Book auction catalogue.- Catalogue of the very select and valuable library of William Roscoe, Esq. which will be sold by auction by Mr. Winstanley, at his rooms in Marble Street, Liverpool, on Monday the 19th August, and Thirteen following Days, trade edition, (i.e. without the specially produced portrait and sonnet), without the list of extra section of 'books omitted' sometimes found, advertisement f. for sale of Roscoe's pictures present at end, priced in ink throughout, title repaired, not affecting text, Liverpool, 1816 bound with Catalogue of the. . . Collection of Prints, Books of Prints &c. the Properly of William Roscoe, Esq. which will be sold by auction by Mr. Winstanley, at his rooms in Marble Street, Liverpool, on Monday the 9th September, and ten following days, priced throughout in ink, title soiled, Liverpool, 1816, together 2 works in 1 vol., occasional spotting and staining, lightly browned, later half calf, spine repaired and with modern morocco label, corners little worn, rubbed, 8vo ⁂ William Roscoe (1753-1831) of Liverpool was a lawyer, abolitionist, botanist, author, art collector and bibliophile. In 1816 the Liverpool bank of which he was a partner was in financial difficulties and he was forced to sell his library and collection. It raised around £5150, with the major lot being a 14th century Italian illuminated manuscript Bible, bought by Robinson for £178 10s and subsequently sold to Coke of Holkham for 200 guineas. His art collection was intended to illustrate the rise and progress of the Arts and he was particularly interested in early Italian art or Primitives, being one of the first British collectors in this area.
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A lady's Art Deco platinum and diamond mechanical cocktail wristwatch, rectangular case with silvered dial, Arabic numerals and geometric diamond-set case, total diamond content approx 1.5ct, case width 10mm, not currently working, 17.7g grossGood overall condition although not currently working, all stones present and 1 has been replaced with a modern round brilliant cut, no major losses, dial has a few chips and paint flakes, glass has a couple of tiny edge chips and abrasions, case is lightly abraded all over and slightly worn, the strap is also worn and slightly rusted on the clasp, marks very rubbed, engraved PT 0.950, crown working, hands adjust smoothly.
An Art Deco style platinum sapphire and diamond geometric panel ring, set with marquise and round brilliant-cut diamonds with square-cut sapphire border, central diamond approx 0.45ct, setting height 8.7mm, size M, 4.1gNo damage or repair, all stone present, ring is modern, diamonds bright white and fiery, settings very lightly abraded, hallmarks clear, stamped 950
Modern Art Deco style pollard oak dining table (top measures 200 x 100cm) a matching sideboard, l170 x w50 x h82.5cm, and eight upholstered chairs, h106cm Condition Report: Sideboard: overall condition good, minor wear and tear, marks and scratches to interior, chips and scratches to plinth base.Table: minor wear and tear, patches of minor warping to the varnish, one side with heavy scratches along length of the tableChairs: overall condition good, surface dirt to fabric, scratches and knocks to legs.
Eliot Hodgkin (British, 1905-1987)Black and Gold signed with initials and dated 'EH 3 iii 77.' (lower left)oil on board24 x 16cm (9 7/16 x 6 5/16in).Footnotes:ProvenanceWith New Grafton Gallery, London, where acquired by the family of the present owner, and thence by descentPrivate Collection, U.K.ExhibitedLondon, New Grafton Gallery, Intimate Impressions: Interior and Still Life Paintings, 26 May 1977We are grateful to Mark Hodgkin for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Mark Hodgkin, c/o Bonhams, Modern British Art Department, Montpelier Street, Knightsbridge, London, SW7 1HH, or email britart@bonhams.comThis 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
Charles Williams (British, born 1965)Modern Art signed with initials 'CW' (lower right)oil on canvas45.5 x 81cm (17 15/16 x 31 7/8in).Footnotes:ProvenanceWith Jenny Granger Gallery, London, where acquired by the family of the present owner in 2002Private Collection, U.K.ExhibitedLondon, Jenny Granger Gallery, held at Adam Street Club, Arthur Neal and Charles Williams, June 2002This 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
A pair of Art Deco-style 9ct white gold diamond drop earrings, a pierced heart shaped plaque to the bottom, grain set with eight cut diamonds, and rub set to the centre with a brilliant cut diamond, with a row of eight cut diamonds grain set to an articulated collet above, surmounted by an articulated pierced spear shaped plaque grain set with eight cut diamonds, to post and butterfly fittings, London, common control mark, 46mm long, 9.06g (2)Condition report: The earrings are Art Deco in style but are modern reproduction. The fittings are very slightly dirty, would benefit from being cleaned.No evidence of damage or repair.
KLAUS MOSETTIG (B. 1975)Pradolux 5 2009 signed, titled and dated Juni 2009 on paper affixed to the backing boardpencil on paper153.5 by 155 cm.60 7/16 by 61 in.Footnotes:ProvenanceModern Art, LondonAcquired directly from the above by the present owner in 2011ExhibitedLondon, Modern Art, Klaus Mosettig, 2011London, Saatchi Gallery, Paper, 2013, p. 138, illustrated in colourThis 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
MERLIN JAMES (B. 1960)House (Mirror) 1994-1996 signed, titled and dated 1994-6 on the reverseacrylic, collage and mixed media on canvas53.2 by 60.3 cm.20 15/16 by 23 3/4 in.Footnotes:ProvenanceFrancis Graham-Dixon, London (C4302)Acquired directly from the above by the present owner in 1997ExhibitedLondon, Francis Graham-Dixon Gallery, Merlin James, 1997London, Saatchi Gallery, Landscape, 2002, p. 18, illustrated in colourLondon, Saatchi Gallery, Salon 007: Modern British, 2018LiteratureRobert Timms, The Saatchi Decade, London 1999Charlotte Mullins, Saatchi Gallery: Loan of Art, London 2006, p.163, illustrated in colourThis 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
MERLIN JAMES (B. 1960)49 1997 signed, titled and dated '97 on the reverseacrylic, collage and mixed media on canvas56.2 by 75.8 cm.22 1/8 by 29 13/16 in. Footnotes:ProvenanceFrancis Graham-Dixon Gallery, London (C4299)Acquired directly from the above by the present owner in 1997ExhibitedLondon, Francis Graham-Dixon Gallery, Merlin James, 1997London, Saatchi Gallery, Salon 007: Modern British, 2018LiteratureRobert Timms, The Saatchi Decade, London 1999Charlotte Mullins, Saatchi Gallery: Loan of Art, London 2006, p.163, illustrated in colourThis 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
REBECCA HORN (B. 1944)Turm der Fliehenden Bücher 1994 metal rods, electric motors, books, ink, feather quills208 by 82 by 65.5 cm.81 7/8 by 32 5/16 by 25 13/16 in.This work was executed in 1994.Footnotes:ProvenanceGalerie Thomas Schulte, BerlinVanthournot Collection, Belgium (acquired from the above in 1994)Sale: Sotheby's, New York, Contemporary Art / Afternoon, 15 November 2006, Lot 412Acquired directly from the above by the present ownerRebecca Horn has left an indelible mark on the canon of art history as one of the most versatile and innovative artists emerging from Germany in the post-War era. Her practice is immensely diverse, employing a variety of media – from drawing to installation, writing to filmmaking – that has earned her enormous regard in academic and critical circles, culminating in her representing Germany at the 1997 Venice Biennale. Her kinetic sculptures remain some of the most organic and affective works the artist has produced, and the solemn beauty of Turm der Fliehenden Bücher from 1994, is no exception. Emerging in the late 1960s, Horn was part of a generation of artists whose work challenged the institutions and structures that had governed not only the art world, but society at large. Her work has prodded at notions of control, expression, and hierarchies of power, remaining one of the most visceral, captivating bodies of work produced by any artist in the postmodern period. Born in 1944, she grew up in the immediate aftermath of the Second World War. It influenced her greatly and would ultimately shape her mythologies and experimental practices in art. As a child, having been taught French and English rather than her native German, language was a fluid medium for Horn, who developed an acute feeling for drawing as her chosen artistic syntax; to her it was a medium that remained universal. In 1964, however, as a young art and philosophy student at Hamburg's Hochschule für bildende Künste, her working with toxic polyester and fibreglass dealt an early blow to her life and work, suffering serious lung poisoning. She spent a year in hospital recovering, emerging with a determination to put her body at the centre of her art. With a renewed focus on the phenomenological experience, Horn rebuffed the commodity fetish of the art object, and engaged with a notion of artmaking as an endeavour that harbours, not only unforeseen risks, but a series of psychological and physical obstacles. The subjective experience became her chosen instrument. She worked with soft materials, padded body extensions and prosthetic bandages, inspired by her convalescence in hospital. In 1968 Horn produced her first body sculptures, in which she attached objects, materials and instruments to the human body, taking as her theme the contact between a person, their environment and surrounding space. Einhorn is one of Horn's best known performance pieces comprising of a long horn worn on her head.While it was mainly through her early performances that she explored the relationship between body and space, in her later work, the human body was replaced by kinetic sculptures. In the early 1980s, Horn began making these kinetic sculptures that moved by the force of a motor, taking on their own life and eliminating the need for the body to animate the her materials and shapes. The present work, Turm der Fliehenden Bücher from 1994, comprises of metal rods stacked tall against one another which in turn support three motors each of which has an open book and feather attached. Animated by the motors, the feathers flutter and softly rustle the pages of the texts that are splatted with ink. 'For me, all of these machines have a soul because they act, shake, tremble, faint, almost fall apart, and then come back to life again. They are not perfect machines. ...I'm interested in the soul of a thing, not the machine itself. ...It's the story between the machine and its audience that interests me' (the artist in: Rebecca Horn, New York 1993, p. 18).Feathers first began appearing in Horn's work as components in elaborate props and costumes, even becoming the sculptures in their own right. Feathers and other materials that were used in her kinetic sculptures could be liberated from their ordinarily defined materiality and transposed into ever-changing metaphors that touched on mythical, historical, literary and spiritual imagery. Literature and poetry also held important prominence in Horn's work; her own written poetry often inspired her work and she encouraged the viewer to constantly consider the important relationship between art and literature. She felt that viewers would consider a painting as art and a book as literature, but by combining the two in a single work, Horn asks us to consider these definitions and how the two relate and interact. The author, Jeanette Winterson, has described Horn as performing a role akin to an artist-inventor or alchemist, and as possessing an ability to produce artworks that conjure powerful forces and emotions. Horn's work resides in many major public institutions worldwide including the Museum of Modern Art, New York, the Tate Collection, London, the Centre Pompidou, Paris and the Stedelijk Museum, Amsterdam, among many others. She is one of very few artists whom have been selected to participate in Documenta on four separate occasions. During the last six decades Rebecca Horn has become a key figure in a moment for art that challenged and changed formal ideas.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
CARMEN HERRERA (B. 1915)Untitled 2013 signed and dated 2013 on the overlap; signed and dated 2013 on the stretcheracrylic on canvas50.9 by 50.9 by 6.2 cm.20 1/16 by 20 1/16 by 2 7/16 in.Footnotes:ProvenanceLisson Gallery, London (HERR130014)Acquired from the above by the present owner in 2015Carmen Herrera is one of the most significant and celebrated minimalist painters of the last sixty years. An artist who has been at the very heart of late modernist practice, and has remained fastidiously committed to her singular style over the course of her life, the canon of twentieth century art has been incomplete without her inclusion until her late-life, institutional reappraisal. Presented here, Herrera's Untitled painting from 2013 is a canvas of searing simplicity; a superlative example of the Cuban-American artist's characteristic compositions that intersect space with razor sharp bars of colour. In the present work, Herrera's lifelong engagement with the formal qualities of the canvas – its objecthood, its surface, its composition – crystalises in a painting of lucid boldness. Elegant in its scale and ablaze with cobalt blue abutted by weightless solids of seething Indian yellow that fluoresce and glow over their respective corners, Untitled wonderfully demonstrates the visual poetics of Herrera's minimalist workings. Painted on the overlap and not hindered by any ornament framing, the present work gives an intensity and mass to the colours and lines that are essential to experiencing her work to its fullest.Born in Cuba in 1915, Herrera's astonishing life and career as an artist in Post-War Europe and America beckons from one of the most abundantly creative periods drifting out of living memory. Having left a politically turbulent Cuba for New York, cutting short her architectural studies to marry an American, Jesse Loewenthal, in 1939, Herrera had found her calling as an artist. They moved to Paris, residing in the city between 1948 and 1953 – a period that would be so influential and formative to her blossoming practice. In Herrera's early work, her astute sense of colour and form was evident and palpable. Akin to the blockish, tonal compositions of Paul Klee, taking cues from the work of Kazimir Malevich and Russian Suprematism, it was in Paris that Herrera would begin to refine her style and hone her rigorous relationship to colour and line. Working and exhibiting in company that included Piet Mondrian and Max Bill at the Salon des Réalités Nouvelles – where she would show five times during her stay in France – Herrera's practice was not only on the pulse of the painterly discourse of its day, but she superseded many of her male counterparts in their experimentations that deconstructed and fragmented the singular plane of the canvas; the arena of contestation that would become so significant for contemporary painting of the 1950s.Post-War Paris was a hotbed of artists and intellectuals. It was a place and time without equal, from which flourished much of the philosophy, art, and literature that would be exported to New York in the following decades. Herrera's circles testify to her place in history and the respect she earned from those at the centre of cultural discourse in period: she was close friends with Jean Genet, Yves Klein and his family, sat across from Jean Paul Sartre and Simone de Beauvoir at the Café de Flore, dined with Barnett Newman on regular weekends, and was an audience member in the first production of Samuel Beckett's Waiting For Godot. On her return to New York in the 1950s, Herrera pared back her work to the harsh minimalist guise she is so fondly revered for, one of the earliest adopters of this newfound style. Her paintings now featured typically only two colours; angular lines became singular arcs; the plane of the canvas delineated into expansive, independent forms. Her fascination with line and form became her signature, famously stating 'I never met a straight line I did not like' (the artist in an interview with Simon Hattenstone, 'Carmen Herrera: 'Men controlled everything, not just art'', Simon Hattenstone, The Guardian, 31 December 2016, online). Undoubtedly, much has been said of the dialogue between her paintings and those of Ellsworth Kelly, Frank Stella, and a generation of minimalist artists who formally emerged in the 1960s, years after Herrera had arrived on the New York scene with her vivid, breakthrough style. In spite of her being overlooked by galleries and museums alike, her place at the forefront of contemporary painting since the 1950s is now regarded as hugely significant and enduring. Her unrelenting commitment to her own practice continues to be deeply engaged with the surface and object-oriented experience of painting – resolving her canvases in the simplest, discrete, pictorial frames she can achieve.Major reassessments of artist's careers are rare, and still more during the artist's lifetime. But no one has drawn quite such praise or unanimous admiration for their late-life success as Herrera. As it was in the 2000s, institutional recognition for the artist began to gain traction, and her first retrospective exhibition in Europe took place at the IKON Gallery in Birmingham, U.K., in 2009. It was her large-scale retrospective Carmen Herrera: Lines of Sight at the Whitney Museum of American Art, however, that reestablished the history of Minimalism with Herrera in full view, exhibiting over fifty works from 1948-1978. As her career will continue to be evaluated and celebrated, Untitled stands as one of a limited number of paintings as yet to come to market. Now in global museum collections including the Museum of Modern Art, New York, the Tate Collection, U.K., and the Kunstsammlung Nordrhein-Westfalen (K20), Düsseldorf, her legacy as an artist in the realms of Kelly and Stella is assured. An exceptional late painting by one of the most underappreciated artists of the modern era, Untitled is an exquisite example of Carmen Herrera's characteristic style. In spite of her setbacks and discounts, her fortitude in the face of adversity is testament to her rightful place in the canon, and the present work boldly displays the prowess and mastery of craft of a truly historical talent.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
TOM WESSELMANN (1931-2004)Bedroom Collage 1974 signed and numbered 8/20; signed, titled, dated 1974 and numbered #8/20 on the reverseLiquitex and collage on canvas laid on board11.5 by 21.7 cm.4 1/2 by 8 9/16This work is number 8 from an edition of 20 unique examples, plus 3 artist's proofs.Footnotes:ProvenanceSidney Janis Gallery, New YorkHokin Gallery, Palm Beach (C80241)Taglialatella Gallery, New YorkSale: De Vuyst, Contemporary, Modern Art and Old Masters, 2 March 2019, Lot 389Acquired directly from the above by the present ownerExhibitedBoston, The Institute of Contemporary Art, Tom Wesselmann: Graphics 1964-1977, A Retrospective of Work in Edition Form, 1978, p. 9, illustrated in black and white, another example exhibitedLiteratureSlim Stealingworth, Tom Wesselmann, New York 1980, p. 285, another example illustrated in black and whiteThis 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
A mixed lot of silver reference books on modern silver, including: Edited by Devlin C., and Simkin, K., Stuart Devlin, Designer, Goldsmith, Silversmith, ACC Art Books Ltd., 2018, Gerald Benney Silversmith, A century of Silver, Modern British Silver, Louis Osman, The Sterling Craft, The Harts of Chipping Campden, and other volumes. (qty)
A mixed lot of silver items, various dates and makers, comprising: a commemorative goblet celebrating the 600th anniversary of the charter of Bristol, with a certificate, plus an Art Deco mug, a plain circular bowl, a pair of Victorian cauldron salt cellars, London 1856, with blue glass liners, a match box cover, a mug, two egg cups, three three-piece condiment sets, various condiment spoons, a napkin ring, a set of five modern wine labels by C.J. Vander, London 1964, and a cased pair of modern napkin rings by PJM, in a fitted case, approx. weighable 49oz. (qty)
A patinated and painted bronze model after Claude Bonnefon, of a young lady with flowers in her hair, on a modern base, 42cms high; together with a composition Art Deco figurine of a lady in a dress, on base, 65cms high; and a Maling hand-decorated 'Pomegranite' pattern plate, 29cms diameter.
ROBERT DELAUNAY (FRENCH 1885-1941) Study for Tour Eiffel, circa 1910-1911 ink and pastel on tracing paper full sheet measuring 27 x 20 cm (10 5/8 x 7 7/8 in.) signed lower right PROVENANCEEstate of Sonia DelaunayPrivate collection, FranceWith Galerie Cazeau-Beraudiere, ParisWith Nathan A. Bernstein & Co. LTD., New YorkAcquired at the above by the present owner LOT NOTES Robert Delaunay was born in Paris in 1885, at an early age Delaunay studied Decorative Arts in the Belleville District of Paris, at the age of nineteen, his focus shifted to painting, later he would contribute six works to the Salon des Independants in 1904. Later in 1906 after traveling to Brittany where he was influenced by the artistic group of Pont-Aven, he submitted works to the 22nd Salon des Independants, here is where he met Henri Rousseau. Delaunay formed a close relationship to Jean Metzinger famed 20th century French painter [theorist, writer, critic and poet] who experimented with different faceting of forms, which would later be known as Cubism. Delaunay and Metzinger shared a exhibition at a gallery run by Berthe Weill in 1907, during this time both artists were singled out by art critic Louis Vauxcelles calling them "Divisionists" who used larged, mosaic-like 'cubes' to construct small but highly detailed compositions. Metzinger and Delaunay worked closely together, often painting together from 1906-1907, during this time they would develope a new sub-style known of Neo-Impressionism. At the height of Delaunay's career he painted a number of series, Saint-Sevrin series (1909-1910), City series (1909-1910), Eiffel Tower series (1909-1912), City of Paris series (1911-1912), Window series (1912-1914), Cardiff series (1913), Circular Forms series (1913), and lastly The First Disk series (1913). Delaunay's Eiffel Tower series represented solid objects becoming fragmented merging with the space. In Delaunday's Eiffel Tower series, influnced by Cezanne, Analytical Cubism and Futurism, the tangiable object and the surround space are accompanied by an intense movement of geometrical planes. Delaunay was successful in Germany, Switzerland and Russia, participating in the first Blanc Reiter exhibition in Munich selling four works. In 1912 Delaunay had his first major exhibition in Paris, showing forty-six works from his early Impressionist works to his Cubist Eiffel tower. From 1914-1920 Robert and wife Sonia retreated to Spain, settling in Madrid, after 1921 Delaunay returned to Paris, in October of 1941 Delaunday died at the age of 56 from cancer. Delaunay's work can be viewed at The Musee National d'Art Moderne in Paris, the Neue Nationalgalerie in Berlin, the Bilbao Fine Arts Museum in Spain, Kunstmuseum Basel in Switzerland, Palais des Beaux-Arts de Lille in France, the Guggenhiem Museum, New York City, the Museum of Modern Art, New York City and many more. CONDITION The work appears in good stable condition. Minor discoloration and scuffs to the perimeter of the brown paper. Endemic creases to the tracing paper. A crease to the upper left corner, small tear to the left lower edge of the tracing paper. The tracing paper is hinged in two places at the top. The brown paper is hinged in two places at the top. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
A MODERN TIFFANY STYLE 'PEONY' TABLE LAMP leaded glass and bronze, on a tiffany base with ball feet, stamped TIFFANY STUDIOS NEW YORK and numbered 3336, under base; overall height: 73 cm (28 3/4 in.); shade diameter: 40.64 cm (16 in.) CONDITION In age-appropriate and stable condition. Patina visible to the shade. Fine splitting in the glass visible throughout the shade. The base is in age-appropriate condition, patina visible to one of the arms resulting in discoloration. Otherwise no other issues to report. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
A MODERN 'MORNING GLORY' TABLE LAMP, MANNER OF TIFFANY STUDIOSstained glass and bronze, the base with ribbed design on ball feet, stamped TIFFANY STUDIOS / NEW YORK, numbered 1496; overall height: 62 cm (24 3/8 in.), shade diameter: 49 cm (19 1/4 in.) CONDITION In age-appropriate condition, overall surface dust. Scattered fine cracks to the leaded glass throughout the shade. Otherwise no other significant issues to report. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
A MODERN 'DAFFODIL' TABLE LAMP, MANNER OF TIFFANY STUDIOSstained glass and bronze, the base with ribbed design on ball feet, stamped TIFFANY STUDIOS / NEW YORK, numbered 1487; overall height: 61 cm (24 3/8 in.), shade diameter: 49 cm (19 1/4 in.) CONDITION In age-appropriate condition. Overall surface dust. Otherwise no other significant issues to report. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
A MODERN ITALIAN MICRO MOSAIC PANEL, VATICAN MOSAIC STUDIOdepicting a pair of pigeons at a fountain, studio, inventory number and title (STUDIO DEL MOSAICO / no. 5220 A/ REV. FABBRICA / DI / S. PIETRO IN VATICANO / Tazza con palombe) listed on the studio label affixed to backing panel, micromosaic set in stone; dimensions of mosaic: 8.7 x 12 cm (3 3/8 x 4 3/4 in.) CONDITION The mosaic appears in excellent original condition. No significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
A TIBETAN BRASS CIRCULAR CEREMONIAL COLLAR, MODERN of circular form, two dragons form the circle, the circle can articulate moving inward and outward of the dragons mouth, an elaborate continuous foliate scroll and fish scale motif formed from the brass, small red and green hardstones creating a border around the neck of the frame, diameter: 26 cm (10 1/4 in.) CONDITION The brass of the frame has discoloration and scattered darkening visible to the naked eye. Five hardstones are missing. Rubbing to the brass has occurred causing discoloration to the rounded ends and dragon details. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
A SOUTHERN ITALIAN ARMOIRE FACADE, LATE 16TH CENTURY composed from various woods from different periods, with two doors in Franco-Flemish style and typical Italian cladding, forged overhead lock and key, traces of silvering with lacquer; overall dimensions: 123 x 133 cm (48 3/8 x 52 3/8 in.)PROVENANCEProperty of the Nicholas Roerich Museum, New York, sold for its benefit CONDITIONThe armoire facade is in age-appropriate but fragile condition. Termite damage, losses, chips and uneveness apparent to the naked eye. More recent wood on the side and backing, with some modern inclusions. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
A MODERN STAINLESS STEEL AND GLASS TABLE FEATURING A JET ENGINE TURBINE, CIRCA 1960Sof square form, with stainless steel cylindrical legs and glass and a glass top, a jet engine turbine is centered underneath; overall dimensions: 41 (h) x 92 (w) x 92 (d) cm (16 1/8 x 36 1/4 in.) CONDITION The table appears in good original condition. No apparent issues visible to the naked eye, with no significant issues to report. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
SERGEI "AFRIKA" BUGAYEV (RUSSIAN B. 1966) Beat the 666 with the Blue Wedge, from the Anti-Lissitzky Series, 1991 oil on board 97 x 124 cm (38 1/4 x 48 7/8 in.) signed on verso PROVENANCEProminent Collector of Eastern European Modern art Acquired from the above by the current owner, in this collection for 6 yearsEXHIBITEDLos Angeles, The Fisher Gallery, University of Southern California, Afrika, January 15-February 22, 1992New York, Queens Museum of Art, April 23-June 14, 1992Wexner Center for the Arts, Ohio State University, Columbus, Ohio, April 2-June 13, 1993CONDITION Observed in frame, the painting appears in good original condition. Scattered unevenness, with minor paint loss to the upper edge. Overall surface dust. Inspection under UV shows no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
SERGEI "AFRIKA" BUGAYEV (RUSSIAN B. 1966) Nikolai Nekrasov, "Before the Rain" Poem, from the Anti-Lissitzky Series, 1991 oil on board 98 x 124 cm (38 1/4 x 48 7/8 in.) PROVENANCEProminent Collector of Eastern European Modern art Acquired from the above by the current owner, in this collection for 6 yearsEXHIBITEDLos Angeles, The Fisher Gallery, University of Southern California, Afrika, January 15-February 22, 1992New York, Queens Museum of Art, April 23-June 14, 1992Wexner Center for the Arts, Ohio State University, Columbus, Ohio, April 2-June 13, 1994CONDITION Observed in frame, the painting appears in good original condition. Unevenness to the upper right corner resulting in minor losses of paint. Has not been observed under UV light. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
A RARE AND STUNNING COPY OF MOSQUES OF SAMARKAND, 1905NIKOLAI VESELOVKSIY (RUSSIAN 1848-1918), compiled by, ALEXEY SCHUSEV (RUSSIAN 1873-1949) and PYOTR PORKYSHKIN (RUSSIAN 1870-1922), illustrated by, MECHETI SAMARKANDA [Mosques of Samarkand] (Saint Petersburg: Ekspeditsyua zagotovleniya gosudarstvennyh bumag, 1905), issue I (Gur-e-Amir), all published, folio (600 x 400 mm closed), [10] pp., illustrated with 18 stunning fold-out plates, depicting the ornate decorative program of the mausoleum of Timur [Tamerlane] in Samarkand, text in Russian and FrenchLITERATUREFor another copy shown at the world exhibition of printed matter, see Katalog Russkogo Otdela [Catalogue of the Russian section] (Leipzig: [Exhibition for Book Printing and Graphics], 1914), p. 174LOT NOTESThis spectacular publication, whose first issue is dedicated to the infamous tomb of Tamerlane, erected in 1404 CE, was intended as a series. Following the Samarkand expedition, however, the Imperial Archeological Commission quickly realized it was lacking funds to complete publication of other installments. Nevertheless, its ornate and meticulous plates, beatifully preserved in this example, made Tamerlane's tomb an architectural wonder around the world.CONDITIONIn overall excellent age-appropriate condition with light handling and wear. Modern black binding. Some mild toning to the perimeter of the sheets. Scattered fingerprint marks, including on title page (plates unaffected and in very good condition.) Repaired tears to the foldout part along the top and bottom edge of Plate XI (Facade). Right and lower edge repaired / reinforced with tape. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
A 'modern' classic ,"Drive" (2011) cemented the careers of director Nicolas Winding Refn and leading man Ryan Gosling, who's featured here on this French 'Grande' Affiche. The country unique design shows Gosling behind the steering wheel of the Chevy Malibu from the movie. Folded (as issued) this looks and displays to excellent effect with minimal handling wear; the colours of the deep blues and blacks are dark and unfaded. Although a huge success with audiences and critics alike the movie is considered “art-house” or “independent” and had a very limited cinema release resulting in the scarcity of any posters.45.5" x 62" (116 x 157 cm)Condition: ExcellentUnrestored, folded (as issued). Presents to excellent effect (likely unused) with minimal handling and fold line wear.Artist: Unknown Artist£50 - 100VAT Status: M
"The Night HE Came Home". Country of origin US One-Sheet for the definitive 'slasher' flick "Halloween". From first year of release 1978 with the all important blue/green Ratings box. With its classic, creepy 'Jack O'Lantern' imagery by Bob Gleason, it introduced the audience to the modern horror icon Michael Myers. A must have title for serious collector of the genre and Carpenter fan. Referenced (page 74) in Tony Nourmand/Graham Marsh excellent illustrated reference book "Horror Poster Art". (Provenance: The Personal Collection of Bryan Fuller)27" x 41" (69 x 104 cm)Additional Information: Green Ratings Box StyleCondition: Very Good to ExcellentUnrestored, tri-folded (as issued). Displays to very good effect with minimal handling, fold line and age wear with a series of very light small surface scuffs running vertically in middle of posterArtist: Bob Gleason£500 - 700VAT Status: Ω
ART NOUVEAU STYLE JEWELLERY a mixed lot including a silver and enamel pendent, modern silver and enamel Art Deco style pendent, a large Art Nouveau style silver brooch in the form of a lady, Flora Danica sterling floral brooch, silver and enamel floral brooch, silver bangle with inset mother of pearl, a silver filigree bangle, Egyptian style gold pendent, and other items.
A very rare German Renaissance four-train double-hour and quarter-striking table clock movementUnsigned, probably Augsburg or Nuremburg, circa 1575The iron, steel and brass posted quadruple-chain fusee movement with square section corner uprights enclosing going train with verge escapement now regulated by a foliot oscillating above the top plate, set to the right beside the quarter-striking train which in-turn is positioned in front of the two side-by-side hour-striking trains behind, each originally with locking plates to the rear pivot plates (now lacking) and vertically pivoted hammer arbors, the wheelwork entirely of iron except for the spring barrel walls and fusee and each of the trains set between individual pairs of vertical pivot plates, the quarter train with nag's head release via a starwheel to the going centre arbor and countwheel set behind the dial incorporating trip for the first hour striking train, the second hour train originally tripped by the first via detents set to the rear of the movement (now lacking), the front with rectangular gilt brass dial applied with later vestigial alarm disc and Roman numeral chapter ring incorporating cruciform hour markers, with sculpted steel hands formed as a sword and halberd within applied original outer minute track set within fruit inhabited foliate scroll engraved surround incorporating inverted cupola pendant apron panel, the rear with twin side-by-side hour striking dials (one lacking annotated countwheel dial insert) applied to a conforming foliate strapwork engraved panel, distance between top and bottom plates 20cm (7.875ins); 38cm (15ins) high overall including the two-tier bell stand. Provenance: Property of a private collector; purchased at Bonhams and Goodman sale of the The Melbourne Clock Museum, 29th April 2008. When considering the potential date of the current lot a cursory survey of dated German Renaissance table clock movements made during the second half of the 16th century reveals that the use of brass within the mechanism became more widespread as the century progressed. Initially brass was employed just for the fusees and spring barrel walls, then also for the movement pivot plates, and finally (by around 1600-20) for the wheelwork as well. With this in mind the current movement (using brass only for the fusees and spring barrel walls) can be dated to around 1575. This approximate date is also supported by the lack of warning to the striking mechanism as this was not generally adopted until around 1600. In addition to this the engraved decoration to the dial panels exhibits a mixture of naturalistic leafy foliate scrolls and formal strapwork into a matted ground which can be compared to the background decoration seen on a complex astrolabe-dialled table clock dated 1568 attributed to Jeremias Metzger for Casper Bohemus of Vienna in the collection of the Metropolitan Museum of Art, New York (illustrated in Maurice, Klaus and Myer, Otto THE CLOCKWORK UNIVERSE, German Clocks and Automata 1550-1650 on page 185).The unusual specification of the striking mechanism, where the full-hour is repeated shortly after the initial sounding, is believed to have been adopted to confirm the hour in the event that the strike was misheard the first time around. This repeat-hour striking system is most often associated with Italian clocks using the six-hour system where it is given the term 'Ribotta'. In German Renaissance work however re-striking hours are particularly rare although not unheard of; indeed a clock utilising this system, albeit in a two train configuration, was sold at Patrizzi and Company's sale of Pre-pendulum European Renaissance Clocks held in Milan on the 24th May 2009, lot 56. The present mechanism is very unusual, perhaps unique, in that the repeat-hour employs and entirely separate second hour train complete with additional fusee. This results in the movement being 'quadruple' fusee and it is believed to be the only one of its type.Condition Report: The going train has at one time been converted to verge escapement regulated by short pendulum and has subsequently been converted back to verge with balance although regulation is now erroneously by foliot rather than balance. The second wheel is also brass (most likely left over from the pendulum conversion). The brass spring barrel wall has now been soldered to the iron/steel end plate and there is also a solder angle patch repair near the spring anchor rivet. The quarter train survives complete and appears all-original except possibly for the brass fusee which may be a replacement (colour has a copper hue). The star wheel release to the strike train is present as are the detents and countwheel.The first hour striking train (rear left) appears complete and original except for the release detent and the countwheel which are both missing; the starwheel/release pin to the under-dial motionwork id also missing. The second striking train also appears complete and original except for the release detent and the countwheel which are both missing; the hammer is also missing (vertical arbor is present) and the brass fusee may be a replacement (colour has a slightly copper hue).All four trains will turn and it seems that some careful conservation such as cleaning of pivots etc has taken place within the relatively recent past. The alarm mechanism is entirely missing leaving holes in the movement top plate, there are a few other vacant holes present relating to the previous balance and pendulum escapements as well as the case which is no longer present.The dial plate has replaced alarm disc (now fixed tight with rivets) and chapter ring - these would appear to date to somewhere between 1670 and 1740 hence are probably contemporary with the earlier pendulum conversion of the going train. The rest of the plate is original however has some small spare holes including one beyond the minute track between the IX and X numerals and another to the centre just above the apron; the purpose of these holes in not clear. The hands are probably late 19th century. The rear plate is missing one of its hour counting dials, the other appears to be a fairly early replacement made from copper. Otherwise plate is original but is missing a small length of the raised border around the left hand dial has a spare hole above each dial and a third to the centre just above the apron. Both dials are secured by modern screws.The movement has a forged two-tier bel stand but no bells or winding key. Condition Report Disclaimer
Derham, William THE ARTIFICIAL Clock-maker. A Treatise of Watch, and Clock-work... First edition printed for James Knapton 'at the Crown in St Pauls Church-yard', London 1696, with folding woodcut plate of musical notation and chimes (loss to edge margin), woodcut diagrams and Addenda leaf at end, 8vo in 4s, contemporary tooled calf, (title with ink signature Jacob Mefsing, some soiling and staining). A rare first edition of the first comprehensive and scientific treatment of the art of horology, with far greater detail on clock and watch movement and construction than given by John Smith in his Horological Dialogues of 1675. Derham also produced the earliest, reasonably accurate estimate of the speed of sound. In his preface to the present work he admits to having had help 'in the History of the Modern Inventions' from Hooke and Tompion. See Baillie, G.H. CLOCKS AND WATCHES, An Historical Bibliography page 123.
ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD, GLASGOW DESK, CIRCA 1905 oak, stained and leaded glass panels, with nickel drop handles backed with green leather(75cm wide, 122cm high, 50cm deep)Footnote: Provenance: Property from an Important Private Collection Literature: Kinchin, Juliet The Wylie & Lochhead Style, The Journal of the Decorative Arts Society 1850 - the Present, No. 9, Aspects of British Design 1870 - 1930 (1985), pp. 4-16 Note: Initially apprenticed in the Glasgow shipbuilding industry, E. A. Taylor trained as an artist at the Glasgow School of Art, where he met Jessie M. King around 1898. Taylor joined the Glasgow cabinetmakers and retailers Wylie and Lochhead as trainee designer in 1893. His furniture designs for the firm brought him great acclaim with exhibitions at the 1901 Glasgow International Exhibition and, with his fiancée Jessie King, a series of stained-glass panels for the Turin International Exhibition of Modern Decorative Art in 1902. Taylor went on to lecture in furniture design at Glasgow School of Art from 1903 to 1905. In 1908 he married Jessie King and moved to Manchester to manage and design for George Wragge Ltd where he produced many designs for stained glass. Between 1911 and 1914 the Taylor’s lived in Paris where they established an art school – the Shealing Atelier. This rare cabinet by Taylor combines his skills as a furniture maker and stained-glass designer and was available to buy in mahogany or, in this rarer version, in oak.
TALWIN MORRIS (1865-1911) LARGE COLLECTION OF GLASGOW SCHOOL ART NOUVEAU BOOK BINDINGS to include pub. Gresham Publishing Company, London, MODERN POWER GENERATIONS, Vols. 1-2, MODERN CARPENTER, JOINER AND CABINET MAKER, Vols. 1-8, THE WORLD OF TODAY, Vols. 1-6, WILLIAM EWART GLADSTONE AND HIS CONTEMPORARIES, Vols. 1-4, THE NATURAL HISTORY OF PLANTS, Vols. 1-2, THE RED LETTER SHAKESPEARE, 4 volumes; pub. Blackie & Son Ltd, London and Glasgow, PRINCIPLES AND PRACTICE OF MODERN HOUSE CONSTRUCTION, Vols. 1-6, DAVID COPPERFIELD (3 copies), JOHN HALIFAX, WESTWARD HO! (2 copies), THE UNIVERSE OF THE INFINITELY GREAT AND THE INFINITELY LITTLE (12th edition), BLACKIE'S LIBRARY OF FAMOUS BOOKS, 6 volumes, TOM BROWN'S SCHOOL DAYS, (3 copies), LIFE OF NELSON (3 copies), LAMB'S TALES FROM SHAKESPEARE (2 copies), GRIMM'S TALES (2 copies), THE HEROES, UNGAVA, and BLACKIE'S SHAKESPEARE PLAYS, 8 volumes
*Bridget Riley CH (b.1931)'Fragment 3'screenprint on perspex, signed and dated '65 l.l., from an edition of 75 with 4 artist's proofs59 x 78cmFrom the series of 7 'Fragments', published by the Robert Fraser Gallery.Bridget Riley came to prominence in the early 60s with her experiments in Op Art - abstract art that created an optical illusion. Sometimes using colour, Op Art tricked the eye, creating the deception of warping, vibrating or flashing. At this period of her career, Riley was mainly working in black and white, which created the very strong and now iconic images synonymous with the 60s. The series of 'Fragments' were published in an edition of 75. In the exhibition catalogue at the Robert Fraser Gallery, Riley explained: 'During the preparatory work for a painting, I may make images which are tangential to the problems posed by the particular painting. Some of these images I return to and develop later, others remain as fragments of a theme. These prints are a selection of such fragments in my folios and cover a period from 1962-1965'. Printed on the back of a clear perspex sheet, the brilliant white background was then printed over the top. Riley was experimenting with new, modern materials and the result is very sharp and bold.*Artist's Resale Right may apply to this lot.
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