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Lot 357
An Outstanding Attack on the Hindenburg Line and Flesquires, Military Medal Trio Awarded to Lance Corporal Francis John Barker, 15 Battalion, Tank Corps, late 1/24 (County of London) Battalion (The Queen’s) London Regiment, Who Survived Being Wounded on the Somme Before Transferring to the Newly Formed Tank Corps, In The Action Which the Military Medal Was Awarded, The Battalion Lost 18 out of 26 Tanks, George V Military Medal (M.M), awarded to, “304657. L/Cpl. F. J. Barker. 15-Tank Corps”, British War and Victory Medal, awarded to “5825 Sjt. F. J. Barker 24-Lond. R.”. The Military Medal is framed and backed on his Tank Corps Gallantry certificate inscribed to “304657 L/Cpl Francis J Barker, For Pluck and determination in action against the enemy at Flesquires, 27th September 1918”, the citation is bordered by his battalion coloured lanyard. The medals are accompanied by a selection of original ephemera including photograph of Barker inside his tank before leaving for the UK in 1919, pair of brass trench art shell cases and two modern models of WW1 British tanks. The Military Medal appeared in the London Gazette: 14th May 1919, the citation for the award in the roll of honour is as follows, “304657 L/Cpl Berker, Francis J. 15th Battn. Awarded MM. For conspicuous gallantry and devotion to duty in action on the occasion of the attack on Flesquieres on September 27, 1918. He was wounded in the face whilst placing unditching gear in position under shell fire. In spite of his wound he remained at his task until he was again wounded in the neck. He volunteered to remain with the tank, but his officer handed him over to infantry stretcher-bearers.” Francis John Barker who was a local of Camberwell, London, originally enlisted into the 1/24 (County of London) Battalion London Regiment, serving with them after the 1 January 1916. He was wounded in action on the 24 September 1916, whilst serving near High Wood. In 1917 he transferred to the 15th Battalion, Tank Corps, and served with them until the end of the war, where on the 27 September 1918, he displayed gallantry of a notable kind during his battalion’s advance in conjunction with the Grenadier Guards on the Hindenburg Line and the town of Flesquires. The Battalion advanced gallantly with all of their 26 Tanks. By the ned of the action, there was only 8 tanks that answered the roll call, with many gallantry awards being given for this action. This grouping is being sold by the recipients grandson and has never been offered on the market before. See lots – and – for the recipients Tank Corps issue face mask and large Panorama Photograph of the 15th Battalion Tank Corps.
Lot 413
ROY PETLEY "The picnic", chalk, pastel on paper, signed lower right and bears a "David Messum Fine Art" paper label verso CONDITION REPORTS 68cm tall by 61cm wide and yes it is framed. Condition appears to be good, some smudging lower left though this may be part of the original design. Some signs of what appears to be mildew beneath the glass on the mount particularly to the bottom left but in several areas all the way around. Frame guilded and modern with signs of surface ware again part of the original design.
Lot 392
EUGÈNE ALAIN SÉGUY (1889-1985) 'SUGGESTIONS FOR STUFFS AND CARPETS', TWELVE ART DECO FRAMED PRINTS, pochoir lithographs, within modern gilded and stepped frames, each inscribed E.A. SEGUY/ SUGGESTIONS POUR ÉTOFFES ET TAPIS/ SUGGESTIONS FOR STUFFS AND CARPETS (12) each approx. 40cm x 29cm Note: Eugene Alain Seguy was one of the foremost French designers of the early 20th century. His work captures the essence of both the Art Nouveau and Art Deco Styles. He was a master of the pochoir (stencil) technique which allowed him to create images with dense and vibrant colours. Included plates 3; 4; 6; 7; 10; 11; 12; 14; 16; 18; 19; and 20.
Lot 503
REM KOOLHAAS (B. 1944) AND ELIA ZENGHELIS (B. 1937) ROOSEVELT ISLAND REDEVELOPMENT PROJECT, NEW YORK, 1975 (AXONOMETRIC) gouache and graphite on board 103.5cm x 84cm Literature: McQuaid, Matilda, ed., 'Envisioning Architecture: Drawings from The Museum of Modern Art, New York' by Terence Riley, The Museum of Modern Art, 2002, p. 172 Riley, Terence ed., 'The Changing of the Avant-Garde: Visionary Architectural Drawings from the Howard Gilman Collection, New York' by Bevin Cline and Tina di Carlo, The Museum of Modern Art, 2002, p. 144. Note: The Roosevelt Island Redevelopment Project was a 1974 competition entry prepared by Rem Koolhaas and Elia Zenghelis, in response to a movement to redevelop Roosevelt Island, New York, the narrow strip of land in the East River between Manhattan and Queens. Four identical stepped blocks rise on the waterfront of the East River island. Between them run extensions of the city street grid bordered by low-rise "synthetic brownstones" made from glass, rock, plastic, marble, and aluminium with stoops and postmodern facades. Seven monumental towers echo the dimensions of the grid and are situated so as to maximize the views. Another example of this study is held is in MoMA, New York.
Lot 566
By Fred Rich, a modern silver and enamel vase, London 1994, also signed 'Fred Rich 94', tapering cylindrical form, enamelled with four frogs amongst reeds, flowers and foliate decoration, gilded interior, on a raised spread circular foot, height 15.8cm, approx. weight 25oz. Fred Rich (b.1954) studied at the central School of Arts and Design, London. This is where he learnt his skills in enamelling, and also attended evening enamelling classes at the Sir John Cass School of Art . In 1980 Fred won various awards including a bursary from the Royal Society of Arts and another from Goddard's. He graduated in 1981 with a first class honours degree. He set up a workshop in Portobello Green with two fellow graduates from the Central School. The demand for his enamelling skills by other designers resulted in him being so busy he could not get on with his own work. The Worshipful Company of Goldsmiths acquired the enamelled vase for which he won another award for in 1982, and in 1983 he started exhibiting at the Goldsmith's Fair, but was mainly offering jewellery with some small piece of silver. In 1984 De Beers purchased one of this necklaces for the trainer of the winner of the King George VI and Queen Elizabeth Diamond Stakes. Commissions arrived from the British Museum, De Beers, Lambeth Palace and the World Gold Council. Towards the latter half of the 1980's he decided to gradually wind down his work for others and concentrate on his own projects. In the 1990's there was a change in his work and he was one of the four exhibitors of the Rising Star's Exhibition at Goldsmiths Hall in 1990. In 1993 his work was commissioned by Garrard and Co, as part of their 150th anniversary exhibition. His work so impressed Richard Jarvis, the Managing Director of Garrards that he supported a one man show by Fred. in 1997 he received four major accolades including the coveted Jacques Cartier Award. In 2000 he established a partnership Fred Rich Enamel Design, with Adrian Butcher. Reference: Andrew, J. and Styles, D., Designer British Silver The Antique Collector's Club, 2015. pages 406-415. A vase by Fred Rich was exhibited at Treasures of the 20th Century, The Goldsmiths Company, 25 May-21 July 2000, no. 288, illustrated on page 108 of the catalogue.
Lot 328
David Botha (South African 1921-1995) TOWNSHIP SCENE: AFTER THE RAIN signed; signed and dated 1964 on the reverse oil on board 50 by 75cm PROVENANCE Estate Late David Botha David Botha is widely considered to be a second generation follower of Cape Impressionism, continuing in the stylistic footsteps of Pieter Wenning, Pieter Hugo Naudé and Nita Spilhaus, the champions of this movement. Botha was born in Graaff-Reinet in the Eastern Cape in December 1921. He qualified from the Cape Town Teachers Training College as an art teacher in 1941, and held his first solo exhibition in Cape Town in 1944. Botha would go on to hold 50 solo exhibitions and participate in over 100 group exhibitions in his lifetime. Botha taught art at an array of schools in and around the Paarl area from the mid 1940s to the late 1970s, taking a sabbatical from 1950 to 1952, in which he attended the Camberwell School of Art in London, and further enriched his art education by travelling to Europe and the Middle East. Botha’s works appear always to obsess about the weather. Perhaps the universality of this theme is why so many collectors from diverse backgrounds appreciate his artwork. In Township Scene: After the Rain, Botha portrays an informal settlement burdened by a recent downpour typical of Cape winters. An area of flooding is apparent in the midground and one can almost feel the cold of the residents if the homes depicted, all hiding from the frigid weather outside. Township Scene: Washing Day depicts a similar setting, though painted much later than After the Rain. Once again the setting is an informal settlement in winter, although the moody grey sky receives a more modern treatment than Botha’s celebrated impressionist style, the almost charcoal grey colouring remains a hallmark amongst the Cape Impressionist movement. Here, however we see the introduction of a newer brighter palette with its variant shades of green and turquoise-blue hues, which speak more to contemporaries like Walter Battiss than the preceding Cape Impressionists which had such a great influence on Botha. Botha is typically celebrated for his rain-laden Paarl and Stellenbosch street scenes, as such these Township Scenes provide a unique collecting opportunity of a less prominent genre within the artist’s oeuvre. - K. W. Berman, E., Art & Artists of South Africa, A. A. Balkema, Cape Town, 1974 Borman, J., David Botha (1921 - 1995), [online] available: http://www.johansborman.co.za/artist-biographies/botha-david [Accessed: September 2018] Ogilvie, G., The Dictionary of South African Painters and Sculptors, Everard Read, Johannesburg, 1988
Lot 113
"A Moonlight Night" Chi-Chung Hu (New York, California, China,1927-2012) Oil on canvas painting. Signed lower right. Signed and titled verso. Zantman Gallery (California) label on stretcher. Oil on Canvas. Size: 52 x 40 in. Chi-Chung Hu founded the ?Si Hai Art Association? and also joined the May Art Association and became of the representatives of Taiwanese modern art movements.
Lot 126
George Marinko (Connecticut, New York 1908 - 1989) abstract mixed media composition. Signed lower right. Housed in original vintage frame. Image size: 4.5 x 5.5 in. Overall Size: 10.75 x 15.75 in. Framed behind glass. Marinko's paintings were included in the ground breaking 1936 Surrealist exhibition at the Museum of Modern Art in New York, but he choose to stay out of the limelight and lived quietly in Waterbury, Connecticut where he was known for his works in sculpting, lithography, and painting with subjects of landscapes, villages, boats, as well as abstraction. There he was a prominent local artist, teacher at the Waterbury Art School from 1945 to 1957, and later became director of the Hudson River Museum. He also painted the mural in City Hall's Aldermanic Chambers along with artist Francis Jmanie.
Lot 27
Mihail Chemiakin (New York, Russia born 1943) Lithograph. Numbered (18 x 225) lower left. Pencil Signed lower right. Image Size: 24 x 17 in. Sheet Size: 30 x 21 in. Unframed. Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.
Lot 28
Mihail Chemiakin (New York, Russia born 1943) Lithograp. Numbered (20/225) lower left. Pencil Signed lower right. Image Size: 17 x 24 in. Sheet Size: 21 x 30 in. Unframed. Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.
Lot 29
Mihail Chemiakin (New York, Russia born 1943) Lithograph. Numbered (44/78) lower left. Pencil Signed lower right. Image Size: 17 x 24 in. Sheet Size: 21 x 30 in. Unframed. Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.
Lot 30
Mihail Chemiakin (New York, Russia born 1943) Lithograph. Numbered (24/225) lower left. Pencil Signed lower right. Image Size: 18.75 x 16 in. Sheet Size: 30 x 21 in. Unframed. Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.
Lot 1033
Rafiee Abdul Ghani (Malaysian, b.1962). Coloured etching of an abstract, coastal landscape; with pencil signature at bottom right and inscribed 'AP II', titled: 'Remembered Landscape'; margins apparently uncut; overall dimensions 55 x 37cm; the reverse of the picture stating: Rafiee Abdul Ghani/Age 22/Address: Fine Arts Department School of Art and Design/Mara Institute of Technology/Shah Alam/Selangor/Malaysia. Provenance: The Property of a Lady. Given to the vendor's family by the organiser of a Winchester, global art Competition held in about 1984. Rafiee Ghani studied at the Mara Institute of Technology, circa 1981-85. His more contemporary work, generally oil on canvas, appears regularly at auction. See for instance, Klos Art Auction/Malaysian Modern and Contemporary Art/15-1-2017 Lot 1 where the catalogue entry states that Ghani is 'one of Malaysia's most prominent fine artists'. Compare also Sotheby's Hong Kong 'Modern and Contemporary South East Asian Art'/3-4-2017 Lot 216 for Ghani's 'The Beginning of the Red Sea'. . Overall condition good no damage found . Overall condition good no damage found
Lot 1097A
Sir Howard Hodgkin CH CBE (1932-2017). 'Red Bermudas' LE Lithograph in colours, one of a limited edition of 150 donated by the artist to the Museum of Modern Art for the Oxford Appeal Fund. Label verso. This is usually signed and numbered on a black surround, this lot missing that surround. Sheet size: 38.5 x 38.5cm. Framed and glazed. . This is usually signed and numbered on a black surround, this one has lost that surround. This is usually signed and numbered on a black surround, this one has lost that surround
Lot 159
Dictionaries.- McDonald (Alexander) A Complete Dictionary of Practical Gardening: Comprehending all the Modern Improvements in the Art, 2 vol., 60 hand-coloured engraved plates only (of 61), 13 plain engraved plates, occasional light foxing or browning, bookplate, contemporary tree calf, gilt, rubbed, wear to spine and corners, 4to, 1807.
Lot 403
Modern Daguerreotype Achromat Lens from "Lomography Art Lenses". Nikon fit 64mm f2.9 lens #000003594 in presentation box marked Chevalier … Paris 1839. With original accessories, books, etc. (appears unused, hence condition 2E). Also Lomography Art 40.5mm Filters: CPL, Red and Yellow.[cabinet I]
Lot 617
Eduardo De Martino (1838-1912)Ancient and Modern Diplomacy, a pairsigned, watercolour, pencil and gouache, 16.5cm x 11.5cm, framedMarine painter to the Royal family, in 1897, the artist's address was 1 St. Johns Wood, Queens Terrace, London. He exhibited at the Fine Art Society (1872) and the Walker Art Gallery, Liverpool (1901)
Lot 186
After Andy Warhol (American, 1928-1987)MARILYN LOUISIANAOffset lithographic poster printed in colours, 1986, bearing a signature in blue marker pen, a poster for the Louisiana Museum of Modern Art, Humlebæk, Denmark, published by the Louisiana Museum, on wove paper, the full sheetsheet 84.7 x 62cm, unframed
Lot 35
David Hockney OM, CH, RA (b.1937) ''Stanley and Boodgie Sitting by the Sea'' Fax, dated 16th July 1993, 24 pieces of A4 paper, together with a key, 128cm by 144cm Provenance: The vendor was a friend of Hockney's brother and taught at a school in Harrogate. The vendor and his class faxed Hockney in Los Angeles to wish him happy birthday and he faxed 24 pages in return with a note thanking them for their letters and drawings. Throughout the late 1980's and 90's Hockney embraced the use of the fax machine to send art faxes to his friends and family. Always a pioneer of modern technology, he was excited at the immediacy of the machine and the opportunity to create ''art for the masses'' in the wake of digital technology. Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration
Lot 228
Cigarette card album containing Wills's and Ogden's cigarette cards, 'The Modern Signwriter' published by the decorative art journals co, Infantry Training booklet volume IV 'the infantry platoon in battle 1960', 'A Parting Gift' T. Nelson and Sons, 'A History of The Earth and Animated Nature' Volume II by Oliver Goldsmith, 'The new monthly Belle Assemblee' volume III July to December 1835, 'The Life of Jesus of Nazareth' by William Hole and 'Pictures of Life Character' by John Leech from the collection of W Punch Condition Report Click here for further images, condition, auction times & delivery costs
Lot 105
NO RESERVE Illuminated Manuscripts.- Hamburger (Jeffrey F.) The Rothschild Canticles: Art and Mysticism in Flanders and the Rhineland circa 1300, New Haven & London, 1990 § Smeyers (M.) L'Art de la Miniature Flamande du VIIIe au XVIe siècle, Tournai, 1998 § Horst (K. van der) Illuminated and Decorated Medieval Manuscripts in the University Library, Utrecht, Cambridge, 1989; The Utrecht Psalter in Medieval Art..., Utrecht, 1996 § Dewald (E.T.) The Illustrations of the Utrecht Psalter, ex-library copy with stamps, Princeton, 1932 § Delaisse (L.M.J.) A Century of Dutch Manuscript Illumination, Berkeley & Los Angeles, 1968 § Ferrari (G.E., editor) The Grimani Breviary, 1972 § Gaspar (C.) Le Pontifical de l'Église de Sens, modern half roan, Brussels, 1925 § Destrée (J.) Les Heures de Notre-Dame dites de Hennessy, modern cloth, original wrappers bound in, Brussels, 1923, plates and illustrations, some colour, the last two limited editions, the rest original cloth, the first six with dust-jackets, the seventh slip-case; and c.15 others on Flemish & Dutch illuminated manuscripts, 4to & 8vo (c.20)
Lot 37
NO RESERVE Eastern European Art.- Uspenskij (Théodore) L'Art Byzantin chez les Slaves, 2 vol. in 4, original wrappers, Paris, 1930-32 § Henry (Paul) Les Églises de la Moldavie du Nord..., 2 vol., modern cloth, Paris, 1930 § Alpatov (M.V.) Early Russian Icon Painting, Moscow, 1984 § Buxton (David) The Wooden Churches of Eastern Europe, Cambridge, 1981 § Santrot (J.) & others. Arménie: Trésors de l'Arménie ancienne, Paris, 1996, illustrations, all but the first two original cloth with dust-jackets; and c.30 others on Eastern European art, v.s. (c.35)
Lot 78
NO RESERVE Modern Art.- Dada & Surrealism.- Descharnes (Robert) & Gilles Néret. Salvador Dalí 1904-1989: The Paintings, 2 vol., Cologne, 1994 § Borràs (M.L.) Picabia, 1985 § Dupin (J.) Joan Miró: Life and Work, New York, 1962 § Russell (John) Max Ernst: Life and Work, 1967 § Schmalenbach (W.) Kurt Schwitters, New York, 1967 § Rubin ( W.s.) Dada and Surrealist Art, 1969 § Ades (Dawn) Dada and Surrealism Reviewed, original printed wrappers, 1978, illustrations, many colour, all but the last original cloth with dust-jackets, some a little rubbed and frayed; and 3 others on Dada & Surrealism, 4to (10)
Lot 79
NO RESERVE Modern Art.- Daix (Pierre) & Joan Rosselet. Picasso: The Cubist Years 1907-1916. A Catalogue Raisonné..., 1979 § Cooper (Douglas) Picasso Theatre, hinges reinforced, New York, 1968 § Green (C.) Cubism and its Enemies: Modern Movements and Reaction in French Art, 1916-1928, New Haven & London, 1987 § Kahnweiler (D.-H.) Juan Gris: His Life and Work, enlarged edition, 1969 § Gieure (M.) G. Braque, Paris & London, 1956, plates and illustrations, some colour, original cloth, all but the second with dust-jackets, some a little rubbed; and c.20 others on Picasso and Cubism, 4to & 8vo (c.25)
Lot 80
NO RESERVE Modern Art.- Joosten (Joop M.) & Robert Welsh. Piet Mondrian: Catalogue Raisonné, 2 vol., New York, 1998 § Friedman (Mildred, editor) De Stijl: 1917-1931. Visions of Utopia, Oxford, 1982 § Lemoine (S.) Theo van Doesburg, Paris, 1990, illustrations, many colour, original cloth with dust-jackets, the first also with slip-case; and 2 others on Mondrian, 4to (6)
Lot 81
NO RESERVE Modern Art.- Leopold (Rudolf) Egon Schiele: Gemälde, Aquarelle, Zeichnungen, Salzburg, 1972 § Kallir (Jane) Egon Schiele: The Complete Works including a Biography and a Catalogue Raisonné, New York, 1990 § Roethel (H.K.) & Jean K. Benjamin. Kandinsky: Catalouge Raisonné of the Oil-Paintings, 2 vol., 1982 § Tuchman (M.) & others. Chaim Soutine (1893-1943): Catalogue Raisonné, 2 vol., text in English, French & German, Cologne, 1993 § Stang (Ragna) Edvard Munch, 1979 § Courthion (Pierre) Georges Rouault, New York, 1962, illustrations, many colour, original cloth with dust-jackets, the fourth also with slip-case; and 9 others on Expressionism, 4to (17)
Lot 82
NO RESERVE Modern Art.- Rudenstine (A.Z., editor) Russian Avant-Garde Art: The George Costakis Collection, 1981 § Khan-Magomedov (S.O.) Rodchenko: The Complete Work, 1986 § Zhadova (L.A.) Malevich: Suprematism and Revolution in Russian Art 1910-1930, 1982; Tatlin, 1988 § Lissitzky-Küppers (S.) El Lissitzky: Life, Letter, Texts, 1968 § Passuth (Krisztina) Moholy-Nagy, 1985, illustrations, some colour, original cloth with dust-jackets, one or two slightly rubbed; and 17 others on Russian and Eastern European avant-garde art, 4to & 8vo (23)
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