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Lot 131
A QUANTITY OF BRITAINS NAPOLEONIC WATERLOO - HOUGOUMONT FRENCH 1ST, LIGHT AND LINE INFANTRY SETS, No's. 17670, 17671, 17724, 17847, 17879, 17994 and 36011, with another Napoleonic French set, no.17973, all appear complete and in good condition, boxes in good condition with only minor wear (8)
Lot 134
A QUANTITY OF BRITAINS NAPOLEONIC WATERLOO - HOUGOUMONT BRITISH COLDSTREAM GUARDS SETS, No's.17700, 17701, 17877, 17882, 17883, 17988, 17995 and 36005, with a Waterloo - Hougoumont Nassau 2nd Light infantry set, no.17987 and a Waterloo Nassau 2nd Light Infantry set, no.36012, all appear complete and in good condition, boxes in good condition with only minor wear (10)
Lot 14
TWO BOXED CORGI TOYS AMERICAN CARS, Buick Riviera, No.245, metallic gold body, red interior, spoked hubs and towbar, Ford Mustang Fastback 2 + 2, No.320 , light green body, cream interior, spoked hubs, both models in very lightly playworn condition with very minor paint loss and wear, boxes both complete and in fairly good condition but have some very minor damage, marking and wear, both with original price written in pencil to one end
Lot 156
FIVE BOXED MATCHBOX 1-75 SERIES CAR MODELS, Ford Mustang, No.8, Iso Grifo, No.14, Lincoln Continental, No.31, Studebaker Lark Wagonaire, No.42, with hunter and dog figures, rear roof in light blue and Ferrari Berlinetta, No.75, all in lightly playworn condition with very minor paint loss and wear, mainly to corners and raised edges, all contained in type E boxes which are complete but have some marking, wear and damage, box for No.31 has two line text to end flaps, with an unboxed Pontiac GP Sports Coupe, No.22, very lightly playworn condition with very minor paint loss and wear, mainly to corners and raised edges but doors don't fit very well (6)
Lot 161
FOUR BOXED SCALEXTRIC RACING CARS, B.R.M. F1 car, No.C/72, green body, Mercedes-Benz 190SL, No.C/75, light blue body, white interior, complete with driver, windscreen, grille and bumpers, RN6, Race Tuned Ford GT, No.C/77, white body with black bonnet and stripes, RN7 and constructed kit Porsche 904 G.T.S., No.CK/2, yellow body, black stripes, RN49, all appear complete and in good condition, Mercedes box complete with inner tray, elastic and outer plain cardboard sleeve, B.R.M. and Ford G.T. boxes both complete with interior, Porsche box complete with various instruction leaflets, but all have minor damage and wear, Ford has crush damage to glazing
Lot 434
SEVEN BOXED DIE-CAST MATCHBOX MODELS OF YESTERYEAR VEHICLES, to include a Major Pack Crossley Y-26 and Model 'A' Ford MB38, no. M-1, a Y-6 Supercharged Bugatti Type 35 in red, a Y-7 Mercer 1913 Raceabout Type 35J, light purple colour, two Neues Modell Y-6 1932 Mercedes Benz L5 Lastwagen, first a white Halleroder model, the second a blue and yellow Technik-Museum Speyer truck, a Y-4 1930 Duesenberg Model 'J' Town Car, red, white and yellow in colour, two Y-22 1930 Ford Model 'A' Van, the first a MICA UK goes to Manhattan in dark green, the second a white Hershey Lodge van, a Y-25 1910 Renault Van, and a YPP-01 1010 Renault van, some boxes worn
Lot 440
A TRAY OF BOXED AND UNBOXED MODEL VEHICLES, to include a Revell VW Kafer 1302 1:18 scale, three Maisto 1:18 scale motorcycles in boxes, a Corgi Ford Escot 334 in light blue, a Matchbox Super Kings K-82 BMW motorcycle with rider, a Dinky Toys VW car in hard case, a Solido BMW 2002 turbo no.28, an unboxed Polistil Tonka Porsche 911 turbo 1:16 scale in red, also include is a AF Dinky Toys Renault 16TX no.538 in dark purple etc.
Lot 448
A MATCHBOX COLLECTORS CASE AND PLAY WORN DIE-CAST MODELS, to include a selection of vintage and modern matchbox vehicles, collectors case no.41, dark blue outside and lighter blue inner with two light blue internal baskets, hosts models such as 'Mobile Canteen no.74' , 'BMW 5 Series', 'Commer Ice Cream Canteen', 'Pop Up Camper Trailer', 'Porsche 910 no.68', ' Commer Bottle Float no.21', 'Unimog no.49', 'Matchbox Superfast Soopa Coopa no.37' etc. condition of all is very worn, some parts may be missing
Lot 456
A LARGE QUANTITY OF MATCHBOX MODELS OF YESTERYEAR, all in the red and burgundy boxes, included are a number of limited editions such as a Y-12 1912 Model 'T' Ford in light blue, also included are two green boxed Y29 models for Harrods, models range from trucks, buses, pick ups, vintage cars etc, all boxes in good condition and models look to be new condition, approximately 99 in total
Lot 475
A BOXED CORGI TOYS COMMER POLICE VAN WITH FLASHING LIGHT NO.464, painted dark blue with county police sticker to each side, loss to paint on sharper edges such as bumper and top of van, debris on wheels and underside, no battery present and untested, connector looks clean, edges of box worn, possibly left in damp conditions
Lot 485
SIX BOXED AND LOOSE MATCHBOX MODEL VEHICLES, to include a Superfast Saab Sonett III no.65, in metallic blue with yellow detail to the hood, light blue boot and orange tinted windows, a Superfast Mazda RX 500 no.66, in orange with pink tinted windscreen, boot lifts open, a Superfast Porsche 910 no.68, in metallic red with number 68 sticker to the bonnet, a Superfast Dodge Dragster no.70, in hot pink with snake stickers to either side, the main body of the car lifts to display chrome interior, a superfast Mercury Commuter no.73, in red with an orange buffalo sticker to the bonnet and two dogs sitting in rear of the car, a Superfast Alfa Carabo no.75, in metallic pink and a black boot, also included is a empty box for a Streakers Lamborghini no.27 and a small collection of playworn models to include a Lamborghini Marzal no.20, a Racing Mini no.29, a Superfast Hairy Hustler no.7 and a Corgi Juniors Caravan
Lot 516
FOUR VINTAGE CHILDRENS TOYS, to include a Toy Town telephone exchange, red tinplate, discolouration to the yellow plastic and stickers, but appears generally complete, a battery operated patrol phone by 'Kanto Gosei Kogyo' item number 87, one set with two in a box, red in colour, a Cosmo battery operated cable car with light, red in colour with blue string, include is an instruction manual signed Rigi electric number 9991 and a Collette's Modern Kitchen, in pink, with custard powder box and other utensils, some boxes have signs of distress with panels missing and squashed, unsure as to their completion but most seems to be present inside boxes
Lot 523
A MIXED LOT OF 1950'S 'THE ROVER' PAPER MAGAZINE, thirty magazines in total, from the early 1950's worn to the edges and discoloured, comic yearbooks for Beano, Dandy and 'The Best OF Eagle', four Biggles books, a Pirelli calendar 1994, a 1966 fiftieth anniversary commemorative book with sleeve, a box of inks, six poster to poster books, selection of posters, two boxes of vintage matches, three boxed regency fine art figures comprise of '17th Light Dragoons 1817', '88th Foot Soldier 1835' and '51st Light Infantry 1850', a cased slide rule by PIC etc
Lot 75
THREE BOXED CORGI TOYS CARS, Bentley Continental Sports Saloon, No.224, cream over green complete with spare wheel, Lotus Elan S2 Coupe, No.319, red body with white hard top, RN7 (with part used decal sheet) and M.G.B. G.T., No.327, light blue interior missing suitcase, all in lightly play worn condition with minor paint loss and wear, many to raised edges, wear to 'chrome' on Bentley and M.G.B., all in yellow and blue pictorial boxes which are complete but have minor damage, marking and wear, especially the M.G.B. box which also has evidence of price sticker being removed, other two with original price written in pencil to end, all with Corgi Club leaflet
Lot 101
A George V silver cut glass desk stand, Mappin & Webb, Sheffield 1918, the rectangular base with scroll and gadroon border, raised upon four scroll feet, with pen recess and fitted cut glass and silver mounted ink bottle, base 17.5cm x 13cm, bottle 5.5cm high, weight of base 7.50oztCR; Notable dent to the stand (visible as a black mark to the left of the bottle in picture two). No other obvious dents to the stand. No splitting, thinning or repair to the base. Moderate scratching and wear throughout the base commensurate with age and use. The stand is slightly wobbly on it's feet.There is a small chip to the bottom corner of the cut glass ink bottle, and some nibbling to the facet edges throughout. General scratching and wear throughout the glass, commensurate with age and use. Collar and cover in good order, some light denting, scratching and wear commensurate with age and use, but no splitting, thinning or repair. Cover opens smoothly, and closes flush. Hallmarks to bottle and stand match. Bottle is slightly loose in it's stand.
Lot 108
A George III silver coffee pot, London 1764 (maker's marks worn), of baluster form on raised foot, cast spout and scrolling ebonised wooden handle, hinged cover with flame finial, 26.5cm high, weight 27.10oztCR;Some denting to the body. Light scratching and wear throughout commensurate with age and use. Hallmarks are heavily worn. There are minor, beginning signs of splitting along the seam of the spout. There are a few small dents to the cover, and light scratching and wear throughout commensurate with age and use. Cover is slightly wobbly at the hinge, but is secure, opening smoothly and closing flush. There is signs of possible repair to the handle. See pictures for illustration.
Lot 148
A diamond three-stone ring, the central circular old cut diamond measuring approximately 5.2mm x 3mm, with a further old cushion cut diamond to each side, all claw set in platinum to knife edge shoulders and plain polished 18ct gold shank, ring size N 1/2, weight 2.7gmsCR; The is a chip to the star facet of the central stone, and a chip to the girdle - both are visible at 10x magnification, but not with the naked eye. One of the outer stones shows a fracture running across a few of the star facets. There are a couple of nicks and nibbles to the girdles of the two outer stones. All stones show general scratching, wear and tear commensurate with age and use. There is moderate to heavy wear to the claws of the central stone, and minor to moderate wear to the outer stones. All stones are currently secure, but some retipping may be required. The settings appear in good order, showing general wear and tear and some light thinning, but no splitting or signs of repair. Shank shows general scratching and wear throughout, with some minor misshaping around the base, but no signs of splitting, resizing or repair.Central stone is approximately SI clarity, one of the outer stones is approximate I, and the other stone is SI owing to the external fracture. Central stone measures 5.2mm x 3.0mm, with an approximate spread of 0.50 carats, and the two outer stones measure approximately 3.8mm x 3.2mm x 2.1mm and 3.9mm x 3.3mm x 2.8mm, each with an approximate spread of 0.20carats.
Lot 172
A Victorian emerald and diamond five-stone ring, comprising a central round mixed cut diamond measuring 3.2mm x 2.2mm, with a step cut emerald to each side and a further old cut diamond to each shoulder, all claw set to a pierced gallery and plain polished 18ct gold shank, marked '18' with crown mark (date, city and maker's marks worn), ring size P, weight 3.0gmsCR; There is a mid-sized fracture running across the edge of the table and some of the star facets of the central stone. There are a couple of nibbles to the girdles of the outer diamonds. The emeralds show several small chips throughout, as well as nibbling to facet edges, moderate scratching and wear. Claws show moderate wear, all stones appear secure. Settings appear in good order, general scratching and wear and some light thinning, but no splitting or repair. Shank shows moderate scratching and wear, but no major thinning, splitting, resizing or repair. Hallmarks are heavily work, the 18 and crown mark are still clear. Stones require light cleaning.
Lot 211
A Victorian pearl and diamond 18ct gold ring, possibly Alabaster & Wilson, the two central pearls measuring approximately 3.3mm diameter, with an old cut diamond to each side and a further pearl to each shoulder, all set in 18ct yellow gold to a tapering plain polished shank, marks for 'A&W', Birmingham 1889, ring size O, weight 4.3gmsCR: Diamonds are in good order, no large cracks, chips or losses. General scratching and wear commensurate with age and use. There appears to be a crack running across one of the pearls, visible under transmitted light. All other pearls are in good order, no cracks, chips or losses - general scratching and wear commensurate with age and use. There is moderate splitting and loss to the settings around the two central pearls, but the other settings are in good order, and all stones appear secure. Shank shows moderate scratching and wear and some minor thinning, but no splitting, resizing or repair. Hallmarks are clear. PLEASE NOTE: The pearls in this ring are untested for natural or cultured origin.
Lot 218
A pair of 9ct gold twist or knot design earrings, 16mm diameter, together with a pair of amethyst set 9ct gold floral earrings, each 12mm diameter, a pair of gold coloured drop earrings, each 36mm long, a gold coloured cross pendant stamped ‘18k’, two further pairs of twist design gold coloured earrings, a pair of blue gemstone set gold coloured stud earrings and a pair of faceted gold coloured stud earrings, gross weight 12.6gms (15)CR; Large knots: General scratching and wear, no obvious thinning, splitting or repair. Some bending/misshaping to the post fittings.Plain and textured knots: One earring shows splitting and piercing in a couple of areas to the reverse. General scratching and wear. No signs of repair. Post fittings in good order.Smallest knots: General scratching and wear, no obvious thinning, splitting or repair. Post fittings in good order.Blue gemstone earrings: General scratching and wear to stones, but cracks, chips or losses. General scratching and wear, no obvious thinning, splitting or repair. One earring back is missing. Some misshaping to the ear post.Amethyst earrings: General scratching and wear to stones, but cracks, chips or losses. General scratching and wear, no obvious thinning, splitting or repair. Some light misshaping to the ear post.Drops: General scratching and wear, no obvious thinning, splitting or repair. Some loss of definition to details. Hooks are very misshapen, and may need repair or replacing.Stud earrings: General scratching and wear, no obvious thinning, splitting or repair. Some loss of definition to details. Pierced ear fittings in good order, butterfly backs are in good order.Pendant: General scratching and wear, no obvious thinning, splitting or repair.
Lot 23
A selection a silver, silver coloured and base metal accessories, to include a novelty silver bookmark modelled as a swan, Peter Nicholas & Co Ltd, London 1993, 10.5cm long, a silver butterfly bookmark, Harrison Brothers & Howson Ltd, Birmingham 1991, 8.3cm long, a plain silver bookmark, Harrison Brothers & Howson Ltd, Birmingham 2000, two further silver bookmarks, largest 4cm long, a miniature silver pair of bellows, 3.2cm long, a silver mounted dressing table jar, 6.2cm high, a silver baby brooch, two further baby brooches, a mother brooch, a pair of greyhound knife rests, a silver coloured wirework spider brooch, a silver coloured wirework fan brooch and a ceramic thimble (16) (at fault)CR; Dressing table jar: Cover is heavily dented. Chipping to the highpoints of the glass. Heavy scratching and wear throughout.Bookmarks: Largely in good order. The rectangular and square examples show some light misshaping. All show moderate scratching and wear commensurate with age and use.Brooches: Heavy denting/misshaping to the web and legs of spider brooch. Brooch/Pendant mount on spider brooch is broken and will require replacement. Heavy scratching and wear throughout. Fan shaped example appears to be missing dropper. 'Mother' mount is loose, and wobbles on mother of pearl backing. All examples show light denting, general scratching and wear.Knife rests: Heavy loss to the plate, heavy scratching and wear throughout. Both wobble slightly on a level surface.Thimble and bellows are largely in good order.
Lot 235
A pair of Edwardian style topaz and cultured pearl drop earrings, each designed as an oval mixed cut blue topaz measuring 8mm x 6mm, suspended on a gold coloured foliate drop set with half-pearls, pierced ear post fittings, indistinctly stamped, each approximately 27mm long, weight 1.9gmsCR; Stones show general scratching and wear commensurate with age and use, and there are some nibbles to the facets on the reverse of the stones, but no cracks, chips or fractures. Settings in good order, stones are secure. Leaf droppers in good order, no thinning, splitting or repair. Pearls show light scratching and wear, but no cracks, chips or losses. Posts are in good order. Please note: There are no backs included with these earrings.
Lot 248
A French green stone and 18ct gold cocktail ring, the central green polished cabochon (possibly a tourmaline) measuring 13.5mm x 12.2mm x 8.7mm, set to a fluted surround, continuing to plain polished shoulders and shank, French horse's head lozenge mark, ring size N, weight 5.8gmsCR; There is a large surface reaching fracture running across the central stone, and a further internal fracture running across the stone perpendicular to the first fracture. There are several knicks, shallow chips, heavy scratching and general wear to the surface of the stone. This stone has not been tested for filling, coating or dyeing, but does not show any obvious indications of treatment. The setting shows a hairline split running across the side, covering about a quarter of the circumference of the setting. There is moderate scratching, wear and minor denting commensurate with age and use. No signs of repair. There is some beginning signs of splitting to one of the shoulders were in meets the shank. The shank and shoulders show general scratching, wear and light denting commensurate with age and use. No splitting, resizing or repair. Marks are worn.
Lot 252
A George V 22ct gold wedding band, marks for Birmingham 1923, ring size P, weight 3.9gmsCR; Light denting, heavy scratching and wear to the exterior and interior. Some signs of light thinning. No splitting or signs of resizing or repair. Heavy wear to maker's mark, however all other larks are legible.
Lot 256
An opal 9ct gold dress ring, the oval opal cabochon measuring 14mm x 10mm, set in 9ct gold to a rope twist border, split shoulders and plain polished shank, ring size N 1/2, together with an amethyst 9ct gold dress ring, the central amethyst measuring 14mm x 10mm, set in 9ct gold to a waved border, split shoulders and plain polished shank, size O 1/2, gross weight 7.0gms (2)CR; No cracks, chips or losses to amethyst - general scratching and wear only. Moderate scratching, wear and some denting to the setting, but no major thinning, splitting or repair. Shank in good order, no thinning, splitting or repair, general scratching and wear only.There are two hairline fractures running across the opal. There is general scratching and wear to the surface. No chips or losses. Setting shows moderate scratching and wear and some light denting, but no major splitting or repair. Shank in good order, no splitting, resizing or repair, general scratching and wear to exterior.
Lot 28
A Victorian and later horn and silver mounted beaker, Thomas Smily, London 1874, of tapering cylindrical form with silver border and shield shaped cartouche, 10.5cm high, together with four Arts & Crafts silver coloured teaspoons, each 9.2cm long, a pair of Victorian silver scalloped open salts with colourless glass liners (marks worn), each 24mm high, a George V silver vesta case, I S Greenberg & Co, Birmingham 1920, 5cm x 3.5cm, a silver matchbox sleeve with navel crest and inscription ‘With compliments of Naresh Math Mookerjee 6 Clive Row Calcutta’, 6cm x 3.5cm x 2cm approx., two further silver matchbox sleeves, a silver salt spoon, a silver coloured salt spoon and a silver chain, gross weight (excluding horn cup and unmarked examples) 3.39ozt (14) (at fault)CR: Arts & Crafts teaspoons are not hallmarked. One of mustard spoons appears to be plated. One of the matchbox holders and the spring ring to the chain are marked 'STERLING.' All of the other items are hallmarked.Matchbox holders: Calcutta example and Deakin & Francis example show heavy denting. Deakin & Francis example shows some splitting and loss. All examples show some misshaping and slanting. All examples show heavy scratching, general wear and tear commensurate with age and use.Horn cup: Heavy denting to the silver mount, some lifting, heavy scratching and wear throughout. Horn cup in good order, moderate scratching and wear throughout. Moderate scratching and wear to base.Vesta: Heavy denting throughout. No obvious splitting or signs of repair. Moderate scratching and wear throughout, moderate loss of engraved detail. Hinged cover opens smoothly and closes flush.Salts: Moderate denting throughout. Some thinning, minor splitting and misshaping around the border. Moderate scratching and wear throughout. Both salts sit flat on a level surface. Glass liners in good order, no cracks, chips or losses.Arts & Crafts spoons: Some thinning, light denting and minor misshaping to the edges of the spoons. Some denting and splitting to the floral finials. Moderate scratching and wear throughout.Chain clasp is broken, lacking spring. Links appear in good order.Both mustard spoons show heavy denting, scratching, wear and tear throughout.
Lot 283
An early 20th century silver gilt bracelet by Theodore Fahrner, designed as seven circular panels set with blue-green pastes and applied wirework decoration, tongue and box snap clasp fastening, 17.8cm long, weight 30.3gmsCR; The stones are in good order, no cracks, chips or losses. All show light-moderate scratching and general wear commensurate with and use. None show indication of repair, and all appear secure in setting. A few of the panels and connective links show splitting to the sides and underside. All links show light denting, some loss to the detail and general scratching and wear commensurate with age and use. Clasp in working order, though does appear slightly loose, however the safety catch is in working order.
Lot 287
A 9ct gold double albert chain, the graduated curb link chain with swivel terminations and central T bar, curb links stamped '9' and '375', T-bar stamped '9', '375' and 'B&S', lobster claws stamped '9', '375' and 'B&S', gross weight 60.7gms, 43cm longCR; Curb links show moderate scratching and wear throughout commensurate with age and use, with a few showing minor denting. There is minor to moderate thinning to the links between the contact points, but all appear to be secure. None show splitting or signs of repair. All show some degree of wear to the marks, varying from minor to heavy. T-bar in good order, showing general scratching and wear, but no thinning, splitting or repair, and swivels smoothly. One of the claws does not close flush and sits ajar - the other sits flush, opening and closing smoothly, though softly. All show moderate scratching and wear and some light denting but no splitting or repair. Hallmarks are heavily worn.
Lot 37
A Victorian cranberry glass, silver mounted scent bottle, the tapered cranberry glass body painted in gold hues with blossoms, with plain polished spherical screw cap (marks worn), colourless glass stopper, 21.5cm longCR; Body in good order, no cracks, chips or losses. General scratching and wear commensurate with age and use. There is heavy scratching, wear and areas of loss to the gold painted details (see pictures). Silver collar shows general scratching, wear and light denting. Glass stopper in good order, no cracks, chips or losses. There are several dents to the spherical cover, and moderate scratching and wear throughout. See pictures for illustration.
Lot 54
A late Victorian silver coffee pot, London 1899 (maker's marks worn), of tapering cylindrical form on raised circular foot, cast spout, ebonised handle and knop to hinged cover, 23cm high, weight 14.99oztCR: There is a moderate amount of small to mid-sized dents peppered throughout the body, mostly concentrated around the base. There is moderate scratching and wear throughout the pot commensurate with age and use. Hallmarks are heavily worn. Knop is loose and slightly askew - some light repair may be required. Heavy wear and loss to the ebonising on the handle and knop. Teapot wobbles slightly on a level surface.
Lot 56
A pair of George III silver candlesticks, hallmarked I.W (possibly John Weldring or James Wibird), London 1768, each upon weighted square stepped bases with gadroon borders, below knopped stems with urn shaped capitals and detachable square drip pans, inscription to base 'To Dr. Bowen-Davies, with gratitude from those at Llysdinam January 1894', each approximately 28cm high (2)CR; Both show heavy wear to the felt bases. Both show moderate small, shallow dents peppered throughout the stepped base. There is some splitting to the highpoints of the detail where the stem meets the base. There is some signs of solder repair where the stem meets the base. There are light, shallow dents peppered throughout the knopped stem, and some splits to the high points. There are some possible signs of solder repair to the knopped stems (see pictures). Sconces show some light dents peppered throughout, and some signs of light splitting. There is moderate denting/some misshaping around the edges of the sconces. Drip pans show some beginning signs of splitting to the high points and some denting peppered throughout the borders, with some larger dents to the collars. There is moderate and wear and loss of definition to the detail throughout. See pictures for illustration.
Lot 620
A frosted glass pendant light shade, early 20th century, of domed form, the shade suspended by three chains and eagle mask hooks applied to a gilt metal band, shade height 26cm Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Lot 94
A George II silver coffee pot, London 1745 (maker's marks worn), of tapering cylindrical form on raised circular foot, urn finial to hinged cover, cast spout and scrolling wooden handle, engraved with a bird of prey crest to one side and coat of arms to the other, 23cm high, weight 29.27ozt CR; Moderate scratching and wear commensurate throughout commensurate with age and use. Light denting peppered throughout body. Some denting to the foot rim. Heavy wear to the hallmarks. Cover is wobbly at the hinge, but appear secure, opening smoothly and closing flush. Some splitting to the top side of the spout. Some chipping to the wooden handle around the base. Moderate wear to the engraved detail. See pictures for illustration.
Lot 881
Full title: A pair of light green natural stone fluted columns, 20th C.Description:H 109,3 cm - Dia.: 25,3 cm 39,5 x 39,5 cm (the base) The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Lot 1083
Full title: A pair of French Louis XV style gilt bronze four-light candelabra, 19th/20th C.Description:H 37 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Lot 1158
Full title: A pair of French gilt and patinated bronze six-light candelabra with floral design, 19th C.Description:H 71,8 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Lot 57
A set of 9 flutes from the RITZ ParisFranceCrystal with colours from the Ritz by the Cristallerie de PortieuxFoliage scrolls, dragonflies and moon decoration with central rococo cartouche. 3 green, 3 blue, 2 amber e 1 light greenMarked RITZ Paris to base(in very good condition) The "Cristallerie de Portieux" is heir to one of the oldest French crystal manufactures, founded in 1690Alt.: 24 cm
Lot 2083
A black Hermès two-piece suit with light pinstripe. Including original garment bag. The blazer is made with a reverse neckline and two exterior pockets.Fabric:72% wool, 27% viscose, 1% polyesterSize: 44 FR (Check dimensions)Dimensions blazer:Total length: 75 cmShoulder width: 43 cm.Armpit to armpit: 52 cm.Sleeve length: 55 cm.Dimensions Trousers:Total length: 107 cm.Waist: 40 cm. 44FR
Lot 12
Sam Pickett (British, B.1987)DANCR signed lower rightlayers of spray paint and acrylic80 x 60cm (31 1/2 x 23 5/8in).Footnotes:Sam Pickett (1987) is a self-taught British figurative studio/street artist operating largely in the London and Surrey area. 'Every time Sam makes a mark on a wall, canvas or in the dust it's an attempt to interact with God on a deeper level. Not your God, a God or The God, just God. Close to the entirety of the human body originates from a star. Are we the growing tendrils of a universe exploring itself? Pickett finds inspiration in watching graffiti and tags building up on walls then slowly sinking beneath each new wave like living organisms as they are born, live and die then are reclaimed by the matter they came from. Sam believes that we are all looking to create our own Cueva de las Manos somehow. Reaching out across time from cave walls. For a brief moment we were here. We loved and lost. Not a monument but an echo, another voice joining the choir of humanity.Pickett is hugely inspired by extreme light and darkness; what is considered beautiful and ugly; the haves and the have nots; the great saga of it all. The inspiration also manifests itself in his process. To breathe life into a painting he will under paint a piece with what comes to him in the moment like automatic writing– tags, runes and doodled life musings. Using acrylic combined with layers of spray paint, dirt and dust, he builds up his figures from disparate pieces layered on top of each other. He strives for them to be greater than the sum of their parts, to transcend from the poverty both materialistic and spiritually in which they wander. To dive deeper in to what it is to be human and to become more.' (Sam Pickett and Ingvild Hokstad, September 2022)For further information on this lot please visit Bonhams.com
Lot 5
Md Tokon (American-Bangladeshi, B.1980)Don't let the sun go down signed and dated versoacrylic on canvas, framed121 x 91cm (47 5/8 x 35 13/16in).Footnotes:'This work is predicated on colour, light, dark, and space. It shares similarities with the song of British singer Elton John, which is 'Don't Let the Sun Go Down on Me.' It is simple, pure, and organic. The work also influenced by my extensive travels to ocean and land. The results are highly emotional and sensational. It is closely connected to dreams and illusions.' (Md Tokon, September 2022.)Md Tokon spent the first half of his life in Bangladesh before relocating to the USA, where he completed his Bachelor of Fine Arts from the City University of New York (2002-2006) and simultaneously enrolled at the Art Students League of New York (2005-2010). Noted alumni from the latter include Cy Twombly and Mark Rothko. Rothko's and the New York abstract expressionist's influence is evident in Md Tokon's works however Tokon's works also incorporate elements of Impressionism and Romanticism, as his works are predicated on colour, space, dark and light. The colours and themes employed in his works are a tribute to both the to tonalities of Bangladesh and the long tradition of abstract art emanating from the country, specifically that of Mohammad Kibria.Tokon favours large canvasses, dramatic colour and loose brushwork. He has been part of numerous solo and group exhibitions in New York, Chicago and Dhaka, and he is the recipient of the 2010 Richard Lillis Memorial Scholarship.For further information on this lot please visit Bonhams.com
Lot 6
Seema Kohli (Indian, B.1960)Yogini signed 'Seema '14' in Devanagiri and edition 8/10 lower leftserigraph on archies paper, framed52 x 47cm (20 1/2 x 18 1/2in).Footnotes:Excerpt from Narrative Performance by Seema KohliI move in a circular motion, Like time As does life and death itselfEnergy passing from one space to another So is the idea of circumambulation across all faithsA gesture profound to the feminine Signifying the never-ending loop of creation The continuation of The life-rhythmThe drumming skies and roaming dakinisDragons splitting the skies with a wondering speedAnd behold, oozing fire crackling the path of lightLending a silver lining to that darkest cloudOh, you the rider of the skies and the controller of three roots l watch you O Sky-conqueror, in awe, gripping the soul beneath my feet.How gracefully you balance the stars, which left the palm of your hand.I wait for the darkest night to watch you Like an eager doe with earnest eyesFor further information on this lot please visit Bonhams.com
Lot 8
Mohammad Iqbal (Bangladeshi, B.1967)The Holy Circle-27 signed and dated 'M Iqbal 2022' lower right, further signed, dated with title and medium versoacrylic on canvas73 x 73cm (28 3/4 x 28 3/4in).Footnotes:'Wars and crimes, religious grudges and racial conflicts never seem to end in this 'civilised world.' The development of philosophy, science and technology has contributed enormously in progress of human civilisations and overall betterment of the mankind. Unfortunately, while at the peak of human advancement, certain acts against nation, society and environment have jeopardised the progress. These are consequences of world turning in to a corpus for mechanical states and host for anti-humanism and fanaticism. These self-inflicted harms have affected entire environment that accommodates all creatures.As an artist, I have tried to portray nature as well as the most candid but the most punished living beings – the helpless, tortured and conflict-stricken children as a subject of my dispute with the so-called modern civilisation. This is why children's faces have become subject of my painting. Pain, insecurity and fear are mirrored through their eyes and faces. The stories of my paintings derive from reality, media information and other sources. However, the faces in my paintings are imaginary and reflect my personal emotions and sentiment leading me to name the produced works Destruction of Civilization, Lost Civilization, Peace in the Time of Disquiet, The Holy Circle, Unknown Faces, Expression, Dreaming of a Safer world, Unfettered Lifeand Distant Skies. The subject and introductory thoughts on my paintings are sequentially illustrated in the thesis entitled 'Civilization and Destruction'. I believe the subject is very important in my painting and thus, the hints and introduction in the subject selection are divided into three parts with relevant information and sketches. The focus on the subjects include mentally shattered children in the war and conflict; environmental pollution and the children affected by the environmental imbalance; and child labour, slavery and children troubled by the acts of anti-humanism.Some childhood memories stay forever. Some of my childhood memories are horrific and still fresh. I was four years old in 1971 during the Bangladesh war of independence. The fear and suffering of that war come back to my mind whenever I learn about any new conflict. The dead bodies of the innocent children and the faces of those who survived —handicapped or orphaned make regular headlines in the mass media. These invoke my childhood memories of the frightening 1971 war. Losing their parents and family, many orphan or street children are growing up in conflict-ridden surroundings. In some region, war and conflict have been a common phenomenon. Children in these parts of the world have spontaneously adapted with the consequences of the war.Violent disruptions in a child's life unnerve me with deep empathy and sorrow. Their oppressed and shattered conditions have been the focus of my paintings. Employing different styles and techniques in figuration, I have tried to recreate their faces. I concentrated on children's facial moods and expressions using subtle lines and deep shades. In doing so, I created paintings with a chiaroscuro-like effect — distributing light and shade while constructing two-dimensionality with grey and transparent background. Facial expression of the human being is my prime interest. I tried to express the emotions of human nature —sorrow, happiness, melancholy, illness and laughter through face. My paintings do not expose any particular child's face. In fact, I have tried to make them universal and impersonal. Usually the faces are drawn from my imagination and recollection of the past. From top to bottom, the backgrounds in my paintings are created with ten to twelve layers of oil colour.Round and curvy dot-like background shapes in almost all my paintings are my unique trait and style. These dot-like shapes symbolize the air and environmental pollution. These round-dotted shapes or bubble-like forms spread all over the background, parts of my aesthetic style, project the man-made imbalances in nature. Again, this symbol is a reflection of the urge to create a secured livelihood, a good future, a beautiful habitat and a war-free and pollution-free environment for the children. Furthermore, the dotted shapes in my paintings have become the symbol of my dispute.' (Mohammad Iqbal, September 2022)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 13
Paul Feiler (British, 1918-2013)Supported Ovals, Brown signed, titled and dated 'PAUL FEILER/SUPPORTED OVALS, BROWN/1963/64' (verso)oil on canvas92 x 92 cm. (36 3/16 x 36 3/16 in.)Footnotes:ProvenanceWith The Redfern Gallery, London, where acquired by the family of the present ownersPrivate Collection, U.K.Following the success of his 1953 solo exhibition at The Redfern Gallery, Paul Feiler purchased a chapel at Kerris near Penzance, which would become both his studio and centre of family life. Despite splitting his time between Cornwall and Bristol for the next twenty years, it was the Cornish coast with its dramatic light and rugged geography that drew his attention and provided a seemingly endless source of inspiration. Feiler became a central figure in the 'St Ives School', alongside other British pioneers of post-war abstraction such as Patrick Heron, Peter Lanyon and Roger Hilton, outstanding examples by whom are included in the present collection. Supported Ovals, Brown dates to 1963/4 and demonstrates Feiler's interest in the interplay of shape and form at this time. Many of the compositions from this period were originally explored through a number of drawings, in turn informing the oil paintings, which often went through several stages before completion. In the present work, a complex layering has been undertaken to ground the oval shapes which appear like cells, overlapping one another in motion. The horizontal lines of black and darker brown provide both structure and stability within the pictorial space, which is square to enhance the sense of balance. As is the case here, the titles of the paintings from this period tend to consist of two or three parts with a defining adjective (in this case 'supported') alongside a colour description. Whilst this marks a change from the references to specific Cornish locations that proliferated in the titles of works from the previous decade, the influence of the landscape in Supported Ovals, Brown is still potent.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 34
Gerald Leslie Brockhurst R.A., R.P., R.E. (British, 1890-1978)Pool of Bethesda oil on canvas103 x 128.5 cm. (40 1/2 x 50 1/2 in.)Footnotes:ProvenanceA.C.J. Wall, thence by descent to the present ownersPrivate Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 3 May-14 August 1915, cat.no.681The present work depicts the miraculous healing told in the Gospel of John (5:1-15). With Christ's word, the waters of the pool of Bethesda stirred and a man who had been invalid for 38 years was cured. This subject was painted by several of the Old Masters, including Murillo, Panini, Tiepolo and Hogarth, whose Christ at the Pool of Bethesda (1735-36) hangs at St Bartholomew's hospital. In Brockhurst's variation the scene is classically composed in a Nazarene manner as the young artist pays homage to the great tradition of biblical painting. Yet there are ample hallmarks of the style which he was to refine throughout his career; the intricacy and pattern of the drapery and awnings, the deftly rendered expressive faces and the dramatic employment of varying light sources that isolate the key figures from their surroundings. Fifteen years after the work was first exhibited it was noted that 'The picture gives ample presage of that which subsequently transpired, and it also contains a self-portrait, in the figure of the dark-eyed man behind Christ' (Jessica Walker Stephens, 'Gerald Leslie Brockhurst, ARA, RE', Apollo, 1930, p.118). In addition to the self-portrait, it is more than likely that Brockhurst's first wife Anaïs Folen, modelled for a number of the female figures, identifiable by her dark hair and strong features.The painting was executed whilst Brockhurst was at the Royal Academy Schools, and for it he received a Gold Medal award and traveling scholarship in 1913. He had proved a prodigious talent, having previously won the Armitage Medal, named for the Victorian painter Edward Armitage, who may have influenced the present work. In 1915 Pool of Bethesda was accepted to the Royal Academy's Summer Exhibition, the first work by Brockhurst to be shown there (he would later be elected R.A. in 1937).The present, prior and following lots all formerly belonged to A.C.J. Wall. Wall purchased, and commissioned, several further works by Brockhurst including a portrait (sold in these rooms, 23 June 2015 for £20,000, see fig.1).Wall was a Birmingham based industrialist who started collecting in the 1930s. His was an eclectic taste, ranging across paintings, ceramics, furniture and sculpture. He was well known as a benefactor to the arts, particularly in Birmingham where he was the mayor, and he was known to have sat for a bust portrait by Jacob Epstein. Selected works from his collection were sold by Christie's in 1970 with many pieces being bought by leading international museums.We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 37
Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946)The Peaceful Rhythms Of The Downs signed 'C.R.W NEVINSON' (lower right)oil on canvas63.9 x 76.6 cm. (25 1/8 x 30 1/8 in.)Footnotes:ProvenanceWith Dicksee & Co, Glasgow, 1941Private Collection, U.K., thence by descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 5-9 May 1941, cat.no.240Possibly London, Royal Academy of Arts, The Second United Artists' Exhibition in aid of H.R.H. The Duke of Gloucester's Red Cross and St. John Ambulance Fund, 1 January-7 March 1942, cat.no.72 (as September Morn)The Peaceful Rhythms of the Downs was one of six pictures Nevinson exhibited as an A.R.A. at the Royal Academy in 1941, and the only one not directly referring to wartime themes and events. The title, however, is telling, suggesting the contemporary viewer might find consolation, looking away from war to its opposite, in a 'peaceful' downland vista located in an area close to Amberley in West Sussex. The eye is led up the track on the left to a lone tree, a pivotal point, from which fields, slopes and lines of trees fan out. The landscape is variously worked but devoid of figures, this second world war having created a shortage of land workers, as had the first. There are levels of rhythm in the lines and groups of trees: choppy, toothed, islanded or sinuous, as along and shouldering the crest of the down, which Nevinson evokes with, in T.W. Earp's phrase, 'a lyric fervour'. Nevinson, so much the war artist, found peace in such a landscape, as he did in listening to classical music. The painting's colouring is quiet, yet embracing many shades of green, and earth and straw colours, below a sky of light, passing clouds. In wartime, pensive and melancholic, Nevinson built here on many years of depicting the English landscape, to reach an apotheosis of his art.The Peaceful Rhythms of the Downs was one of a number of Nevinson's landscape paintings reproduced full-size by the Medici Society. Other titles, of a similar size, included Spring in Suffolk and After the Storm. This meant the images reached an audience beyond the galleries and exhibiting societies. The Peaceful Rhythms of the Downs became a print in the 1940s, and the print can be glimpsed on the wall of an apartment in the 1947 film The Dream of Olwen, also known as While I Live (director, John Harlow).We are grateful to Christopher Martin for his assistance in compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Lot 52
Sir Winston Spencer Churchill O.M., HON. R.A. (British, 1874-1965)Branksome Dene signed, inscribed and dated 'Mrs Cassel from Winston/1916.' (upper right)oil on canvas50 x 60 cm. (19 11/16 x 23 5/8 in.)Footnotes:ProvenanceThe Artist, by whom gifted to Lady Helen Cassel, thence by descent to the present ownerPrivate Collection, U.K.LiteratureDavid Coombs with Minnie Churchill, Sir Winston Churchill: His Life and His Paintings, Running Press, Philadelphia, 2004, p.240, fig.512 (C 525) (col.ill.)'It seems to me that, of all the countries in the world, this country is the one that should direct the attention of painters to the sea ... In the endless interpretations of those changing forms we will find a source of inspiration and a source of culture which ought to contribute to the general movement of our island life.' (Sir Winston Churchill, from 'Sea Power' in Art, July 1937) In his Catalogue Raisonné of Sir Winston Churchill's collected works, David Coombs gives the painting the informal title Branksome Dene, which places it as a view from the home of Churchill's close friend the financier Sir Ernest Cassel on the south coast of England. It is an important and truly unique work that gives insight into Churchill's earliest motivations, influences and ambitions as an artist. Moreover, it is a work that combines his passion for both painting and the sea, and in so doing draws together his personal and political life.Created in the earliest period of Churchill's practice as an artist, the painting successfully captures the calm atmosphere of the scene. It was the light, colour and mood of the sea that inspired the numerous seascapes that Churchill produced during his lifetime - from the coast of England to the south of France and even Miami, he spent many happy days with his paints and brushes by the sea. A year before gifting the present painting to the wife of his friend, Churchill first took up a brush in 1915. At that time, he was enjoying a much-needed retreat from political life in the Surrey countryside. It was during this period that he was encouraged to take up painting in order to counter a bout of deep depression. He swiftly became deeply devoted to his new 'pastime', taking up paints and brushes at home, with friends and on holidays. As David Coombs has written, 'It was the challenge and difficulty of capturing satisfactorily the scene before him which proved such a tonic to his mind.' From the outset Churchill sought to learn as much as possible about painting technique to develop his skills. He benefitted from knowing some of the greatest artists of the day, including Sir John Lavery, Walter (Richard) Sickert and William Nicholson, all of whom offered Churchill wisdom and advice. Alongside these painters was the British sea painter (Albert) Julius Olsen RA, who was a particular influence on his sea paintings. Churchill also sought to study from those artists he admired, travelling to Paris to see the Impressionists, sought out paintings by Turner, and copied the works of the great masters in order to apply their techniques. For the composition in the present painting Churchill fixes our gaze out to sea. The work is a tightly framed, compressing view of the coastline. The white cliffs reach out along the horizon out to the ship which thoughtfully structures the work and acts as a focus of the picture. Our view is enclosed by trees, lending a sense of intimacy to the work, with the foliage enhancing the horizon and cloud-filled sky. Churchill gently infuses the work with a sense of peace and serenity. The painting may be read as a moment of stillness before a gathering storm ahead, and the demanding times for which Churchill is perhaps most famous.Barry Phipps is an art historian and Fellow of Churchill College, University of Cambridge and we are grateful to him for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 6
Roger Hilton (British, 1911-1975)December '63 signed and titled 'HILTON/DEC '63' (verso)oil and charcoal on canvas127 x 114 cm. (50 x 44 7/8 in.)Footnotes:ProvenanceWith Waddington Galleries, LondonMr and Mrs W. MortonSale; Sotheby's, London, 4 July 2001, lot 173 (as Composition 1963)With Godson & Coles, London, 2002, where acquired by the family of the present ownersPrivate Collection, U.K.The 1960s ushered in a period of growing critical and commercial acclaim for Hilton. May 1960 saw Hilton's first solo exhibition at Waddington's, with institutional purchases gathering pace: the British Council acquired the first of eleven paintings that they were to buy of his work, with paintings also sold to the Tate, the Arts Council, the Gulbenkian Foundation and the Ferens Art Gallery in Hull. Abroad, travelling exhibitions featured his work, including in the British Council-organised British Painting 1700-1960, which was shown in Moscow and Leningrad, while European Art Today: 35 Painters and Sculptors, organized by the Minneapolis Institute of Arts, travelled to Los Angeles, San Francisco and New York. Clement Greenberg, the most influential art critic of the 20th Century who shaped the reception of modern art in America, was to see this exhibition and write to Hilton praising the 'real character' shown in his paintings, which was quite an accolade from this notoriously hard-to-impress critic (Clement Greenberg quoted in Andrew Lambirth, Roger Hilton: The Figured Language of Thought, Thames & Hudson, London, 2007, p.139). Alan Bowness was a key supporter and not only wrote catalogue introductions which gave serious weight to Hilton's work, but also recommended the purchase of his paintings by public bodies, including the Contemporary Art Society. In November 1963, Hilton was to win first prize in the prestigious John Moores Exhibition in Liverpool, for the painting March 1963. The present lot, December '63, was painted the month after he won this most fêted prize, and it exhibits all the richness and exuberance that characterises Hilton's best work. With glowing ochre and bold blues, the vibrant colours of this work marks out the painting as particularly special. While these strong hues may be the first to catch the viewer's eye, Hilton's careful handling of a complex but measured palette shows his flair and mastery of the abstract medium at this time which had been so lauded by the critics, and rightly so. The painting is bordered by delicate, warm peach tones, while white and off-white paint is applied with varying techniques to provide contrasting intensities of colour, and a painted surface which intrigues. While the central area has a thin, sparing layer of off-white paint, the half-circle along the lower edge has been created first with a palette knife, the upper sliver then finished with swirling impasto strokes. A mist of hazy charcoal is smoothed over the central area of paint lending a grainy, subtle, shadowed surface to the work, inviting closer inspection and fading off towards the top edges. Bold brushstrokes luxuriate in the application of the deep royal blue and cobalt tones, catching the light and showing Hilton's delight in the slick, smooth application of these rich paints. While painting provides the form of the present work, Hilton's ever-present concern with drawing shapes it, contains it, encircles it, defines it. His characteristic charcoal line provides the organic sweep that curves through the centre of the work, reminiscent perhaps of bodily shapes, but often intangible or so far removed from the original source, that one can only see a suggestion or trace of this. As Andrew Lambirth has noted, for Hilton, incorporating charcoal into a painting was his own unique development, integral to many of his most successful abstract works: 'Visible charcoal lines in a painting usually suggest under-drawing, the artist's preliminary ideas. Hilton turned this preconception on its head, for in his pictures the charcoal was of crucial importance, as important as the paint' (ibid., p.111). In fact, Hilton often applied the charcoal last, not first, raising the drawn line to equal status as the traditionally exalted paint. As Lambirth has so succinctly put it: 'in a very real way, the drawing is as important as the painting' (ibid., p.155).In the present lot, we have a supreme example of Hilton's best work from a decade when critical and commercial appreciation began to really recognise his achievements. A master of the medium, this is a painter at the height of his powers. In an abstract language that suggests, but is not defined by, its references to the outside world, be that figural muse or airy Cornish landscape, Hilton created a style which combines the painterly gesture and drawn line which is uniquely his own.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 62
Dame Barbara Hepworth (British, 1903-1975)Wave Forms (Atlantic) signed and dated 'Barbara Hepworth 1964' (lower right); further signed, titled and dated again 'Barbara Hepworth/Wave Forms (Atlantic) 1964' (verso)oil and pencil on board76.2 x 101.4 cm. (30 x 39 7/8 in.)Footnotes:ProvenanceWith Gimpel Fils, LondonDr Pierre TurquetWith Marlborough Gallery, LondonSale; Christie's, London, 10 November 1989, lot 379With Marlborough Fine Art, London, where acquired by the family of the present ownerPrivate Collection, U.K.ExhibitedLondon, Gimpel Fils, Barbara Hepworth: Sculpture and Drawings, June 1964, cat.no.49London, Marlborough Fine Art, Summer Exhibition, 1965, cat.no.25London, Tate Gallery, Barbara Hepworth, 3 April-19 May 1968, cat.no.218LiteratureAlan Bowness, Drawings from a Sculptor's Landscape, Cory, Adams & Mackay, London, 1966, cat.no.69 (col.ill.)Mervyn Levy, Drawing and Sculpture, Studio International, Volume 171, Number 873, January 1966, Cory, Adams & Mackay Limited, p.28 (ill.b&w)Abraham Marie Hammacher, Barbara Hepworth, Thames & Hudson, London, 1968, p.146, pl.123 (ill.)This painting is recorded as D484 in the catalogue compiled by Hepworth.Wave Forms (Atlantic) was created at a time when Hepworth was at the peak of her career. In 1964, her most important and famous commission was unveiled at the United Nations Secretariat in New York, the monumental sculpture Single Form. The following year, she was to be made a Dame Commander of the British Empire and also appointed a Trustee of the Tate Gallery, while exhibitions both at home and abroad further celebrated her work, with shows in London and New York, the Netherlands and Scandinavia. The Cornish landscape continued to be an evergreen source of inspiration for her, the light, stone and sea informing so much of her work. Since first moving down to Cornwall in 1939 with Ben Nicholson and their triplets, and after several moves within Carbis Bay, in 1949 Hepworth bought Trewyn Studio in St Ives, where she lived from December 1950 until her death in 1975. Many of the paintings and drawings from 1960 onwards were made in Hepworth's Barnaloft studio flat, which had a view of Porthmeor Beach and the Atlantic Ocean. In Wave Forms (Atlantic), one feels the intimate relationship between artist and the elements and the close proximity of the two to one another. As a viewer, we are immersed in the composition which is dominated by the deep blue water as it churns and moves turbulently through the pictorial space, generating through its energy and power the frothy whiteness of the breaking surf. The force with which the water is crashing and our proximity to it is conveyed through the thicker spots of white pigment that occupy the area towards the top of the painting, indicative of spray. Further complex colour tones have been used to describe the scene and Hepworth herself wrote particularly poetically of how, 'the sea, a flat diminishing plane, held within itself the capacity to radiate an infinitude of blues, greys, greens and even pinks of strange hues' and how 'the incoming and receding tides made strange and wonderful calligraphy on the pale granite sand which sparkled with feldspar and mica' (Barbara Hepworth, Drawings From A Sculptor's Landscape, London, Cory Adams & Mackay, 1966, p.12). The medium of oil and pencil is one which Hepworth favoured and the contrast of strong, definite graphite over washes of colour something which she particularly enjoyed. In Wave Forms (Atlantic), we see the curving lines and shapes echoing and complimenting the rhythm of the sea. In this case the pencil has been rather subtly applied with the oil predominating but leaving a strong sense nonetheless of a sculptural impression on the surface. Hepworth has further worked into the surface of the board, largely apparent on the right-hand side of the composition, by scraping back to reveal the whiteness of the primed surface underneath, in turn echoing the light and rough, rocky surfaces of the coast. Drawings were for Hepworth a means of capturing new ideas for sculpture and, as she stated in Drawings from a Sculptor's Landscape in 1966, it was a life-affirming act. Hepworth wrote that, 'Whenever I am embraced by land and seascape, I draw ideas for new sculpture: new forms to touch and walk around, new people to embrace, with an exactitude of form that those without sight can hold and realize' (Ibid., p.11). Hepworth's important and large curved sculpture Sea Form (Atlantic) was conceived in 1964, the same year as the present work, with casts housed in the Dallas Museum of Art and the City of Norwich Museum.We are grateful to Dr Sophie Bowness for her kind assistance with the cataloguing apparatus for the present work.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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