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Lot 1202
§ Harold Wyllie (British 1880-1973), H.M.S. Raleigh leading the last Squadron of the Royal Navy ever put to sea under canvas, in 1899, oil on canvas, signed lower left, 46 x 81.5cm, together with a print of the same subject (2). Both framed, the print glazed. Commissioned by the makers of Senior Service Cigarettes. This lot is being sold on behalf of the charity ShelterboxPlease note that Artist Resale Right be may additionally payable on top of the hammer price for this lot, up to a maximum of 4% of the hammer price. Visit DACS.org for more information. Condition Report: § Canvas relined, no visible retouching under u.v. light, very slight surface dirt, may possibly benefit from cleaning.
Lot 1126
Large Chinese silver two handled pedestal bowl embossed with two four toed dragons amongst clouds, signed LC Ltd Sterling (LEECHING), the hardwood base with unmarked presentation band " Presented by China Light & Power Co. Ltd. Kowloon, Hong Kong." H 20cm 48oz 1495gm (including band). Together with twelve matching smaller bowls, H 8cm, each 5.5oz 172gm ( including band ) total gross weight 114oz 3559gm Condition Report: The main large trophy cup is detached from its base as are two of the smaller trophy cups. Overall condition is good with surface scratches and general age related wear.
Lot 1210
David Roberts (Scottish 1796-1894). Cathedral interior, oil on canvas, signed lower left, inscribed on label verso: Bought at the sale of Mr Becknoll's effects - son in law of David Roberts by Mr Osborne 17 Edward St, Hampton Road, 31 x 25.5cm. FramedCondition Report: Craquelure throughout, minor retouchings visible under u.v. light, heavy varnisdh, would benefit from a clean.
Lot 1230
G. Morris (19th century), A watermill in a wooded landscape, oil on panel, signed lower left, 25 x 30.5cm.; together with J. Pitt (19th century), A Bridge in a landscape, Northam, oil on canvas, 27.5 x 33.5cm.; and English School (19th century), Lake landscape, oil on board, 13 x 36cm. (3). All framedCondition Report: Watermill: minor retouching visible under u.v. light, may benefit from a clean. Bridge: needs a clean. Lake landscape: needs a clean
Lot 1122
A Tiffany sterling silver folding compact of oval hinged form, width 5.5cm, a Tiffany sterling silver folding miniature vanity mirror, length 10cm, a miniature silver funnel, 3cm and a white metal scent bottle (4)Condition Report: Both mirror and compact in good condition, no obvious damage just light surface scratches and general age related wear.
Lot 311
A small collection of late 19th/early 20th century oil lamps, all with moulded pink, light green and cream/orange centres, all with brass columns and on black circular bases, with shades and flumes. Along with an ornate etched glass shade with figural design. (4) Further details: all untested, general wear, some slight nibbles commensurate to age.
Lot 292
Napoleonic Era: Continental School (early 19th Century) Portrait miniature of an Officer in light blue Cavalry tunic, silvered ball buttons and Austrian style knots to the front, fur trimmed collar, his black hat fitted with double headed eagle badge, white feather plumes possibly Russian oval, gouache on card, 7.5 x 6cm, in yellow metal frame and backing
Lot 304
A Modern Chinese style hardwood jewellery box, of stylised shape with two drawers to top and two doors opening to show three long drawers inside, approx. 34.5cm wide x 25.5cm high. Along with a 20th century oak cased three decanter tantalus, metal mounts and handle, with three porcelain labels - Whisky, Rum and Port. (2) Further details: general wear to all parts, some light loss, loose piece to Chinese box side.
Lot 269
A 19th century Indo-Persian Zaghnol or ‘Crow’s Beak’ axe. Polished wooden haft with knop finial. Iron head with stylised dogs heads decoration, plus a square cross section spear point to the tip. The tang to the spear point is set into a slot cut into the haft, and extends around two thirds of the length. The tang is secured to the wood by means of 4 diamond shaped rivets. The flat square section of the axe head has a small hole set into it, which has possibly had a small elephant finial in the past, but is now absent. Approximately 64cm length. Condition: Generally good and solid. The wood haft has a good even colour and patina, with a just a small age related crack to the knop end. The axe head has darkened with age, with just some light surface rust spotting in places. The axe head will swivel if turned, but is still securely set onto the metal mount.
Lot 28
A 19th century finely carved 9ct gold mounted cameo brooch, carved to depict Phoebus Apollo, the god of the sun, taking the sun by his chariot, preceding him is Aurora, the goddess of dawn and her companion Lucifer, the genus of light, elongated oval form with fancy decorative pierced border, length approx 60 x 38mm, C clasp and later base metal pin, total gross weight approx 11gms signed to reverse but not legible Further details:good intact, minor wear commensurate with age
Lot 342
Frans Pourbus d. J., 1569 Antwerpen – 1622 Paris, zug.GemäldepaarHAND EINES HERREN MIT BUCHsowieHAND EINER DAME MIT TUCHÖl auf Leinwand. Doubliert.je 29 x 18 cm.Die beiden Gemälde entstammen wohl als Ausschnittfragmente einem Doppelbildnis eines Paares von höfischem Rang. Gezeigt ist die linke Hand eines Herrn, der ein in Pergamentleder gebundenes Buch oder Brevier hält, als Attribut seiner Bildung. Die gekrausten Rüschen des Hemdes treten aus dem Ärmel hervor. Das Gegenstück zeigt die Hand einer Dame, die ein weißes Tuch mit Spitzeneinfassung hält. Am Ringfinger zwei fein gearbeitete Goldringe mit Steinbesatz, dem Zeitstil entsprechend. Feinmalerei von hohem Rang, die auf den namhaften Künstler Pourbus zutrifft. Auffällig qualitätvoll das Inkarnat und die entsprechenden Schattierungen. Unter UV-Licht sind noch feine Textilstrukturen in dem die Hände umgebenden Schwarz auszumachen. Die Datierung in der oberen linken Ecke der Damenhand „Anno 1650“ nennt wohl das überlieferte Jahr der Entstehung des einst großformatigen Gemäldes. A.R. (1391671) (11) (†)Frans Pourbus the younger,1569 Antwerp – 1622 Paris, attributedA pair of paintingsHAND OF A GENTLEMAN WITH BOOKandHAND OF A LADY WITH CLOTHOil on canvas. Relined.29 x 18 cm each.High-ranking fine painting attributed to the well-known artist Frans Pourbus. The flesh tones and the corresponding shades are of striking quality. Under UV light, fine fabric structures can still be seen in the black paint surrounding the hands. The date in the upper left corner of the woman’s hand “Anno 1650“ probably indicates the date in which the once large-format painting was created.
Lot 39
Bedeutende Roentgen-Coiffeuse77 x 91 x 63,5 cm.Neuwied, 1770/75.Beigegeben eine ausführliche Dokumentation von Christine Cornet, Sachverständige für antikes Mobiliar, München.Auf Eichen- und Nadelholz furniert in gefärbtem Ahornholz, sog. bois de tabac und andere helle Furnierhölzer, Zedernholz und Kirschbaumholz mit Montierungen in Messing, Eisen, vergoldeten Bronzen und Silber. Die Sichtflächen mit Blumen- und Schleifenmotiven marketiert. Über vier leicht geschweiften gekanteten Beinen der bewegte Korpus. Der einzige Schub mit innenliegendem aufklappbarem Pult. Das Zentrum der Deckplatte aufklappbar mit inwendigem Spiegel. Die Seiten der Deckplatte nach links und nach rechts mittels Scharnier aufklappbar. Darunter jeweils gestreift marketierte Jalousien, die jeweils nach hinten herabzurollen sind. Darunter ein großes Schubfach bzw. ein vierfach geteiltes quadratisches herausnehmbares Kompartiment mit darunter- wie auch dahinter liegendem tapeziertem Kompartiment. Das Möbel birgt neben den von oben zugänglichen Fächern drei Schubladen: Zwei schmale Laden unterhalb der Seitenfächer, die mechanisch zu öffnen sind und der zentrale eingangs erwähnte Schub. Seitlich zu öffnende schwenkbare kleine Schublade, der ein Tintenfass, Sandstreuer und ein Federfach – jeweils in Silber ausgeführt – eingegliedert ist.Literatur:Vgl. Georg Himmelheber, Ein Roentgen-Möbel von 1772, in: Weltkunst, 15. November 1974, S. 2043.Vgl. Georg Himmelheber, Schlossmuseum Gotha. Ein Kommodenensemble der Roentgenmanufaktur. Kulturstiftung der Länder, in: Patrimonia Nr. 159, Berlin und Gotha 1999.Vgl. Hans Huth, Abraham und David Roentgen und ihre Neuwieder Möbelwerkstatt, Berlin 1928.Vgl. Hans Huth, Abraham und David Roentgen und ihre Neuwieder Möbelwerkstatt, München 1974.Vgl. Irene Markowitz, Die Poudreuse. Ein Möbeltyp des 18. Jahrhunderts, in: Kunst und Antiquitäten, Heft 5, 1989, S. 64-72.Vgl. Hans Michaelsen, Rekonstruierungsversuche und Untersuchungen zur Intarsientechnik der Roentgenmanufaktur, in: Staatliche Museen zu Berlin, Forschungen und Berichte 23, Berlin 1972.Vgl. Hans Michaelsen, Ein frühes Möbelensemble aus der Werkstatt David Roentgens, in: Restauro, Nr. 2, April 1989, S. 101-124.Vgl. Wolfgang Thillmann und Bernd Willscheid, Ausstellungskatalog, Möbel Design Roentgen, Thonet und die Moderne, Neuwied 2011.Vgl. Wolfgang Wiese, Hofschreiner und Möbellieferanten in den Residenzen Mannheim und Schwetzingen, in: Ein Jahrhundert Möbel für den Fürstenhof, Sigmaringen 1994.Anmerkung:Der Typus des table de toilette entstand um die Mitte des 18. Jahrhunderts und diente der sogenannten seconde toilette, also der Körper- und Gesichtspflege sowie der Verschönerung nach der Körperreinigung, also nach der première toilette. Der Begriff leitet sich von dem feinen Tüchlein (toilette) ab, das ursprünglich auf dem Tisch während des Frisierens lag, um nötige Utensilien darauf auszubreiten und Puderreste oder anfallendes Haar aufzunehmen. Zunächst erscheint uns das hier angebotene Möbel als äußerst spezialisiert, doch ist es in Wahrheit multifunktional, ist doch auch eine Schreibvorrichtung integriert.Anmerkung 2:622 Roentgenmöbel sind heute in Museen und Privatbesitz bekannt. Im Jahre 1750 begann der Aufstieg der Manufaktur. Anspruchsvolle Kunden wie das Grafenhaus in Neuwied, der Kurfürst und Erzbischof Johann Philipp von Walderdorff. Eine quittierte Rechnung von Abraham Roentgen an Johann Caspar Goethe zeugt vom Bestand von Möbeln im Goethehaus. Auch Johann Wolfgang von Goethe gehörte zu den Kunden von Roentgen. Es wurden zunehmend Königshäuser in Europa beliefert, so auch Katharina die Große von Rußland, Roentgens wichtigste Kundin. Weitere Kunden waren: Kurfürst von Mainz, Friedrich der Große von Preußen, Friedrich Wilhelm II, Graf zu Ysenburg, Graf zu Solms-Laubach, Fürst Friedrich Alexander zu Wied, Kurfürst Franz Georg von Schönburn, Fürstbischof Adam Friedrich von Seinshaim, Markgräfin Caroline Louise von Baden-Durlach, Reichsgraf Florimond Mercy d´Argenteau, Friedrich II von Hessen, Prinz von Lothringen, Marie Antoinette, König Louis XVI, Graf Alexander Stroganoff und viele andere. Museen und Sammlungen: In vielen Museen der Welt befinden sich die wenigen erhaltenen Möbel der Manufaktur Roentgen: Musée des Arts Decoratives, Paris; Victoria & Albert-Museum, London; Metropolitan Museum, New York; Bayerisches Nationalmuseum, München, Louvre, Paris; Eremitage St. Petersburg, Samuel H. Kress-Collection - London; Wallace-Collection, London. Schloß Wörlitz; Schloss Charlottenburg, Sammlung Stavros Niarchos u. v. a. (1390084) (13)Important Roentgen coiffeuse77 x 91 x 63.5 cm.Neuwied, 1770 / 1775.Accompanied by a detailed report by Christine Cornet, expert for antique furniture, Munich.Oak and softwood structure veneered in stained maple wood, so-called “bois de tabac” and other light veneers, rosewood, cedar, and cherry wood with mountings in brass, iron, gilt-bronze and silver. The visible surfaces are decorated with flower and bow motif marquetry. The dynamic shape of the body is surmounted on four slightly curved, edged legs. The only drawer features an internal fold-out desk. The centre of the tabletop can be opened featuring an internal mirror, its sides can be opened to the left and right with a hinge. There are striped marquetry blinds below that can be rolled down to the back. Below this is a large drawer, or more precisely a removable four-fold square compartment with a wallpapered compartment underneath and behind it. In addition to the compartments accessible from above, the coiffeuse features three drawers: two narrow drawers below the side compartments that can be opened mechanically, and the central drawer mentioned above. A small drawer opening from the side is set with an inkwell, sand shaker and a pen compartment – each made of silver.Notes:This type of “table de toilette” came into being in the mid-18th century and was used for the “seconde toilette”, that is body and facial care and beautification after the “première toilette”, the purpose of which was simply washing. The term derives from a fine cloth (toile) that was originally placed on the table while dressing the hair to lay out the necessary utensils and to pick up any waste powder or hair. At first, the table on offer for sale in this lot appears to be very specialized, but it is multifunctional as it features integrated writing utensils.Notes 2:Today, 622 pieces of Roentgen furniture are known to be held in museums and private collections. The manufactory rose to fame from 1750. Demanding clients, such as the princely House of Neuwied, the Prince-Elector and Archbishop Johann Philipp von Walderdorff. A receipted invoice from Abraham Roentgen to Johann Caspar Goethe testifies to the inventory of furniture in the Goethe House. Johann Wolfgang von Goethe was also one of Roentgen´s clients. Increasingly European royal families were being supplied including Catherine the Great of Russia, Roentgen´s most important client. Other clients included: the Prince-Elector of Mainz, Frederick the Great of Prussia, Frederick William II, Count of Ysenburg, Count of Solms-Laubach, Count Friedrich Alexander of Wied, Prince-Elector Franz Georg of Schönburn, Prince-Bishop Adam Friedrich of Seinshaim, Caroline Louise Marchioness of Baden-Durlach, Imperial Count Florimond Mercy d´Argenteau, Frederick II of Hesse, Prince of Lorraine, Marie Antoinette, King Louis XVI, Count Alexander Stroganoff and many more.Museums and collections: The few surviving pieces of furniture from the Roentgen manufactory are held in many museums around the world: Musée des Arts Deécoratifs, Paris. Victoria & Albert Museum, London. Metropolitan Museum, N....
Lot 518
Armand Guillaumin,1841 Paris – 1927 OrlyPAYSAGE DE DAMIETTE, UM 1887Öl auf Leinwand.60 x 73,3 cm.Links unten signiert „Guillaumin“. Verso Stempel des Pariser Malmittelherstellers Paul Denis. Etikett auf Keilrahmen mit Nummer „21982 Guillaumin paysage“.Auf diesem Weg entdeckt man einen kleinen Weiler, der aus einigen wenigen Häusern besteht. Die roten Ziegeldächer sind umso auffälliger, als sie inmitten einer grünen Landschaft liegen, in der das Gras am Wegesrand sorgfältig gemäht wird. Die Hecken und dann die dahinter aufgereihten Baumreihen bilden konvergierende Linien, die einen einsamen Wanderer auf seinem Weg begleiten. Die Farbe Rot taucht hier und da in der Vegetation oder in der freigelegten Erde auf und erinnert an die Dächer, die dahinter liegen. Es ist auch der weite und dichte Himmel mit seinen Wolken, der der Komposition ihre malerische Dimension verleiht. Die Spuren des Pinsels sind allgegenwärtig, verwaschen die Blautöne bis ins Weiße, sie bilden einen ätherischen Kontrapunkt zu den Erdmassen. Im Frühjahr 1882 entdeckte Armand Guillaumin das Dörfchen Damiette am Rande von Gif-sur-Yvette, wo ihn das Licht begeisterte. Er widmete dem Ort etwa 30 Gemälde und Pastelle, die er 1886 auf der Ausstellung der Impressionisten präsentierte.Der Künstler besuchte ab 1861 die Académie Suisse. Dort begegnete er Paul Cézanne (1839-1906) und Camille Pissarro (1830-1903) mit denen er lebenslang befreundet blieb. Zu seinen späteren Freunden zählten außerdem Vincent van Gogh (1853-1890) und dessen Bruder, der Kunsthändler Theo van Gogh (1857-1891), der einige von seinen Werken verkaufte.Der Künstler besuchte ab 1861 die Académie Suisse. Dort begegnete er Paul Cézanne (1839-1906) und Camille Pissarro (1830-1903), mit denen er lebenslang befreundet blieb. Zu seinen späteren Freunden zählten außerdem Vincent van Gogh (1853-1890) und dessen Bruder, der Kunsthändler Theo van Gogh (1857-1891), der einige von seinen Werken verkaufte. Seine Werke zeichnen sich vor allem durch die schnelle spontane Malweise der Impressionisten aus und sind für eine intensive leuchtende Farbgebung bekannt. In seinem Spätwerk sind Einflüsse des Fauvismus erkennbar. Er zeigte seine Gemälde in den Ausstellungen der impressionistischen Gruppe in den Jahren 1874, 1877, 1880, 1881, 1882, 1886 und im Salon des Indépendants von 1886. Seine Werke sind heutzutage in Paris im Musée d´Orsay und in vielen anderen, überwiegend französischen Museen zu sehen.Provenienz:Galerie Bernheim - Jeune, Paris.Privatsammlung im Erbgang.Literatur:Das vorliegende Gemälde ist aufgeführt in: Georges Serret / Dominique Fabiani, Armand Guillaumin. Catalogue raisonné de l'oeuvre peint, Paris 1971, Nr. 159 mit Abbildung. (1391504) (13) (†)Armand Guillaumin,1841 Paris – 1927 OrlyPAYSAGE DE DAMIETTE, CA. 1887Oil on canvas.60 x 73.3 cm.Signed “Guillaumin” lower left. Verso stamp by Paris paint manufacturer Paul Denis. Label on stretcher with no. “21982 Guillaumin paysage”.In the spring of 1882, Armand Guillaumin discovered the hamlet of Damiette on the outskirts of Gif-sur-Yvette, where he was enchanted by the light. He dedicated about thirty paintings and pastels to this site, which he presented at the Impressionist Exhibition in 1886.The artist attended the Académie Suisse from 1861, where he made the acquaintance of Paul Cézanne (1839-1906) and Camille Pissarro (1830-1903), with whom he remained lifelong friends. His later friends also included Vincent van Gogh (1853-1890) and his brother, the art dealer Theo van Gogh (1857-1891), who sold some of his works.Provenance:Galerie Bernheim-Jeune, Paris.Private collection by inheritance.Literature:The present painting is listed in: G. Serret & D. Fabiani, Armand Guillaumin: Catalogue raisonné de l'oeuvre peint, Paris, 1971, no. 159 with ill.
Lot 260
Giacomo Guardi, 1764 Venedig – 1835 ebendaVENEDIGVEDUTE: BLICK AUF DIE KIRCHE SANTA MARIA DELLA SALUTE MIT DER PUNTA DELLA DOGANAÖl auf Leinwand.50 x 75 cm.Beigegeben ein Gutachten von Dario Succi, Gorizia.Diese Vedute bezieht ihren Reiz aus der freundlichen Farbigkeit, jenem südlichen Licht, das über der Lagunenstadt liegt. Die Gebäude, von links beleuchtet, stehen unter einem hellblauen Himmel mit wenigen ziehenden Wolken. Über den Canal Grande hinweg blickt man auf die Basilika Santa Maria della Salute mit ihrer großen weißen Kuppel und einem Teil des Magazins der Dogana. Zahlreiche Figuren bevölkern den Vorplatz im Vordergrund. Der Maler hat diesen Lichtcharakter bewusst zusätzlich durch hohe rot-weiße Segel am linken Bildrand und weitere helle Segel verstärkt. Auch der leicht pastose Farbauftrag, insbesondere an den hellen Stellen, oder bei der Figurenstaffage, trägt zu dieser Wirkung bei. Die Ruhe der Architekturwiedergabe wird durch die Ruderbewegungen der Gondoliere ausgeglichen. Diese Charakteristika erweisen sich für sein Werk als typisch. Als Sohn des Francesco Guardi (1712-1793) widmete Giacomo sich im Gegensatz zu seinem Vater vermehrt dem mittleren Format. Dabei ist die Reduktion der Farbigkeit, verminderte Buntheit und Konzentration auf helle Lichteffekte gegenüber verschatteten Partie, einige Quintessenzen aus des Vaters Werk verdeutlichen. A.R.Literatur: Vgl. Dario Succi, Francesco Guardi. Itinerario dell‘avventura artistica, Mailand 1993, S. 167-190.Vgl. Dario Succi, Guardi, Bd. I. Itinerario artistico, Bd. II. Catalogo dei dipinti e disegni inediti, Mailand 2021. (1390204) (11)Giacomo Guardi,1764 Venice – 1835 ibid.VENICE VEDUTA – VIEW OF SANTA MARIA DELLA SALUTE WITH THE PUNTA DELLA DOGANA Oil on canvas.50 x 75 cm.Accompanied by an expert’s report by Dario Succi, Gorizia.The calmness of the architectural depiction is balanced by the rowing movements of the gondolier. These features are typical of Guardi’s work. In contrast to his father Francesco Guardi (1712 - 1793), Giacomo devoted himself more to the medium-size format. The reduction of colour and concentration on bright light effects in contrast to the shadowed areas, illustrate some essential features from his father’s oeuvre.
Lot 214
Set of four velvet tefillin pouches. Each has embroidered Hebrew text, which reads Tefillin and exhibits either Stars of David or floral designs. Larger navy blue and black pouches have modern nylon interiors with plastic zippers. The older pouches have muslin or linen liners; the light blue colored pouch has a metal zipper; the burgundy colored pouch has a gold fringe and no zipper. These pouches were created to contain Tefillin, two small boxes that hold parchment Hebrew prayer scrolls meant to be worn by Jewish men above the age of thirteen during morning prayers. The largest pouch measures 8.5"L x 9.5"W. Condition: Age related wear and discoloration. Tefillin not included.
Lot 32
A whimsical small Christmas tree in a peridot crystal with red, clear, and white crystal accents. A light golden crystal star on top, and a silver-tone metal base on the bottom. Swarovski marked. This item has its original box: 5"L x 4.75"W x 3.25"H. Artist: Eva Maria RiedIssued: 2011-2012Dimensions: 1.75"W x 3.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 155
Introducing three intricately decorated plates, all crafted in England, with two pieces hailing from Crown Ducal ware and the third from Lord Nelson ware. The largest plate showcases stunning purple, red, and green flowers atop an octagonal design, measuring 8.5"L x 9"W x 0.5"H. The smaller plate features cream-colored flowers with light blue centers against a burgundy background on a square plate, measuring 6"L x 6.25"W x 0.25"H. Lastly, a charming small bowl adorned with a dot-patterned background and decorated with pink, blue, and yellow flowers, measures 1.25"H x 5.75" in diameter. Issued: 20th centuryCondition: Age related wear.
Lot 29
Part of the In the Secret Garden group, now part of the Brilliant Butterflies. Created from light peridot (green) crystal with beautiful facets to catch the light. Swarovski backstamp. 9100 000 026. This item has its original box: 4.25"L x 4.25"W x 2.25"H. This item has a round mirror base included. Artist: Elke KumarIssued: 2006 - 2008Dimensions: 2.75"L x 2.25"W x 2"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 37
Beautiful light sapphire crystal petals and white opal blue crystal leaf. A heart-shaped pistil in jet metallic blue. The flower rocks on a white opal base. Swarovski marked. This item has its original box: 3.75"L x 3.75"W x 2.5"H. Issued: 2010-2011Dimensions: 1.25"W x 2.5"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 136
John Baldessari (American 1931-2020), 'Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts)', 1973, a complete set of 12 offset lithographs in colors on coated stock paper, with title-page and justification page, numbered from an edition of 2000, co-published by Edizioni Giampaolo Prearo and Galleria Toselli, with original blue letter-press paper slipcase; sheets: 24.2 x 32.3cm each sheets: 24.2 x 32.3cm eachIn very good condition No visible knocks or tears to any of the sheets Some very light markings around some of the sheets borders, visible upon close inspection There is some yellowing to the extreme edges of all of the prints, which is usual to all editions of this workMinor handling crease to the justification page, visible upon close inspection Minor markings to the title page verso, not visible rectoStored flat inside inner slipcase and outer boxBoth slipcase and box in very good condition.
Lot 165
Stik (British 1979-) ‘Standing Figure (Book) (Blue, Orange, Red, Grey, Teal, Yellow)’, 2015, a complete set of 6 offset lithograph in colours on wove paper, all signed in black ink; sheets: 73 x 24cm each (6)ARR sheets: 73 x 24cm each (6) Teal:In very good condition No tears or creases to the sheet Minor wear to upper edge and upper left hand edge of the sheet, visible upon close inspectionBlue:In good condition No knocks or tears to the sheet Minor handling creases to the sheet and minor creasing to the right hand corners Light markings to the upper edge of the sheet, visible upon close inspectionYellow:In very good condition No knocks or tears to the sheet Minor markings to the upper/lower edge of the sheet and one small mark on the figures body Minor wear to the left hand corners of the sheet, visible upon close inspection Red:In very good condition No visible knocks or tears to the sheet Minor markings to the upper/lower edges of the sheet, visible upon close inspection Some very light handling creases and minor crease to upper left hand cornerGrey:In good condition No knocks or tears to the sheet Some handling creases to the sheet and minor crease to upper corners Minor marking to the upper right hand corner of the sheetOrange:In very good condition No knocks, tears or creases Very minor wear to upper right hand edge of the sheet, visible upon close inspectionAll sheets have three horizontal folds, as originally issued All works have been stored folded inside their accompanying copy of the 'Stik' book.
Lot 134
James McQueen (British 1977-), 'If You Ever Leave Me I'm Coming With You', 2017, unique mixed media on paper, signed, dated, and inscribed HF1 in pencil; sheet: 137 x 101.5cmARR sheet: 137 x 101.5cm In very good/artists condition No tears or creases to the sheet Very minor wear to the upper left hand corner and to the left hand/upper right hand extreme edges of the sheet, visible upon very close inspection There are markings to the sheet verso, however these are from the time of production and are not considered damage There is some light waving to the sheet, however this is due to the materials used and is not considered damage This work has been stored flat and has not been framed.
Lot 107a
Andy Warhol (American 1928-1987), 'Marilyn (Invitation)', 1981, offset lithograph in colours on wove paper, signed in black ink, from an unknown edition size, with the original invitation text to the overlap, printed by Colour Editions Inc., published by Castelli Gallery; sheet: 17.7 x 17.7cm (Framed) sheet: 17.7 x 17.7cm (Framed) In good condition No knocks or tears to the sheet Extremely minor creasing in sections to the edges of the sheet, visible upon very close inspection Minor 'edgewear' to the extreme edges, due to the age of the work Markings to the inside left of the invitation and minor scratches verso. One scratch can be seen to the cheek area, this is visible in raking light Framed in a black frame with a black mount This work has been inspected inside and out of the frame.
Lot 100a
Tracey Emin (British 1963-), 'The Kiss', 2011, polymer gravure etching on paper, signed and numbered from an edition of 1000 in pencil; sheet: 34 x 31cmARR pencil; sheet: 34 x 31cm In good condition No visible knocks or tears to the sheet Very light waving/crease to the sheet, visible in raking light There are some minor handling markings to the sheets border, visible upon close inspection This work has been framed in a gold frame and float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.
Lot 148
Banksy (British 1974-), ‘Flag (Silver)’, 2006, screenprint on silver cheomalux paper, numbered from an edition of 1000 in black pen verso, published by Pictures On Walls; sheet: 50 x 70cm (Framed)ARRProvenance: This work is accompanied by a Pest Control Certificate Of Authenticity. sheet: 50 x 70cm (Framed) Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity. In good condition No visible tears to the sheet Some minor scratches shown to the black background of the sheet, visible upon close inspection Minor markings to the left hand side and upper right hand section of the sheet There is some wear shown around the edges of the sheet and some markings around the grey border Minor crease to the lower middle edge of the sheet and to the right of the main image There is some light waving/creasing to the sheet, visible in raking light This work has been framed in a black frame with a black mount and mylar corners have been used This work has been examined inside and outside of the frame.Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity.
Lot 191
Schoony (British 1974-), 'Bruiser', 2023, spraypaint on board, signed and dated verso, board; 59.5 x 42 cmboard; 59.5 x 42 cmIn very good/artists condition No knocks, tears or creases to the board Some very light markings to the background and one small indentation to the board verso, visible upon close inspection This work has been stored flat and has not been framed.
Lot 201
Stik (British 1979-), 'Holding Hands (Orange)', 2020, offset lithograph in colours on wove paper, signed in black ink; sheet: 50 x 50cmARR sheet: 50 x 50cm In very good condition No visible knocks or tears to the sheet There are some very light handling creases to the sheet and some markings verso, visible upon close inspection One horizontal and one vertical fold to the sheet, as originally issued This work has been stored flat and is accompanied by its copy of Hackney Today.
Lot 200
Stik (British 1979-), 'Holding Hands (Blue)', 2020, offset lithograph in colours on wove paper, signed in black ink, sheet; 50 x 50 cmARR sheet; 50 x 50 cm In good condition No knocks or tears to the sheet Minor handling creases to the sheet, visible in raking light Minor markings verso, visible upon close inspection One horizontal and one vertical fold to the sheet, as originally issued This work has been stored flat and has not been framed.
Lot 91
Nick Smith (British), 'Simpsons Couch', 2020, Giclee with Screenprinted varnish on 310gsm Canson Rag Photographique paper, signed, dated, and numbered from an edition of 99 in pencil, published by Rhodes Contemporary; sheet: 64 x 79.5cmARR sheet: 64 x 79.5cm In very good condition No knocks or tears to the sheet Minor creasing to the lower section of the sheets white border and very light marking to the upper edge, visible upon close inspection Deckled edges in good condition This work has been stored flat and has not been framed.
Lot 107
Andy Warhol (American 1928-1987), 'A Whole Stocking Full of Good Wishes', 1956, offset lithograph in red on wove paper, bearing the ink stamps of the Andy Warhol Foundation for the Visual Arts inc. verso, annotated with the foundation number PM 16.0360 verso: 59.5 x 46cm inc frame59.5 x 46cm inc frameIn very good condition No visible knocks or tears to the sheet Minor crease to the right hand section of the sheet, and some minor wear/creasing to the corners of the sheetThere is some minor wear to the left hand edge of the sheet and very light marking can be seen down the left and right edges of the sheetThis work has been framed in a black frame and float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.
Lot 199
Stik (British 1979-), 'Don't Panic', 2013, offset lithograph in colours on wove paper, signed in black ink; sheet: 60 x 42cmARR sheet: 60 x 42cm In very good condition No knocks, tears or creases to the sheet Very light markings to the white border, visible upon close inspection Two horizontal and one vertical fold to the sheet, as originally issued This work has been stored flat and has not been framed.
Lot 204
Stik (British 1979-), 'Holding Hands (Yellow)', 2020, offset lithograph in colours on wove paper, signed in black ink, sheet; 50 x 50 cmARR sheet; 50 x 50 cm In good condition No knocks or tears to the sheet Minor handling creases to the sheet, visible in raking light Minor markings verso, visible upon close inspection One horizontal and one vertical fold to the sheet, as originally issued This work has been stored flat and has not been framed.
Lot 188
Martin Whatson (Norwegian 1984-), 'Dancer (Hand Finished)', 2022, Woodblock Print and Hand Drawing with paint on Japanese Paper called “Washi”, signed, dated and numbered from an edition of 150 in pencil, sheet; 45 x 30 cmsheet; 45 x 30 cmIn very good/artists condition No knocks or tears to the sheet One light crease to the lower left hand edge of the sheet and some minor handling creases, visible upon close inspection and potentially due to the nature of material This work has been stored flat and has not been framed.
Lot 145
Banksy (British 1974-), 'Sale Ends (V2)', 2017, screenprint in colours on wove paper, signed and numbered from an edition of 500 in pencil, published by Pictures On Walls; sheet: 56 x 76cmARRProvenance: This work is accompanied by a Pest Control Certificate Of Authenticity. sheet: 56 x 76cm Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity. In very good condition No knocks, tears or creases to the sheet Very light line markings/slight discolouration around the border of the sheet, due to previous framing One very minor mark to the upper left hand section of the sheet, visible upon very close inspection Extremely minor markings to the sheet verso, visible upon very close inspection Deckled edges in good condition Two mounting tabs attached to the upper edge of the sheet This work has been examined inside and outside of the frame.Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity.
Lot 77
Jonas Wood (American 1977-), ‘Large Shelf Still Life Poster’, 2017, offset lithograph in colours on wove paper, published by Voorlinden Museum; sheet: 59.5 x 59.5cmsheet: 59.5 x 59.5cmIn very good condition No knocks or tears to the sheet Some very light waving to the sheet, due to rolling This work has been stored rolled and has not been framed.
Lot 23
Takashi Murakami (Japanese 1962-), 'An Homage To Yves Klein, Multicolor B', 2012, offset lithograph in colours on wove paper, signed and numbered from an edition of 300 in ink, published by Kaikai Kiki Co; sheet; sheet: 74 x 53cmsheet: 74 x 53cmIn very good conditionNo knocks, tears or creases to the sheetMinor waving to the sheet, visible verso in raking light This work has been stored flat and has not been framed.
Lot 159
Mr Brainwash (French 1966-), 'Reach For Love', 2022, silkscreen in colours on wove paper, signed and numbered from an edition of 395 in pencil; sheet: 55.9cm x 76.2cm (Framed)ARR sheet: 55.9cm x 76.2cm (Framed) Charity Statement:Fundacja Ziemniaki i is a not-for-profit cultural organisation encouraging and nurturing early career artists, designers, craftspeople, writers and curators from Central and Eastern Europe.We believe that there is no future without culture. That’s why we strive to improve access, visibility, and working conditions in the creative arts and encourage their positive role in an open and free society.With your support, we can expand our reach and offer support to more artists and cultural workers. Together, we can sustain a creative space for learning and experimentation that tackles the most critical problems of our time.This piece has been donated by Clarendon Fine Art and all proceeds will be donated to the charity. In very good condition No visible knocks or tears to the sheet One very light crease to the upper left hand corner of the sheet and one very small crease to the lower right hand section of the border, visible upon close inspection Deckled edges in good condition This work has been framed in a black frame by the publisher to the artists specification and has been float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.
Lot 143
Banksy (British 1974-), 'Rude Copper', 2002, screenprint on wove paper, signed and numbered from an edition of 250 in pencil, published by Pictures On Walls; sheet: 57 x 41cmARR sheet: 57 x 41cm Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity. In good condition No visible tears to the sheet There are some minor handling creases/light markings to the black sections of the sheet, most prominent to the lower right hand section Minor handling creases to the white background of the sheet, visible recto and verso There is some minor wear shown to the upper and lower sections of the right hand edge of the sheet, visible upon close inspection This work has been attached to a black mount at the upper edge of the sheet verso This work has been examined inside and outside of the mount. Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity.
Lot 55
David Hockney (British 1937-), 'Travels with Pen, Pencil and Ink Drawings and Print', 1980, Tate Gallery Exhibition Poster, signed in pencil; 76.5 x 51cm inc frameARR 76.5 x 51cm inc frame In good condition No visible knocks or tears to the sheet Light creasing to the upper edge and upper right hand section of the sheet, visible in raking light Some potential markings to background of sheet, visible upon close inspection This work has been framed in a gold frame This work has not been examined outside of the frame.
Lot 90
Nick Smith (British), 'American Gothic', 2020, giclee with screenprinted varnish on 310 gsm Canson Rag Photographique paper, signed, dated, and numbered from an edition of 150 in pencil, published by Rhodes Contemporary; sheet: 84 x 70cm (framed)ARR sheet: 84 x 70cm In good condition No visible knocks or tears to the sheet Minor crease to the lower right hand corner of the sheet, visible upon close inspections There are some light markings in sections around the sheets white border, most prominent to upper corners Deckled edges in good condition This work has been framed in a lime green frame and float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.
Lot 147
Banksy (British 1974-), 'Barcode', 2003, screenprint on wove paper, numbered from an edition of 600 in pencil, rubberstamped 'Banksy' in Red Ink, published by Pictures On Walls; sheet: 50 x 70cm (Framed)ARRProvenance: This work is accompanied by a Pest Control Certificate Of Authenticity. sheet: 50 x 70cm Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity. In very good condition No visible knocks or tears to the sheet Very minor imperfection to the lower right hand edge and lower left hand corner of the sheet, visible upon very close inspection Potential minor markings to the background sheet recto and verso, likely from the time of production Slight waving to the sheet and very light crease verso, visible in raking light Minor colour change around the border of the sheet due to framing This work has been framed with a mount using two mounting tabs, attached to the upper edge of the sheet This work has been examined inside and outside of the frame.
Lot 89
Samuel Melton Fisher, RA, RWA, PS (British, 1859-1939)Venetian costume makers signed and dated 'S.Melton Fisher.1888.' (lower right); further signed, titled and inscribed with artist's address 'Venetian costume makers/S. Melton Fisher/3575. Calle del Cristo/S.Angelo. Venice' (on artist's label attached to reverse)oil on canvas103.5 x 135cm (40 3/4 x 53 1/8in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 6 November 1996, lot 325. Private collection, UK. ExhibitedLondon, Royal Academy, 1888, no. 583.LiteratureArt Journal, 1888, p. 128. H. Blackburn (ed.), Academy Notes, 1888, pp. 12 and 77 (sketch illustrated).The Graphic, vol. 38, July-December 1888, illustrated.Alfred Lys Baldry, The Paintings of S. Melton Fisher in The Studio, vol. 42, 1908, pp. 176-181. Christopher Wood, The Dictionary of Victorian Painters, Woodbridge, 1995, p. 171.'The subjects he chose were characteristic of modern Venetian life; his canvases were records of his observation of the people among whom he found himself, and by their brilliant reality and clever statements of picturesque facts gained the approval of everyone who was qualified to judge his work' (Alfred Lys Baldry, The Studio, 1908)Fisher studied at the Lambeth School of Art and Royal Academy Schools between 1876 and 1881, winning a gold medal and a travelling scholarship; travelling to Paris, he studied with Jules Bonnaffé. His work In Realms of Fancy was purchased by the Chantrey Bequest in 1898 and later in his life he returned to portrait and figure painting, possibly for financial reasons.Venice in the late 1800s was a popular destination for many artists; alongside Fisher were artists such as John Singer Sargent, James Abbott McNeill Whistler, Henry Woods and William Logsdail. The unusual beauty and uniqueness of the city was enchanting and for many artists, Venice was restorative and transformative for their practice. Artists in Venice would often focus either on the working-class Venetians engaged in daily activities, which provided a wealth of subject matter, or the complex play of light on the water, architecture and canal views or narrow streets. In the present lot Fisher has chosen to depict a group of women at work making costumes presumably in preparation for a festival. This subject provides the artist with a perfect opportunity to celebrate the light and shade in the room and the rich texture of the materials. The square brushwork is testament to the influence of Bastein Lepage and his British counterparts, in particular Stanhope Forbes and Albert Chevallier Tayler who had travelled to Venice the year before and had first met Fisher in Paris in 1881.For further information on this lot please visit Bonhams.com
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