is the writer of Cut and Shut, The History of Creative Salvage.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP 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
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