We found 42501 price guide item(s) matching your search

NICO: Chelsea Girl, 2353025; 2 Janis Joplin LP's and another The Ink Spots

A Caughley Chelsea ewer circa 1786-91 painted in blue with the 'Simple Posy' pattern, an associated blue line around the base, unmarked, 6.5m high (cracked) Provenance: Caughley Bicentenary Exhibition no. 201.

A pair of 19th Century Samson porcelain figures of black spotted cats, raised on cushions, with gold anchor mark to bases, possibly after earlier Chelsea examples, height 7cm, together with a pair of Continental bisque anthropomorphic cats, a floriform china plate with pink border and other pieces of British and Continental china (7)

****** ITEM LOCATION BISHTON HALL**********Various of part tea sets including Royal Tuscan, New Chelsea Staffs, Royal Worcester, Wedgewood, etc. (3 boxes)

***OBJECT LOCATION BISHTON HALL*** Royal Chelsea Cathedral pattern tableware (61 pieces), 7 plates 6", 8 plates 8", 9 plates 10", 8 Soup Bowls with saucers (16 pieces), 7 Coffee Cups and 9 sauces (16 pieces), 1 Large Coffee Pot, 1 Small Coffee Pot, 1 Sugar Bowl with lid, 1 Sugar Bowl and 1 Milk Jug (parcel)

PHILIP SPEAKMAN WEBB (1831-1915) FOR MORRIS & CO. ARTS & CRAFTS OAK CENTRE TABLE, CIRCA 1880the circular quarter-sawn top on six ring-turned legs and central turned column, all linked with corresponding ring-turned stretchers(122cm diameter, 72.5cm high)Footnote: Literature: Whiteway, Michael and Gere, Charlotte Nineteenth Century Design: From Pugin to Mackintosh, Weidenfeld & Nicolson, 1993, p.100, pl. 108 Parry, Linda, William Morris, London, 1996, p.175 Lyon & Turnbull, Decorative Arts, April 2004, lot 328 for a similar example in mahogany Note: In 1861 Philip Webb began collaborating with William Morris at Morris, Marshall, Faulkner & Co. (later Morris & Co.). After designing a similar table for Sir Edward Burne-Jones in the 1850's, the firm later produced several related examples for high-profile commissions. These included Old Swan House, Chelsea, designed by Sir Richard Norman Shaw for the connoisseur Wickham Flower, and Great Tangley Manor in Sussex, where Webb carried out extensions in 1885. A walnut version of this table is in the collection at Standen, the Arts and Crafts house Webb designed in 1891, now in the care of the National Trust.

WILLIAM DE MORGAN (1839-1917) ARTS & CRAFTS SIX-TILE PANEL, CIRCA 1880the tiles painted with a vase of flowers entwined by a serpent, within an ebonised wood frame(50cm x 35cm)Footnote: Exhibited: William De Morgan Exhibition, Leighton House, London, 18 May - 24 June 1972, No. 50. (part) Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis 1989, p. 180, pl. 458 (design drawing illustrated) Provenance: Metford Warner The Roger Warner Collection, Christies, 20th January 2009, lot 225 Private Collection, London Note: Metford Warner (1843-1930) owned the wallpaper manufacturing company Jeffrey & Co., and contributed to the change away from French taste in wallpaper design employing designers such as Walter Crane, Owen Jones, Charles Eastlake, William Burges and Edward W. Godwin to produce designs for wallpapers. His grandson Roger Warner was a renowned antique dealer based in Burford Oxfordshire who directed taste towards objects that previously had been disregarded or even derided, ensuring that popular, regional and vernacular arts, whether wooden furniture, pottery, treen, metal-wares, textiles and domestic utensils, were saved and studied. The Tiles of William de Morgan There had not been a tile-making tradition in England since the reformation and it was not re-introduced until the 1830s, at the beginning of the great period of Victorian church building and restoration. Initially confined to tiling for floors by the 1870s the market for decorative tiles was enormous, and virtually every new building project incorporated a tiled element of one sort of another, extending in some cases to the walls and even the ceilings. It was in this burgeoning market that the renowned Arts & Crafts ceramicist William de Morgan (1839-1917) made his name. The eldest of seven children, de Morgan was born in 1839 and showed early promise as an artist. During his formal education at the Royal Academy Schools he met influential artists like Simeon Solomon and Henry Holiday. In 1862 Holiday introduced de Morgan to William Morris who was to become a life-long friend and collaborator and who offered him a job. Morris & Company was only two years old at this point and de Morgan began with the firm designing stained glass with Burne-Jones and also decorating tiles, to the designs of Morris. During his work with glass De Morgan noticed that if silver nitrate stain was fired at the wrong temperature on the glass it would reduce and produce an iridescence on the surface. Fascinated by this lustrous effect he began experimenting with glass and ceramics, buying blank tiles and plates, decorating and firing them in a makeshift kiln at his home in Fitzroy Square, which subsequently burnt the roof off. Doubtless this unfortunate event precipitated a move to Chelsea in 1872, marking the end of his stained glass career. It also marked the beginning of his own business producing tiles and other ceramics to his own designs. De Morgan went on to produce tiles for many large commissions. After his period at Merton Abbey he moved the business nearer to his home at Fulham. By the turn of the century his designs had fallen out of fashion and he stopped production in 1907 lamenting that “All my life I have been trying to make beautiful things...and now that I can nobody wants them.” Despite this setback he managed to change his career late in life and became a successful novelist. His tile designs can broadly be categorised as plants and flowers, usually of Middle Eastern influence; exotic or fantastical animals and medieval galleons at sea, of which there are several fine examples of each type in this sale.

WILLIAM DE MORGAN (1839-1917) ARTS & CRAFTS CHELSEA PERIOD TILE, CIRCA 1875painted in blue with a running ostrich, reserved on a turquoise ground, impressed maker's mark verso(15cm square)Footnote: Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis 1989, p. 128, pl. 1045 (design drawing illustrated)

WILLIAM DE MORGAN (1839-1917) 'KL ROSE' PATTERN TILE , CHELSEA PERIOD CIRCA 1875impressed maker's mark verso, framed 15cm square; a MORRIS & CO 'LONGDEN' TILE, designed by Philip Webb, made by Ravesteijn, 15cm square; and another SIMILAR TILE, attributed to Morris & Co., 15cm squareFootnote: Exhibited: Hereford Museum & Art Gallery ‘Love and Labour are All: The Arts and Crafts Movement and Beyond’ 24th March-16th May 2012, no.3

WILLIAM DE MORGAN (1839-1917) 'FRUIT TREE IN ORNAMENTAL POT' THREE-TILE PANEL, CIRCA 1875framed, each with Chelsea period impressed maker's marks verso(each tile 15.1cm square)Footnote: Provenance: William E. Wiltshire Collection Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis 1989, p. 156, pl. 474 (design drawing illustrated)

A pair of Chelsea leaf dishes, circa 1758, brown anchor marks (wear)CONDITION: Dish with grapes structurally good, minor wear to enamels, translucency good. Dish with tomatoes - noticeable wear to enamel, particularly the green; exterior edges of rim with numerous small scratches, considerable crazing; nil translucency

SPORTING EPHEMERA, a large collection of Speedway programmes and magazines (Speedway Star) from the 1960's and 1970's and a smaller collection of Football Programmes including F.A.Cup, Anglo-Italian Cup, Testimonials and League matches, there are also two books about Chelsea

*Robert Gibbings (Irish, 1889-1958) 'New Southwark Bridge'; 'London Bridge To-day'; 'Old London Bridge'; 'Chelsea Bridge and Power Station' four woodcuts, signed and titled in pencil image 14.5 x 21cm (4) *Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frames. All four have staining, especially to margins. Also spots of foxing. Mounts are acidic and causing staining.

Sir William Orpen RA (Irish, 1878-1931) 'After Bathing'; 'Kit'; 'Part of Composition'; 'The Bather'; 'Sowing the Seed' five photolithographs, each with printed title and signature below the image, published by the Chenil Gallery, Chelsea, 1913 plate approximately 31 x 21.5cm, unframed (5)

A Chelsea leaf dish, c. 1755-60, with puce veining and green enamelled rim, painted to the well with butterflies and a caterpillar, red anchor mark (a/f). 28cm

William Walcot (British 1874-1943): 'Chelsea Old Church', etching signed in pencil 9cm x 13cm - Condition Report

James Abbott McNeill Whistler (American 1834-1903): 'Chelsea', etching 13cm x 20cm, unframed - Condition Report

ROYAL WINTON 'CHELSEA PATTERN' VASE, 28cm high, along with other ceramics, including ceramic bowls and vases

John W.D Nantgarw Porcelain, assisted by Dr. S.John and B.A. Williams, first published in 1948, R.H.Johns Ltd Newport, Mon, England, King William Chelsea Porcelain, Benn Brothers 1922, Hodgson, Mrs Willoughby, Old English China, Bell & Sons 1913. (3)

Bemrose: [William], Bow Chelsea and Derby Porcelain, Bemrose & Sons 1898, Blacker: [J.F] Nineteenth Century English Ceramic Art, Stanley: [Paul], Macquois: [Percy] The Plate Collectors Guide, Murphy: [John] 1908 other pottery, porcelain and collectors books. (15)

Large quantity of stainless steel cutlery, including Viners, Chelsea, Studio and Oneida patterns, some boxed sets

Set of six Royal Doulton 'The Chelsea Rose' pattern coffee cups and saucers, two cabinet cups and saucers and other chinaware

Book: Memoirs Historical & Illustrative of Botanical Garden of Chelsea 1820

~ ENGLISH SCHOOL, VIEW IN CHELSEA, signed E.K. Reeve? lower left, watercolour. 19.5cm by 25.5cm

A GEORGIAN SILVER AND MOTHER-OF-PEARL FOLDING FRUIT KNIFE; together with a Samson figure in Chelsea style; paste and steel buckle; etc.

Natural History - Geology - a didactic teaching collection of geological samples and plaster illustrative models, by Gregory, Bottley & Co, Chelsea, London, arranged in trays in a fitted box, 47cm wide

Sex Pistols / The Damned - Two Football programmes with early Punk interest: Manchester City vs Derby County 4th Dec 1976 with half page advert for The Sex Pistols debut single “Anarchy In The UK” (showing also 6 surviving dates from the “doomed” Anarchy tour), staples missing, and Chelsea vs Wolves 11th Dec 1976 with advert for The Damned single “New Rose” (originally released on 22nd Oct 1976 this is considered to be the first UK Punk single release).

Margaret Clarke (20thC). Ann, oil on canvas, signed, 53.5cm x 43cm. Label verso The Chelsea Art Society and another. (2)

MUNSON (LATE 19TH/EARLY 20TH CENTURY ENGLISH SCHOOL).Chelsea Old Church from Cheyne Walk.Watercolour and gouache.22.5cm x 31cm. Signed.

AN ASSORTMENT OF CHARACTER JUGS OF VARIOUS SIZES TO INCLUDE A 'CHELSEA PENSIONER'

A 19th Century Chelsea leaf form dish with red anchor mark

A Bradley's Longton "Chelsea" soup tureen with cover and ladle

A collection of various Art Deco design pottery including a Clarice Cliff "Bizarre" octagonal jug with stylised geometric pattern, Shelley "Apple" jam pot, Carlton ware floral decorated jam pot, Plant & Tinsley Chelsea "Moorland" fish vase, Fieldings Crown Devon "Pegasus" ginger jar and cover, Grays Pottery floral decorated bowl, Grays Pottery Susie Cooper ware bowl and eight various Wedgwood Bradford Exchange Clarice Cliff style plates (16) CONDITION REPORTS Condition of Clarice Cliff Bizarre jug - chip to spout, large crack to side.Moorland vase - basically sound - chip to rim, possibly a firing fault as overpainted and looking part of the original construction.Susie Cooper Grays Pottery bowl very dirty, scratched etc.Moorland jug appears to have split or crack to the transfer in one area - see imagePegasus pot with fault to the shoulderPlates basically sound though one with chip to rim. All others with light scratching - see image for worse exampleOther pieces with signs of dirt but otherwise sound

A New Chelsea Staffordshire mottled blue and gilt and oxide red decorated "fish" vase, 17.5 cm high, together with a similar New Chelsea blue ground vase decorated with butterflies and other flying insects and panels of floral sprays, 13 cm high, two Wedgwood lustre ware dragon decorated inverted bell shaped bowls, 10 cm diameter, a Wedgwood octagonal dragon decorated bowl, 12 cm diameter, a Fieldings Devon lustrine inverted bell shaped bowl decorated with three masted sailing ship, 13 cm diameter and a Wedgwood dog of Fo decorated blue and gilt decorated plate for James Powell & Sons, 22.7 cm diameter, together with a pair of Wedgwood blue Jasper dip conical casters with silver tops (bases very damaged), 14.5 cm high

A pair of Royal Doulton figures, 'Chelsea Pair' HN577/579 (2) both good and original overall although the female figurine has end of tree stump finger tip chipped off, both dirty and showing very minimal paint losses to some extremities (hat brim, base edge)

Paul Benney (born 1959)/Portrait of Simon Hornby/standing wearing a black suit and blue tie/signed and dated 1992 lower right/oil on canvas, 152cm x 90cm/Note: Sir Simon Michael Hornby (1934-2010) was Chairman of the newsagents and stationers WHSmith, as well as the Royal Horticultural Society and the Design Council. Grandson of C H St John Hornby, depicted in the previous lot, he also dedicated 6 years to acting as President of the Chelsea Society, a charity formed in 1927 with the aim of protecting and enhancing the amenities of that area of London. CONDITION REPORT: Condition appears goodARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

T Oliver Elmes (1934-2011)/November Snow in Essex/signed with initials; inscribed to reverse/oil on canvas, 32cm x 40cm/Provenance: Chelsea Art Society CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

J A Paul (20th Century)/Temple of Hatshepsut, Luxor/signed and dated '93/oil on board, 30cm x 40cm/Chelsea Art Society label to back CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Eve Montgomery (1914-1975)/Trendy Chelsea/signed, inscribed with title to reverse/oil on canvas, 45cm x 35cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Oliver Warman RBA ROI (born 1932)/The Church/inscribed verso/oil on board, 14cm x 20cm/Provenance: Chelsea Art Society CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Prue Sapp/Country Coffee Shop/signed; Chelsea Art Society label/oil on board, 20cm x 25cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Elizabeth Purkis /New Snow in a Garden/inscribed verso on a Chelsea Art Society label verso/oil on board, 30cm x 25cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Amanda Faulkner (born 1953)/Pig/signed, dated 1983 and numbered 20/30 in pencil and/My Hair, My Friend/signed, dated 1986 and numbered 22/30 in pencil/two colour lithographs, paper size 32cm x 45cm [2] /Note: From the 1982 Chelsea School of Art Printmakers Portfolio of 20 prints with contributions from Tim Mara, Jeffery Edwards and Chris Plowman./Provenance: From the estate of the late Richard Beer, artist and printmaker. CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Attributed to David Jagger ROI (British 1891-1958) - Bust length portrait of a huntsman calling Tallyho!, in the manner of Sir Alfred Munnings, oil on canvas, signed, with remains of old label with Flood Street Chelsea address verso, 60 x 50cm in moulded gilt frame

Six each Royal Chelsea "Golden Rose" coffee cups and saucers; four items of Wedgwood jasperware; a Belleek jug etc. ; and two old green glass bottles

Female portraits in the style of Clarice Cliff, two signed Chelsea Works, Burslem, signature Moorland, tallest 18cm (5)

AN ALBANY BONE CHINA AND BRONZE FIGURE, 'Chelsea', height 20cm

Paul Peter Piech (American Contemporary), Whitman, signed and dated 1993 lower left, inscribed 'to S Talbot' lower right, measurements 41 x 29 cm, frame 45.5 x 33 cm. Provenance: Acquired by the vendor from the exhibition 'Dedicated to all Defenders of Human Freedoms, The Art of Peter Paul Piech', 2016-2017 Printmaker Paul Peter Piech created this print to honour 100 years since Walter Whitman's death Piech grew up in New York and began his career as a graphic artist for the Dorlands Advertising Agency under Herbert Bayer. During World War Two he was stationed in Cardiff with the US Air Foce where he met his future wife and decided to remain in the UK following the end of the conflict. He studied at the Chelsea College of Art before continuing in the advertising industry. Piech set up his own independant press, Taurus Press. He is best known for his politically-charged linocut imagery. Piech's works can be seen in a number of national collections including the V&A, British Library, National Library of Wales and Aberystwyth University Collection.

George Hann (1900-1979) British 20th Century, French street scene, oil on canvas, signed bottom left, framed. Measurements 51 x 61cm, framed measurements 64.5 x 74.5cm George Hann (1900-1979) was a 20th Century British artist. His impressionist style was heavily influenced by his French contemporaries. Hann maintained studios in both Brighton and Chelsea but travelled and painted extensively throughout France. He spent much of his working life across the channel, scenes of local life featuring heavily in his works.

Paul Peter Piech (American Contemporary) Bela Bartok, signed bottom left, dated 1993, mounted and framed. Measurements 57 x 37 cm (i), frame 76 x 55.5 cm Provenance: Acquired by the vendor from the exhibition 'Dedicated to all Defenders of Human Freedoms, The Art of Peter Paul Piech', 2016-2017 Piech grew up in New York and began his career as a graphic artist for the Dorlands Advertising Agency under Herbert Bayer. During World War Two he was stationed in Cardiff with the US Air Foce where he met his future wife and decided to remain in the UK following the end of the conflict. He studied at the Chelsea College of Art before continuing in the advertising industry. Piech set up his own independant press, Taurus Press. He is best known for his politically-charged linocut imagery. Piech's works can be seen in a number of national collections including the V&A, British Library, National Library of Wales and Aberystwyth University Collection.

Royal Doulton figure Chelsea: together with Royal Worcester Friendship (2)

After Lionel Edwards (British 1878-1966): 'Going to a Holloa', limited edition print No.140/600 pub. Chelsea Green with blindstamp, and another hunting print, max 44cm x 63cm - Condition Report

Gemälde Gerhild Diesner 1915 Innsbruck - 1995 Innsbruck Studierte in Innsbruck, 1935-37 Chelsea Art School London und Brighton bei Charles Knight; 1937-39 Akad. für angew. Kunst München bei Ernst Dombrowski und Emil Preetorius, 1943/44 Acad. André Lhote und Ec. de la Grande Chaumière, Paris. 1945 Zerstörung fast aller ihrer dort eingelagerten Arbeiten aus der Pariser Zeit. Ab 1953 freischaffende Malerin in Innsbruck. "Pai am Gardasee" u. li. sign. Diesner verso auf dem Keilrahmen bezeichnet sowie mit Werknr. 47. Öl/Lwd., 55 x 68,2 cm, kl. Defekte Lit.: AKL

A Chelsea red anchor period vine leaf moulded dish, circa 1752-56, hand painted with polychrome fruit motifs, red anchor mark to base, 25cm wide For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com

Artist: William Russell Flint (Scottish, 1880 - 1969). Title: "The Little Flower Girl, Senlis". Medium: Original color collotype. Date: Composed 1961. Printed 1961. Dimensions: Overall size: 22 5/16 x 27 7/8 in. (567 x 708 mm). Image size: 17 3/4 x 24 in. (451 x 610 mm).Lot Note(s): Signed lower right; blindstamp lower left. Edition of 775. Cream wove paper. The full sheet. Fine impression. Good to very good condition; pale lightstaining; remains of mounting tape verso; presents very well. Literature/catalogue raisonne: GC68. Comment(s): According to 'Gordon's Art Reference' the auction record for another impression of this print is $2,180 (£1,000) at Bonhams (Chelsea) - 12/08/90 - lot #69. Image copyright © Susan Russell Flint. [29215-5-600]

Subbuteo - A squad of 10 boxed Subbuteo football teams both Club and National sides. Lot includes Subbuteo #457 Argentina; #640 Chelsea; #665 Luton Town and similar. Items all have varying degrees of play wear but general appear to be in Good overall condition in Fair - Good boxes with some imperfections. Sets are unchecked for completeness.

§ Liam Hanley (British 1933-2019) The River Thames From Chelsea Embankment signed (lower left), oil on canvas(71cm x 91cm (28in x 35.8in))

§ Christopher Chamberlain (British 1918-1984) Stamford Bridge, Chelsea Football Ground, Fulham Road, signed (lower right), oil on canvas(51cm x 76cm (20in x 29.75in), unframed)Footnote: Provenance: Estate of the Artist. Christopher Chamberlain's studies at the Royal College of Art were interrupted by the outbreak of World War II. He joined the Royal Army Service Corps and served in the British Expeditionary Forces that evacuated Dunkirk in 1940. After the end of the war, he returned to the Royal College before starting a teaching career, notably at Camberwell School of Art. Chamberlain exhibited widely, was respected in the field and was known for his scenes of London. He stated, ‘I have made many studies in this area where I live, in the belief that one must learn thoroughly something about a particular and loosely limited area within one's experience. I don't believe it is possible to make much of a statement about anything unless one knows one's subject very well indeed’ (letter of 3 April 1955). His work is held in the Tate Collections ( The Dangerous Corner , 1954), Royal Academy ( Liverpool : America Dock , 1957) and Swindon Art Gallery ( Vauxhall Bridge Station , 1955).

Christo (American, Bulgaria 1935-2020)Store Front (Project) 1964 signed, titled and dated 64; signed, titled, dated 1964 and inscribed 1 Lampe 25w on the reverseenamel, pencil, charcoal, plywood, electric light, metal wire and plexiglas mounted on wood60 by 85 by 10 cm.23 5/8 by 33 7/16 by 3 15/16 in.Footnotes:This work is registered in the Christo & Jeanne-Claude archive.ProvenancePrivate Collection, Europe (acquired directly from the artist)Sale: Dorotheum, Vienna, Contemporary Art, 25 November 2009, Lot 3Acquired directly from the above by the present ownerOn the same day in June 1935, Christo and Jeanne-Claude were born into very different worlds – Christo Valdimirov Javacheff in Bulgaria and Jeanne-Claude Guillebon in French Morocco. Meeting in Paris in 1958, their personal and professional lives would be forever intertwined, eventually becoming the most important artist-duo of the second half of the 20th century. Their unique vision would bring their wrapped works and large-scale installations to cities and landscapes across the globe, including a final work to be presented in Paris in September 2021, L'Arc de Triomphe, Wrapped, posthumously in accordance with the artists' wishes. It is however in the artists' earlier Store Fronts and Store Front Projects where we can really begin to see this initial scaling-up of their unique aesthetic. A series of works that were initiated after their move to New York City in 1964, the present work Store Front (Project) from the same year is a delicate and thoughtful example of his preparatory works from this landmark series.After fleeing communist Bulgaria via Czechoslovakia and Vienna, Christo made his way to the French capital, where his quintessential style of wrapping cans, bottles and everyday domestic items was immediately established. In Paris, Christo gravitated towards the Nouveau Réalisme movement, joining the ranks of Yves Klein, Martial Raysse and Niki de Saint Phalle however soon after his marriage to Jeanne-Claude and the birth of their son, the young family decide to emigrate to New York. Initially installing themselves at the Chelsea Hotel, renown home-from-home for many artists, they would eventually move to a loft in downtown Manhattan, gifting the Chelsea Hotel owner with one of his Store Front Projects as collateral for the bill. To-scale shop façades created from wood and painted in a variety of colours, each Store Front was preceded by detailed architectural maquette-like sketches, typical of Christo's lifelong working process. The present work is a rare and intricate example of these preparatory works, with every detail of the eventual Store Front replicated: from the precise to scale measurements to the metal grill on the windows and the internal lights illuminating the colourful interior. Born from the Show Cases Christo was already creating from found medicine cabinets in Paris in 1963, the Store Fronts should be understood as their scaling-up. Similar to the evolution of the early Wrapped Cans or Packages, which would eventually evolve into projects such as The Pont Neuf Wrapped (1979), the Store Fronts recall the imposing architecture of New York City. 'The result was enigmatic, architectonically elusive, evocative: Store Fronts were of great beauty, possessed of quiet melancholy and a sense of loneliness that recalled the work of American painter Edward Hopper or the boxes of Joseph Cornell. The pervasive sense of mystery [leaving] the observer wondering what was behind the façades' (Jacob Baal-Teshuva, Christo and Jeanne-Claude, New York 2001, p. 27). If the Show Cases are understood as the precursor to the Store Fronts, the Store Fronts are understood by the artist as precursors to the Valley Curtains in Colorado (1972) and the Running Fence in California (1976). It is in the Store Fronts that the concept of internal and external space is initially explored, 'the store fronts radiate a kind of suspense, as if the blocked windows or the closed door might admit one if you only knew the hours of opening. However, our perceptual and physical links are arrested as the invitation stays unfulfilled. What Christo [and Jeanne-Claude have] done is to turn physical space into psychological response, as the façade becomes a wall, absolutely cancelling the inside... [They] cancel the internal space that we anticipate and define space as what is between us and the glass. The spectator's investigative, voyeuristic impulse is converted into an experience of himself, as an object in space' (Lawrence Alloway, Christo, New York 1969, p. VII). The Store Fronts act as a vehicle for our conceptual understanding of space in direct relation to our surroundings. Diverging from the work of the Minimalists, Christo's approach to space is specifically architectural, addressing our every-day interactions to the world around us and how we manipulate and manoeuvre within that space daily. Like the wrapping of the Pont Neuf or the Valley Curtain, the Store Fronts force the viewer to renegotiate their relationship to that space both physically and psychologically. The familiarity of these buildings and spaces is ruptured by the artist's intervention forcing us to confront our own physicality.While as much technical drawings as they are works of art in their own right, the preparatory works represent a lasting testament to the fleeting nature of their monumental culminations. The present work is a rare example within the Store Front Projects in its inclusion of internal light-fittings, its internal illumination bringing the potential of this project to life. The precise architectural nature of the Store Front Projects is evidence of Christo and Jeanne-Claude's unique vision as sculptors but also as visionaries who have made the world's cities and landscape their canvas. Christo's work has been celebrated in the world's most important museums with his Store Fronts and Store Front Projects found in some prominent collections including the Museum of Modern Art, New York, the Hirsshorn Museum, Washington D.C., the Kaiser Wilhelm Museum, Krefeld, Germany and the Museum of Contemporary Art, Los Angeles. His work can also be found in the collections of the Art Institute of Chicago, the Tate Modern, London and the Centre Pompidou, Paris, where the artist's work is currently being exhibited in a landmark retrospective, where an entire room has been dedicated to the extraordinary Store Fronts and Store Front Projects.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A RUTILATED QUARTZ BROOCH, BY JOHN DONALD, 1970 The faceted rutilated quartz, set within a textured surround of radiating square 18ct gold tubes, maker's mark JAD, UK hallmark (Dimensions: Length: 5.0cm)(Length: 5.0cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.