§ KEITH MILOW, BRITISH. b. 1945. PR4NT A from 15 23/35 54/46 66, 1969 screen print with diagonal line. PROVENANCE: gifted to Michael Compton by the artist. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. This work is one of a series of six prints and the full set is in the Tate`s collection, London (ref: P07093). The six prints are formed from three photographic images which are used in pairs: Prints 1 and 2; 3 and 4; and 5 and 6. "PR4NT A is a halftone negative version of the second image. The diagonal which divides the print is dusted bronze. The lower left hand half of the print is covered with various letratone grids applied to the half tone and stuck around its edge. Because the negative half tone is printed on a faintly darker field grey the image is positive." - KEITH MILOW KEITH MILOW, b.1945: An abstract sculptor, painter and printmaker. Educated at Camberwell School of Art 1962-1967, and the Royal College of Art 1967-1968. In 1970 he received a Gregory Fellowship from Leeds University, which was followed in 1972 by a Harkness Fellowship to the USA. Awards included the Calouste Gulbenkian Foundation award (1976), and the Arts Council of Great Britain major award (1979). During the 1970s Milow`s work was shown by the young dealer Nigel Greenwood, along with artists such as Gilbert & George and was included in The New Art Exhibition, Hayward Gallery London 1972, organised by the Art`s Council of which Compton was a Panel member. From 1980 to 2002 Milow lived in New York; in 2002 he moved to Amsterdam where he still lives and works. 40½ x 40.30in. (102 x 102cm) § ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.Not been removed from frame. No visible tears, repairs of holes. Various stains to border. Possible slight fading of colour.
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WESTERN AUSTRALIA 1857-59 Hillman litho issue, 6d black-bronze, rouletted 7½ to 14 (SG 22) rouletting intact at foot and a small trace at upper left, separated with scissors elsewhere leaving close margins, used by light `3` barred oval, an attractive stamp despite imperfections, cat £950 (with 1987 American Philatelic Expertising Service Cert as Scott 9)
WWI and WWII five medal group comprising WWI war medal and 1914-15 star awarded to 817 Pte J Hall K.O. SCO. BORD, George VI efficiency medal with territorial bar awarded to 3186367 Pte R J Sutherland K.O.S.B, WWI war medal awarded to 235363 Pte G Hair Sco Rif and a WWII war medal also a bronze commemorative pontification medal of 1887 for Leonis XIII
A 19th century Hookah pipe the brass ovoid form reservoir cast within tripod base with stylised lion perched upon the tubular pipe insert, hardwood stem with centralised knop between upper and lower disc turning, on which is seated a bronze urn form deposit, the detachable bamboo pipe is decorated with finely etched animals, Piscean subjects, figure heads and elaborate scroll work, 15½in. (39.5cm.) high. See Illustration.
A fine quality French Sevres style gilt bronze table casket mid-19th century, believed to have been purchased at the 1851 Great Exhibition by the current vendor`s great grandfather, the rectangular casket with outset columns to the corners surmounted by turned finials, set with six Sevres style gilded and hand painted porcelain panels depicting putti in various playful poses, the shallow pagoda style cover with scroll mounts to the corners, centred with a similar oval panel, the whole with finely engraved floral and foliate decoration, set upon an integral conforming shaped and stepped plinth base with similarly engraved border, the interior lined in the original fine dark blue silk velvet, 9½ x 8in. (24 x 20.25cm.), 4¾in. (12cm.) high, complete with original key, on an ebonised and red velvet base beneath a glass dome (cracked). * The casket contains the original purchaser`s `Exhibition Admission Card 1851` in a gilt lettered morocco leather wallet with emerald green silk lining, containing two `Season Ticket of Admission to the Exhibition of the Works of Industry of All Nations 1851`, No.350 (Henry Baker) and No.4407 (in pink card - Caroline M. Baker). Henry Baker was the son of Sir Robert Baker and the architect and surveyor of St. Pancras Station and the adjoining Baker Street. See Illustration.
A bronze figural table lamp c.1900, modelled as a classical maiden holding a flaming torch in one hand, the other held aloft to support a six light `lantern`, containing a removable cut glass hexagonal candle holder with swing handle, standing on a stepped square plinth with foliate border, 12in. (30.5cm.) high. See Illustration.
after Gaspard Marsy (French, 1624-1681) `Boreas abducting Oreithyia`, a well cast 19th century bronze figural group, with mid-brown to golden brown patination, on a square naturalistic base, with impressed mark `768`, the underside signed `DeFreville`, 21¼in. (54cm.) high. * In Greek mythology, Boreas was the North Wind, the personification of Winter, typically signified by his puffed out cheeks to symbolise the wind. He fell in love with Oreithyia, the daughter of King Erechtheus of Athens, and carried her away against her will to be his bride, the pair reigning as King and Queen of the Winds. The original set of four monumental marble groups of mythical abductions by Marsy, designed for the corners of the never-built garden by Charles LeBrun at Versailles, were later reduced and cast as bronzes upon Louis XVI`s order, two of which are held in the Getty Museum`s collection. Good quality later copies of this particular group are scarce. See Illustration.
A large Chinese bronze vase of baluster form, the rim decorated with Greek key pattern, the neck with applied cranes flying amongst clouds, the lower portion with applied lion dogs and pups amongst flowering foliage, incised in sections and applied crabs swimming to the flared foot, signed cartouche to underside, 50cm high
**A FINE PAIR OF 50 BORE FLINTLOCK PISTOLS SIGNED GIO. BOTTI, CIRCA 1730 each with two-stage sighted barrel, fluted breech stamped by the barrelsmith `Lazarino Cominazzo` divided by stamped marks and formed with a raised moulding at the back, plain tang fitted with folding back-sight, signed rounded lock, chiselled with scrolling monsterhead tendrils against a punched ground in the Brescian manner on the tails, cocks and steels, blued triggers, moulded figured walnut full stocks carved with scrolls about the ramrod-pipe (one fore-end replaced), gilt-bronze mounts cast and chased with scrolling monsterhead tendrils en suite with the locks, comprising solid side-plates, trigger-guards, trigger-plates, and spurred pommels, ramrod-pipes and one fore-end cap, original ramrods with gilt-brass tips, and remaining in fine, virtually unused condition throughout 21.7 cm; 8 ½ in barrels (2) Provenance The Gewehrkammer of Ernst August I, Grand Duke of Saxe-Weimar (1688-1748), Schloss Ettersburg, Saxony Wilhelm Ernst, Grand Duke of Saxe-Weimar-Eisenach (1876-1923), sold E. Kahlert & Sohn, Berlin, circa 1923 George F. Harding Jr., Chicago, acquired by August 1927 Transferred to the Art Institute of Chicago, 1982, inv. no. 1982.2385 A considerable number of firearms signed Gio Botti and decorated in this manner are associated with this gunroom which was dispersed in the early 20th Century. It has been suggested that this group was assembled from Brescian parts by the court gunmaker Johan Martin Laun, recorded 1728-69. Another pair, decorated with the arms and cypher of Ernst August I, Grand Duke of Saxe-Weimar (1688-1748) were sold in these rooms, 9 December 2009, lot 277. For a discussion of this group see Hayward 1963, pp. 134-5.
A BRONZE SALUTING CANNON, EARLY 19TH CENTURY with tapering barrel formed in five stages, with raised astragal mouldings, a pair of plain trunnions, the vent with rectangular recess for an ignition device, pierced globose cascable (small dents), on a later stepped wooden naval carriage with four trucks 36.2 cm; 14 1/4 in barrel 2 cm; 3/4 in bore
**A FINE GERMAN BRONZE SALUTING CANNON DATED 1714 with tapering multi-stage barrel formed with raised astragal mouldings, strongly moulded muzzle, cast with bands of elaborate scrollwork behind the muzzle, of the first reinforce and the chase, the latter incorporating the crowned coat-of-arms of the Duchy of Wurttemberg enclosed by foliage and the former with a scrolling panel with the abbreviated inscription and the date `17 E.L.H.Z.W.14` for Eberhard Louis Herzog von Wurttemberg, raised collar-shaped vent, a pair of dolphin lifting handles, a pair of long plain trunnions, and globose cascable moulded en suite, with the muzzle and drawn-out to a pierced button chiselled with acanthus: on a later finely constructed iron-clad field carriage painted in polychrome and fitted with a pair of spoked wheels 67.3 cm; 26 1/2 in barrel 2.5 cm; 1 in bore Eberhard Ludwig, tenth Duke of Württemberg (1676-1733), was the only son of Wilhelm Ludwig of Württemberg (1647-1677) and succeeded to the dukedom when under a year old. During the years of his minority, the duchy was ruled by a regent, his uncle Friedrich Karl. In 1693, when Eberhard Ludwig was sixteen, the Holy Roman Emperor Leopold I proclaimed him duke in order to secure the duchy`s support for the Empire: strategically situated on the right bank of the Rhine, Württemberg represented a significant bastion for the Empire against the aggressive encroachments of Louis XIV`s France. Often popularly represented as a spendthrift and proto-absolutist ruler unduly influenced by his mistress and her family, the duke was typical of many of his peers - the rulers of the German princely states - in seeking to establish and increase the status of his duchy through overt magnificence, military expenditure and diplomatic manoeuvring. His uncle had created a standing army from Württemberg`s militia in the early 1690s and the duke capitalised on that initiative by increasing the size of the army: both men also raised regiments of Württembergers for the specific purpose of hiring them as mercenaries to other states. Although loyally allied to the Empire and the anti-French `Grand Alliance` during the War of the League of Augsburg (1688-97), the duke was ambivalent in his allegiance during the War of the Spanish Succession (1702-14) and periodically flirted with the idea of a French alliance in the hope of increasing his status; his appointment as Imperial Field Marshal in 1712 was made in order to secure his loyalty to the Empire. The ending of the war with France in 1714 left Württemberg in considerable debt and the duke without his desired enhanced political status. In the same year, though, hostilities between Venice and the Ottoman Empire began; Venice had hired Württemberger soldiers during an earlier war with the Turks and so, in October 1714, the Serene Republic approached the duke for a large contingent of men. In the event, the duke was out-manoeuvred by the Viennese court, his personal negotiations with Venice failed and the Württemberger soldiers ended up in Imperial service at far lower rates of pay than the Venetians would have paid. It is possible that this gun was cast in 1714 as part of the duke`s attempts to provide appropriately equipped forces for Venice. A colourful figure with considerable, if poorly focussed, ambition, Eberhard Ludwig failed in his principal aim: the establishment of absolute rule in a duchy with a fully funded army and genuine status within the Holy Roman Empire. The cultural achievements of his reign - the building of Schloss Ludwigsburg, for example - must be regarded as outweighing the military and political ones. See Wilson 1995.
AN EDWARD VII SILVER VASE WITH LION MASK HANDLES, THE FOOT ENGRAVED PRESENTED BY BRITISH CYCLE & MOTOR CYCLE MFRS UNION/NATIONAL RALLY LILLISHALL 1937, CHESTER 1936, 3OZS 10DWTS, ONE SILVER AND TWO BRONZE MOTOR CYCLING PRIZE MEDALS, CASED, A SIMILAR GILTMETAL AND ENAMEL SHIELD, ALSO ENGRAVED LILLISHALL 1937, CASED, SEVERAL EPNS TROPHY CUPS AND MUGS AND AN INTERESTING ALBUM OF SNAPSHOT PHOTOGRAPHS OF VARIOUS MOTOR CYCLE TOURS MADE BY THE RECIPIENT E W DAKIN IN THE 1930S
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