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Lot 11
Movie Special Effects by Jeff Rovin 1977 Hardback Book First Edition with 171 pages published by A. S. Barnes and Company Inc, some water damage to bottom right hand corner (not affecting the text or pictures) fair condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Lot 110
Whitehall Through The Centuries by George S Dugdale 1950 Hardback Book First Edition with 192 pages published by Phoenix House Ltd London, good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Lot 178
Secret Session Speeches - Delivered by The Right Hon Winston S Churchill to the House of Commons 1940 - 1943 compiled by Charles Eade 1946 Hardback Book First Edition with 96 pages published by Cassell and Company Ltd London, good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Lot 192
The Paintings of L S Lowry - Oils and Watercolours 1976 Book Club Edition Hardback Book with 130 plates published by Book Club Associates, good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Lot 2
A Royal Victorian Order (1907, no 541), India General Service Medal with Relief of Chitral 1895, Punjab Frontier 1897-98 and Tirah 1897-98 clasps, engraved Lieut A W Pennington 9th Bgl Lcrs, 1915-15 Star, British War and Victory Medals with Mention in Despatches clasp to Lt Col A W Pennington, I A, (I S [Imperial Service] Troops), 1902 Coronation Medal and 1903 Delhi Durbar Medal. [Arthur Watson Pennington, 1867-1927, son of Lieut-General Sir Charles Richard Pennington KCB, 1888 commissioned 2nd Lieut, Border Regiment, 1890 transferred 9th Bengal Lancers, 1907 Major IC King's Indian Orderly Officers, 1914-15, Egypt, 1915-16 commanded 9th Hodson's Horse in France and Belgium, 1916-18 commanded Patiala Lancers in Egypt and Mesopotamia, retired 1922.] See also lots 202 and 457
Lot 677A
A contemporary 12 stone diamond finger ring, having a square of four pave set princess cut stones, elevated above two flanking squares of further princess cuts, set on a gallery of intersecting precious white metal arcs between open shoulders in an 18 ct gold shank, (0.5 carat aggregate weight), Birmingham, 4.33 g, size S
Lot 826
A base metal talisman, obverse St George and dragon with legend "S Georgius Equitum Patronus", verso sailing vessel in a storm with "Intempestate Secuitas" [safety in the storm], 18th-early 19th Century, 25 mm. [A talismanic copy of a Hungarian gold Ducat coin intended to bring luck and safety to seafarers.]
Lot 188
§ Geoffrey Clarke R.A. (British 1924-2014) Head I, 1951 (LeGrove S36) iron on aluminium, unique Dimensions:18cm high (7in high) Provenance:ProvenancePrivate Collection, UK.ExhibitedGimpel Fils, London, Geoffrey Clarke, Peter Potworowski, March - April 1952, no.41;Redfern Gallery, London, Geoffrey Clarke: Recent Sculptures, March - April 1965, no.49;Yorkshire Sculpture Park, Wakefield, Geoffrey Clarke RA: Sculpture and Works on Paper 1950-1994, April-June1994, illustrated on the cover.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.29, S36, illustrated. Note: A cross on the top was missing by 1965 and has never been restored. Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.
Lot 189
§ Geoffrey Clarke R.A. (British 1924-2014) Torii Prone One (i), 1965 (LeGrove S276) stamped artist's mark, numbered 1/10 and 512 and dated 65, aluminium Dimensions:10cm high, 19.5cm wide (4in high, 7 5/8in wide) Provenance:ProvenancePurchased from Whitford Fine Art, London in 2002 by the current owner.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.106, S276, illustrated. Note: Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.
Lot 190
§ Geoffrey Clarke R.A. (British 1924-2014) Toriio, 1965 (LeGrove S294b) stamped with the artist's mark, numbered 3/10 and 533 and dated 65, aluminium Dimensions:15.2cm high, 7.5cm wide (6in high, 3in wide) Provenance:ProvenancePurchased from Whitford Fine Art, London in 2002 by the current owner.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.110, S294b, illustrated. Note: Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.
Lot 191
§ Geoffrey Clarke R.A. (British 1924-2014) Column, 1993 (LeGrove S692) stamped artist's mark, aluminium Dimensions:26cm high (10 1/8in high) Provenance:ProvenancePrivate Collection, UK. ExhibitedChappel Galleries, Chappel, Geoffrey Clarke RA - Latest Work: Sculpture, Paintings & Drawings, 29 October - 26 November 1994. LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.209, S692, illustrated. Note: Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.
Lot 192
§ Geoffrey Clarke R.A. (British 1924-2014) Pyramid, 1993 (LeGrove S703) stamped artist's mark, aluminium Dimensions:20.5cm high (8in high) Provenance:ProvenancePrivate Collection, UK.ExhibitedThe Fine Art Society Limited, London, Geoffrey Clarke: Sculpture, Constructions and Works on Paper 1949-2000, 9 October - 2 November 2000, no.75.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.211, SS703, illustrated. Note: Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.
Lot 193
§ Geoffrey Clarke R.A. (British 1924-2014) Maquette for Sainsbury Sculpture Competition (Climber), 1965 (LeGrove S260a) stamped artist's mark, aluminium Dimensions:26.6cm high (10 1/2in high) Provenance:ProvenancePrivate Collection, UK.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.100, S260a, illustrated. Note: This is one of a series of maquettes for a sculpture submitted for a competition for a site between the King's Road, Chelsea and a new branch of Sainsbury's. This example was later titled Climber. Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.
Lot 194
§ Geoffrey Clarke R.A. (British 1924-2014) Sea at Aldeburgh, 1978 initialled and dated (lower right), mixed media on polystyrene Dimensions:11cm x 14.5cm (4 1/4in x 5 3/4in) Provenance:ExhibitedStrand Gallery, Aldeburgh, Geoffrey Clarke RA and the Aldebrugh Connection, 16 October - 20 November 2004. Note: This was one of two works acknowledged by Clarke to have been inspired by Aldeburgh. Clarke owned the Martello Tower there and he and his family enjoyed trips to the seaside at Aldeburgh. Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.
Lot 197
§ Bernard Meadows (British 1915-2005) Fish Relief, 1955, Opus 19 from the edition of 6 and 1 A/C (6 bronze, 1 brass and 1 plaster), plaster Dimensions:39.5cm x 57.5cm (15 1/2in x 22 5/8in) Provenance:ProvenanceThe Artist (ex. 3684);Muller Collection;Gimpel Fils, London. ExhibitedGimpel Fils, London, Bernard Meadows, 9 June - 26 August 2016. LiteratureBowness, Alan, Bernard Meadows: Sculpture and Drawings, London: The Henry Moore Foundation in association with Lund Humphries,1995, p.138, BM35 for the bronze example.
Lot 199
§ Bernard Meadows (British 1915-2005) Pointing Figure, 1967, Opus 91 3/3, verdigris bronze Dimensions:53.5cm high, 90cm wide (21in high, 35 1/2in wide) Provenance:ProvenanceGimpel Fils, London.ExhibitedSyon Park, Summer 1970, cat. no. 14;Royal Academy of Arts, London, British Sculptors, January - March 1972;Chalk Farm Library, London, 1975 - 2016 (long-term loan);Gimpel Fils, London, Collector's Choice, 16 January - 4 March 2017;Gimpel Fils, London, Modern British Sculpture, 3 October - 31 October 2017.LiteratureBowness, Alan, Bernard Meadows: Sculpture and Drawings, London: The Henry Moore Foundation in association with Lund Humphries, 1995, p.98, pl. 82, BM107, polished bronze example illustrated.
Lot 200
§ Robert Adams (British 1917-1984) Vertical Form No.1, 1965, Opus 237 stamped and dated ADAMS 1965 (to base), bronzed steel Dimensions:154.9cm high (61in high) Provenance:ProvenancePrivate Collection;Gimpel Fils, London. ExhibitedGimpel Fils, London, Robert Adams, 4 - 29 October 1966, no. 8. LiteratureGrieve, Alastair, The Sculpture of Robert Adams, London: Henry Moore Foundation in association with Lund Humphries, 1992, p.216, no. 486, illustrated. Note: The results of Adams’s unusual training of evening classes at Northampton School of Art, followed by two years of independent study and experimentation, gained him his first solo exhibition, at Gimpel Fils in London in 1947; this marked the beginning of a long and fruitful relationship between artist and gallery. A teaching post in the capital’s Central School of Art provided the opportunity to learn how to weld, with the result that Adams became one of the pioneers of this technique in British sculpture, along with Reg Butler and Lynn Chadwick. Vertical Form No. I of 1965 shows how Adams’ mastery of welding resulted in works of dignified, abstracted beauty. It encapsulates his favoured asymmetry and acute sympathy with the quality of his materials and was included in a solo exhibition at Gimpel Fils the following year.As the critic Edwin Mullins wrote in 1968: ‘I believe that the essence of Adams’ brand of non-figurative sculpture lies in its capacity to embody in still metal the tensions and rhythms of the human form in motion.’ (Sunday Times, 15 September 1968, quoted by Alastair Grieve, The Sculpture of Robert Adams, Lund Humphries, 1992, p.9). Moreover, in his introduction to Adams’ touring retrospective exhibition of 1971, Charles Spencer declared: ‘There is a weightless elegance in all his sculpture, the result of superlative craftsmanship, an instinct for design and a refusal to over-state.’
Lot 232
§ Anthony Benjamin (British 1931-2002) Untitled, 1958 signed and dated in pencil (lower right), oil and watercolour on paper Dimensions:90cm x 58cm (35 1/2in x 22 7/8in) Provenance:ProvenanceThe Estate of the Artist. Note: A Journey from Social Realism to Abstract Expressionism: Works from the Estate of Anthony BenjaminFew artists successfully span both Modern and Contemporary periods in British art whilst moving between multiple mediums. Anthony Benjamin (1931-2022) was one such polymath working in painting, drawing, printmaking and sculpture in wood, metal and plastic. Benjamin wrote that, for him, ‘an idea is more important to a man than any physical object’, in the catalogue for his 1966 exhibition at the Institute of Contemporary Arts in London. Chris Stevens, then curator of modern British art and Head of Displays at Tate Britain, described Benjamin as ‘an anarchist who ignored trends and forged his own path’. A bit of a loner and a bit of a thinker, Benjamin was quick to accept opportunities to work in new spaces, learning from the best. It was in Paris in the late 50’s, at Atelier 17 with William Stanley Hayter, that he experimented with new forms of painting, moving away from the landscape abstraction of St Ives. However, a constant in his practice was a precision of line, an incomparable quality of execution and an intense understanding of colour and form. Benjamin thought as he made and his thinking was always one-step ahead of the rest. It was during the 1970s, in collaboration with leading printer Kevin Harris at Calvert Studio, that Benjamin produced his seminal series of screenprints Roxy Bias Suite. Inspired by his student Brian Eno, Benjamin was fascinated by the new electronic music Eno was composing. Each of the six images in the series was named after computer music terms such as Inverse Echo and Multi-Mode Jitter. The screenprints use outrageously clashing bold colours, almost as if electrified and challenge the viewer with uncompromising energy. Sumptuous pieces, they were both of the time but also way-ahead of their time. No matter what Benjamin turned his hand to the results were always perfectly executed. In the 1990s he returned to drawing with a solo show at Gimpel Fils in London. Large scale works, they are more paintings in graphite than drawings. Involving a complex range of techniques of masking and erasure, of painting with graphite dust as well as drawing with broad pencils, these works incorporate texture and atmosphere, geometric forms, polar whites and intense blacks. They are some of the most powerfully evocative images that Benjamin produced. Throughout his career Benjamin held teaching posts at a variety of colleges of art and universities including time spent in the USA and Canada as Professor of Art at the University of Calgary and Hayward State College in California. His work is now held in a great number of international public collections including the Arts Council of Great Britain, the Tate, UK and the Museum of Modern Art in New York.
Lot 235
§ Anthony Benjamin (British 1931-2002) Roxy Bias Suite, 1972 complete set of six, comprising Butterfly Echo, Erase Function, Inverse Echo, Multi-Mode Jitter, O Factor and Ringing Filter, each signed, titled, dated and numbered 59/95 in pencil (in the margin), silkscreen on BFK Rives handmade paper, printed by Kevin Harris at Calvert Studio Dimensions:each sheet 105.5cm x 76.5cm (41 1/2in x 30 1/8in) Provenance:ProvenanceThe Estate of the Artist. Note: A Journey from Social Realism to Abstract Expressionism: Works from the Estate of Anthony BenjaminFew artists successfully span both Modern and Contemporary periods in British art whilst moving between multiple mediums. Anthony Benjamin (1931-2022) was one such polymath working in painting, drawing, printmaking and sculpture in wood, metal and plastic. Benjamin wrote that, for him, ‘an idea is more important to a man than any physical object’, in the catalogue for his 1966 exhibition at the Institute of Contemporary Arts in London. Chris Stevens, then curator of modern British art and Head of Displays at Tate Britain, described Benjamin as ‘an anarchist who ignored trends and forged his own path’. A bit of a loner and a bit of a thinker, Benjamin was quick to accept opportunities to work in new spaces, learning from the best. It was in Paris in the late 50’s, at Atelier 17 with William Stanley Hayter, that he experimented with new forms of painting, moving away from the landscape abstraction of St Ives. However, a constant in his practice was a precision of line, an incomparable quality of execution and an intense understanding of colour and form. Benjamin thought as he made and his thinking was always one-step ahead of the rest. It was during the 1970s, in collaboration with leading printer Kevin Harris at Calvert Studio, that Benjamin produced his seminal series of screenprints Roxy Bias Suite. Inspired by his student Brian Eno, Benjamin was fascinated by the new electronic music Eno was composing. Each of the six images in the series was named after computer music terms such as Inverse Echo and Multi-Mode Jitter. The screenprints use outrageously clashing bold colours, almost as if electrified and challenge the viewer with uncompromising energy. Sumptuous pieces, they were both of the time but also way-ahead of their time. No matter what Benjamin turned his hand to the results were always perfectly executed. In the 1990s he returned to drawing with a solo show at Gimpel Fils in London. Large scale works, they are more paintings in graphite than drawings. Involving a complex range of techniques of masking and erasure, of painting with graphite dust as well as drawing with broad pencils, these works incorporate texture and atmosphere, geometric forms, polar whites and intense blacks. They are some of the most powerfully evocative images that Benjamin produced. Throughout his career Benjamin held teaching posts at a variety of colleges of art and universities including time spent in the USA and Canada as Professor of Art at the University of Calgary and Hayward State College in California. His work is now held in a great number of international public collections including the Arts Council of Great Britain, the Tate, UK and the Museum of Modern Art in New York.
Lot 236
§ Anthony Benjamin (British 1931-2002) District II, 1968 stamped, dated and numbered BENJAMIN 1968 1/5, chromed steel and acrylic Dimensions:30cm high x 30.5cm wide x 22.5cm deep (11 3/4in high x 12in wide x 8 7/8in deep) Provenance:ProvenanceGimpel Fils, London.ExhibitedComsky Gallery, Beverly Hills, 1971. Note: A Journey from Social Realism to Abstract Expressionism: Works from the Estate of Anthony BenjaminFew artists successfully span both Modern and Contemporary periods in British art whilst moving between multiple mediums. Anthony Benjamin (1931-2022) was one such polymath working in painting, drawing, printmaking and sculpture in wood, metal and plastic. Benjamin wrote that, for him, ‘an idea is more important to a man than any physical object’, in the catalogue for his 1966 exhibition at the Institute of Contemporary Arts in London. Chris Stevens, then curator of modern British art and Head of Displays at Tate Britain, described Benjamin as ‘an anarchist who ignored trends and forged his own path’. A bit of a loner and a bit of a thinker, Benjamin was quick to accept opportunities to work in new spaces, learning from the best. It was in Paris in the late 50’s, at Atelier 17 with William Stanley Hayter, that he experimented with new forms of painting, moving away from the landscape abstraction of St Ives. However, a constant in his practice was a precision of line, an incomparable quality of execution and an intense understanding of colour and form. Benjamin thought as he made and his thinking was always one-step ahead of the rest. It was during the 1970s, in collaboration with leading printer Kevin Harris at Calvert Studio, that Benjamin produced his seminal series of screenprints Roxy Bias Suite. Inspired by his student Brian Eno, Benjamin was fascinated by the new electronic music Eno was composing. Each of the six images in the series was named after computer music terms such as Inverse Echo and Multi-Mode Jitter. The screenprints use outrageously clashing bold colours, almost as if electrified and challenge the viewer with uncompromising energy. Sumptuous pieces, they were both of the time but also way-ahead of their time. No matter what Benjamin turned his hand to the results were always perfectly executed. In the 1990s he returned to drawing with a solo show at Gimpel Fils in London. Large scale works, they are more paintings in graphite than drawings. Involving a complex range of techniques of masking and erasure, of painting with graphite dust as well as drawing with broad pencils, these works incorporate texture and atmosphere, geometric forms, polar whites and intense blacks. They are some of the most powerfully evocative images that Benjamin produced. Throughout his career Benjamin held teaching posts at a variety of colleges of art and universities including time spent in the USA and Canada as Professor of Art at the University of Calgary and Hayward State College in California. His work is now held in a great number of international public collections including the Arts Council of Great Britain, the Tate, UK and the Museum of Modern Art in New York.
Lot 257
Luis Tomasello (Argentinian 1915-2014) Papier Chromoplastique s/t 2 signed and numbered 44/50 in pencil (in the margin), mixed mediaDimensions:49cm x 49cm (19 1/4in x 19 1/4in)Note: Argentinian-born Luis Tomasello was best known as one of the most significant Kinetic and Op artists from Latin America. He moved to Paris in the 1950s and established a reputation for his explorations into the properties of light, creating white on white abstract constructions that rely on the reflections of light and colour to create movement and form.
Lot 335
§ Wendy Ramshaw C.B.E. R.D.I. (British 1939-2018) Pair of Op Art Cufflinks, 1960s acrylic and metal Dimensions:2.5cm x 2.5cm (1in x 1in) Provenance:ProvenanceGiven directly from Wendy Ramshaw to the current vendor. Ramshaw wrote in a postcard to the current owner '...These are for your collection - valuable in their way. 1960's 'Optik Art Jewellery', the date is regarded as important early work etc etc...'
Lot 376
§ Susan Hiller (American-British 1940-2019) Lucid Dreams IV, 1983 set of four works, C-type photograph with ink on Agfa lustre paper Dimensions:each 67cm x 49.5cm (26 3/8in x 19 1/2in) Provenance:ProvenanceGimpel Fils, London.ExhibitedOrchard Gallery, Derry, Susan Hillier New Work, March - April 1984;National Portrait Gallery, London, Self-Portrait Photography 1840s - 1980s, October 1986 - January 1987;Gimpel Fils, London, Collector's Choice II, 8 March - 28 April 2017. Note: Susan Hiller (1940-2019) is widely regarded as one of the most influential women artists of her generation, as well as a pioneer of installation and multimedia art. Born in the USA, she made London her home in the late 1960s, where she became a key voice in the nascent counter-culture and feminist movements. Her practice spanned a broad range of media including installation, video, photography, painting, sculpture, performance, artist's books and writing. Her work often took for its subject aspects of culture that were overlooked, marginalised, or disregarded – which in turn spoke to issues of gender, class and politics. Hiller freely collaged ordinary found objects into her work, using photo-mat machines, children’s wallpaper, postcards and other commonly disregarded or denigrated aspects of popular culture, blurring the boundaries between ‘high’ and ‘low’, challenging our perceptions of cultural value After graduating from Smith College, Massachusetts, in 1961, Hiller had pursued doctoral studies in anthropology at Tulane University in New Orleans, conducting fieldwork in Mexico, Guatemala and Belize. However, she became uncomfortable with academic anthropology's claim to objectivity; she wrote that she did not wish her research to become part of anthropology's “objectification of the contrariness of lived events”. During a lecture on African art, she made the decision to abandon anthropology to become an artist. She lived in France, Morocco, Wales and India with her husband, the writer David Coxhead, before settling in London, where she made that very ‘contrariness of lived events’ the basis of her practise, focussing on the products of our society – our dreaming through commodities – that are often overlooked, ignored, or repressed. Her projects have been described as ‘investigations into the unconscious of our culture’. As she explained: “I’m committed to working with what I call ghosts, that is, with cultural discards, fragments and things that are invisible to most people but intensely important to a few: situations, ideas and experiences that haunt us collectively.” In regards to the Lucid Dreams works, Hiller noted – “I’m trying to erode the supposed boundary between dream life and waking life. The work is clearly positioned in the waking world since [it] start[s] off with photomat portraiture, but uses the disconnected and fragmented images produced automatically by these machines as analogies for the kind of dream images we all know, for instance suddenly catching a glimpse of oneself from the back… it doesn’t seem to me accidental that the machines produce this kind of image because, as I’ve been saying for years about popular, disposable imagery, there is something there beyond the obvious, which is why it’s worth using in art (the Artist quoted in Susan Hiller 1973-83: The Muse My Sister, The Orchard Gallery, Londonderry, 1984, p.25) Hiller's work features in numerous international private and public collections including the Tate Gallery, London; Museum of Modern Art, New York; National Gallery of Art, Washington D.C.; National Portrait Gallery, London; British Museum, London; Centre Pompidou, Paris; National Museum of Norway, Oslo; Ludwig Museum, Cologne; Serralves Museum of Contemporary Art, Porto; Art Gallery of New South Wales, Sydney; and the Inhotim Centro de Arte Contemporañea, Brumadinho, Brazil.
Lot 377
§ Susan Hiller (American-British 1940-2019) Saving and Spending - Ikons of Desire, 1977-80 set of 14 works, version 1 of 2, the final work signed (in pen), colour xerox and ink Dimensions:each 29cm x 20.2cm (11 3/8in x 8in) Provenance:ProvenanceGimpel Fils, London.ExhibitedGimpel and Hanover, Zurich, Susan Hiller, March 1982;Midland Group, November 1982;Gimpel Fils, London, Susan Hiller, Monument and Other Works, 1982;Third Eye Centre, Glasgow, Ten Years Work, 1984. Note: Susan Hiller (1940-2019) is widely regarded as one of the most influential women artists of her generation, as well as a pioneer of installation and multimedia art. Born in the USA, she made London her home in the late 1960s, where she became a key voice in the nascent counter-culture and feminist movements. Her practice spanned a broad range of media including installation, video, photography, painting, sculpture, performance, artist's books and writing. Her work often took for its subject aspects of culture that were overlooked, marginalised, or disregarded – which in turn spoke to issues of gender, class and politics. Hiller freely collaged ordinary found objects into her work, using photo-mat machines, children’s wallpaper, postcards and other commonly disregarded or denigrated aspects of popular culture, blurring the boundaries between ‘high’ and ‘low’, challenging our perceptions of cultural value After graduating from Smith College, Massachusetts, in 1961, Hiller had pursued doctoral studies in anthropology at Tulane University in New Orleans, conducting fieldwork in Mexico, Guatemala and Belize. However, she became uncomfortable with academic anthropology's claim to objectivity; she wrote that she did not wish her research to become part of anthropology's “objectification of the contrariness of lived events”. During a lecture on African art, she made the decision to abandon anthropology to become an artist. She lived in France, Morocco, Wales and India with her husband, the writer David Coxhead, before settling in London, where she made that very ‘contrariness of lived events’ the basis of her practise, focussing on the products of our society – our dreaming through commodities – that are often overlooked, ignored, or repressed. Her projects have been described as ‘investigations into the unconscious of our culture’. As she explained: “I’m committed to working with what I call ghosts, that is, with cultural discards, fragments and things that are invisible to most people but intensely important to a few: situations, ideas and experiences that haunt us collectively.” In regards to the Lucid Dreams works, Hiller noted – “I’m trying to erode the supposed boundary between dream life and waking life. The work is clearly positioned in the waking world since [it] start[s] off with photomat portraiture, but uses the disconnected and fragmented images produced automatically by these machines as analogies for the kind of dream images we all know, for instance suddenly catching a glimpse of oneself from the back… it doesn’t seem to me accidental that the machines produce this kind of image because, as I’ve been saying for years about popular, disposable imagery, there is something there beyond the obvious, which is why it’s worth using in art (the Artist quoted in Susan Hiller 1973-83: The Muse My Sister, The Orchard Gallery, Londonderry, 1984, p.25) Hiller's work features in numerous international private and public collections including the Tate Gallery, London; Museum of Modern Art, New York; National Gallery of Art, Washington D.C.; National Portrait Gallery, London; British Museum, London; Centre Pompidou, Paris; National Museum of Norway, Oslo; Ludwig Museum, Cologne; Serralves Museum of Contemporary Art, Porto; Art Gallery of New South Wales, Sydney; and the Inhotim Centro de Arte Contemporañea, Brumadinho, Brazil.
Lot 1196
An 18ct gold sapphire and diamond half hoop ring, maker FWP, circa 1900, pave set with oval-cut sapphires and old and rose-cut diamonds, setting height, 8.7mm, size S, 3.6gNo damage or repair, all stones present, sapphires are a deep vivid blue with very minor table facet edge abrasions, diamonds relatively bright, marks clear, stamped 18ct
Lot 1253
An 18ct gold flux-filled ruby gypsy ring, maker PT, London 1976, prong set with 0.9ct round-cut ruby, ruby weight calculated from dimensions: 6.50 x 2.75mm, setting height 9.6mm, size S, 8.1gNo damage or repair, ruby is a vivid pinkish red with numerous internal wispy veil inclusions, settings lightly worn on high points, hallmarks clear, stamped 750
Lot 1279
A mid-20th century 18ct gold sapphire and diamond flowerhead cluster ring, maker S&D, Birmingham 1964, setting height 11.6mm, size O, 3.5gNo damage or repair, all stones present, sapphire is a dark blue with a slight colour window on 1 side, settings lightly worn on back of shank, hallmarks rubbed, stamped 18
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