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Lot 318
SAM HALL (born 1967) for Gaolyard Studios; an oval stoneware footed vessel of waisted form, pierced to one side and covered in light blue, yellow and white slip with black enamel detail, impressed SH and pottery marks, height 31cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 600
CHARLES FLEETWOOD VARLEY FOR ENGLISH PEWTER AND LIBERTY & CO; an Arts and Crafts pewter casket of rectangular form with central enamelled panel depicting a landscape scene, signed Varley, impressed numbers 01046 to base, length 16cm.Additional InformationBending to one corner, minor dent to edge, light scratches throughout, heavy wear to base, minor dent and wear to body, bottom edge has been bent up in two places, enamel is in good condition with no signs of repair.
Lot 602
ARCHIBALD KNOX FOR ENGLISH PEWTER AND LIBERTY & CO; a pewter and enamelled biscuit box relief decorated with stylised flower heads and motifs with eight enamelled panels, impressed marks and numbered 257 to base, height 11cm.Additional InformationGeneral surface wear, minor indentation to top rim, minor bends to edges of corners on cover, two enamel cabochons with rough parts to the edges, no apparent major faults or old repairs, base with wear marks.Postage would be a small box.
Lot 620
JESSON BIRKETT; an Arts and Crafts copper inkwell, the cover with blue and green enamel cabochon enclosing ceramic liner (possibly Ruskin), unmarked, diameter 11cm.Additional InformationGeneral surface wear, light scratches but generally good condition with no major faults, no makers marks. Shipping would be an extra small box. The piece is not marked.
Lot 621
ATTRIBUTED TO GEORGE WALTON; an Arts and Crafts copper mantle clock, the main body with planished decoration with two panels depicting relief floral trees and central blue enamel stones, height 18cm, length 33cm.Additional InformationWear and light scratches throughout, minor indentation to copper, clock is slightly leaning forward, discolouration to dial, glass face with internal bruise/chip. Movement looks to be original.
Lot 85
ROBIN WELCH (1936-2019); a monumental conical stoneware bowl, covered in textured white glaze with bronze rim, pinkish hues and black enamel decoration, impressed RW mark, diameter 47cm. (D) Exhibited: Roy Ray and Robin Welch, St Ives Ceramics, 2008. Provenance: Purchased from St Ives Ceramics, 2008.Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 804
LATE NINETEENTH CENTURY OPEN FACE KEY WIND REPEATER POCKET WATCH, the round white enamel dial with Roman numerals in black, railroad outer seconds track in black, 40mm case with engraved decoration to the caseback, the movement cover with engraving in French, unmarked, 41.5g gross, with a later watch chain formed by alternating yellow and white bars, marked 18 to the clasp, 10g (2)
Lot 1
Marcia Hafif (American, 1929-2018)#196 1968 signed and dated 1968 on the overlap, signed and dated 1968 on the stretcheracrylic and lacquer on canvas100 by 100 cm.39 3/8 by 39 3/8 in.Footnotes:ProvenanceMarisa Volpi Orlandini Collection, RomePrivate Collection, Rome (by descent from the above)Acquired directly from the above by the present owner LiteratureÉric de Chassey, Marcia Hafif - La période romaine / Italian Paintings, 1961-1969 précédé d'un entretien avec l'artiste, Geneva 2010, p. 125, no. 196, illustrated in black and whiteFormerly in the collection of esteemed curator and art historian Marisa Volpi Orlandini, Marcia Hafif's #196 is a masterfully simple, vivid painting that demonstrates the American artist's ties to Pop Art and Minimalism. Characterised by a melodious enamel surface over a seething, crisp underpainting, #196 is an exemplary work from Hafif's Roman period that saw her engage directly with the surface, exacting forms and colour. Resident in Rome between 1961 and 1969, #196 is from an instrumental passage in Hafif's career that would establish the timbre of her investigations into, what she called, 'Pop-Minimal' painting. Of the 210 paintings she produced over the course of the decade, only half of them survive, making them still more rare and significant. In the present work Hafif's nuanced synthesis of pop colours and minimal structures produces a superbly chic canvas, boasting an erudition and confidence of a consummate master of geometric painting.Born in 1929 in Pomona, California, Hafif closely studied the art of the Italian Renaissance, captivated by the sumptuous panels and frescoes of Fra Angelico. Introduced to collectors and curators including Volpi Orlandini during her tenure in Rome, she was quickly recognised for her talent and significance as an artist at the forefront of the painterly avant-garde of the 1960s, aligning herself with Italian Pop as well as with artist Francesco Lo Savio who was himself a pivotal influence and precursor to American Minimalism. Returning to New York in 1971, she garnered attention for her monochromatic paintings that were a continuation of her earlier Roman works, culminating in her inclusion in Abstract Painting: 1960-69 in 1983 at the P.S.1. Museum, New York, alongside the likes of Brice Marden, Robert Ryman, and Agnes Martin.Across an oeuvre that has been overlooked and considerably undervalued, Hafif has proven herself to be one of the most serious minimalist painters and theoreticians, consistently pushing the significance of the materiality and synesthetic affects of paint. Writing in Artforum in 1978, she commented: 'The options open to painting in the recent past appeared to be extremely limited. [...] we may be ready to enter still another phase of abstraction, a synthetic period' (Marcia Hafif, 'Beginning Again', Artforum, September 1978, No. 17, Vol. 1, online). In the present work, the canvas ebbs and flows under a radiant orange hue, abutted by a sine wave of marine blue enamel. A painting that demonstrates all the subtlety and skill of a refined master drawing upon the palettes of Pop Art and the aesthetics of Minimalism, #196 is a fresh to market work of exceptional provenance by an artist whose career is overdue an institutional and market reassessment.For further information on this lot please visit Bonhams.com
Lot 14
Carla Accardi (Italian, 1924-2014)Negativo (ideogramma) 1954 signedenamel and casein on canvas88.5 by 116.5 cm.34 13/16 by 45 7/8 in.This work was executed in 1954.Footnotes:This work is registered in the Archivio Accardi Sanfilippo, Rome, under no. 50.ProvenanceArchitetto Luigi Moretti Collection, RomeThence by descent to the present ownerExhibitedParis, Galerie Rive Droite, Individualités d'aujourd'hui, 1955LiteratureGermano Celant, Carla Accardi. La vita delle forme, Rome 2011, p. 320, no. 1954 40, illustrated in colour; p. 321, illustrated in black and white (installation view)Negativo (ideogramma) from 1954 is a rare and intricate painting by Carla Accardi which was purchased by renowned architect Luigi Moretti in the mid-1950s and has stayed in his family collection since.Luigi Moretti was one of the most prominent Italian architects and designers of the Twentieth Century having worked on the design of landmark buildings of pre and post WWII. His projects have included the design of Casa del Balilla (1932-1937) and Accademia di Scherma (1936) in Rome, the house Il Girasole in 1949, which is considered one of the earliest example of postmodernist architecture, as well as the Watergate Complex in Washington (1962-1971) and the Stock Exchange House in Montreal, which by the time it was completed in 1964 was the tallest building in Canada. Luigi Moretti was also an intellectual and a writer; in 1950 he founded the architectural magazine Spazio and in 1954 he opened Galleria Spazio in Rome. Open for two short years, the gallery hosted an exhibition of Carla Accardi's work in 1955. This painting, thanks to art critic Michel Tapié, who met Accardi in 1954 and who became extremely interested in her works, was also exhibited at Galerie Rive Droite in Paris in 1955 alongside works by Franz Kline, Georges Mathieu, Karel Appel and Claire Falkenstein. This work was executed in a pivotal moment in the artist's career; in 1953, after a period dedicated to constructive-concrete paintings, Carla Accardi started to focus on pseudo-calligraphic signs and it is in 1954, the year of the execution of the present work, that she started to alternate black and white segments which would evolve into the increasingly complex structures, that are visible in the present work. This painting is considered a 'negativo' (negative), here the white and dark grey segments are painted alongside one another on a black background in opposition to her 'positivo' (positive) works which are conceived the other way around. This 'language' which explores the relationship between figure and ground will become the leitmotiv of Carla Accardi oeuvre and one which would continue to evolve until Accardi's death in 2014. Today Carla Accardi is finally regarded as the most important Italian female artist of the Post-War period and her works are held in the most prestigious public collections such as the Guggenheim in New York, the Centre Pompidou in Paris, Galleria Nazionale d'Arte Moderna in Rome and the Fondazione Prada in Milan.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
Lot 2
Keith Haring (American, 1958-1990)Dog 1986 signed, dated 86 and numbered 8/10 on a label affixed to the reverseenamel and silkscreen on plywood128 by 96 by 4 cm.50 3/8 by 37 13/16 by 1 9/16 in.This work is number 8 from an overall edition of 35, consisting of 15 white on black, 10 black on yellow, 10 red on black, 7 artist's proofs and 3 unique colour variant trial proofs.Footnotes:ProvenanceEdition Schellmann, Munich - New YorkPrivate Collection, SwitzerlandLiteratureJörg Schellmann, Edition Schellmann 1969-1989, Munich 1989, p. 137, another example illustrated in colourJörg Schellmann, Forty Are Better Than One, Munich 2009, p. 143, another example illustrated in colourDog, from 1986 is a quintessential and powerful work by Keith Haring. A pioneer of the Contemporary Art world, Keith Haring's work would go on to redefine art as we know it. Working alongside artworld giants such as Andy Warhol and Jean-Michel Basquiat, Haring sought to break down the barriers between high and low culture, creating a whole new vocabulary of symbols, one that would become synonymous with the visual culture of the latter half of the twentieth century. Executed in 1986, Dog is boldly demonstrative of the artist's unique vocabulary and more specifically his most recognisable motif, the barking dog.Addressing highly controversial and taboo subjects, Haring didn't shy away from uncomfortable truths surrounding social injustice, AIDS, the drug crisis and racism, which he depicted using his unique iconography. Embedded in the fast and decadent culture of 1980s New York, Haring's work mimicked the city's own convergence of high and low culture, bringing together the creative principles of graffiti, semiotics and the art historical canon. By elevating primitive stick figures and cartoon characters to the same level as high art, Haring sought to democratise art, championing the individual and standing up for the oppressed. Based on a keen awareness of how pictures can serve a similar function to words, Haring was impressed early on by the hieroglyphic writings of the ancient Egyptians. In the present work, the plywood has been cut to the shape of a dog, reminiscent of the Egyptian deity, Anubis. Half-human, half-jackal, Anubis, god of the underworld, would lead your soul to the afterlife. Describing his work, Haring stated 'I was thinking about these images as symbols, as a vocabulary of things. In one a dog's being worshiped by these people. In another one the dog is being zapped by a flying saucer. Suddenly it made sense to draw on the street, because I had something to say. I made this person crawling on all fours, which evolved into the 'baby.' And there was an animal being, which now has evolved into the dog. They really were representational of human and animal. In different combinations they were the difference between human power and the power of animal instinct' (the artist in an interview with David Sheff, 'Keith Haring: Just Say Know', www.rollingstone.com, 10 August 1989).The barking dog is one of Haring's trademark picture-words, with Anubis standing in for its most macabre iteration: death. Visually assertive, the bright yellow paint used in conjunction with the shine of the black silkscreen ink in the present work acts as a warning sign, while the X-branded men, television sets and transgressive images of men and dogs emphasise the animal instinct in each of us. The dizzying frenzy of the work's interior filled with dozens of Haring's picture-words, create a fluid sentence moving through the crawling baby in the lower left foot – the emblem of a positive future – through to anthropomorphic dogs dancing on top of men – playing into Egyptian conceptions of life and death as well as Christian notions of the 'dance of the dead'. Scattered throughout are human targets branded by the letter X, including one involved in explicit liaisons with a dog in the foot of the right leg and another at the very top, the winged man or angel – symbol of death but also of the battle of good against evil – rides a dog, the X sealing their fates. These symbols would have deeply resonated with those living through the AIDS epidemic sweeping through New York City. As a gay man, Haring's life and work were entrenched in this community, becoming a huge advocate for AIDS activism. In 1989 following his own fateful diagnosis he would go on to found the Keith Haring Foundation which would provide funding for AIDS organisations and children's programmes. Keith haring died in New York City on 16 February 1990 at the age of 31.During his short ten-year career, Haring managed to produce some of the most iconic and universally recognisable images of the late twentieth century, producing work that would go onto influence a generation of artists. Through the work of the Keith Haring foundation, Haring's work has been recognised across major galleries and institutions worldwide and can be found in the collections of the Whitney Museum of Art, Washington, LACMA, Art institute of Chicago, the Ludwig Museum, Cologne and the Stedlijk Museum, Amsterdam including a recent major retrospective at the Tate Liverpool, currently on view at the BOZAR in Brussels.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 7
Christo (American, born 1935)The Umbrellas (Joint project for Japan and USA), in two parts1990 signed, titled and dated 1990 on the left panel; signed, dated 1990 and variously inscribed on the reverse of each panelpastel, wax crayon, charcoal, enamel, printed paper and fabric collage on card laid on board, in a Perspex frameLeft Panel: 77.5 by 30.5 cm.30 1/2 by 12 in.Right Panel: 77.5 by 66.7 cm.30 1/2 by 26 1/4 in.Footnotes:ProvenancePrivate Collection, USA (acquired directly from the artist)Acquired from the above by the present ownerThis 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 101
George V silver and enamel cigarette case, of large size, shaped for the hip, the hinged rectangular cover centred by a large oval enamel photograph portrait of a lady wearing a wide-brimmed bonnet, Birmingham 1912, sponsors Horace Woodward & Co Ltd, 15.5cm wide, 10.4toz gross approx Condition: Superficial scratching to cover commensurate with age and use, light marks and wear to interior, but overall sound. **General condition consistent with age
Lot 104
Late 18th/early 19th Century enamel patch or pill box of Bilston type, the oval cover centred by a fouled anchor, enclosing mirror, with blue enamel oval body, 4.6cm wide Condition: Flake chip to front of body plus four various chips to foot, cover in good condition, interior is sound - **General condition consistent with age
Lot 107
Early 20th Century Continental white metal and enamel miniature desk timepiece, with 2cm white Arabic dial, the movement wound from beneath, in green enamel case with gilt and silvered highlights, 4.2cm high excluding handle Condition: Dial and case in good condition, movement not inspected and sold as seen - **General condition consistent with age
Lot 110
Bilston-type enamel snuff or patch box of wavy outline, the hinged cover decorated with figures riding early Boneshaker bicycles, entitled 'The Hobby Horse', 7cm wide Condition: Minor losses to top edge and both side points of hinged cover plus minor hair cracking to right hand side of same. Base has a few flake losses to front (one through to metal) plus hair lines and further losses to reverse, general scuffing to underside commensurate with age and use. **General condition consistent with age
Lot 132
Rare late 18th Century 'Ormskirk Chaff-Cutter' pocket watch movement, H. (Hugh) Garratt (Garrett), Ormskirk, No499, the movement with pierced balance bridge and Bosley regular scale over cylindrical pillars, sold with Arabic enamel dial but no hands or case, 42mm diameter approx Condition: Hair cracks to dial as per cataloguing, no case etc, movement untested and sold as seen - **General condition consistent with age
Lot 135
Mid 18th Century pocket watch movement (only), W. Wilkinson, London No 7617, chain fusee movement with engraved back cock, square baluster pillars, 36mm diameter approx Condition: Sold with a (hair crack) to enamel dial, but no case, movement untested and sold as seen - **General condition consistent with age
Lot 138
Four assorted 18th Century pocket watch movements (only), signed Schofield, Putney No 153, G. Plummer, London No 19264, Cha. Hope, London No 87136 and T. Shuttleworth, London No 13618 (4) Condition: All have dials, two of these with hairlines, the other two with enamel losses, movements untested and sold as seen - **General condition consistent with age
Lot 222
Cased set of six Scandinavian (Norwegian) 930 standard white metal and enamel demi-tasse coffee spoons, each with gilt bowl, the underside and handle enamelled in six different colours, each 9.8cm long, 2toz approx, in box of Marius Hammers, Bergen (1847-1927) Condition: Very minor signs of use/wear but no cracks or losses detected. Box is somewhat worn to exterior and between hinges, traces of early 20th Century auction lot label to hinged cover. **General condition consistent with age
Lot 274
Large pair of 19th Century Chinese Canton Famille Rose porcelain vases of slender baluster form, the waisted necks applied with cavorting Dogs of Fo over moulded dragons, decorated with panels of figures including battle scenes, reserved on a duck-egg blue ground with floral and fruit decoration over a base frieze of stiff leaves, unmarked, 61cm high (one rebuilt) Condition: One vase has been broken onto pieces and rebuilt including visible rivets effecting main panel and base frieze, cracks are dark and still visible as per images, second vase has an old dark chip to underside of lobed rim but is otherwise structurally sound, general rubbing to enamel, staining, and other minor imperfections commensurate with age and handling, sold as seen - **General condition consistent with age
Lot 390
Third Reich German Cross, 'Silver', purported to have been found in burnt out barracks in Hildesheim, Germany, together with First World War Iron Cross (with ribbon) and cloth uniform patch Condition: German Cross - Heat damage to the centre of the enamel Swastika and to the reverse, signs of surface wear and scratching to Iron Cross and ribbon, tear to cloth patch - **General condition consistent with age
Lot 43
Pair of Victorian garnet and enamel drop earrings, with a scroll top fitting Condition: Unmarked yellow metal earrings 6.2g gross approx, both with discolouration to the back, the white enamel borders in fairly good condition, some small patches of wear, the oval cabochon garnets 10mm x 6mm approx, 3cm in length approx excluding wire backs 15cm wide approx - **General condition consistent with age
Lot 54
Edwardian seed pearl and aquamarine pendant, of Art Nouveau influence, stamped '9ct', on a chain, with an enamel and stone set pendant, tagged '375', on a chain' and an opal and seed pearl pendant Condition: (1). both pendant and chain stamped '9CT', the aqua drop approx 12mm x 5mm. (2). The enamel decorated pendant stamped '375' approx 2cm wide, 4cm long including bale and drop, the seed pearl attached to the drop appears to fit loosely, the central garnet-coloured stone approx 2.7mm diameter. (3). Unmarked pendant, the marquise-shaped opal with a crack visible running across the lower section in-between the claws, 1.9cm x 4.5mm approx - **General condition consistent with age
Lot 723
Late 19th/early 20th Century Austrian porcelain mantel clock, with white Arabic dial and single-train timepiece movement with vertically-mounted lever escapement, stamped monogram of Japy Freres, the architectural case with figural panels to dome over portico with champ levee enamel-effect columns, the square base with two oval figural panels and two similar gilt panels, on brass bun feet, underglaze blue beehive mark beneath, 30.5cm high Condition: Dial has old chipping to edge of winding arbor, plus radial crack from centre to 9 o'clock. Movement appears clean and sound but is untested and sold as seen. Case had minor ware to gilding of porcelain panels. Spherical central clock housing has stress cracks to sheet brass collar at either side. Otherwise appears sound. **We do not guarantee the movement or accuracy of clocks - Please see extra images and TELEPHONE department if you require further information.
Lot 88
Heart dress clip, in blue enamel, pierced by an arrow and with an applied cherub, with ear clips to match Condition: the unmarked white metal clip, 2.5cm wide. The arrow set white stones, no obvious damage to the enamel. The matching ear studs with screw-back fittings, 1.5cm wide approx. - **General condition consistent with age
Lot 96
Late 19th/early 20th Century white metal three-colour propelling pen, with enamelled bands for red, black and blue to the foliate scroll-engraved barrel, stamped Sterling, 12cm long fully extended, 0.8toz gross approx Condition: Mechanism not tested but enamel in good condition and otherwise structurally sound - **General condition consistent with age
Lot 99
Hunting Interest - Good late Victorian silver and enamel visiting card case, the cover finely modelled with an anthropomorphic Foxhound wearing hunting jacket and doffing his riding hat, holding a crop, wearing riding boots, inscribed in enamel beside Yours Sportingly Rallywood Cleveland, the silver-gilt interior with pierced mounts, inscribed to 'Myra July 16th 1889', hallmarked London 1889, sponsor George Wilkinson, the external reverse with diagonally-divided red and blue enamel decoration over wavy engine-turning, 9.5cm x 6.8cm, 6.3toz gross approx, in original wine Morocco fitted case of G.Wilkinson Barrett & Co Jewellers & Silversmiths 48 Piccadilly Next Door to Burlington House, the Morocco case 12.5cm wide. Rallywood Cleveland was the pseudonym of Lilian Frances Myra Swan (1870-1949), authoress of 'Some Incidents in the Life of a Foxhound; An Autobiography, published by Sampson Brothers of York 1889. She was born in 1869 and was raised at the family estate, Upsall Hall in Yorkshire. After school education, she wrote two sporting novels (one listed above) before turning to serious fiction - however, her career sadly never flourished and after struggling to publish her final novel she stopped writing in 1905. She died unmarried in her native Yorkshire in 1949. Condition: Enamel to hunting jacket is almost all missing as per image, general light scratching to surface commensurate with age and use, interior in excellent condition, minor scratches to enamel of reverse, light staining to silk lining to underside of cover - **General condition consistent with age
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