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Lot 258
§ Gary Hume (British 1962-) for Christopher Farr Door Rug, 2002 1/1, colour code 47, black, inscribed in pen on 'Christopher Farr' label, hand knotted and hand spun wool(302cm x 202cm (118in x 29.5in))Provenance: Christopher Farr, London; Private Collection, UK.Footnote: The ‘Door Rugs’ came about as a collaboration between Hume and the contemporary rug designer Christopher Farr, and are based on the artist’s iconic door paintings as in Lot 259. As Farr notes what we have is ‘A door on the floor…’ where ‘metaphor and irony go hand in hand.’ Hume oversaw the process of rug making, including ‘the precise hand-carving of the two circles and rectangles of the design…in order to produce perfect proportion and tone. The result is a sublimely beautiful one colour rug.’
Lot 259
§ Gary Hume (British 1962-) Dolphin Painting No.3, 1991 signed, titled and dated (to reverse of each panel), gloss household paint on board, in two parts(each panel 208.5cm x 139.5cm (82in x 54.9in); overall 208.5cm x 279cm (82in x 109.8in))Provenance: Matthew Marks Gallery, New York; The Boston Children's Heart Foundation, Boston; Sotheby's, London, 7 February 2001, Lot 17.Footnote: ‘The doors swing to and fro, all day and all night long…’ (Adrian Searle, ‘Gary Hume’, Frieze, 5 June 1993, online). The Door Paintings hold a foundational place in Gary Hume’s oeuvre, and have often been discussed as seminal works. Made up of around 50 paintings, ranging from the elegant and reflective Magnolia and Dolphin doors of the late 1980s and early 1990s to the starker and more luminous colour paintings of the early 2000s, they are a reflection of Hume’s meditations on the every day. Hume came to international prominence after graduating from Goldsmiths College where he was a member of the Young British Artists group. He participated in the 1988 exhibition Freeze, organised by Damien Hirst, that marked the emergence of this new art movement, including contemporaries such as Tracey Emin, Agnus Fairhurst, and Mat Collishaw. In 1996, Gary Hume was nominated for the Turner Prize, and three years later he represented Great Britain at the Venice Biennale in 1999. In Hume’s Dolphin Painting No. 3 from 1991, the viewer looks at the structure of a double door, made up of neutral hues, with faint indications of circular windows, and in the context of a hospital they act in a barrier between life and death. Hume explained ‘I went to St Bartholomew's Hospital with a tape measure and a piece of paper, measured numerous doors and made schematic copies of them. I used house paint in an institutional colour, magnolia, which is a colour of no choice…it was about democratic use of the symbol of the door. I had to use a totally democratic door. That's a hospital door the institution of the hospital won't care whether I'm Gary Hume the artist or Gary Hume the dustman. At the point of crisis I will be passing through those doors, so I wanted to make them democratic. I'm not naming the political, but the human. (Gary Hume, quoted in 'Brilliant': New Art from London, exh. cat., Walker Art Center, Minneapolis, 1995, p. 45) The series refers to the metaphorical idea that doors represent passageways into an array of internalised experiences in reality and in painting. These life-size representations of hospital, museum, or cafeteria doors occupy a space between abstraction and reality due to their largely monochromatic and simplified formation that contained almost-figurative elements that accurately recall real doors. Hume’s blend of the mysterious nature of an unpassable doorway combined with the fundamentally domestic and everyday nature of their institutional context allows the viewer to instantly connect to the works and reflect upon the sublimity and uncertainty of domesticity. The reflective nature of the work also contributes to its' success, as Hume said: '... it reflects the environment which the works are shown in... everything would be reflected within the painting, including yourself... So they made you think about light and about where the paintings begin and end.' (A. Searle, "Beyond the Face of the Door", in Gary Hume, exh. cat., London, Whitechapel Gallery, 1999). Hume’s later works continue his interest in everyday objects and materials, as he continues to employ household gloss paint on aluminium panels to explore a simplified palette and themes of everyday life and popular culture. Around 2005 Hume revisited the Doors series, arranging them in pairs as lovers and anthropomorphising them to continue to develop this interest, blending the sublime with the mundane. Today Hume’s work is held in numerous prominent public and private collections, including the Tate in London, Museum of Modern Art in New York and the Art Institute of Chicago amongst many others.
Lot 316
§ ‡ Lino Tagliapietra (b.1934), Alfred De Credico (1944-2010) and Toots Zynsky (b.1951) Vase, circa signed 'Decredico / Tagliapietra / Zynsky', glass(32cm high, 31cm wide (12.6in high, 12.2in wide))Provenance: A Private European Collection of Studio & Contemporary Glass.Footnote: This work stems from a short period of fruitful collaboration between the three artists around 1995 to 1997. Alfred De Credico stated of their collaboration at the Rhode Island School of Design Museum (RISD) in 1996: "My interest in the collaborative process lies primarily in the opportunity it affords me to test my artistic voice and question the vocabulary I have been building as "abstraction language." Through the interaction of the glass collaboration I am forced to consider forms and colors that I ordinarily would not bring into play in the construction of my images. These elements are joined with and become part of the drawings I construct on the pasteralli. The result has often been startling to me and consequently raise new questions for me to ask myself both in the process of constructing the next glass vessel in the hot shop and back in my studio when making other art with the materials I am accustomed to using. Working with an artist of the caliber of Toots Zynsky, whose focus is so acute and intense and the excellent craftsman blowers that I have been fortunate to be working with, forces me to rethink moves which can often be taken for granted or assumed in the construction of an image. It is this questioning that causes artistic inquiry to push beyond what is known in order to find the point of resistance at which meaningful images are created. It heightens one's sense of the "formal" in the construction of an image, i.e. structure, shape, form, and space and opens the door through which the creative mind must pass in order to abandon what is known and invent new idioms in the development of artistic language."
Lot 318
§ ‡ Lino Tagliapietra (b.1934), Alfred De Credico (1944-2010) and Toots Zynsky (b.1951) Vase, circa glass(25cm high, 26cm wide (9.9in high, 10.25in wide))Provenance: A Private European Collection of Studio & Contemporary Glass.Footnote: This work stems from a short period of fruitful collaboration between the three artists around 1995 to 1997. Alfred De Credico stated of their collaboration at the Rhode Island School of Design Museum (RISD) in 1996: "My interest in the collaborative process lies primarily in the opportunity it affords me to test my artistic voice and question the vocabulary I have been building as "abstraction language." Through the interaction of the glass collaboration I am forced to consider forms and colors that I ordinarily would not bring into play in the construction of my images. These elements are joined with and become part of the drawings I construct on the pasteralli. The result has often been startling to me and consequently raise new questions for me to ask myself both in the process of constructing the next glass vessel in the hot shop and back in my studio when making other art with the materials I am accustomed to using. Working with an artist of the caliber of Toots Zynsky, whose focus is so acute and intense and the excellent craftsman blowers that I have been fortunate to be working with, forces me to rethink moves which can often be taken for granted or assumed in the construction of an image. It is this questioning that causes artistic inquiry to push beyond what is known in order to find the point of resistance at which meaningful images are created. It heightens one's sense of the "formal" in the construction of an image, i.e. structure, shape, form, and space and opens the door through which the creative mind must pass in order to abandon what is known and invent new idioms in the development of artistic language."
Lot 316
A Louis XV style marble topped Kingwood and Vernis Martin single door commode, 20th century, decorated with panels painted with "Watteauesque" lovers in landscapes signed V. Freydier With gilt bronze mounts. 97 cm overall width x 46 cm overall depth x 100 cm overall height. Old estateFor reference see a similarly decorated vitrine by the same handhttps://www.invaluable.com/auction-lot/louis-xv-style-ormolu-mounted-and-vernis-martin-714-c-9388cfd380Old shrinkage cracks to the panels
Lot 322
A George III mahogany kneehole writing desk the frieze drawer with fitted interior and baize lined sliding writing surface with ratcheting section with drawers below. The central kneehole with a shaped panel cupboard door is flanked by three short drawers on each side. On shaped bracket supports and original offset brass and leather disc castors.Private London estateGenerally good condition, slight crack to the top.The top drawer has a writing surface that lifts and rest on the top of the desk to write on, below this would have been a series of fitted compartments that are now sadly missing, see the images.The desk is fitted with leather wheeled offset castors and one has come adrift due to the glue drying out but we have it, again see the images.
Lot 340
A George III style painted satinwood and figured rosewood bowfront two-door cupboard, early 20th century. The top is decorated with leafy scroll and a central urn motif withing rosewood borders above a pair of doors with similar Neo-Classical decoration of urns withing painted harebell borders on splay bracket feet united by a shaped apron. 77 cm wide x 48 cm deep x 103 cm high overallThe top shows blemishes and marks from usage and some old attempts at cosmetic repairs, see imagesThe sides are unsplit.The right-hand door has a slight warp and the lock is locked open and we do not have the keyThe left-hand door has some bubbling to the veneer, see images.The cupboard is structurally good but will require some cosmetic work to remedy blemishes and marks and veneer bubbles/ spilts etc
Lot 360
A pair of French Louis XV style floral marquetry and rosewood bombe form escritoire vitrines, early 20th century, each with galleried cady top above a single glazed door and a fall front revealing a satinwood lined interior with two small drawers and a leather inset writing surface, fitted with elaborate cast rams head gilt metal mounts and fittings throughout, on shaped pied- de -biche legs. 81 cm wide x 44 cm deep x 175 cm overall height, 66 cm height to the fall.As with any handmade items small discrepancies in dimensions from cabinet to cabinetSome shrinkage cracks to the marquetry panels.Comes with individual ornate keysSome small veneer bubbles
Lot 370
A 19th-century style walnut and marquetry serpentine two-door chiffonier with green marble top and gilt metal mounts throughout. Supported on a deep, shaped plinth. 122 cm long x 53 cm deep x 104 cm high.The marble top is intact and undamaged/ repairedThe doors are unlocked but we do not have a keyThe feet are a little scuffedThe cupboard has two holes cut in the back panels from when it housed media equipment.
Lot 375
A Queen Anne black lacquer double dome cabinet on a gilt stand. The upper section is decorated throughout with raised parcel-gilt chinoiserie scenes, the two arched doors with elaborate brass escutcheon plates and hinges. Opening to reveal nice drawers of varying sizes and two arched cupboard doors. The later carved wood and gilt gesso Venetian style stand with central putti figure amongst pierced scrolls and swag decoration in deep relief supported by four double scroll leaf capped legs. 110 cm overall width x 59 cm overall depth x 194 cm overall height.Private estateThe cabinet is period but the stand is probably the 19th century.The carcass has some knocks and signs of historical woodworm but by not structural infestation, the worm galleries show through the finish of doors it is perfectly possible that the holes have been backfilled and then locally redecorated to match its surroundings.The left-hand side of the lacquered carcass has a hole that can be seen in the images.The right-hand door has a twist and this is evident when unlocking the door.As with any period furniture, it is to be expected that it has had repairs and restoration during the course of its life
Lot 379
A 17th-century style stump worked cabinet on gilt stand, early 20th century probably Italian, Each door with needlework panels of Elizabethan court scenes within strapwork and animal borders. Opening to reveal an interior with gilt faux lacquer architectural, amorini and other figures and fitted a central bow section cupboard door flanked by two banks of concave moulded short drawers and fluted pilaster hidden drawers. The faux Lacquer de Mecca base with bold carved shell and ripple frieze on shaped supports united by a shaped wrought iron cross stretcher with fleur de leys finial. 94 cm overall width x 49 overall depth x 153 cm overall height.Private estateGenerally good with some slight knocks and chips of age.
Lot 429
A George I/II ebonized twin fusee repeat chiming table clock, The inverted bell top case with a well-cast swing handle and sound frets to the door and sides. The square dial with applied mask spandrels, silvered chapter ring and a punch matted centre with faux pendulum and calendar aperture, the bottom of the chapter ring bearing the maker's name. The five pillar movement with verge escapement and florid engraved backplate and hook-shaped "holdfast", chiming on one large and three smaller bells. The clock is supported by compressed bun feet and accompanied by a later ebonized wall bracket. 28 cm wide x 18 cm deep x 46 cmA John Austin of Shoreditch is recorded in Brian Loomes Watchmakers and Clockmakers of the World, pp 29 as reported in 1745 for a lost watch however it is likely that his business predates the date of the report mentioned by some years.The movement seems to be fully wound and runs freely for a few minutes and then the pendulum gives an erratic judder then slowly stops, I have been unable to get the clock to chime at the hours and seems unaffected by the Strike / Night lever, however on a pull of the repeat cord it will strike.I think the seat board is a replacement due to signs of holes and former woodwork is evidentThe backplate of the movement has some surplus holes that I can't adequately explain as the chiming system seems intact.The pull repeat activates chiming on the three smaller bellsThe movement has a cover over the top of the rod of the bob pendulum this metal is of a different colour and gauge.The case is in good order for its age it has some scratches and has had some restoration in the past the feet are not original
Lot 433
A French 'Anglaise' brass cased 8-day chiming carriage clock by Cattaneo of Paris. The white enamel dial marked in Roman Numerals and Arabic minutes and bearing the maker's name. 9.5 cm wide x 18 cm high x 8.5 deepPrivate collectionThe lens on the rear door is chipped at the cornersThe clock is not running, the compensated silvered balance moves with agitation but will not oscillate its full course
Lot 437
A Leroy & Fils of the Palais Royal miniature 8 -day carriage timepiece with engraved gilt brass gorge case and landscape painted porcelain dial. 5 cm wide 4.5 cm deep x 10 cm high. Together with an Omega keyless full hunter fob watch with gunmetal case in a French mother of pearl and brass inlaid box form watch stand with applied porcelain cherub painted panel. 9 cm x 9 cm x 5 cm, and a ladies key wound white metal chatelaine fob watch in a folding travel case.Qty: 3Private estateThe miniature carriage timepiece doesn't run and seems to be wound solid, I have tried to get the balance to operate in the usual way but it remains unmoved.I can't see any bulges on the mainspring drum and I can feel resistance when I attempt to wind the clock.The Omega gun metal cased fob watch runs when wound.The Ladies Swiss fob winds up and seems to tick away but soon stopsThe small leather-covered case is scuffed but intactThe brass inlaid case has some brass lifting and some small areas of mother of pearl missingThe miniature timepiece has a very small chip to the corner of the glass panel in the rear door.
Lot 443
An F W Elliott Golden Jubilee bracket clock, the ebonised case with gilt metal mounts, chiming on the quarter hours on two gongs, the engraved backplate inscribed 'Reg No 77, F W Elliott London', the interior of the door with applied brass plaque inscribed ' Supplied Exclusively by Garrard & Co Ltd, Crown Jewellers', 34.5cm overallI have wound the clock with my own key and it runs but it soon stops after a while.The clock chimes the quarters but I can not seem to be able to get it to chime the 15 minutes after the hour strikeThe clock has some small knocks and dents to the bottom moulding.The matted centre of the dial has a scratch, see imageThe clock is 35 cm high to the top of the handle.
Lot 1209
A single fusee 12" painted dial wall timepiece, BristolThis is a wire, no pendulum present, one of the side wooden pegs to the case is missing, underside of the case with veneers missing and damages, the bottom door with lock plate missing, dial with chips, dial surface with rubbing to the signature, Roman numerals are rubbed, movement needs cleaning
Lot 1273
A Vienna type double weight driven wall clock, circa 1890The case is slightly faded in parts, small scratches, the door with very minor lifting to the veneer, one of the side door latches is missing, enamel dial with small scratches, movement needs cleaning, with pendulum and two weight, movement not tested for working condition
Lot 1324
A Victorian Mahogany Three Door Wardrobe, circa 1870, the moulded cornice above a mirrored door flanked by cupboard doors, 180cm by 66cm by 205cmSurfaces are faded in parts, doors with some cracks and surface scratches and scuff marks in parts, some touching up to veneers in parts, the base is loose and will need regluing in parts, some cracks to the base, doors are not closing correctly at present, some slight bowing to doors
Lot 1333
An 18th century joined oak livery cupboard, with three panel doors over a bank of six drawers, 172cm by 54cm by 215cmThe front of the cupboard and base is slightly faded, below the left-hand cupboard door with a cut mark extending three inches, also another cut mark extending three inches, the moulding just above the base has been later added to the front and side. Cupboard door lock plates are later, the base with later handles and key escuptions, the base drawers with some chips to the outer edges. Top section is detachable from the base.Dimensions of the upper section are 154cm by 116cm by 52cm
Lot 1334
A Victorian mahogany double wardrobe with carved cornice, moulded panel doors and with a single base drawer, 146cm by 64cm by 214cmSurfaces with very slight fading in parts, some small dents and scratches, small chips to the right hand side of the front door, some small cracks around the left hand side door hinge
Lot 1348
A modern white painted open shelving unit, 49cm by 38cm by 170cm, a pair of modern white bedside table with cupboard door, and moving on castors, a large modern circular mirror with red faux leather frame, 90cm dia, a contemporary black circular mirror with fluted frame, 86cm diameter, a modern glass and chrome finish console table, 90cm by 30cm by 76cm; together with a pair of high gloss black square form side tables with curved edges, 40cm by 30cm by 40cm, and a black painted side cabinet with two drawers, and a third for hanging files, moving on castors, 46cm by 50cm by 60cm (8)
Lot 1404
A circa 1930's kitchen cabinet, cream painted with green bakelite handles and two leaded cupboard doors, 114cm by 43cm by 179cmThe painted surfaces are rubbed in parts, the front latch is later, later applied stickers to the front, bottom left hand door, the top hinge is broken, the two bottom hinges to one of the doors has been moved and with later screws, doors and drawers with small chips to edges
Lot 266
Two large trays containing Hornby accessories: Post-war Platform Crane (M-BNM); No.3 curved tunnel, no breakage or cracks but faded (VG); post-war level crossing (VG-BG); 3 more level crossings (P); platelayers hut striped non-opening door (F-G); two post-war platform ramps (VG); home made single road engine shed (P); Bavarian made train destination indicator showing Dover, Brighton, Glasgow & Manchester, some holding wires missing (G)
Lot 286
Three Hornby 4-wheel No.1 coaches, long thin bases, non-constructional: LMS clerestory roof, gold lining, 3rd/1st/3rd, silvering gone (P) with Southern no.2891 on one side & 1728 on other, no class designations on doors, non-clerestory roof repainted cream (P-F). All with opening doors and all door handles present.
Lot 289
Three original Hornby vans: 1924-5 Jacob & Co Biscuits, open axleguard base, maroon body, white repainted roof, hinged doors with both door handles (G); 1930’s Jacob & Co Biscuits, standard base, sliding door, repainted red roof (G); 1924-5 Carr’s Biscuits, open axleguard base, grey blue body white repainted roof, hinged door with both door handles (P-F)
Lot 583
Four Dublo Dinky Toys: 070 AEC Mercury tanker, with windows, grey treaded wheels (NM-BNM); 066 Bedford Flat truck, grey treaded wheels (VG-E) (BE); 071 Volkswagen Delivery van, black treaded wheels (E-NM) (BE); 073 Land Rover with trailer, both with smooth wheels, green door on trailer, light brown horse (NM-BE-NM)
Lot 864
CIJ of France Circa 1927 tinplate, electric and clockwork model of a Nervasport Convertible Roadster, comprising red body with yellow interior, blue steering wheel (A/F), driver figure and passenger, working boot section to reveal internal seat, model requires restoration to steering wheel, light and hinge on drivers side door, rare exampleLength 33cmClockwork mechanism in working order.
Lot 1606
Corgi Toys boxed group of 2 emergency vehicles to include, No. 481 Chevrolet police car, black and white body with black roof, red roof light with 2 policeman figures, with Police Patrol stickers to the doors, there is some "chrome" loss to the bumpers, in the original blue and yellow all-card picture box with Corgi Toys leaflet (VG-BNM), and No. 482 Chevrolet Impala fire chief car, red over white body, chrome stripe with round door labels, lemon interior with 2 figures, in the original blue and yellow all-card box (NM-BVG)
Lot 1652
2 Corgi Toys boxed models to include, No. 482 Chevrolet Impala fire chief car, red over white body, chrome stripe with round door labels, lemon interior with 2 figures, in the original blue and yellow all-card box with packing piece (NM-BVG), and No. 439 Chevrolet Fire Chief comprising of red body with lemon interior and two figures and spun hubs housed in the original blue & yellow all-card box - the end flap of the box is detached (VG-E,BG)
Lot 1977
Matchbox Lesney boxed pair to include, Major Pack No. 7 Jennings Cattle Truck in red with a dark tan trailer, red rear door and black plastic wheels, sold with a very clean original box (VNM-M,BNM), and Accessory Pack No. 1 "ESSO" Petrol Pump Set, the box has some damage to one end flap (VNM-M,BVG)
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