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Lot 123
Yaacov Agam (1928-), Image Magic, 1970s, a silkscreen and acrylic light sculpture mounted on a white plastic plinth base, etched signature and numbered 93/99 to acrylic rod, further numbered to underside paper label63cm high (inclusive of base)In good decorative order, electrics untested. Complete with original two-pin power lead, which would need checking by a qualified electrician or replacing before use.
Lot 125
§ John Spielman (1944-), two abstract wooden sculptures, to include a carved iroko example of twisted abstract form, 29cm high, and a pitched pine sectional work in eleven parts, 28cm high, both mounted on ebonised plinth bases impressed with the artist's nameThe sectional work with a few light chips, otherwise both in good overall conditio
Lot 137
§ Sir Eduardo Paolozzi CBE (1924-2005), Elephant, 1972, an injection moulded plastic limited edition sculpture, signed incised to back and numbered 391/3000 to underside31cm highThe back of the cover has suffered a break and lost a section, there is a small crack extending into the cover. Otherwise, a little grubby few some light scuffs and marks.
Lot 138
§ Sir Eduardo Paolozzi CBE (1924-2005), Tottenham Court Road, 1985, a ceramic and screenprinted multiple contained within a perspex box, numbered 74/500, published by Rosenthal, Selb, Germany; together with the original wooden box35 x 33 x 9cmIn good condition, noting only minor light scratching to perspex case.
Lot 18
A Baccarat Dupont glass concentric millefiori paperweight, set with a garland, centred by a stardust cane, encircled by a concentric ring of pink cog canes and a larger garland of pink pastry mould and green complex cogwheel canes, 7cm diameter; the second, a miniature example with a central cog cane surrounded by a ring of seven cogs and an outer ring composed of five clichy roses separated by an arrangement of ten edelweiss canes, 4.5cm diameter (2)The larger: a couple of light bruises and surface scratchingThe smaller: with several surface bruises/chips and some surface scratching
Lot 196
Shapland & Petter, Barnstaple, an Art Nouveau mahogany sideboard, the gallery back with pierced sides, the back inlaid in woods, pewter and mother-of-pearl, the right-hand cupboard door to the base similarly inlaid, stamped S&P B to locks, Lee, Longwood & Co. retailers to drawer145 x 128 x 56cmA shrinkage crack to right-hand door panel, the bottle cradle in the left-hand cupboard is loose. A few scuffs, marks and light dents commensurate with age and use.
Lot 20
A group of three scrambled millefiori glass paperweights, to include two Baccarat examples, one set with an assortment of multicoloured canes, the other containing various latticino and millefiori canes, 6cm and 5.5cm diameter; together with another example, possibly by Clichy, containing scrambled latticino and millefiori canes, 5.5cm diameterBaccarat scrambled: one notable bruise (not chip) and light surface scratchingBaccarat latticinio: one small bruise to the side, light surface wearPossibly Clichy: a number of surface bruises and chips together with general surface scratching
Lot 22
Two Clichy swirl paperweights, the larger with a radiating pinwheel of blue and white staves emerging from the central pink, white and green pastry mould cane, 6cm diameter; the smaller with a large purple, red and white pastry mould cane within radiating pink and white spiral staves, 5.5cm diameterBlue: very light surface wearPink: a number of chips and bruises
Lot 238
A pair of Art Deco blonde birdseye-maple bedside cabinets, each with a single drawer above a cupboard door, with mottled bakelite handles and mahogany panel to the plinth63.5 x 36.5 x 34cmVeneer in good order having been stripped and repolished at some point. There are a couple of minor repairs to the veneers and some light scuffs and marks fromuse, the door on one cabinet has warped slightly but still operates as it should, although it catches slightly on the drawer above.
Lot 249
An Art Deco West African cherry bureau, the central fall front above open shelves, with two short drawers and shelves to the left and further open shelves to the return on the right, 111 x 112 x 47cm; together with a similar low bookshelf, 65 x 96.5 x 21cmIn good overall condition, there are a few repairs to the veneers and general light scuffs and wear commensurate with age and use
Lot 251
An Art Deco period walnut and peach glass occasional table, the bevelled peach-glass top with matching mirrored panels to the supports and with under-tier below63 x 60 x 60cmwoodwork in good condition with only light marks as expected but no obvious losses of veneer, mirror top is excellent with no chips or cracks. One of the mirror panels on the supports has been replaced with 'standard' mirror glass rather than peach mirror.
Lot 26
Three Paul Ysart Harland Fountain paperweights, each of domed form and internally decorated with lampwork flumes and bubble inclusions cascading onto a suspended cushion ground, two in blue and green, the other in blue and purple, signed with H cane 6.5 x 8.5cmSome light surface wear and scratching, but all generally fine
Lot 261
Sidse Werner for Holmegaard, a white cased glass Apotheker pendant light, of flared form30 x 36cmThis lot has been imported from outside the UK and is therefore subject to import VAT at the standard rate of 20% on the hammer price. This is in addition to the standard Buyer's Premium of 29.4% (including VAT).
Lot 27
Five Paul Ysart glass paperweights, one of harlequin design with a central tear bubble surrounded by a ring of eight further tears over a scattered and dimpled ground, signed with H cane and bearing paper label, 7cm diameter; one set with a central lampwork flower with millefiori cane and H cane pistil over a mottled yellow cushion, 7.5cm diameter; and three similar weights, each set with a central lampwork flower, one with aventurine inclusions, surrounded by eight radiating bubbles over a dimpled and mottled grounds, each signed with H cane, 7.5cm diameterPale blue cushion: small nick to rim, light surface wear, otherwise goodAll overs with light wear, generally good condition
Lot 273
§ Hans Wegner for Fritz Hansen, a teak and beech dining table and six chairs, the oval extending table raised on tapering cylindrical legs with six three-legged 'Heart' chairs the table 73 x 135-190 x 100cmIn good, clean condition overall, one chair with a small repair to frame (see images), general light wear and scratching commensurate with age and use.
Lot 277
zzz A mid-century Danish teak extending dining table and six chairs, the table extending to a rounded rectangular form raised on four tapering cylindrical legs, the chairs in rosewood with wool upholsterythe table 74 x 70-260 x 90cmThis lot has been imported from outside the UK and is therefore subject to import VAT at the standard rate of 20% on the hammer price. This is in addition to the standard Buyer's Premium of 29.4% (including VAT).In good overall condition, noting only light surface wear and scuffs commensurate with use.
Lot 28
A collection of four Perthshire glass swirl paperweights, the largest with a swirling arrangement of latticino canes in a complex arrangement upon a blue cushion and radiating around a central millefirori cane, 7.5cm diameter; two clear glass weights each decorated with a pinwheel arrangement of latticino canes around a central millefiori cane, 6.5cm diameter; and the smallest with lampwork flower with millefiori pistil surrounded by a pinwheel of white canes over an amber glass cushion, 5.5cm diameter Green and orange swirl: A small bruise and some light surface wear, otherwise goodOthers with light surface wear, but generally good
Lot 286
Karl Dittert for Martin Stoll at Giroflex, a Pasal swivel desk chair, 1960s, with buttoned brown leather upholstery and bent plywood shell to a cast aluminium base90 x 70 x 62cmIn generally good overall condition, gas ram working as it should, light scuffs and wear commensurate with age and use.
Lot 292
Florence Knoll for Knoll International, a pair of T Angle coffee tables, circa 1963, each with square walnut tops on angled aluminium supports41 x 66.5 x 77cmProvenance:The estate of Margaret Finch (1925-2021)Tops are faded with some stains and marks, some light pitting to aluminium frames, no labels or markings. A few small veneer chips to edges.
Lot 3
Bacchus, an R. Lalique polished and frosted glass vase, designed 1938, the tapering body moulded in high relief with a frieze of satyrs amongst ivy, wheel etched marks to underside18.5 x 13.5cmChip to footrim of approx 10mm, and one other minute nick also to footrim. Some scratching to underside, otherwise light wear commensurate with age.
Lot 337
§ Alan Cotton (1938-) Provence - Farm near Bonnieuxsigned 'Alan Cotton' (lower left); further signed and titled to the stretcheroil on canvas29 x 29cmProvenance:With David Messum Fine Art, LondonThe surface with a very light layer of dust and some negligible scattered accretions, particularly around the more impasto passages of paint. The artist has applied a very fine layer of paint to the sky, leaving some of the canvas beneath exposed. Otherwise in very nice, clean condition.
Lot 342
§ Bernard Dunstan RA, RWA, NEAC, HPS (1920-2017) The artist's family at tea, 1953; together with a letter from the artist describing the paintingsigned with initials (lower left)oil on board20 x 30cmProvenance:With Belgrave Gallery, LondonSale; Christie's, 7 November 1991, lot 108In a letter discussing the present lot, Dunstan identifies the figures in the work as his wife, Diana Armfield, feeding their youngest child, David, shown in the highchair, whilst their middle child, Andrew, stands in the doorway. Dating the picture between 1953 and 1954, Dunstan locates the scene as being in the kitchen of Armfield’s father’s Welsh cottage. Bought by his father-in-law as a semi-ruin, Dunstan recalls the family ‘camping out’ in the sparsely furnished cottage, as local builders completed renovations. Commenting upon his process, Dunstan notes that the work is one of several he executed in oil upon an unprimed board. Remarking that this is often viewed as a ‘dubious’ practice, he jokes that it seems to have been good enough for Vuillard and Toulouse-Lautrec - indeed, Vuillard is often cited as one of Dunstan’s most critical artistic influences.Characterised by the informal composition, painterly mark making, and luminous, yet subtle, palette, this tender and intimate domestic scene of his wife and children around the kitchen table is typical of Dunstan’s wider body of work.Artist has applied the paint quite thinly in areas and in other areas has left the paper exposed entirely. The paper beneath is perhaps slightly foxed with some light spots showing up through areas where the paint layer is thin, surface a little dirty upon close inspection, but overall a charming image in nice condition
Lot 371
§ Paul Lucien Maze (1887-1979) Street in the snowsigned 'P.Maze' (lower right)oil on board10.5 x 16.5cm;House in a wooded areasigned 'Paul Maze' (lower right)oil on board10.5 x 16.5cm (2)Street in the snow: Some very small scattered accretions and some slight discolouration most notably to the white passages of paint, would perhaps benefit from a very light clean, but overall in nice conditionHouse in a wooded area: Some very minor discolouration and a handful of very small scattered accretions, otherwise nice, clean condition
Lot 38
Robert Wallace Martin for Martin Brothers, a stoneware vase, 1876, the shouldered tapering body glazed in shades of brown, ochre and blue and decorated with butterflies amongst a scrolling foliate motif, incised marks to underside29cm highCondition seemingly good throughout with no evidence of damage or restoration, examined under UV light, a few small glaze misses to the body.
Lot 39
Robert Wallace Martin for Martin Brothers, a stoneware 'Eskimo' jug, circa 1910, of tall cylindrical form and modelled as a smiling man clothed in a hooded fur coat, glazed in grey and pink with occasional blue spots, incised marks to underside33cm highProvenance:Sale; Sotheby's New York, The Harriman Judd Collection Part Two, Saturday October 6 2001, lot 85In seemingly good condition, free from damage or restoration, examined under UV light.
Lot 393
§ Sir Kyffin Williams OBE, RA (1918-2006) Stone Cottage before a Mountain, Walesoil on canvas39 x 49.5cmProvenance:Purchased directly from the artist in 1963 whilst he was Art Master at Highgate Schoolthence by descent within the familyCanvas is in plane and has good tension. There are two very small losses of media in the top right hand corner revealing the primed canvas beneath, as the primed canvas is similar in colour to the sky, the losses are very discreet. There are some very fine drying cracks in the sky, mostly localised to the corners and with no resulting loss of media, there are also some minor scattered accretions, mostly notable to the pale passages of paint in the sky. Would perhaps benefit from a very light clean, but overall in nice condition.
Lot 410
§ June Brilly (1956-) Sheep resting beside a bushsigned 'June Brilly' (lower right)oil on board24 x 26cmSome light debris from the frame has accumulated in a handful of areas around the outermost edges, possibly with some very minor abrasions. The artist has left some small areas of the support exposed throughout. The surface with a very light layer of dust. Overall in nice, presentable condition.
Lot 420
§ Le Corbusier (1887-1965) Modulorlithograph, published by Atelier Mourlot, Parisunnumbered from the edition of 20071 x 53cmProvenance:With The Redfern Gallery, where acquired in February 1964Not examined out of the frame, edges obscured by the mount so not available for inspection. The sheet with some minor and uniform age toning, some light negligible foxing noted, but overall in nice condition
Lot 421
§ Victor Pasmore CH, CBE (1908-1998) Spiral Motifsigned with initials and dated 51 (lower right); numbered 16/20linocut on Japanese paper, printed by White Ink Studio, London, 1960s32 x 40cmProvenance:With Mercury Gallery, London, where acquired in March 1996Literature:Illustrated; Frances Carey & Antony Griffiths, Avant-Garde British Printmaking 1914-1960, BMP 1990, cat no.191In the summer of 1950, upon the invitation of Ben Nicholson, Victor Pasmore swapped the pewter skies of central London for the sun-flashed shores and the glistering waters of St Ives, Cornwall. Having only recently transitioned from figurative painting into abstraction, Pasmore spent the season drawing the rhythmic coiling and crashing Atlantic waves from the sands of Porthmeor beach. The culmination of his trip to Cornwall was a series of diagrammatic spiral and linear motifs, as demonstrated by the present lot. These studies became the basis for a series of landscape-driven abstract oils and drawings that were the subject of a major exhibition at the Redfern Gallery towards the end of 1950.Whilst none of the motifs created during his trip to St Ives, and in the subsequent year, were ever published in proper editions, in the 1960s, the present lot was reproduced, and retroactively dated ‘51’, by Pasmore in partnership with White Ink Ltd.Not examined out of the frame, appears to be adhered to the backboard at four corners. Sheet is uniformly toned commensurate with age, some very light scattered foxing throughout, but overall in nice, presentable condition
Lot 426
§ Prunella Clough (1919-1999) Old Wreath signed to the reverseoil on canvas51 x 63.5cmProvenance: With Annely Juda Fine Art, LondonExhibited:London, Annely Juda Fine Art, Prunella Clough Recent Paintings, 24 September - 30 October 1993, cat. no.8There can be no doubt that Prunella Clough is one of the most significant post-war artists to have emerged from Britain. Though her work has appeared in many guises, from her early figurative efforts to the late minimalist abstraction she is remembered for today, the thread that runs through the entire body of Clough’s work is her dogged and unwavering commitment to a singular artistic vision and a refusal to adhere to the fashions of the day.The daughter of an Anglo-Irish aristocratic mother and a poet father, Clough was keen to shed the skin of her wealthy upbringing in Belgravia, an aspiration which appears to have manifested in her chosen subject matter. After completing her studies at Chelsea School of Art, under the tutelage of Ceri Richards, Henry Moore and Julien Trevelyan, and briefly working as a cartographer during World War II, Clough began to settle into her artistic practice. On her frequent solo urban safaris, Clough gathered inspiration from London’s industrial Badlands – the docks, scrap yards, factories, and power stations, the pavements, the puddles, and the discarded detritus of urban life. In her late work, Clough transforms the banal, the oblique and the neglected into objects of fascination through her precise and sophisticated use of colour and her innovative elastic perspective, which encourages her viewers to question whether they are viewing her subjects on a macro or micro scale.Canvas in plane and with good tension. The surface with an overall grubby appearance commensurate with age, would perhaps benefit from a very light clean. One very small area of paint loss in the lower left quadrant and the top right quadrant with some instances of raised, but intact impasto and the top left quadrant with a very minor loss along the grey border. Some light scattered accretions, most notably a small reddish mark between the two upward facing petals, but overall in nice condition.
Lot 430
§ William Black (20th century) Three Sisterssigned and dated 'William Black 67' (lower right)ink and watercolour, unframed24 x 16.5cmAdhered to the mount with four small lengths of tape at each corner. The reverse of the sheet shows some light pencil marks. The paper with some slight discolouration, but overall in nice condition with strong colours,
Lot 431
§ William Black (20th century) Night Flyerssigned and dated 'William Black 68' (lower right)ink and watercolour, unframed13 x 21cm;together with Beached Boatsigned and dated 'William Black 64' (lower right)ink and watercolour, unframed13 x 21cm (2)Night Flyers: Fixed to mount with four short lengths of tape (two at the top edge and two along the bottom edge). The surface of the paper with some light staining to the margins (most evident to the reverse of the sheet), but overall in good condition.Beached Boat: Adhered to the mount in the same fashion as the above. The surface of the paper a little stained and discoloured, though this is likely, at least in part, part of the artist's technique. Colours bright and strong.
Lot 437
§ William Black (20th century) Harboursigned and dated 'William Black 63' (lower right)ink and watercolour, unframed13 x 21cm;together with Moored Boatsigned and dated 'William Black 64' (lower right)ink and watercolour, unframed13 x 21cm (2)Harbour: Adhered to mount with four small lengths of tape (two along the top edge and two along the bottom edge). The sheet perhaps a little dirty. Some light liquid staining around the borders, though this appears to be intrinsic to the work and not the result of any damage. Overall appears in good condition.Moored Boat: Similarly adhered to the mount as the above. The margins are likewise stained and discoloured, again, some, if not all, of this is likely to be intrinsic to the work. The margins have some creases, the right-hand, margin with an approx 10cm crease extending up from the signature, the left hand with a dog ear crease at the lower left corner and vertical creasing running the length of the left margin. Colours bright and strong.
Lot 439
§ Bryan Pearce (1929-2007) Chiantisigned 'Bryan Pearce' (lower right)oil on paper laid to board38 x 56cm Provenance:The Scottish Gallery, Edinburgh, where acquired in 1959Sale; Sotheby's, London, Made in Britain, 18 September 2018, lot 153Exhibited:Edinburgh, The Scottish Gallery, Guy Worsdell, Shearer Armstrong, Bryan Pearce, 25th May - 6th June 1959, cat. no.44The board beneath the paper is visible in places around the outermost edges where the artist has imprecisely trimmed the sheet. The surface with a light accumulation of dirt, but overall nice, clean condition.
Lot 506
§ Sherree Valentine Daines (1959-) Buckets and Spadessigned with initials (lower right)oil on board37.5 x 27.5cmProvenance:With Lucy Simmonds Fine PaintingsThe image is in overall good, clean condition with nice, bright colours. There are four very light surface scratches to the surface, though these appear to have been done by the artist whilst the paint was still wet and are therefore intrinsic to the artwork. See additional images.
Lot 531
§ Ivan Peries (1921-1988) Half-length portrait of a womaninscribed and signed 'Kurukūlasuriya / Ivan Peries' (upper centre)oil on card laid to board73 x 60cmProvenance:Acquired directly from the artist during the 1980sThe surface is glossy and even with the paint layer appearing in good and stable condition overall. There is a slight bowing of the support in the lower right hand quadrant with a very fine crack to the paint layer (approx 8cm long) but with no loss of media. A light layer of dust across the surface, but overall in nice clean condition.
Lot 549
Christopher Richard Wynne Nevinson ARA (1889-1946) Building Aircraft: Making the Engine, from the series The Great War: Britain's Efforts and Idealslithograph44.5 x 34.5cmThere was little cause for celebration on New Year’s Day of 1917. By this point, Britain had been at war for three years and had witnessed the appalling and unprecedented deaths of more than half a million of its men – many of whom were scarcely more than children. Not six months earlier, the British had suffered what would be their deadliest day of the First World War, losing 19,240 personnel during the Battle of the Somme and by the end of the day on Monday, January 1st, 1917, the public would learn of the loss of at least 125 more lives with the German sinking of British troopship, Ivernia. With no end in sight, national morale was in steep and rapid decline.Early in 1917, the print series, The Great War: Britain’s Efforts and Ideals, was commissioned by Wellington House, a covert propaganda arm of the government. Comprising sixty-six prints by eighteen artists, including Augustus John, George Clausen, Muirhead Bone and Frank Brangwyn, the series was divided into two sets of portfolios: Ideals and Efforts. Including twelve full-colour lithographs extolling moralistic maxims of freedom, democracy and justice, the Ideals portfolio aimed to mobilise patriotic sentiment and display the war in a positive light through allegory and symbolism. The Efforts, meanwhile, was concerned with the realities of the war, as permitted by governmental censorship. Presented in monochrome, and on a smaller scale than the Ideals, the Efforts comprised a set of fifty-four prints divided into smaller series of six. Each series was concerned with the industry of war and included topics such as Making Guns, Making Soldiers and Building Ships. War, according to the ‘Efforts’ portfolio, was a constructive and creative process.The present lot, Making the Engine was one of Nevinson’s six lithographic prints from his series, Building Aircraft. Having spent nine weeks in France tending to the wounds of French and British troops and a further year in London working as a private in the Royal Army Medical Corps, it was thought that Nevinson’s first-hand experiences of the war afforded his works a compelling and persuasive sense of authenticity. Although the futurist prints created by Nevinson for Efforts and Ideals were constructed to present the war in a generally positive light, they stand in stark contrast to many of his other works created during the war, such as La Patrie and A Taube, both of which depict, with disarming and devastating frankness, the horrors of war. The dissonance between the two representations demonstrates the critical role government censorship played in the production of the portfolio.
Lot 567
§ John Buckland Wright (1897-1954) Compositionsigned 'John Buckland Wright' (lower right); numbered 11/75wood engraving, unframed45 x 32cmThe surface with an overall and uniform age toned appearance, with light scattered foxing throughout, particularly around the right-hand margins. The image itself with some very minor foxing, but mostly clean and presentable. The top right corner with a shallow dog ear crease visible under raking light.
Lot 582
A group of seven unframed prints, to include: Josef Herman (1911-2000), Figure against a dark sky, signed 'Josef Herman' (lower right), numbered 10/70, lithograph, 57 x 80cm; Tom Phillips CBE, RA (1937-), Six Pieces OP. X, signed 'Phillips' (lower right), numbered 144/150, silkscreen, 76 x 56cm; Daniel Lang (1935-2013), Street Light, signed and dated 'Daniel Lang 1973' (lower right), numbered 109/150, screenprint, 55.5 x 70.5cm; Hans Erni (1909-2015), Artist's Studio, signed 'Erni' (lower right), numbered 20/75, lithograph, 56.5 x 76cm; Jean Carzou (1907-2000), Aurora, signed and dated 'CARZOU 70' (lower right), numbered EA 13/20, lithograph, 49.5 x 65.6cm; James Coignard (1925-2008), Untitled, signed 'J.Coignard' (lower right), numbered 28/75, carborundum etching, 76 x 58.5cm; and James Guitet (1925-2010), Untitled, signed and dated 'James Guitet 12.60' (upper right), numbered 1/20, etching with embossing, 50 x 39.5cm
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534325 item(s)/page