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Lot 118
René Lalique (French, 1860-1945): An Opalescent, Clear and Frosted Glass Rampillon Vase, moulded with protruding lozenges on a flower ground, wheel cut mark R LALIQUE FRANCE and etched No.991,13cm highVery tiny nicks to the rim, some light surface wear (tiny scratches) on the protruding decoration.
Lot 628
Marcel Dyf (1899-1985) "Summer's Beauty" Signed, oil on canvas, 54cm by 45cmProvenance: E Stacy-Marks Ltd, EastbourneSome light surface dirt, the odd hair and brush bristle trapped within the paint. Paint thin in places by application and areas where the canvas is exposed, partucluarly around the flowers. Possible loss approximaltey 0.5cm to the area of greenary below the white flower at the top of the vase, this may be by design? Possible shrinkage to the green paint to the left of the dark red flower left of centre and also to the lower left corner. This may also be by design? Brown spots to the upper left of the slip. See images.
Lot 520
Tom McGuinness (1926-2006)"Pipe Men"Signed and dated (19)65, oil on board, 65cm by 90.5cmProvenance: Purchased from the artist by the vendor's fatherThence by descentSome light surface dirt. Slight rubbing to the outer edges of the board with associated losses, most noticible to upper right edge. Superficial surface scratch top right corner. Otherwise appears in good overall condition.
Lot 507
After Laurence Stephen Lowry RBA, RA (1887-1976)"St Simon's Church"Signed and numbered 128/300, a black and white reproduction, 40cm by 29.5cmVery slight cockling to the paper. White mark approx 1cm to the sky above the right edge of the church (this may be by design). Tiny brown mark to the sky right hand side, left of the top of the right building. Some light surface dirt trapped under the glass. Not examined out of the frame.
Lot 501
After Laurence Stephen Lowry RBA, RA (1887-1976)"The Pond"Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 45.5cm by 58cmThe piece is down on colour. Slight cockling to the paper. Time staining to the exposed areas of the margins with scattered feint medium/large sized foxing throughout the margins and the image itself. Time staining to the mount. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Lot 515
After Laurence Stephen Lowry RBA, RA (1887-1976)"Berwick-on-Tweed"Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 55.5cm by 43.5cmCockling to the paper throughout. Sporadic tiny sized foxing spots in evidence, in particular to the exposed areas of the margins and to the left of the church spire. Time staining to the mount, some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Lot 519
Tom McGuinness (1926-2006) "Pipe Men" Signed and dated (19)65, mixed media, 32.5cm by 45.5cmThis work is a preparatory drawing for the oil painting of the same name. (see lot 520)Over the course of his career, Tom McGuinness (1926-2006) created an extraordinary and highly personal artistic record of the life of a miner in the North East.Born into the poverty-stricken community of Witton Park, which was still feeling the effects of the closure of the nearby smelting works at the end of the 19th century, McGuinness showed an early talent for drawing. Leaving school in 1940, he held several odd jobs before being conscripted into the mines as a Bevin Boy, to help bolster a shortfall in the coal industry left by an aging and dwindling workforce. Throughout the course of his 39 years in the mines, McGuinness worked in many of County Durham’s collieries, and whilst it provided a stable income for him and his family, the ever-looming extremes of mining – the backbreaking work, the constant threat of injury and death, the harsh conditions – sparked a creative urge in him. The mines proved a powerful inspiration, and he turned his experiences into an important body of art.With the encouragement of his family and his colliery training officer, who spotted him drawing on the side of coal tubs, he enrolled in Darlington School of Art in 1944, but all the while continued to educate himself by studying human anatomy and visiting galleries and exhibitions in his own time. In 1948, however, he joined the Spennymoor Settlement – a miners’ education and recreation organisation – and came into the circle of writer Sid Chaplin, artist Norman Cornish and Bill Farrell, the Settlement’s director. Farrell was an exponent of experiential art, and encouraged McGuinness to paint what he knew, which was mining.A fine draughtsman, McGuinness gradually began to find his unique artistic voice by distorting imagery to powerful emotive effect. Line, tone, colour and composition were exaggerated and twisted to greater express what it felt like to be in the mines. The figures are quite literally shaped by the mines; they become hunch backed, rounded like the tunnels, their legs skinny and bowed to echo the arching props, whilst unnatural perspectives leave the viewer feeling off-balance and at the mercy of the sloping, twisting, coffin-like spaces, claustrophobic and vulnerable. Vibrant, almost surreal glazed colours heighten the unearthly, almost nightmare quality of his work. McGuinness lived this world every day, filling sketchbooks in brief breaks underground; he was a participant in his art not merely an observer.In 1958, his work was first shown in London at the offices of the Coal Industry Social Welfare Organisation, and in 1969 he was part of a collaborative exhibition at The Stone Gallery, Newcastle with Norman Cornish and Josef Herman, who painted the Welsh coalfields. Working in partnership with an agent, Lord Hirshfield, he secured his first solo London exhibition at the John Whibley Gallery, Cork Street in 1972 and went on to be the star of a BBC Omnibus documentary. By the time of his death in 2006, McGuinness had held over 50 solo exhibitions, with his work held in public and private collections throughout the world. Despite being made redundant in the early 1980s, McGuinness remained dedicated to portraying world of the miner and the changing face of the mining communities as the collieries gradually shut down. Today, his work remains a visceral reminder of the lives of generations of men and women in the North East.Lots 519-522 form part of a private collection. The vendor's father, Sidney Lockey was at Witton Park school with McGuinness and the two remained great friends throughout their lives. Lockey often visitied Tom's studio to watch him paint. Slight cockling to the paper. Some light surface dirt and debris trapped under the glass. Otherwise appears in good overall condition. Not examined out of the frame.
Lot 678
Sir Michael Craig-Martin CBE, RA (b.1941) Irish "Domesticated Nature, Vegetables" (2022) Signed and dated verso, from an edition of 35, screenprint, 84cm by 71cm Provenance: Cristea Roberts Gallery, London Some very light surface dirt and debris trapped under the glass. Appears in good overall condition. Not examined out of the frame.
Lot 677
Sir Michael Craig-Martin CBE, RA (b.1941) Irish "Domesticated Nature, Fruit" (2022) Signed and dated verso, from an edition of 35, screenprint, 84cm by 71cm Provenance: Cristea Roberts Gallery, London Some very light surface dirt and debris trapped under the glass. Appears in good overall condition. Not examined out of the frame.
Lot 613
Richard Pikesley RWS, PPNEAC (b.1951) “Against the Light, Weymouth” Signed, inscribed verso, oil on board, 24.5cm by 60cm Richard Pikesley regularly contributes to mixed exhibitions both in the UK and overseas, and has also written a book on landscape painting in a series edited by Ken Howard. He has said that painting for him is always an ongoing conversation between his eye and hand, and that he sees the world “in paint”. Some light surface dirt and discoloured varnish. Paint thin in places by application. Hair trapped within the paint, left of centre above the boats.
Lot 682
Tracey Emin CBE, RA (b.1963) "Go Forward" Signed and dated 2013, inscribed and numbered 125/200, etching, 37cm by 35cm Provenance: Royal Academy Summer Exhibition, London The paper has a deckled edge. The piece is float mounted. Slight cockling to the paper. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Lot 644
Mark Hearld (b.1974)The artist's dogSigned and dated (20)12, numbered 58/75, linocut, 55cm by 54cm Provenance: York Open StudiosVery slight cockling to the paper. Some thunder flies, light surface dirt and debris trapped under the glass. Otherwise appears in good overall condition. Not examined out of the frame.
Lot 638
Theresia van der Pant (1924-2013) Dutch "Phoenix" (1987) Bronze, 50cm highLiterature: "Theresia van der Pant Sculptress" by Beeldhauser, 1989, Amsterdam, p.50, no.105Sold together a copy of the above cataglouge Some light surface dirt. The odd minor surface scratch e.g one to the right of the neck. Un even texture by design. Slight verdegris marks to the underside, possibly caused by water? Areas with a white chalky surface deposit, especially to the reverse, this may be left over from the casting process? See images. Otherwise in good overall condition.
Lot 629
Antoine Blanchard (1910-1988) French"Notre Dame from the Place Saint Michel, Paris"Signed, inscribed and stamped verso with the artist's inventory number AB26, 31.5cm by 45cmProvenance: Christie's, London, "19th Century European Pictures", 13th September 2006, lot 67Some very light surface dirt. The odd brush bristle trapped within the paint. The frame has slightly rubbed the outer edges, in particular to the lower left side with minor associated losses and to the lower and upper right side. See images. Possibly some very minor tiny areas of craquelure to the paint above the shop to the top of the tree trunk, below the branches. Otherwise appears in good overall condition. See additional images.
Lot 500
After Laurence Stephen Lowry RBA, RA (1887-1976)"Landscape with Farm Buildings"Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 42.5cm by 52cmVery slight time staining in evidence to the margins, slight cockling to the paper. The odd tiny very feint foxing spot in evidence to the margins. Some very light surface dirt trapped under the glass. Not examined out of the frame.
Lot 514
After Laurence Stephen Lowry RBA, RA (1887-1976)"The Contraption"Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 34.5cm by 31cmSlight time staining in evidence to the margins, slight cockling to paper. The odd tiny very feint foxing spot in evidence to the margins. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Lot 554
Henry Moore OM, CH, RBA, RBS (1898-1986)"Mother and Child XIV" (1983)Signed, inscribed and numbered 60/65, etching and aquatint, 26cm by 21cmProvenance: Berkeley Square Gallery, LondonSlight cockling to the paper. Some very light surface dirt and debris trapped under the glass. Not examined out of the frame.
Lot 645
Mark Hearld (b.1974) "Pisanello's Hare" Signed and dated (20)08, artist's proof, lithograph, 54cm by 74cm Provenance: York Open Studios The paper is float mounted and has a deckled edge. Slight cockling to the paper throughout. Some light surface drt and debris trapped under the glass. Otherwise appears in good overall condition. Not examined out of the frame.
Lot 526
Mackenzie Thorpe (b.1956)"Breakfast"Signed, pastel, 38cm by 46cm Provenance: Arthaus, RichmondSome very light surface dirt and debris trapped under the glass. Tiny brown spot to the left edge behind the man's chair. Otherwise appears in good overall condition. Not examined out of the frame. Framed and glazed.
Lot 506
After Laurence Stephen Lowry RBA, RA (1887-1976)"The Reference Library"Signed, with the blindstamp for the Fine Art Trade Guild, a black and white reproduction, 26.5cm by 36cmProvenance: J Hilliard and Sons, BoltonVery slight time staining to the paper. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Lot 511
After Laurence Stephen Lowry RBA, RA (1887-1976)"People Standing About"Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 33.5cm by 51.5cmSome light surface dirt trapped under the glass. Possible vertical crease, approximately 8cm below the centre of the factory (upper left) down in front of the fourth figure's head. Not examined out of the frame.
Lot 505
After Laurence Stephen Lowry RBA, RA (1887-1976)"Great Ancoats Street"Signed and numbered 767/850, with the Henry Donn blindstamp, a black and white reproduction, 29cm by 38.5cmVery slight time staining in evidence to the margins. Some light surface dirt and debris trapped under the glass. The odd very tiny sporadic foxing spot in evidence to the margins. Small possible water stain to upper left corner of the mount. Time staining and light surface dirt to the mount. Not examined out of the frame.
Lot 508
After Laurence Stephen Lowry RBA, RA (1887-1976) ''Street Scene'' Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 27.5cm by 21.5cmSlightly down on colour. Very slight time staining to the margins, the odd tiny sporadic scattered foxing spot in evidence to the margins. Slight cockling to the paper. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Lot 1019
A Wilesco live steam stationary engine having a double-acting cylinder of approximately 15 mm stroke driving a 10 cms diameter flywheel, complete with boiler with access ladders and gantry, the burner, an inbuilt control panel and an exhaust condensate drip-tray. The pressed steel base 33 cms x 41.5 cms is in turn mounted on a wooden base with a dynamo, a small low voltage electric light and a current meter. Sadly the original chimney is missing but a brass tube that could be adapted is sold with the engine.
Lot 262
Castle Front Slot Machine ca. 1937, The Mills Novelty Co., Chicago, IL. Operated with 25¢ coins. Also known as the "Blue Front," it has a wood cabinet with a cast aluminum front, colored in navy with details of red and light gray. Complete with a single jackpot reserve. Showing an early repaint, with new reel strips and award card with replaced back door. Plays and pays. Comes with keys. Dimensions (H x W x D): 60 x 42 x 39 cm. Condition: Good. Location: The Netherlands, Tilburg.
Lot 297
1959 Williams Crossword Pinball Machine. The playfield is very good with bright graphics and little wear. The back glass is excellent and is tight with no lifting. The cabinet is good and is original, with light wear from use. Fully functional and playing. A real nice example of this wood rail pinball. Dimensions (H x W x D): 170 x 140 x 61 cm. Condition: Very Good. Location: The Netherlands, Tilburg.
Lot 459
This is an exceptional Bremond Mandolin Organocleide music box in walnut case with mixed wood burl. Plays six tunes, with strong key wound motor and great tone. Polished case shows little wear, light scuffs, and nothing that distracts from its overall beauty. A great music box from a distinctive maker. Dimensions (H x W x D): 26,5 x 76 x 33 cm. Condition: Very Good. Location: Switzerland, Degersheim.
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534325 item(s)/page