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Lot 17
REBECCA HORN (B. 1944)Turm der Fliehenden Bücher 1994 metal rods, electric motors, books, ink, feather quills208 by 82 by 65.5 cm.81 7/8 by 32 5/16 by 25 13/16 in.This work was executed in 1994.Footnotes:ProvenanceGalerie Thomas Schulte, BerlinVanthournot Collection, Belgium (acquired from the above in 1994)Sale: Sotheby's, New York, Contemporary Art / Afternoon, 15 November 2006, Lot 412Acquired directly from the above by the present ownerRebecca Horn has left an indelible mark on the canon of art history as one of the most versatile and innovative artists emerging from Germany in the post-War era. Her practice is immensely diverse, employing a variety of media – from drawing to installation, writing to filmmaking – that has earned her enormous regard in academic and critical circles, culminating in her representing Germany at the 1997 Venice Biennale. Her kinetic sculptures remain some of the most organic and affective works the artist has produced, and the solemn beauty of Turm der Fliehenden Bücher from 1994, is no exception. Emerging in the late 1960s, Horn was part of a generation of artists whose work challenged the institutions and structures that had governed not only the art world, but society at large. Her work has prodded at notions of control, expression, and hierarchies of power, remaining one of the most visceral, captivating bodies of work produced by any artist in the postmodern period. Born in 1944, she grew up in the immediate aftermath of the Second World War. It influenced her greatly and would ultimately shape her mythologies and experimental practices in art. As a child, having been taught French and English rather than her native German, language was a fluid medium for Horn, who developed an acute feeling for drawing as her chosen artistic syntax; to her it was a medium that remained universal. In 1964, however, as a young art and philosophy student at Hamburg's Hochschule für bildende Künste, her working with toxic polyester and fibreglass dealt an early blow to her life and work, suffering serious lung poisoning. She spent a year in hospital recovering, emerging with a determination to put her body at the centre of her art. With a renewed focus on the phenomenological experience, Horn rebuffed the commodity fetish of the art object, and engaged with a notion of artmaking as an endeavour that harbours, not only unforeseen risks, but a series of psychological and physical obstacles. The subjective experience became her chosen instrument. She worked with soft materials, padded body extensions and prosthetic bandages, inspired by her convalescence in hospital. In 1968 Horn produced her first body sculptures, in which she attached objects, materials and instruments to the human body, taking as her theme the contact between a person, their environment and surrounding space. Einhorn is one of Horn's best known performance pieces comprising of a long horn worn on her head.While it was mainly through her early performances that she explored the relationship between body and space, in her later work, the human body was replaced by kinetic sculptures. In the early 1980s, Horn began making these kinetic sculptures that moved by the force of a motor, taking on their own life and eliminating the need for the body to animate the her materials and shapes. The present work, Turm der Fliehenden Bücher from 1994, comprises of metal rods stacked tall against one another which in turn support three motors each of which has an open book and feather attached. Animated by the motors, the feathers flutter and softly rustle the pages of the texts that are splatted with ink. 'For me, all of these machines have a soul because they act, shake, tremble, faint, almost fall apart, and then come back to life again. They are not perfect machines. ...I'm interested in the soul of a thing, not the machine itself. ...It's the story between the machine and its audience that interests me' (the artist in: Rebecca Horn, New York 1993, p. 18).Feathers first began appearing in Horn's work as components in elaborate props and costumes, even becoming the sculptures in their own right. Feathers and other materials that were used in her kinetic sculptures could be liberated from their ordinarily defined materiality and transposed into ever-changing metaphors that touched on mythical, historical, literary and spiritual imagery. Literature and poetry also held important prominence in Horn's work; her own written poetry often inspired her work and she encouraged the viewer to constantly consider the important relationship between art and literature. She felt that viewers would consider a painting as art and a book as literature, but by combining the two in a single work, Horn asks us to consider these definitions and how the two relate and interact. The author, Jeanette Winterson, has described Horn as performing a role akin to an artist-inventor or alchemist, and as possessing an ability to produce artworks that conjure powerful forces and emotions. Horn's work resides in many major public institutions worldwide including the Museum of Modern Art, New York, the Tate Collection, London, the Centre Pompidou, Paris and the Stedelijk Museum, Amsterdam, among many others. She is one of very few artists whom have been selected to participate in Documenta on four separate occasions. During the last six decades Rebecca Horn has become a key figure in a moment for art that challenged and changed formal ideas.This lot is subject to the following lot symbols: * AR TP* 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.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 18
CARMEN HERRERA (B. 1915)Untitled 2013 signed and dated 2013 on the overlap; signed and dated 2013 on the stretcheracrylic on canvas50.9 by 50.9 by 6.2 cm.20 1/16 by 20 1/16 by 2 7/16 in.Footnotes:ProvenanceLisson Gallery, London (HERR130014)Acquired from the above by the present owner in 2015Carmen Herrera is one of the most significant and celebrated minimalist painters of the last sixty years. An artist who has been at the very heart of late modernist practice, and has remained fastidiously committed to her singular style over the course of her life, the canon of twentieth century art has been incomplete without her inclusion until her late-life, institutional reappraisal. Presented here, Herrera's Untitled painting from 2013 is a canvas of searing simplicity; a superlative example of the Cuban-American artist's characteristic compositions that intersect space with razor sharp bars of colour. In the present work, Herrera's lifelong engagement with the formal qualities of the canvas – its objecthood, its surface, its composition – crystalises in a painting of lucid boldness. Elegant in its scale and ablaze with cobalt blue abutted by weightless solids of seething Indian yellow that fluoresce and glow over their respective corners, Untitled wonderfully demonstrates the visual poetics of Herrera's minimalist workings. Painted on the overlap and not hindered by any ornament framing, the present work gives an intensity and mass to the colours and lines that are essential to experiencing her work to its fullest.Born in Cuba in 1915, Herrera's astonishing life and career as an artist in Post-War Europe and America beckons from one of the most abundantly creative periods drifting out of living memory. Having left a politically turbulent Cuba for New York, cutting short her architectural studies to marry an American, Jesse Loewenthal, in 1939, Herrera had found her calling as an artist. They moved to Paris, residing in the city between 1948 and 1953 – a period that would be so influential and formative to her blossoming practice. In Herrera's early work, her astute sense of colour and form was evident and palpable. Akin to the blockish, tonal compositions of Paul Klee, taking cues from the work of Kazimir Malevich and Russian Suprematism, it was in Paris that Herrera would begin to refine her style and hone her rigorous relationship to colour and line. Working and exhibiting in company that included Piet Mondrian and Max Bill at the Salon des Réalités Nouvelles – where she would show five times during her stay in France – Herrera's practice was not only on the pulse of the painterly discourse of its day, but she superseded many of her male counterparts in their experimentations that deconstructed and fragmented the singular plane of the canvas; the arena of contestation that would become so significant for contemporary painting of the 1950s.Post-War Paris was a hotbed of artists and intellectuals. It was a place and time without equal, from which flourished much of the philosophy, art, and literature that would be exported to New York in the following decades. Herrera's circles testify to her place in history and the respect she earned from those at the centre of cultural discourse in period: she was close friends with Jean Genet, Yves Klein and his family, sat across from Jean Paul Sartre and Simone de Beauvoir at the Café de Flore, dined with Barnett Newman on regular weekends, and was an audience member in the first production of Samuel Beckett's Waiting For Godot. On her return to New York in the 1950s, Herrera pared back her work to the harsh minimalist guise she is so fondly revered for, one of the earliest adopters of this newfound style. Her paintings now featured typically only two colours; angular lines became singular arcs; the plane of the canvas delineated into expansive, independent forms. Her fascination with line and form became her signature, famously stating 'I never met a straight line I did not like' (the artist in an interview with Simon Hattenstone, 'Carmen Herrera: 'Men controlled everything, not just art'', Simon Hattenstone, The Guardian, 31 December 2016, online). Undoubtedly, much has been said of the dialogue between her paintings and those of Ellsworth Kelly, Frank Stella, and a generation of minimalist artists who formally emerged in the 1960s, years after Herrera had arrived on the New York scene with her vivid, breakthrough style. In spite of her being overlooked by galleries and museums alike, her place at the forefront of contemporary painting since the 1950s is now regarded as hugely significant and enduring. Her unrelenting commitment to her own practice continues to be deeply engaged with the surface and object-oriented experience of painting – resolving her canvases in the simplest, discrete, pictorial frames she can achieve.Major reassessments of artist's careers are rare, and still more during the artist's lifetime. But no one has drawn quite such praise or unanimous admiration for their late-life success as Herrera. As it was in the 2000s, institutional recognition for the artist began to gain traction, and her first retrospective exhibition in Europe took place at the IKON Gallery in Birmingham, U.K., in 2009. It was her large-scale retrospective Carmen Herrera: Lines of Sight at the Whitney Museum of American Art, however, that reestablished the history of Minimalism with Herrera in full view, exhibiting over fifty works from 1948-1978. As her career will continue to be evaluated and celebrated, Untitled stands as one of a limited number of paintings as yet to come to market. Now in global museum collections including the Museum of Modern Art, New York, the Tate Collection, U.K., and the Kunstsammlung Nordrhein-Westfalen (K20), Düsseldorf, her legacy as an artist in the realms of Kelly and Stella is assured. An exceptional late painting by one of the most underappreciated artists of the modern era, Untitled is an exquisite example of Carmen Herrera's characteristic style. In spite of her setbacks and discounts, her fortitude in the face of adversity is testament to her rightful place in the canon, and the present work boldly displays the prowess and mastery of craft of a truly historical talent.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 20
KAWS (B. 1974)UNTITLED (US) 1997 signed and dated 97; signed on the backing paperacrylic on existing advertising poster127 by 66.3 cm.50 by 26 1/8 in.Footnotes:ProvenanceAcquired directly from the artist by the present owner in 1998ExhibitedNew York, bOb Bar, KAWS: Me vs Them, 1998Witty, provocative, and sophisticatedly playful, the bold and brash imagery of international contemporary artist KAWS (the nom de guerre of Brian Donnelly) is undeniably iconic and instantly recognisable. From the cartoon-like figures with X-ed out eyes through to the appropriation of such recognisable cultural icons including the Simpsons, the Michelin Man and Elmo, to name but a few, KAWS has created a body of work that is comparable to the likes of Jeff Koons, Takeshi Murakami, or Damien Hirst – period-defining superstars whose work has spanned an enormous breadth of media and captivated audiences around the world. A street artist who has risen to become one of the most celebrated contemporary artists of his day, KAWS' indoctrination into the fold of blue-chip artists has reached a new high, currently honoured with a mid-career retrospective at the Brooklyn Museum, New York. Beginning his career as an illustrator and street artist in the early 1990s, roving the busy streets of New Jersey and Manhattan in his youth, Donnelly graffiti-bombed buildings and trains with his notorious KAWS tag. Like many street artists who have graduated to the realm of contemporary art, including Banksy, STIK, and Blek Le Rat, his pseudonym has become inseparably tethered to the aesthetic and motifs of his practice – becoming a fully-formed identity that is impactful and unique. Tagging the urban landscape, however, was not enough for the young artist who soon began to apply his iconography to street-furniture and bus-shelter advertisements. This diversion from the street-art norm was a catalyst for the artist, engaging in a dialogue with the brand names and faces of fashion and photography that plastered the trendy streets of Manhattan. Working quickly and effectively, the artist removed the original posters and replaced them with the versions that featured his now iconic cartoon-like figures, drastically altering the message and aesthetic of the existing adverts. Archival footage exists of KAWS appending his banners to shopfront displays in mere seconds, before disappearing into the crowd. In the teeming streets of a bustling metropolis like New York City, his imagery reached an enormous audience; and yet the vast majority of the public were unaware of any difference to these mass-produced adverts that lined the streets. KAWS' pictures infiltrated and fed stealthily into the landscape of the city, becoming part of the genetic code of the urban sprawl. The artist's quiet rebellion has exploded to become a global phenomenon in little more than a decade, from these pivotal beginnings, rearranging the characters of adverts, to floating a monumental, inflatable 'companion' in Hong Kong's Victoria Harbour in 2019. Untitled from 1997 is a superb example of one of KAWS' early 'subvertising' works. In the present painting, American actor Ellen Barkin is featured on the cover of US Weekly magazine, a source of celebrity gossip and entertainment. Scantily clad with her arms crossed over her chest, Barkin is a symbol of popular culture – the glamourised queen of public interest. Here, KAWS obscures the figure's face in his trademark skull and bones, the serpentine body wrapping around Barkin's torso in a seemingly loving embrace. Somewhat uniquely in such a work, we see the fastidious sculpting of paint here, building a gorgeously three-dimensional sense of one of his 'companion' creatures that are so often rendered in a flat cartoonish style. Rather than viewing it as a defacement of these advertisements, KAWS' imposed collaborations with the original photographers – many of whom he admired – should be viewed as a type of cumulative cultural interface; what is the product of high fashion and low tabloid fodder alike, becomes the artistic underpinnings for the street artist. In this vein, the artist elaborates: 'When I started painting on advertisements, it occurred to me that the ad really set the work in a specific time. You could look at a dozen walls and an untrained eye might not be able to distinguish the difference between the 80s and 90s. When you paint over ads, it clicks especially with the phone booths I was doing. There was these Calvin Klein ads of Kate Moss or Christy Turlington. I think that is when I realized it was more about communication. There was a dialogue to it' (the artist in: Tobey Maguire, 'KAWS', Interview Magazine, 27 April 2010, online).One of the most significant artists to inherit the mantle of Pop Art, the artist's use of pop culture icons, the slick surfaces of advertising and editorial material, as well as his own collaborative work with fashion houses, has constructed a bold but subtle critique of consumerism. KAWS collaborative work began with the Japanese company Bounty Hunger, creating his first toy, a vinyl figure of Mickey Mouse with his famed X-ed out eyes. KAWS has since produced a large variation of toys and figurines with his graphic motifs. Immensely popular, transcending the world of traditional fine arts, these mass-produced pieces have a flavour of Andy Warhol's factory to them, producing works on the scale of a commercial enterprise of mass production. A superlative, unique work, originally exhibited in one of KAWS' earliest exhibitions at bOb Bar on the Lower East Side in 1998, this Untitled painting comes to market as one of the artist's early and important 'subvertising' works; such examples are incredibly rare and highly sought-after by collectors. Acquired directly from the artist at this underground exhibition, it has remained in the same private collection ever since and is a supremely significant work by one of the most influential and recognisable contemporary artists of his generation.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 29
PARKETT MAGAZINEVolumes 1-92 (in 91 parts) 1984-2013 Each: 25.4 by 21.3 cm.10 by 8 3/8 in.Footnotes:ProvenancePrivate Collection, LondonFounded in the early 1980s, Parkett magazine has been the leading contemporary arts journal since its first edition – included in this collection – hit shelves in 1984. 'Parkett will be partial and bold in discussing notable, yet unnoted undercurrents, and quick to recognize new developments in the bud. We are aiming to produce a vehicle of direct confrontation with art, providing not only coverage about artists, but original contributions by them', writes Bice Curiger, who is the current Director of the Fondation Vincent van Gogh in Arles, as well as the lifelong Editor-in-Chief of Parkett until its ceasing publication in 2017 (cited in: Parkett, no. 1, 1984, p. 1). Defining a new standard for arts publications, featuring some of the finest academics and young talents of their day who have risen to the heights of global superstardom, this exceptional collection of 92 editions – each with a unique, artist-designed cover and editorial feature – represents a must-have for any discerning collector.For further information on this lot please visit Bonhams.com
Lot 8
ALBERT OEHLEN (B. 1954)Untitled (Baum 18) 2014 signed, titled and dated 2014 on the reverseoil on Dibond375 by 250 cm.147 5/8 by 98 7/16 in.Footnotes:ProvenanceGagosian Gallery, New YorkPrivate Collection, TurkeyAcquired directly from the above by the present ownerExhibitedZürich, Kunsthalle Zürich, Albert Oehlen: An Old Painting In Spirit, 2015Cleveland, Cleveland Museum of Art, Albert Oehlen: Woods near Oehle, 2016, no. 22, p. 57, illustrated in colourAn artist of uncompromising versatility whose punkish resolve has consistently challenged the prevailing painterly mores of his day, one cannot consider the arc of contemporary painting without placing Albert Oehlen at the apex of its developments since the 1980s. Presented here, from one of his most accomplished and novel series, the Baumbilder (tree paintings), Untitled (Baum 18) is a monumental example of Oehlen's bombastic style at its most distilled, harmonious, and complete. A painting included in prestigious institutional solo exhibitions at the Kunsthalle Zürich (An Old Painting In Spirit, 2015) and the Cleveland Museum of Art (Woods near Oehle, 2016), such museum-quality, exhibited examples from this series are rare to market. Capturing the mature style of an artist whose legacy is cemented in the academic and commercial annals of the art world, the short yet illustrious history of Untitled (Baum 18) is testament to its importance as one of the most prodigious works by Oehlen in recent decades. Oehlen's career has been defined by his brazen and anarchic attitude towards painting. Establishing himself in earnest in the early 1980s, Oehlen emerged as a young maverick associated with the European arm of Neo-Expressionism; a group dominated by his compatriots Gerhard Richter, Sigmar Polke, and Georg Baselitz. Despite owing much to this generation of painters who had synthesised a renewed form of gestural, figurative painting, and sought to revive the medium from its critical diminution in Minimalism, Nouveau réalisme and Conceptualism, it was with his close friends Martin Kippenberger and Werner Büttner that Oehlen rejected the old hat 'expressionism' of the prevailing ideology. Oehlen's resistance was pointed, witty, and unpredictable, resolving to upend the solemn ground of the artist's canvas by employing humour and parody as equally as criticism. A central protagonist of the Junge Wilde – the 'young wild ones': a group of German, predominantly Berlin-based, artists in the 1980s – Oehlen produced work that at once cited and sabotaged artistic traditions; calling painting into question to create new perspectives.He collided styles, colours, surfaces, and subjects, producing what he termed 'bad paintings' towards the end of the 1980s; disorganised, layered canvases that sought to subvert the academic narrative that upheld the sincerity of figurative, expressive painting. Oehlen engaged the medium itself, using the plastic syntax of the surface to create arrangements that were intensely abstract and kaleidoscopic, yet operatic, sonorous, and grand in their ambition. This musicality prevails across Oehlen's oeuvre. His intense working relationship with free-form jazz and electronica has informed the artist's technique from the earliest days of his career, working through organisation and improvisation to address the constraints of his chosen medium with absolute freedom. In this vein, 'Oehlen tries to do with painting what others (Coltrane, Zappa) have attempted in jazz or rock: to immerse the listener in a burst of overlapping, saturated and expansive strata, getting rid of any story-line. [...] Oehlen's painting-machine is a mixer that flings objects, images and traces into outer space' (Pierre Sterckx, 'Albert Oehlen: Junk Screens', Albert Oehlen, France 2005, n.p.).The oscillation between spontaneity and composition, abstraction and figuration, culture and counter-culture, underpins Oehlen's practice. 'I am convinced that I cannot achieve beauty via a direct route,' the artist declares: 'that means working with something where your predecessors would have said, 'You can't do that'. First you take a step toward ugliness and then, somehow or other, you wind up where it's beautiful' (the artist in: Stephan Berg Ed., Albert Oehlen, Bonn 2012, p. 71). Consistently pushing the boundaries of painterly practice, using the latest technologies, supports and mediums to assemble his pictures, Untitled (Baum 18) – itself one of the most commanding paintings by the artist on aluminium Dibond – translates as a guitar solo in paint; combining passages of sharps and flats, tempo and fermata, Oehlen achieves a contained symphony that is perfectly pitched and magnificent to behold. Approaching his practice with such a variety of impulses, constraints, and source material, Oehlen's intuitive and restless spirit shares much with the Post-Conceptualism of American painters Christopher Wool, Steven Parrino, Richard Prince, and Barbara Kruger. Whilst the strictly American branch of contemporary painting has its genealogy in Pop Art, unpacking and deconstructing the aspirational, glamourised image of late capitalism to reveal the Nietzschean tragedy at its core, the intensity with which these artists have rebuked the status quo, reclaimed cultural archetypes and inverted their creative medium is absolutely in step with Oehlen and the contrarianism of the Junge Wilde that broke with the stalwart expressionism of the 1970s and 80s. Oehlen, alongside Kippenberger, Büttner, Jörg Immendorff, and A.R. Penck, remains the principal catalyst and origin of a new wave of painting that continues today in the work of Adam Pendleton, Joe Bradley, and Josh Smith. In Untitled (Baum 18), the virtuoso hand and command of his medium is patently clear; no one element is overweight, misplaced, or imbalanced. It is a work of astonishing clarity. Imposing in scale, yet contemplative and austere, Oehlen's compositional mastery plays out across the present work in discrete passages of variegated paint folded over one another, teetering between figuration, landscape, and abstraction. Capsizing the figure-ground relationship, Oehlen achieves an almost ethereal quality here. Rendering the painting a stark white, with glimmers of an underpainting reaching through, the crisp arpeggio of blue translates as a window onto a paling horizon, over which the systematic arms of the artist's tree is suspended.For Oehlen, the tree is as much an abstraction of its constituent parts as his given subject matter, once referring to the tree as a 'program' for his paintings, not just a motif: 'In the beginning, when I first had the tree in the painting, I needed some motif. I thought, the tree, ah! [...] Then I started thinking, what makes it a tree? I can go here, I can go there, and whatever I do, it is still a tree as long as there's something in the middle rather thicker to the outside' (the artist in: Nate Freeman, ''I Just Enjoy Making a Big Mess,': Albert Oehlen on His Deconstructed Tree Paintings at Gagosian', ARTnews, 14 April 2017, online). The tree as both an image and as a formulaic approach to picture-makin... This lot is subject to the following lot symbols: * AR TP* 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.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 75
Bosendorfer (c1960) A 5ft 7in? Model 170? grand piano in a bright ebonised case on square tapered legs. This instrument is sold with an Article 10 Certificate due to the use of ivory in the construction of the keyboard. Cert No. 597928/01. This piano was awarded to the internationally renowned concert pianist Rosemarie Wright as first prize in the Bosendorfer Prize of 1960 (the first British pianist to achieve this accolade) and was only ever owned/ played be her.
Lot 78
An Art Nouveau electroplated and glass trumpet epergne c.1910, partial stamped marks possibly S.T & Co, EPNSThe scrolling tripod frame having four holders to support the the frilled opalescent glass trumpets32.5 cm highMetal frame: structure good. Surfaces with light natural wear in keeping with age and use; some tarnishing. Blemish to underside of hoop base. Of the makers marks the first letter is indistinct and may be an S.Glass: it is possible that the top trumpet maybe a replacement as the colour at the ends is not quite the same as those on the sides and is slightly smaller. The end of the central trumpet has chips to it. The three side trumpets have ground ends and are in overall good condition.
Lot 96
An Art Deco enamelled glass cocktail setc.1935Comprising: cocktail decanter with cover, and six glasses with flared bowls, plain stems and a circular spreading foot, each piece decorated in colours with cockerels, with red rims, 21.5 cm high and 11.5 cm high respectively; together with another cocktail glass set comprising: a decanter and stopper and five glasses, each enamelled with a cockerel, 20 cm and 10.5 cm high respectively; together with a set of 12 glass cocktail sticks, probably Italian, each terminating with a bird, in card box, sticks approximately 11.5 cm long (25)First set with red rims: Some wear to stopper shank with some chips to the ends and wear to edges and in collar of decanter, plus a few tiny nicks; wear to base. Glasses in overall good order with light wear. Enamel good.2nd Cocktail set: some aging and wear to the enamel, with some traces of gilt to edges, but mostly faded. Natural wear in keeping with age. There are a few chips to the stopper. Chip to foot of one glass.Glass cocktail sticks: no damages detected. Some dirt. Plain card box old and falling to bits.
Lot 80
Warden (William), Letters Written On Board His Majesty's Ship The Northumberland and at St Helena ........ of Napoleon Bonaparte, 2nd edn, frontis, plt, folding facsimile, cl, (bds detached and taped), 8vo, 1816, two other early-19th century volumes and A Short History of Napoleon the First by J R Seeley, cl gt, 8vo, 1886, (4).
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