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Click here to subscribeSimeon Stafford (British, b. 1956): 'The Fishing Fleet', oil on canvas, signed, titled verso, 99 by 99cm, framed, 113 by 113cm.***Subject to ARR***Provenance: 'The Fletcher Gate Art Gallery' Nottingham collection, who acquired a significant portfolio of Stafford's work directly from the artist.
Simeon Stafford (British, b. 1956): 'St. Michael's Mount', oil on canvas, signed and dated '05', titled verso, 75 by 100cm, framed 97 by 123cm.***Subject to ARR***Provenance: 'The Fletcher Gate Art Gallery' Nottingham collection, who acquired a significant portfolio of Stafford's work directly from the artist.
20 British Quad film posters from the 1980s including The Gate (1987) artwork by Casaro, Society (1989), Local Hero (1983), Flashdance (1983), Mona Lisa (1986) artwork by Thomas, Any Which Way You Can (1980) artwork by Peak, Silverado (1985) artwork by Dudash, The Emerald Forest (1985) artwork by Bysouth based on a Fair design, The Postman Always Rings Twice (1981) artwork by Fair, Sharkeys Machine (1981), Battle Beyond the Stars (1980), Leviathan (1989), artwork by Casaro, etc, folded, 30 x 40 inches (20).
Emma Elena Mihai‘Ambition of Bristol’Acrylic paint on a hollow fibreglass statueMeasures: 229 x 50 x 209cmApprox weight: 57kgAmbition of Bristol sculpture represents a map of Bristol highlighting the main cultural places in the city where all the unicorn sculptures can be found. A very abstract artictic composition that summaries the lively character of the place, a city that is rich in the artictic lifestyle, architecture and greenery.The unicorn which was designed and painted by Emma Elena Mihai has stood proudly at the front gate of Bristol Cathedral all summer, overlooking college green. It has now returned, is in tip-top condition and is finished in an anti-graffiti lacquer. UK Delivery Charges by postcode can be found here: unicorndelivery.tiiny.site
POSTCARDS - MAINLY TOPOGRAPHICAL Approximately 280 cards, comprising real photographic views of New Street, Chipping Norton; Town Hall, Chipping Norton; Market Place, Faversham; The Rose & Crown, East Harnham, Salisbury; The Village, Bramhall; King Harry Ferry, Truro; Chamberlain Place, Birmingham; Fisher Street, Sandwich; Circular Quay, Sydney, N.S.W.; Bourke Street, Melbourne; and Flinders Street, Melbourne; with printed views of Painswick Post Office; The Causeway, Horsham; The Hut, Walton-on-Thames; Broad Gate, Ludlow; The Village, Burraton; Ye Merrie Bells, Wheatley; High Street, Haselmere; Park Wells Pump Room, Builth Wells; advertising cards for Britannia Dyeing & Cleaning Co.; Fry's Chocolate; and Clarnico; and others; together with a quantity of modern, mainly oversize cards, (album and loose).
PAUL NASH (BRITISH 1889-1946) SILBURY HILL Watercolour and pencil Signed (lower right) 38.5 x 57cm (15 x 22¼ in.)Executed in 1938. Provenance: Private Collection, C. Allsopp, by whom sold Christie's, London, Modern British Drawings, Paintings and Sculpture, 20 March 1970, lot 180 Agnews, London (by 1971) Private Collection, Harold Riley Christie's, London, 20th Century British Art & Irish Art, 19 November 2004, lot 97, where purchased by Robert Kime Exhibited: Newcastle-upon-Tyne, Northern Arts Gallery, Paul Nash 1889-1946, September-October, 1971, no. 34 London, Tate Gallery, Arts Council of Great Britain, Paul Nash Paintings and Watercolours, November-December 1975, no. 175 (loaned by Harold Riley) Literature:Andrew Causey, Exhibition Catalogue, Paul Nash 1889-1946, Newcastle, Northern Arts Gallery, 1971, p. 15, no. 34 pl. 12 Andrew Causey, Paul Nash, Oxford, 1980, pp. 265-6, cat no. 952, pl. 312 Silbury Hill, located near Avebury in Wiltshire is the largest artificial mound of its kind in Europe. It is believed to have been completed around 2400BC and is similar in scale to the pyramids in Egypt. The purpose and significance of the mound are unknown and remain the subject of much speculation. Given Nash's fascination with pre-historic sites and the spiritual qualities of the English landscape, it is unsurprising that Silbury Hill was of interest to him. Nash first visited Silbury Hill and the nearby stones at Avebury in July 1933 whilst on holiday in Marlborough. According to Ruth Clarke, who travelled with him, Nash was 'excited and fascinated' by the landscape which appealed to his 'sensitiveness to magic and the sinister beauty of monsters' (cited in Andrew Causey, Paul Nash Landscape and the Life of Objects, 2013). The ladder laid against the hill in the present work was a figment of Nash's imagination which derived from his interest in the idea of something rising out of the earth or up from the water and creating a new form above ground. A postcard found in Nash's collection depicts a ladder inside a pit at the excavation of Maiden Castle leading upwards from the ground beneath. This postcard alongside the watercolour of Silbury Hill, is discussed by Andrew Causey in his 1980 publication on the artist:.:'Silbury, as might be expected, intrigued Nash: its clear, plain, and - to Nash - symbolic shape was both palpable and inscrutable. In the oil painting Silbury Hill [Causey no. 880] he hinted at its symbolical meaning, its special, reserved ambience, with the closed gate and the pyramidal tumulus beyond, while constructing at the same time elaborate formal congruences of triangles within the over-all design. In the slightly later watercolour [the present work] he revealed a little more of his reaction to the hill's shape by adding a ladder leaning against the mound in front of it. This was no more than a now familiar Nash image, but there could be special interest in this if the idea was suggested by a postcard he had of Maiden Castle [Causey pl. 313]. It is not just that both are sites of ancient occupation, but that the postcard and watercolour are complementary images: in one the ladder comes up out of a dark pit, in the other it seems to continue its journey up the side of the hill; the sequence seems a characteristic product of Nash's mind' (see A. Causey, Paul Nash, Oxford, 1980, p. 265). Condition Report: Examined out of glazed frame. The sheet is stuck down to the card backing along each edge. Staining to the extreme edges of the sheet. Very slight undulation to the sheet. Light spotting scattered across the sheet most notable to the sky and to the upper landscape, however this does not appear to be a result of moulding or foxing. This damage does appear to be treatable. Please contact the department on pictures@dreweatts.com for more details. The colours are strong and there appears to be no other significant condition issues. Condition Report Disclaimer
Vintage letter collection 7 on headed paper and 2 unheaded paper. The master's Lodge Trinity College Cambridge DEC 16TH 1946, All Souls College Oxford, The Hirsel Coldstream Berwickshire Oct 70, House of Lords 23 June 70,7 Kingston House North Princes Gate June 16 1955,1 Carlton Gardens July 8, 1923? 1973? and others. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
ERROLL GARNER; albums to include 'The Most Happy Piano' on US Columbia, 'Informal Piano Improvisations' on Baronet US pressing and UK pressings of 'All of Me', 'Campus Concert', 'Amsterdam Concert', etc, together with three albums by Dave Brubeck 'Brandenburg Gate Revisited', 'Jazz Impressions of New York' and 'Time Further Out'.
Three wristwatches and a watch bracelet, a lady's 9 carat yellow gold bracelet watch, oval baton dial in a 9 carat case with integral 10mm wide gate link bracelet 17.5cm long, gross weight 17.6g; a lady's Everite wristwatch with a circular mother-of-pearl effect dual in a 9 carat yellow gold octagonal case with rolled gold bracelet; a vintage wrist watch with 9 carat gold case hallmarked London 1928; a 10mm wide rose metal expanding gate link watch bracelet, gross weight 21.5g. MCondition report:The individual watch bracelet is marked 9c to the side of one link.
A collection of gold, silver and costume jewellery, an 18 carat yellow gold buckle ring, damaged, 3.9g; a garnet three stone ring, in 9 carat yellow gold mount size P, gross weight 2.9g; a 9 carat yellow gold fancy link chain, 3.4g, 46cm; a ruby, sapphire and diamond heart pendant, in gilt metal marked 925, on a gilt metal trace link chain, marked 925; silver half-hinged bangle; agate pendant in white metal, on a white trace link chain; silver charm bracelet with five charms; Silver Jubilee ingot; silver-gilt trace link chain; silver St Christopher; silver-gilt chain; white metal gate link bracelet; vintage plastic snake bangle; and other costume jewellery.Qty: 1 box
A Trifari suite of jewellery, matching gilt metal necklace, bracelet and circular brooch with a polished and stippled finish, necklace 7cm wide, length adjustable 40cm, bracelet 15mm wide, length 18cm, brooch 45mm diameter, all marked Trifari ©; a silver 15mm wide gate link bracelet with padlock fastener, pair of marcasite and simulated pearl earscrews; other costume jewellery and wristwatches.
James Gillray (English, 1756-1815) ‘’Clearing a Five-Bar-Gate’’, dated 1805, 265 x 358mm. BM Satires 10481;‘’The Sound of the Horn!- or, the Danger of Riding an Old Hunter’’, dated 1807, 250 x 355mm. BM Satires 10803;‘’The Military Caricaturist’’- ‘’his Satires are as keen as the Back of a Rasor; and having but Three Ideas in the World, two of them are borrowed & the Third, nobody would own’’, [Presumed to mocking the amateur satirist, General Davies, as retribution for having slighted Gillray], dated 1799, 345 x 250mm. BM Satires 9442;‘’A Slice of Glo’ster Cheese’’, [a portrait of Prince William Frederick, the son of the Duke of Gloucester and Edinburgh], dated 1795, the image within an oval border, 255 x 130mm. BM Satires 8716 and‘’Patern-Staff. Weymouth 1797’’, dated 1797, 250 x 165mm. BM Satires 9070,hand-coloured etched caricatures, published by Hannah Humphrey (5)***CONDITION REPORT***The caricatures tipped-in, two to one side, three to the other, of an early 19th century blue paper folio album leaf.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
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