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Lot 327
Childrens. De BRUNHOFF (J) Histoire de Babar, 1949, folio; Babar and that Rascal Arthur, 2nd edition; LANG (A) The Pink Fairy Book, first edition 1897, 8vo, spine faded; DARWIN (B & E) Tootle Two, Nonesuch Press, one leaf taped; Lear's Nonsense (reprint); The Katy Kruse Dolly Book, 1927, somewhat worn and marked; NESBIT (E) The Phoenix and the Carpet, Newnes, no date, illustrated edition; 3 others (8)
Lot 99
Benny Hill Rare Handwritten Signed Postcard To Phobe King. Provenance: From the late Phoebes Kings Estate. From a collection of postcards, sent by the iconic British comedian, from 1972 right through to 1991 (the year before his death), all sent to his dedicated fan who first sent him a fan letter back in the 1950s; mailed from various Worldwide locations and discussing details of Hills filming schedules & private activities, and all signed with affectionate pet names. Hill wrote to King whenever he was abroad. The collection of postcards reveal Benny Hills tender friendship with Cerebral Palsy sufferer PHOEBE KING - addressing her as Kitten or Feeb and signing off as Petit Ben, Benny, Little Teddy B, Teddy B, T.B. and other endearing names. Hill visited Phoebe King once a year, staying in a guestroom in her sheltered accommodation in Felixstowe, Suffolk and taking her for meals in her wheelchair. There was also red-carpet treatment from him to her in London, including lunch at The Savoy Hotel. BENNY HILL`S WILL MAY GIVE DISABLED FAN $30 MILLION. The $30 million fortune that British comedian Benny Hill accumulated by telling sexy jokes and surrounding himself with sexy girls will likely go to a disabled woman who had been a fan for 42 years. Hill, who was found dead at his home in April 1992, spent little on himself. He vowed last year to leave his money to two cerebral palsy victims, Phoebe King, 57, and Jeanette Warner, 58. Warner died in February, so, subject to what the still-unpublished Will says, King is set to become a multimillionaire as a result of a fan letter she sent to the comedian in the 1950s. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 63
Adam Styka (Polish, 1890-1959)A negotiation signed and dated '1920 ADAM/STYKA' (lower right)oil on canvas130.5 x 167cm (51 3/8 x 65 3/4in).in a carved giltwood frame Footnotes:Adam Styka was born in Poland into an artistic family, his father, Jan Styka, being a prominent Polish painter of grand historical, religious, and military subjects. Although his father wished him to be an architect, Styka persuaded him to allow his study at the Ècole des Beaux Arts, Paris. He exhibited his first paintings at the Grand Palais des Champs Elysées in 1911. Taking advantage of the freedom to travel through French territories in North Africa, Styka was greatly influenced by the region, and it is here that he would turn to the Orientalist subjects for which he is best known. In 1913, he exhibited his first paintings of North African subjects, specifically of Algerian and Tunisian sun-drenched people and landscapes. This caused such as sensation that he was proclaimed as the 'Painter of the Sun' because his canvases looked as though they had been 'dipped in light.' The present lot epitomises Styka's Orientalist painting. Here we see a group of men crowded around the negotiation taking place over the sale of a richly decorated carpet. The sun combines with the red earth and sand of the surrounding landscape to imbue the canvas with a rich rose gold light. Here, we can see both his interest in the human subjects of Orientalist painting, but also his great love for the landscape of North Africa.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 3
Francesco Ballesio (Italian, 1860-1923)The carpet merchant signed and inscribed 'FBallesio Roma' (lower left)watercolour and bodycolour 52 x 74cm (20 1/2 x 29 1/8in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 55
Paolo Antoine Simoni (Italian, 1882-1960)The carpet seller signed and dated 'P A Simoni/1912' (lower right)oil on canvas58 x 87cm (22 13/16 x 34 1/4in).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 57
wool, with hessian backing384cm x 95cmProvenance: St. Leonards - Mayfield Chapel, Mayfield, Sussex, England.Footnote: Note: The remains of a medieval palace belonging to the Archbishops of Canterbury was converted into a school, Mayfield School of the Holy Child, by Edward Welby Pugin in 1863-6. This needlework rug originally ran the entire length of the Chapel. Due to the sheer scale of the work, the rug was constructed in small, panelled sections and later stitched together to form the carpet. Hand-stitched by the sisters of Mayfield Chapel, the carpet was produced for Mother Cornelia Connelly, founder of the Society of the Holy Child Jesus. The border has verses from Psalm 112 verses 5 and 6 ET HUMILIA RESPICIT IN CAELO ET IN TERRA/ SUSCITANS A TERRA INOPEM ET DE STERCORE ERIGENS PAUPEREM, translating from Latin as 'Good will come to those who are generous and lend freely, who conduct their affairs with justice/ Raising up the needy from the earth, and lifting up the poor out of the dunghill'. As in other projects, E.W. Pugin continued to use the decorative designs of his father of which this may be one.
Lot 143
Watercolour on graph paper, signed, dated and inscribed lower right C.F.A. VOYSEY/ ARCHITECT/ 11 MELINA PLACE/ GROVE END ROAD/ ST JOHNS WOOD, NW/ SEPT. 1891, oak frame 49cm x 31cmProvenance: C.F.A. Voysey, until his death in 1941, thence by descentThe Fine Art Society, LondonFootnote: Exhibited: The Fine Art Society, in association with Haslam & Whiteway, Architects for a New Age 2008, No. 80Note: As a designer Voysey paid meticulous attention to detail, designing every aspect of a project whether architectural or in the design of furniture, patterns and metalwork. Concerned by the negative impact of industrialization on design, and handicrafts in particular, Voysey became a major proponent of the Arts & Crafts ideals. He set out to create simple but functional items, inspired by the natural world and produced with the spirit of craftsmanship in mind, thereby enriching the lives and homes of everyday Britain. Whilst many of his contemporaries opted to set up small-scale workshops to achieve this, Voysey forged links with an impressive network of commercial manufacturers and retailers, knowing that this would further disseminate these beliefs and allow beautifully designed goods to be accessible to a much larger market.In 1897, Voysey’s output as a pattern designer for fabrics and wallpapers was significant; he signed three contracts with major manufacturers, agreeing to supply thirty original wallpaper designs per year to Essex & Co., ten carpet designs to Tomkinson & Adam, as well as a further ten for Alexander Morton & Co. Two of the designs offered in the proceeding lots feature marks for Tomkinson & Adam and, together with a further two needlework designs, illustrate a period where Voysey’s energy and originality were at their highest.His fabric designs are typically produced on standard graph paper, used for setting up steam-driven looms. Tomkinson & Adam’s looms were American and so specific grids were required for different types of machinery and weaves. These designs, so charming and vivid in their colours, serve as important interpretation tools for the technicians to bring the designs to life, direct from the master’s hand. To ensure quality and that the end-products remained true to Voysey’s intent, he often made several annotations leaving instructions concerning the repeat and colouring of the design for the weavers, as is exemplified in several of the following lots. Interestingly, in lot 147, he notes that the design was sold Stanway, an influential businessman who bought patterns from designers to be made into cloths and various fabrics for sale in his London and Parisian retails outlets. In lot 149, the design for a gas fire, Voysey also displays a strong sense of refinement and elegant proportion in the balanced linear forms, as well as a clear vision for the finished piece as he indicates his deliberate choice of materials in the annotations.In a similar vein to William Morris, Voysey saw nature as his most important source of inspiration, as is clear from these designs. Arguably the motifs most synonymous with his work are the bird, heart and crown, the latter two representing love and loyalty: sentiments which he valued dearly. Rather than copy directly from what he saw, he believed that abstraction and inventiveness from the artist’s imagination was crucial in achieving good ornament. Indeed, it was this belief that set his designs apart from Morris and others. Towards the end of his career his patterns tend to be figurative, as illustrated in the design for ‘The Sower’. Suitably charming and always beautifully coloured, these designs represent the talented mind of one of the most prolific architect designers of his generation.
Lot 1
1958 Jaguar XK150 drop-head coupé 3442ccRegistration no. CCU 200Chassis no. 827384 D/N Engine no. V6967-8Box no. JLS 44131Body no. P6974Odometer: 48923Carmen redFrom the estate of a Yorkshire gentleman, Cedric Gillson, this Jaguar was first registered on 1 September 1958, an original UK right-hand drive car. This vehicle was purchased in 1989 as a restoration project, completed by the vendor and subsequently garaged for its entire ownership. The vehicle comes with an extensive folder of invoices and receipts. The last recorded MOT is dated 25 March 2011, and from the odometer reading, has only covered 50 miles since, despite being regularly run and driven short distances. This car was extensively restored in the late 1980s to a very high standard, in the main by Rawdon Restorations, Idle, Bradford, originally white, resprayed Carmen red and finished with tan leather seats and a Wilton carpet interior. The car runs and drives beautifully and the condition remains exceptional both inside and out.This lot is subject to Buyer's Premium at 15% plus VAT @ 20%.Condition report: An older restoration that has had very little use and remains a very clean car, both bodywork and chassis. Used on dry days only and kept in a heated garage under dust sheets.Speedometer not responding, fuel gauge reads between empty and 1/4, despite adding 5 gallons, but otherwise drives and stops. All probably a result of lack of use recently. There is a slight blow on the exhaust between the manifold and next stage, a stud appears to be missing and gasket therefore blowing.One small area of rust bubbling at the nose of the bonnet either side of the grill.Paperwork is available to potential bidders at Sworders Fine Art Auctioneers. Cambridge Road, Stansted Mountfitchet CM24 8GE.The car will be available for viewing in person on Friday 15th 10am-5pm, Saturday 16th 10-2pm, Sunday 17th 10-2pm, Monday 18th 9am-5pm and the morning of the sale on Tuesday 19th October
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69194 item(s)/page