Sir Basil Spence O.M. O.B.E. R.A. (British 1907-1976) for H. Morris & Co., Glasgow 'Allegro' Dining Table, designed 1947-8 maker's label 'MORRIS MADE/ GUARANTEED TRADE MARK/ GLASGOW', laminated woodDimensions:74cm high, 166cm long, 58cm deep (29in high, 65 1/4in long, 22 7/8in deep)Note: Literature: Studio Yearbook of Decorative Art, 1949, p. VIII (advertised);''Austerity to Affluence: British Art & Design 1945-1962'', The Fine Art Society, London, 1997, p. 14 and p. 22, cat. no. F27 (an example of chair illustrated);Long, Philip and Thomas, Jane (Edit.) ''Basil Spence'', Architect National Galleries of Scotland in Association with RCAHMS, Edinburgh 2008, p. 52 and p. 54, fig. 55 (another example illustrated). Sir Basil Spence was one of the leading British architects and designers of the 20th century, whose monumental or ''brutalist'' style came to define modern architecture in Britain. Noted commissions include designs for several exhibitions including the Sea and Ships Pavilion for the Festival of Britain (1951), Sussex University (1962), Glasgow Airport (1966), and Coventry Cathedral (1954-62), for which he received a knighthood. In 1947, Neil Morris of manufacturers Morris of Glasgow asked Spence to collaborate on a range of plywood furniture, which was to include his Bambi chair and celebrated Cloud table. The result was the Allegro dining suite, which was awarded a Diploma by the Council of Industrial Design in January 1949. In March of the same year it was exhibited at the Glasgow Today and Tomorrow exhibition, where it was commended, and an example of the armchair was commissioned by the Museum of Modern Art, New York for their collection. In September 1949 it was displayed at the Morris stand, also designed by Spence, at the Scottish Industries Exhibition. In 1951, another single armchair was commissioned for the collection of the Victoria & Albert Museum in London (V&A CIRC.183-1951). The manufacture of the Allegro suite found its origins in wartime innovation. The Southampton-based manufacturer of helicopters, Cierva Autogiro, had developed techniques of laminating and shaping wood to make strong and light helicopter blades - these blades were supplied by Morris of Glasgow by 1946, and the same technology was applied to this remarkable suite of furniture soon afterwards. Over one hundred layers of wood were bonded together under high frequency electrical pressure with phenoformaldehyde, a synthetic resin. The wood is then shaped and carved to produce the chairs, table and sideboard. Whilst it is now acknowledged as a landmark in immediate Post-War British furniture design, the immense expense of this manufacturing process meant that it went into extremely limited production, and as a result examples are extremely rare. In 1950 a single chair was advertised at £31 18s 3d, at a time when the average British annual income was just £101.
We found 19749 price guide item(s) matching your search
There are 19749 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
19749 item(s)/page
§ Tristram Hillier (British 1905-1983) Deserted Monastery in Castile, 1978 signed and dated (lower left), oil on canvasDimensions:59.5cm x 80cm (23 3/8in x 31 1/2in)Provenance:Provenance:Mr. W. Govett Esq.;The Lefevre Gallery, London;Christie's, London, Modern British Art, 10 June 2005, Lot 174 titled as 'San Juan Del Campo';Private Collection, London. Exhibited:Bradford Art Galleries and Museums, Bradford, A Timeless Journey, June - September 1983, cat. no. 72. The current work will be included in the forthcoming catalogue raisonné of the Artist's paintings. The Estate would like to hear from owners of any works by Hillier. Please write to The Estate of Tristram Hillier, c/o Lyon and Turnbull.Note: The surrealist inflections of Tristram Hillier’s early work were underpinned by Bernard Meninsky’s tutelage at Westminster School of Art’s evening classes; Hillier also studied under Henry Tonks at the Slade, but felt constrained by the School’s traditional approach. Exposure to surrealist and cubist painters during a period in late 1920s and ‘30s Paris proved formative, and by the time Hillier returned to England his reputation as a leading British Modernist painter had crystallised. This was aided in part by a fruitful exhibiting career with London’s Lefevre Gallery from 1931, as well as his membership of Paul Nash’s Modernist Group ‘Unit One’. Hillier’s Post-war canvases evidence maturation towards a starker, franker style suffused with a sense of stillness and detachment. This view of a deserted Spanish monastery is painted with a characteristic precision and intensity bordering on photorealism, disrupted only by the nod to abstraction in the monochromatic blue of the sky. The legacy of surrealism can be identified in the cast-off clothes and towels which further the idea of desertion. It is noteworthy that Hillier chose to portray a deserted monastery given the artist’s complicated relationship with his faith. His father had found solace in the Catholic Church after turning blind aged thirty, and in 1905 Tristram was born into a devoutly religious environment. Following the sudden deaths of his mother and brother in 1917 (the latter having perished during active service in northern France), Hillier seriously contemplated entering a monastery. He spent the following two decades as an itinerant artist, moving around England and Europe, with a spell in Beijing learning Chinese. It was not until the 1950s that he settled once more in Somerset and re-entered the Catholic Church. He increasingly portrayed religious subjects, and maintained a strict daily routine, passing most of his time in the studio in solitude. Hillier nevertheless continued to travel, particularly to Spain and Portugal, and was moved by the topography and ways of life he encountered there. All of this he recorded through sketches and photography, which he would use to build up fully-realised compositions upon his return to Somerset.
§ Émile Gilioli (French 1911-1977) Le Glacier, 1961 signed and dated (to underside), polished marbleDimensions:27cm high, 29cm wide, 20cm deep (10 5/8in high, 11 3/8in wide, 7 7/8in deep)Provenance:Provenance:World House Galleries, New York, 1962;Joseph H. Hirshhorn, New York, 1962-1966;Gift to the Hirshhorn Museum and Sculpture Garden, Washington;Christie's, Modern Paintings, Drawings and Sculpture, 23 February 1994, lot 90 where sold by the Order of the Trustees of the Hirshhorn Museum.Note: Émile Gilioli was one of the pre-eminent sculptors of the new abstract movement in France in the 1950s. He believed that the foremost challenge in sculpture was the synthesis of architecture and art, and that the choice of material, whether it be marble, onyx, bronze, lapis-lazuli, agate, alabaster or cement, was of utmost importance in shaping the form of the object. Having studied at the École des Beaux-Arts in the 1930s, the influences of the pre-war Paris school of artists such as Brancusi and Henri Laurens clearly shine through in his work. After World War Two he associated and exhibited with leading avant-garde artists of the period including Giacometti, Picasso and Soulages. This included being Vice-President of the leading abstract collective, Espace, initiated by André Bloch, Le Corbusier and Fernand Léger. Gilioli went on to exhibit internationally and his work is held at major institutions such as Tate, London, the Museum of Modern Art, New York and the Museu de Arte Moderna, São Paulo. Gilioli was honoured with a retrospective after his death at the Musée National d’Art Moderne, Centre Georges Pompidou in Paris in 1979.
§ Émile Gilioli (French 1911-1977) Lys 1/5 and 3/5, each signed and numbered (to the marble), polished bronze and marbleDimensions:each 27.5cm high, 30cm wide, 12cm deep (10 3/4in high, 11 3/4ing wide, 4 3/4in deep) including baseProvenance:Provenance:Edition 1/5: Estate of Lee A. Ault;Sotheby's, New York, 12 June 1997, lot 257. Edition 3/5: M. Knoedler & Co., Paris, 1961;Joseph H. Hirshhorn, New York. 1961-1966;Gift to the Hirshhorn Museum and Sculpture Garden, Washington, 1966;Christie's, Modern Paintings, Drawings and Sculpture, 23 February 1994, lot 89, where sold by the Order of the Trustees of the Hirshhorn Museum.Note: Émile Gilioli was one of the pre-eminent sculptors of the new abstract movement in France in the 1950s. He believed that the foremost challenge in sculpture was the synthesis of architecture and art, and that the choice of material, whether it be marble, onyx, bronze, lapis-lazuli, agate, alabaster or cement, was of utmost importance in shaping the form of the object. Having studied at the École des Beaux-Arts in the 1930s, the influences of the pre-war Paris school of artists such as Brancusi and Henri Laurens clearly shine through in his work and after the Second World War he associated and exhibited with the leading avant-garde artists of the period including Giacometti, Picasso and Soulages. This included being vice-president of the leading abstract collective, Espace, initiated by Andre Bloch, Le Corbusier and Fernand Leger. Gilioli went onto exhibit in many notable exhibitions internationally, his work is held at major institutions such as Tate Modern, London, Museum of Modern Art, New York and Museu de Arte Moderna, Sao Paulo, as well as being honoured with a retrospective after his death at the Musée National d’Art Moderne, Centre Georges Pompidou in Paris in 1979.
§ Denis Mitchell (British 1912-1993) Untitled, 1969 unique, initialled and dated (to underside of base), brassDimensions:26cm x 2.5cm (10 1/4in x 1in) excluding baseProvenance:Provenance: Commissioned by the artist George Dannatt and thence by family descent;Askew Art, London, where acquired by the present owner.Note: Exhibited: Maltby Contemporary Art, Winchester; Rosenberg & Co., New York.Literature: George Dannatt and Friends, exhibition catalogue, Osborne Samuel, London, 2015, p.50, illustrated p.62; Modern British Masters, Rosenberg & Co., New York,2017.Note: This unique sculpture, dating from 1969, was a commission from Denis Mitchell’s friend, the art connoisseur turned painter George Dannatt. Initially Mitchell’s sculptural work was characterised by direct carving of wood and stone, skills developed in his war service work in the Geevor tin mine, before he spent ten years as assistant to Barbara Hepworth. Mitchell explained; ‘we carved side by side . . . I was her hands.’ By the late 1960s he had developed an assured approach in the casting of both brass and bronze to create polished and dynamic sculpture. His love of pure form shines through in this deceptively simple work; the jagged edges, pierced holes and shining warm surface divide, reflect and reveal the light and space around and behind the slim form, conjuring a potent presence much greater than its stature.
Robert Polhill Bevan (British 1865-1925) The Pub at Luppitt, circa 1923 signed (lower left), watercolour, crayon and pencil on paperDimensions:26.2cm x 33.5cm (10 1/4in x 13 1/4in)Provenance:Provenance:Estate of the Artist and thence by descent to the present owner. Exhibited:Scottish National Gallery of Modern Art, Edinburgh, From Sickert to Gertler: Modern British Art from Boxted House, 15 March - 22 June 2008 (and tour to Gainsborough's House, Sudbury 4 October - 13 December 2008), listed p. 75;Brighton Museum & Art Gallery, Brighton, From Sickert to Gertler: Modern British Art from Boxted House, 17 April - 12 September 2010, no cat.no.s.Note: Luppitt is a village in East Devon. Bevan lived on Luppitt Common in 1920 and again from 1923 until 1925.
Robert Polhill Bevan (British 1865-1925) The Plough, circa 1893 stamped with the artist's monogram in reverse, lithograph on buff paperDimensions:25.5cm x 34.5cm (10in x 13 5/8in) (plate)Provenance:Provenance:Estate of the Artist and thence by descent to the present owner. Exhibited:Scottish National Gallery of Modern Art, Edinburgh, From Sickert to Gertler: Modern British Art from Boxted House, 15 March - 22 June 2008 (and tour to Gainsborough's House, Sudbury 4 October - 13 December 2008), listed p. 75;Brighton Museum & Art Gallery, Brighton, From Sickert to Gertler: Modern British Art from Boxted House, 17 April - 12 September 2010, no cat.no.s.Literature:R. A. Bevan, Robert Bevan 1865-1925: A Memoir by his Son, Studio Vista, London 1965, another example from the edition repr. b/w pl.4.Graham Dry, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London 1965, another example from the edition repr. b/w no.7.Note: R. A. Bevan, the artist's son, has explained about this work that 'not more than half a dozen prints are known to exist' (op.cit.) Graham Dry has stated: 'Possibly no more than six proofs survive...All are...with the monogram RPB in reverse.' (op.cit.)
Harold Gilman (British 1876-1919) Romney Marsh, circa 1910 signed (lower right), oil on boardDimensions:25cm x 35.5cm (9 3/4in x 14in)Provenance:Provenance:Alex Reid & Lefevre Ltd., London;Frank Aldous Girling, Lawford, Essex;Robert Alexander and Natalie Bevan, Boxted House, Boxted, Essex. Exhibited:Tate Britain, London, Modern Painters: The Camden Town Group, 13 February - 4 May 2008, p. 154, no. 82 (illustrated).Note: Harold Gilman was born in Rode, Somerset. In 1890 he moved with his family to Romney Marsh, Kent, where he lived until 1908. He trained at the Slade School of Fine Art, London and, after meeting Walter Sickert in 1907, became a founder member of the Fitzroy Street, Camden Town and London Groups.Robert Upstone has explained about this work: 'Gilman made a sequence of studies of Romney Marsh between about 1909 and 1912...The landscape is expressed by strictly modulating the paint in a series of broken dabs of heightened colour that lend it visual interest and these touches of paint also suit perfectly the scrubby terrain's character. Painted on board, it is just possible that Gilman painted this before the subject, although his usual practice was to work from drawings. The picture was acquired by Gilman's fellow Camden Town painter Robert Bevan.' (Modern Painters: The Camden Town Group, op.cit, p.154)
Mohammad Ehsaie (b. 1939), “Mana”, porcelain, signed with initials ME (recto) and inscribed ME Ehsaie for Stephano Ricci (verso), 21cm. diameter; circa 2010, manufactured by Stephano Ricci edition of 20Mohammad Ehsaie is undoubtedly one of the most gifted calligraphers to emerge from Iran within the past century. Utterly devoted the perfection of his craft, Ehsaie has married the technical finesse of his formal training within a modern visual schema. Traditional Persian calligraphy has historically been rife with ornament and embellishment; with calligraphic texts often accompanied by miniature paintings, encased in cartouches and flanked by a myriad of geometrical and floral motifs. Ehsaie's approach to the craft, however, is markedly divergent, and in choosing the pure architecture of the Persian letterform as his principal subject matter, he relinquishes the visual excess of traditional manuscript art. The depiction of unadorned script against a monochromatic, often black background not only shifts the focus of the viewer onto the mechanics and minutia of the letterform, but forces the writing to compensate for the now absent decorative elements. Ehsaie's text fills the empty spaces with a newfound freedom, taking lifelike, prehensile shapes as Ehsai demonstrates the suppleness and elasticity of Persian nast’aliq. Ultimately, Ehsai's contorted letter forms are not written to be understood, emphasizing the ineffability of the deity itself.Please refer to department for condition report
Sunil Das (Indian, 1939 - 2015), Untitled (Abstract), Mixed media on rice paper laid on paper, Signed 'SUNIL DAS' center right21.1 x 40.2 cm. (8 ¼ x 15 ¾ in.)Executed circa early 1970sProvenance: The Surya Collection: Property from Mrs Ute RettbergDas has the distinction of being the only Indian artist to have won a National Award (the Shiromani Kala Puraskar) while still an undergraduate at the Government College of Art and Craft, kolkata. Besides having been featured in several exhibitions, his works are also a part of the collections of renowned museums such as the National Gallery of Modern Art, New Delhi, the Glenbarra Art Museum, Japan, and the Ludwig Museum, Germany.Please refer to department for condition report
A modern re-strung tiered necklace, composed of a lower tier of Egyptian blue glazed faience cylindrical mummy beads, Late Dynastic Period; cylindrical carnelian beads, with metal component mountings, and a blue glazed faience scarab set into a pendant (2)Provenance: Egyptian necklace - UK Art Trade, acquired May 2020; previously part of a private collection, Surrey, UK, acquired 1960s-early 1970s; gilt metal mounting dates to the late 1960s; accompanied by Helios Gallery certificate of authenticityPlease refer to department for condition report
A group of 25 Antiquities and Islamic art catalogues and books from Christie's and Sotheby's, comprising of: The William F. Reilly Collection, Christie’s New York Auction Catalogue, Wednesday, 14 October 2009.; Greek, Etruscan and South Italian Vases from Castle Ashby, The property of the Marquess of Northampton, Christie’s London Auction Catalogue, Wednesday, 2 July 1980. ; Ancient Egyptian Glass and Faience from the ‘Pre-neb’ Collection, Part III, The property of A Swiss Private Collector, Christie’s London Auction Catalogue, Wednesday, 8 December 1993. ; Antiquities, Including property from the collection of the Princely House of Liechtenstein, Christie’s London Auction Catalogue, Wednesday, 30 April 2008. ; Antiquities, Including the Plesch Collection of Ancient Glass, Christie’s London Auction Catalogue, Tuesday, 28 April 2009.; Important Antiquities, Christie’s South Kensington Auction Catalogue, Wednesday, 20 October 1999.; Fine Antiquities, Christie’s London Auction Catalogue, Wednesday, 11 June 1997.; The Erlenmeyer Collection of Cretan Seals, Christie’s London Auction Catalogue, Monday, 5 June 1989.; Faces from the Ancient World: A European Private Collection, Christie’s London Auction Catalogue, Wednesday, 20 April 2005.; Fine Antiquities, The Properties of ‘The Earl of Shelburne, Westminster College, Cambridge A European Private Collector, A European Noblewoman, and from various other sources, Christie’s London Auction Catalogue, Wednesday, 5 July 1995. ; The Collection of the Late Henning Throne-Holst, Christie’s London Auction Catalogue, Wednesday, 8 June 1988.; The Erlenmeyer Collection of Ancient Near Eastern Stamp Seals and Amulets, The property of The ErlenmeyerStiftung, Christie’s London Auction Catalogue, Tuesday, 6 June 1989. ; Important Antiquities, Christie’s London Auction Catalogue, Wednesday, 21 April 1999.; Fine Antiquities, The property of MADAME ADDA SHEPPARD & COOPER LTD.; The property from The MARION SCHUSTER COLLECTION and from various sources. Christie’s London Auction Catalogue, Wednesday, 11 December 1996. ; Fine Antiquities, Christie’s London Auction Catalogue, Wednesday, 27 October 2004. ; The ‘Pre-Neb’ Collection (Part I), Highly Important Egyptian Antiquities, Christie’s London Auction Catalogue, Wednesday, 9 December 1992. ; The Northampton Sekhemka, Christie’s London Auction Catalogue, Thursday, 10 July 2014. ; P.H. Newby, Warrior Pharaohs: The Rise and Fall of the Egyptian Empire, First published in 1980 by Guild Publishing.; Modern British and Irish Painting, Watercolours and Drawings, Christie’s London Auction Catalogue, Friday, 5 June 1992. The Property of Odette Gilbert Gallery Ltd., Oxmantown Settlement Trust Alwyne Rickerd, and from various others.; Arts of Islamic World, Sotheby’s London Auction. 22 April 2015.; Sherif El-Sabban, Temple Festival Calendars of Ancient Egypt, Liverpool University Press, 2000. Peter Levi, Atlas of the Greek World.; H. B. Walters, O.B.E., M.A., F.S.A.CORPVS VASORVM ANTIQVORVM, British Museum: Department of Greek and Roman Antiquities, 1927.; H. B. Walters, O.B.E., M.A., F.S.A.CORPVS VASORVM ANTIQVORVM, British Museum: Department of Greek and Roman Antiquities, 1926.; Gordon Childe, What Happened in History.; Joan Grant, Winged Pharaoh: An absorbing, thrilling novel of Ancient Egypt, Publication: A Four-Square Novel. (25)Please refer to department for condition report
Property from the Private Collection of Neville Kingston (1955-2019) Lots 96-101An Ottoman silk embroidered linen textile panel (bocha), Turkey, 18th century, with alternating palmettes and rust red tulips with small leaf and flower motifs scattered between, the borders similarly worked, with modern cream linen backing, 108 x 102cm. Provenance: Private Collection of Neville Kingston (1955-2019). Kingston was known for his collections of Central Asian carpets and textile but like most collectors, his interests were far ranging, and not just confined to Central Asia. His fascination with shapes and motifs, coupled with embroidery, lead to him collecting textiles from Eastern Europe to China and Japan.Neville was born in Dublin and studied as a veterinary surgeon at Trinity College, Dublin. After qualifying, and a short period managing polo ponies in Chippenham, he moved to East Yorkshire where he spent the next 35 years in practise, specialising in pigs. The veterinary group had an international reputation and Neville travelled extensively, always taking the opportunity to widen his textile knowledge. Over the years he fastidiously attended auctions and sales, searching out unusual Turkmen weavings. He travelled extensively in Central Asia in the late 1990s and was a frequent visitor to Istanbul, where he sought out unusual embroideries and carpets which would extend his knowledge of textile art. some restoration, ground distressed and re-backed
A group of 72 catalogues on Islamic and Indian Arts, comprising of:Ader Nordmann, Orient - Extreme Orient, Drouot-Richelieu, 2 mars 2012.Thos. Agnew & Sons Ltd., Persian Miniatures: An exhibition of seventeen pages from the Houghton Shahnameh, 3rd July - 24th August, 1979.G. M. Meredith-Owens, Persian Illustrated Manuscripts, (The Trustees of the British Museum, 1965).G. M. Meredith-Owens, Turkish Miniatures, (The Trustees of the British Museum, 1963). (2)M. Lings, Y. H. Safadi, The Qur'an, A british Library Exhibition World of Islam Festival, 1976. (6)The Metropolitan Museum of Art Bulletin, April 1971.Morton & Eden, Important Coins of the Islamic World, 22nd of April 2013.Morton & Eden, Important Coins of the Islamic World, 4th of April 2011.Sotheby's, Islamic works of art, carpets and textiles, 12th and 13th of October 1982.Oriental Art Auctions, Islamic Art Auction, 18th November 2020.Christie's Paris, Mobilier et Objets d'Art, Art Islamique, Ceramiques Europeennes et Verre, 7 novembre 2006.Christie's Paris, Art des Terres d'Islam, 5 novembre 2008. (2)Sotheby's, Regard sur l'Orient, 28 octobre 2009.Sotheby's, Regard sur l'Orient, 30 mars 2011. (2)Sotheby's, Regard sur l'Orient, 23 juin 2010.Sotheby's, Collection Patrick Guerrand-Hermes, 9 octobre 2012.Sotheby's, Regard sur l'Orient, 9 octobre 2012. (2)Sotheby's, Arts of the Islamic World Evening Sale, 4th October 2011.Sotheby's, Arts of the Islamic World Day Sale, 5th October 2011.Sotheby's, Arts of the Islamic World, 25th April 2018.Pierre Berge&Associes, Arts d'Orient, Archeologie, 17 juin 2010.Pierre Berge&Associes, Archeologie, Arts d'Orient, Extreme-Orient, 27 et 28 avril 2007.Pierre Berge&Associes, Archeologie, Arts d'Orient, Extreme-Orient, 27 et 28 octobre 2006.Pierre Berge&Associes, Arts d'Orient, Extreme-Orient, 13 mai 2009.Pierre Berge&Associes,Art Primitif, Extreme-Orient, Art d'Orient, 30 novembre 2007.Pierre Berge&Associes,Archeologie, Art de l'Islam, Art Africain, Art Precolombien, 28 et 29 avril 2006.Pierre Berge&Associes, Art d'Orient, Extreme-Orient, Archeologie, 28 et 29 mai 2008.Bonhams, Orientalist Pictures&Works of Art, 11th May 2009. Bonhams, Modern and Contemporary Turkish Art, 5th April 2011. Bonhams, Modern and Contemporary Middle Eastern Art, 7th October 2014.Bonhams, Modern and Contemporary Middle Eastern Art, 28th November 2017.Bonhams, Egypt's Awakening and Modern&Contemporary Middle Eastern Art, 18th April 2018.Bonhams, Modern and Contemporary Arab, Iranian, Indian and Pakistani Art, 3rd March 2008.Bonhams, Photographs, 13th April 2011.Bonhams, The Art of Lebanon, 27th April 2016.Bonhams, A Century of Iraqi Art, 20th April 2015.Bonhams, A Century of Iraqi Art Part II, 7th October 2015.Bonhams, Modern and Contemporary Middle Eastern Art, 26th April 2017.Bonhams, Modern and Contemporary Middle Eastern Art, 7th October 2015.Bonhams, Modern and Contemporary Middle Eastern Art, 20th April 2015.Bonhams, Modern and Contemporary Middle Eastern Art, 12th October 2016.Bonhams, Islamic&Indian Art, 23rd November 2011. Bonhams, Modern and Contemporary Middle Eastern Art, 8th April 2014.Bonhams, Islamic&Indian Art, 5th April 2011.Bonhams, Islamic&Indian Art Part II, 6th April 2006. Bonhams, Modern and Contemporary Middle Eastern & South Asian Art, 11th October 2010.Christie's Paris, Tableaux Orientalistes et Art Moderne Arabe et Iranien, 17 decembre 2008.Christie's Paris, Tableaux Orientalistes et Art Moderne Arabe et Iranien, 3 juin 2008.Christie's Paris, Tableaux Orientalistes et Art Moderne Arabe et Iranien, 9 novembre 2010.Christie's Paris, Orientalisme, Africanisme et Tableaux Africains Contemporains, 18 decembre 2007.Christie's, Orientalist Art, 2nd July 2008.Christie's, Orientalist Art, 14th June 2006.Christie's Paris, Tableaux Orientalistes et Art Moderne Arabe et Iranien, 16 juin 2009.Christie's, Orientalist Art, 9th July 2009.Christie's Paris, Une Importante Collection Privee d'Art Orientaliste, 20 juin 2013. Christie's, A Window on the Orient, 4th November 2010.Christie's South Kensington, Arts of Islam, 1st October 2012.Christie's, A Private Collection Donated to Benefit the University of Oxford, 26th April 2012.Christie's Paris, Art Islamique et Tableaux Orientalistes, 6 juin 2007.Christie's Paris, Arts d'Orient, 18 decembre 2007. (72)Please refer to department for condition report
An Art Deco 18ct gold 0.3ct solitaire diamond ring, set with modern round brilliant and old-cut diamonds, principal diamond weight calculated from measurements: 4.57mm x 2.58mm, size P, 2.4gNo damage or repairs, all stones present, diamonds bright and fiery, principal diamond has an obvious yellow tint, settings very slightly worn, mark clear, stamped 18ct and Plat
A 9ct white gold watermelon tourmaline and diamond cluster ring, in Art Deco style, set with modern round brilliant-cut diamonds, total diamond content approx 0.5ct, setting height 16.1mm, size M, 6gAll stones present, diamonds very bright white and fiery, settings very lightly abraded with 1 well concealed join mark on back of shank, hallmarks clear, stamped 375
A matched Art Deco silver 12 piece flatware service, hallmarked by WW Ltd, Birmingham, 1930, 1931, 1932 with further modern pieces hallmarked by CJ, Birmingham, 1976 comprising: 6 table spoons12 dessert spoons12 soup spoonsSoup ladle12 teaspoons12 coffee spoons5 condiment spoons12 table forks12 dessert forks12 fish forks12 fish knives12 fruit knives, combined weight approx 5.4kg (approx 173.6 ozt) together with 12 table knives with silver handles (1 bag - Q)
MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Malaga, 1933 - Antequera, Malaga, 2006)."Micro David", 1971.Nickel-plated metal. With golden metal chain.Signed on the arm.Detachable sculpture: 17 elements.Measurements: 6 x 2,5 x 1,5 cm.Miguel Ortiz Berrocal showed a special predilection for articulated and detachable sculptures. Inspired by the main creative forces of the first half of 1900, the artist sought his own artistic path. He drew his inspiration from science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and from 1968 he alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicétera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.
MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Málaga, 1933 - Antequera, Málaga, 2006)."Bullfighter. Homage to the Niño de la Palma", 1972.Detachable sculpture: 18 elements.Brass, copy 696/2000.Signed and numbered.The patina is worn.Measurements: 28 x 21 x 20 cm (with base).Miguel Ortiz Berrocal showed a special predilection for articulated and detachable bronze sculptures. Inspired by the main creative forces of the first half of 1900, the artist sought his own artistic path. He was inspired by science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and since 1968 he has alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicettera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.
JOSEP GUINOVART BERTRAN (Barcelona, 1927 - 2007).Untitled, 1967.Charcoal and sanguine on paper.Signed and dated in the lower left corner.Measurements: 66 x 49,5 cm; 79 x 63 cm (frame)Josep Guinovart trained at the School of Master Painters, at the School of Arts and Crafts and in the classes of the FAD. He had his first solo exhibition at the Syra galleries in Barcelona in 1948. He soon acquired solid prestige, collaborated with Dau al Set and took part in the October, Jazz and Eleven Salons. In the 1950s, thanks to a grant, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, were to be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Around 1957 he began an informalist and abstract tendency, with a strong material presence both through the incorporation of various elements and objects (burnt wood, boxes, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards he moved away from the poetics of Informalism and began to produce works full of signs and gestures, which contain a strong expressive charge in the lines and colours. During the 1970s he systematically used materials such as sand, earth, mud, straw and fibre cement, and in the following decade he focused on experimenting with the three-dimensional projection of his works, which took the form of the creation of environments or spatial settings such as the one entitled Contorn-extorn (1978). He took part in the Biennials of Sao Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his prizes include the City of Barcelona, the National Plastic Arts Prize and the Generalitat's Plastic Arts Prize. In 1994, the Espai Guinovart, a private foundation with a permanent exhibition of the artist's work, was opened in Agramunt, Lérida. Interaction with the natural environment, incorporation of organic matter, abstraction and informalism... all this makes up one of the most original artistic personalities on the Spanish avant-garde scene. Although Guinovart was initially inclined towards a social type of figuration, his time in Paris led him to change direction, leading him to initiate a frenetic activity which he would continue after his return to Spain. In the late 1950s he was a member of Informalism and always eager to surprise, experimenting with textures, objects and colours to give realistic impressions to essentially abstract compositions. His work is forceful, even aggressive in terms of colour, light and density of matter. He is represented in the Museums of Modern Art in Barcelona, Madrid and Mexico City, the Museum of Open Air Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.
MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Malaga, 1933 - Antequera, Malaga, 2006)."Cristina", 1969-1970.Nickel-plated metal, example 2406/9500.Detachable sculpture: 25 elements.Signed and numbered.Measurements: 15 x 8,5 x 6 cm.Miguel Ortiz Berrocal showed a special predilection for articulated and detachable sculptures. Inspired by the main creative forces of the first half of 1900, the artist sought his own artistic path. He drew his inspiration from science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and since 1968 he has alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicettera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.
Gerald Abramovitz (1928-2011), Cantilever desk lamp, Mk. II, circa 1964, anodised aluminium and painted steel, manufactured by Best & Lloyd, Birmingham51 x 71 x 9.2cmLiterature'Duke of Edinburgh's Prize for Elegant Design and the Design Centre Awards 1966', Design Journal, no. 209, May 1966, p. 41Kathryn B. Hiesinger and George Marcus, Design Since 1945, exh. cat., Philadelphia Museum of Art, 1983, p. 143This model won the Design Centre Award in 1966 and is held in the collections of the Victoria and Albert Museum, London and the Museum of Modern Art, New York.A few scratches, marks and scuffs, requires re-wiring. Not tested,
Dekorativer Goldstuckrahmen mit gemaltem Stillleben. Rahmen Ende 19. Jh., Gemälde neuzeitlich. Holz, Stuck, goldbronziert. Öl/Leinwand. Bildmaß 58,5 x 48,5 cm, Falzmaß 62 x 52,5 cm, Gesamtmaß 63 x 74 cm. Stark profilierter Rahmen mit Akanthusrelief. Undeutlich signiertes Ölgemälde mit Früchtestillleben in barocker Art. Rahmen geringe Alters-/Gebrauchsspuren, Gemälde beschnitten. Decorative gold stucco frame with painted still life. Frame late 19th century, painting modern. Wood, stucco, gold-bronzed. Oil / canvas. Image size 58.5 x 48.5 cm, fold size 62 x 52.5 cm, total size 63 x 74 cm. Heavily profiled frame with acanthus relief. Indistinctly signed oil painting of fruit still life in baroque style. Frame minor signs of age / wear, painting trimmed. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
3 Postkartenalben mit ca. 462 Weihnachts- und Silvestermotiven Vorwiegend um 1900. Im grünen, modernen Album mit Brieftaubenmotiv, 32 x 28 cm. / Schwarzes "Album", 39 x 23 cm. / Braunes "Postkarten Album" mit Jugendstilmuster, 38 x 21 cm. 3 postcard albums with about 462 Christmas and New Year's Eve motifs Mainly around 1900. In green modern album with carrier pigeon motif, 32 x 28 cm. / Black "album," 39 x 23 cm. / Brown "Postcards Album" with art nouveau pattern, 38 x 21 cm. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Fram Art Deco 14ct rectangular wire-lug gentleman's wristwatch, signed rectangular dial with exaggerated Arabic numerals and outer minute track, blued steel hands, signed movement, modern brown leather strap, 25mm-** Fram is a brand name registered by G-Henri Liengme of Cormoret in Switzerland in 1903-Movement - currently functioning.Dial - light surface marks, mild mark at the twelve position visible under a 10x loupe.Glass - scratch marks present, heavier scratch/surface crack to the centre.Hands - light marks.Case - light surface marks and some mild tarnishing to the case side.Crown - adjusting correctly.Strap - modern, good.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
A large collection of chess books. Books are: (1) Gambits Accepted, L Elliot Fletcher, Rouledge & Kegan Paul, 1954, (2) Tiger's Modern, Tiger Hillarp Persson 2005, (3) Dr Lasker's Chess Career part I, Printing Craft 1935. (4) My System a chess Treatise by Aron Nimzowitsch, G Bell & Sons, 1929. (5) Master Chess Play by P Wenman, Vawer & Wiles, 1951. (6) Rubinstein Gewinnt by Hans Kmoch, Wiener Schach - Zeitung 1933. (7) My Fifty Years of Chess, Frank J Marshall, Horowitz & Harkness, 1942. (8) My Best Games of Chess, S G Tartakower G Bell & Son 1953 (9) My Chess Career, J R Capablanca, G Bell & Sons, 1923. (10) Phillsbury's Chess Career, P.W Sergeant & W H Watts, Printing Craft 1922 (11) Chess volume XIII October 1947 to September 1948 (12) The Modern Chess Instructor by W Steintz, part II - section I. (13) The Celebrated Analysis of The Game of Chess, A.D Phildor, Whittaker Tracher & Co. 1832 (14) Chess Step by Step, Frank J Marshall, E. P Dutton & Co, 1945. (15)The Art of Sacrifice in Chess, Rudolf Spielmann, G Bell & Son 1935 (16) Capablanca's Hundred Best Game, H Golombek, G Bell & Sons 1947 (17) Mikhail Tal's Best Games of Chess P.H Clarke, G Bell & Sons 1961. (18) Lehr und Handbuch der Endspiele, Andre Cheron, volume I 1952. (19) Lehr und Handbuch der Endspiele, Andre Cheron, volume II 1952. (20) Lehr und Handbuch der Endspiele, Andre Cheron, volume III 1952.
An Art Deco-style carpet by ASAD,modern, with geometric patterns of black, yellow and blue against a green ground,690 x 453cmProvenance: The Collection of the former Dunhill Pipe Factory in Notting Hill.Condition ReportSome staining and wear - furniture marks to areas manifested as darker patches. Additional images uploaded.
Josie Spencer (American, contemporary),a silvered bronze female torso, raised on an iron stand, 157cm overallBorn and educated in New York, Josie Spencer studied sculpture in Florence, at the Academia della Sculptura with Antonio Berti. At Sarah Lawrence College, New York, she studied sculpture with Ezio Martinelli and art history with William Rubin, Curator of the Museum of Modern Art. Before becoming a student at the New York Studio School for Drawing, Painting and Sculpture, she studied anatomy and drawing at the Art Students League. Josie later became a Board Member and Vice-Chair of the New York Studio School.She exhibited at a number of group and one-person shows in New York at galleries in Soho and Chelsea, before leaving for the UK, where she works in her own West London studio.Condition Reportsplits to the stretcher, knocks to the paintwork, seat rushing in good order, overall sturdy.
TÊTE DE DIVINITÉ FÉMININE EN GRÈSChampa (Vietnam), style de Mi-Son A 1, Xe siècleA SANDSTONE HEAD OF A FEMALE DIETYChampa (Vietnam), Mi-Son A 1 style, 10th centuryCarved with a high tiara with two rows of large lotus petals, the tips turned towards the top and ends with a large lotus bud opening at the top. The facial features are are worn but still discernible with high arching brows, prominent triangular nose and broad fleshy lips, stand. 30cm (11 3/4in) high. (2).Footnotes:Provenance:Georges Halphen CollectionChristie's Paris, 'Collection de Mr Georges Halphen', 20 November 2003, lot 426Jean-Pierre Rousset, Paris (1936-2021), acquired at the above saleThe Champa was a confederation of Hindu states located along the coast of the central and Southern region of modern day Vietnam between the 2nd-17th century and flourished alongside the Khmer empire during the 9th-13th century. Sandstone architectural elements, like this head, were common features of Hindu temples as with an example held in the Metropolitan Museum of Art, New York (2014.520), that still has a long tang projecting from the back of the head and another deity formerly in the Halphen collection, illustrated by Beurdeley & Cie, Images Divines, Paris 1976, no.14.占婆（越南） 美山A1風格 十世紀 砂岩女神首來源：Georges Halphen 舊藏巴黎佳士得，Georges Halphen珍藏，2003年11月20日，編號426巴黎Jean-Pierre Rousset（1936-2021）舊藏，得自上述拍賣For further information on this lot please visit Bonhams.com
Deutsches Reich 1933 - 1945 - Kunst : Willy Exner, Porträt Adolf Hitler (Öldruck) Öldruck nach dem bekannten Führerporträt Willy Exners. Auf Karton. Im modernen, vergoldeten Holzrahmen. Sehr dekoratives Porträt, als Öldruck oftmalsin Rathäusern und Dienststellen der NSDAP aufgehängt. Trotz der ehemals großen Verbreitung haben sich nur vergleichsweise wenige Exemplare erhalten. Maße m. R. : 84 x 70 cm.The Third German Reich 1933 - 1945 - Art in The Third Reich 1933 - 1945 : Willy Exner, Adolf Hitler Portrait. Oil print after the famous portrait of the Führer by Willy Exner. On cardboard. In a modern gilded wooden frame. Very decorative portrait, as oil print often hung in town halls and offices of the NSDAP. Despite the former wide distribution, only comparatively few copies have survived. Dimensions with frame: 84 x 70 cm.
Diderot & D´Alembert: "Blason Ou Art Heraldique"27 (29) Kupfertafeln mit über 750 Wappendarstellungen und 26 Textseiten mit Beschreibungen der Tafeln auf Bütten, Tafeln jeweils unten rechts bezeichnet "Benard Fecit", Platten jeweils ~35 x 22 cm, Blätter jeweils 42 x 26,5 cm, aus der "Enzyklopädie" von Denis Diderot und Jean-Baptiste le Rond d’Alembert 1763, sehr guter Zustand, sauber modern gebunden in gutem Halbpergamenteinband mit Büttenvorsätzen (44 x 28,5 cm) 0110 Kompletter Artikel zur Heraldik aus der berühmten, 1751 - 1780 erschienenen "Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers" von Denis Diderot (1713-1784) und Jean-Baptiste le Rond d’Alembert (1717 - 1783) mit allen 29 Tafeln (eine dreifach gefaltete Tafel als drei Tafeln gezählt) des Pariser Kupferstechers Robert Bernard (1734 - 1777)
Legras & Cie. Montjoie, Saint Denis Glassworks. France, ca. 1905.Pair of Art Nouveau vases.Glass and enamel.Measurements: 25.5 cm (height); 8.5 cm (largest diameter).Pair of blown glass vases, glazed in green tones, circular in shape, hand-fired enamelled with floral decoration in various colours and gilding.Legrás's favourite subjects are all varieties of chrysanthemums, lilies and orchids. He also made frosted vases. He practised all glass techniques and was a great admirer of Emile Gallé whom he tried to imitate in artistic pieces. Legras' artistic creations are not always signed, but their form often allows them to be recognised.François-Théodore Legrás joined the glass factory near his native village as a clerk. This is where he learned his trade. At the age of 24, he left his native Vosges to go to work at the glass factory in La Plaine Saint-Denis , a suburb of the town of Saint Denis near Paris, where he was hired as a clerk. Six months later, he became production manager and in 1866, at the age of 27, he became director of the glass factory. He then built a new modern factory and a workers' estate which, over the years, became an industrial complex of almost 20,000 square metres. He became managing director of Legras et Cie, then of Verrerie et Cristallerie de Saint-Denis. He took part in numerous national and international exhibitions where he was often awarded prizes. He was also responsible for the glass and crystal part of the 1900 Universal Exhibition in Paris. In 1909, he handed over the management of his business to his nephew Charles Legras. From 1914, production changed style and was inspired by Art Deco, with a return to simple lines and a certain sobriety. Legras's production would be effective until 1928.
Hill (Thomas) The Profitable Art of Gardening, 2 parts in 1, fifth edition, titles with typographical borders, woodcut initials and 3 illustrations (2 of mazes), lacking portrait, K3, M3 & X2 & 3, contemporary ink signature to first title, slight worming to inner margin, title and some other leaves shaved at head touching head-lines, by Henry Bynneman, 1579 bound with Lawson (William) A New Orchard and Garden. Or The best way for planting, grafting, and to make any ground good, for a rich Orchard, 4 parts in 1, third edition, title with woodcut illustration of men working in an orchard, woodcut decorations, initials and illustrations, some full-page including 5 of knot gardens, lacking final blank, title soiled, cropped shaving woodcut on title and loss of imprint, many leaves shaved at foot (mostly signature and catchword but occasionally affecting final line), tear to margin of M3, small ink stain causing small hole to N4 affecting initial and a few letters, by I.H[aviland] for Francis Williams, 1626, both largely printed in black letter, endpapers from early italic edition of Aristotle's Politics, Evelyn family copy with modern "JE" book-label, [British Bee Books 20 & 7; Henrey 198 & 228; STC 13494 & 15331; cf.Fussell I pp.18 & 31], small 4to⁂ Two scarce 16th century works on gardens with an excellent association. The first item, first issued in c.1558 as A most briefe and pleasaunte treatise, teachyng how to dresse, sowe, and set a garden, and which Fussell calls "except for herbals...our first book on gardening", includes the not always present second part 'A profitable instruction of the perfite ordering of Bees...' with further sections on weather, and planting and "graffing" trees. The other parts in the second item are titled 'The Country Housewife's Garden', 'A Most profitable new Treatise...of propagating Plants by Simon Harward', and 'The Husband-man's Fruitfull Orchard'.
Horology.- Berthoud (Ferdinand) Essai sur l'Horlogerie; dans lequel on traite de cet Art relativement a l'usage civil, a l'Astronomie et a la Navigation..., 2 vol., first edition, mixed set, half-titles, 38 folding engraved plates, foxing and soiling, mostly to vol.1, particularly edge of plates, vol.1 with small hole to outer margin of g1 & Eee1 and old ink library stamp to verso of title, staining to Fff4 & Ggg1 of vol.2, modern horological bookplate of Francis Wadsworth, vol.1 contemporary mottled calf, spine gilt with red morocco labels, vol.2 contemporary sprinkled calf with "Surry Institution" in gilt to upper cover, spine gilt, lacking one label, upper joint split, lower repaired, also spine ends and corners, [Baillie p. 262; Tardy p.31; cf.Berlin Kat. 1769 & Clockmakers' 72, second edition], Paris, J.Cl.Jombert [& others], 1763 § Reid (Thomas) Treatise on Clock and Watch Making, Theoretical and Practical, first edition, half-title, 20 folding engraved plates, occasional light spotting or soiling, modern calf, spine gilt in compartments with red & black roan labels, [Clockmakers' 726; Tardy p.206], Edinburgh, 1826, 4to & 8vo (3)⁂ Comprehensive treatises on horology.
Leadbetter (Charles) The Royal Gauger; or, Gauging made Perfectly Easy, As it is actually practised by the Officers of his Majesty's Revenue of Excise, sixth edition, 8 folding engraved plates (plate 1 in 2 parts), 3 partially hand-coloured, 2 folding letterpress vouchers, with final blank, occasional spotting or soiling, light water-staining to frontispiece and title, engraved bookplate, contemporary calf, rubbed, spine ends chipped, upper joint split, 1760 § Luckombe (P.) The History and Art of Printing, first edition, woodcut frontispiece of Gutenberg, type and ornament specimens, short tear to Zz1 repaired, modern half calf, uncut, spine gilt, W.Adlard & J.Browne for J.Johnson, 1771 § Whittock (N.) & others. The Complete Book of Trades, engraved additional vignette title and plates, illustrations, marginal water-staining, modern half roan, 1837; and another on gauging, 8vo (4)⁂ The first is a guide to regulating shipments of alcohol and other goods.
Mason (William) The English Garden: a Poem, edited by W.Burgh, first collected edition, ink signature to head of title, contemporary calf, York, A.Ward, 1783 § Shenstone (William)The Works in Verse and Prose..., 2 vol., engraved portrait, frontispiece, title-vignettes, head- & tail-pieces and folding plan of the Leasowes garden, some light browning, contemporary calf, rubbed, rebacked, for R. & J.Dodsley, 1764 § [Whately (Thomas)] Observations on Modern Gardening, third edition, contemporary ink inscription "Sar: Eliza: Ottley 1771" to front free endpaper, contemporary calf, joints split, upper cover becoming loose, [Henrey 1192], for T.Payne, 1771 § Mason (George) An Essay on Design in Gardening, second edition, "greatly augmented", lacking half-title, some light soiling, contemporary mottled calf, [Henrey 1034], for B. & J.White, 1795, all rubbed, the first and last rebacked, spines ruled in gilt with morocco labels, the last with corners repaired; and another edition of the first, 8vo (6)⁂ The second item includes Dodsley's 'Description of the Leasowes, the Seat of the late William Shenstone, Esq.', an important early natural landscape garden. The third, Whately, was commended by Horace Walpole in his own Essay on Gardening. Whately's brother owned Nonsuch Park in Surrey and it was here that he practised his art.
Sandrart (Joachim von) L'Academia Todesca della Architectura, Scultura & Pittura: oder Teutsche Academie der Edlen Bau- Bild- und Mahlerey-Kunste, vol.1 only (of 2), 2 parts & supplement in 1 vol., half-title (cut down and mounted on blank leaf), engraved allegorical frontispiece, portrait, 3 part titles and 116 plates, lacking vignette title to part 2 but supplied in neat contemporary ink manuscript with pen & ink vignette, supplement with engraved title vignette, woodcut initials, engraved illustrations in text, printed in Gothic letter in double column, light water-staining to lower edge, modern half calf, red morocco label, [Millard N.European 111], folio, Nuremberg, printed by Johann-Philipp Miltenberger for Jacob von Sandrart, and Matthaeus Merian, Frankfurt, 1675.⁂ Comprehensive survey of European art up until that time by the first German art historian, including several portraits of artists; without the second volume issued in 1679.
Bickham (George) The Universal Penman; or, the Art of Writing..., engraved throughout with frontispiece and 212 numbered calligraphic leaves including 2 titles, many including vignettes, printed on rectos only, occasional light browning, modern half burgundy morocco, by Zaehnsdorf, folio, for Robert Sayer, [?1741].
A monumental American silver covered jugAndrew Ellicott Warner, Baltimore circa 1845, stamped A.E. WARNER in serrated rectangle, 11 with superscript 2 over horizontal line in rectangle Substantial cylindrical form, the tapering neck featuring a flared lip with rolled edge topped by an s-shaped hinged cover, surmounted by a cast and applied naturalistic strawberry finial with accompanying leaves, to the side a high mounted angular fluted handle emerging from two pairs of applied foliage and berry mounts, the whole decorated with high and low relief repoussé work and intricate chasing, featuring a variety of motifs including oriental temples, junk boats on choppy water, village scenes with traditionally dressed villagers, prunus, coconut trees, diaper work and elaborate scrolls both top and bottom, mixed foliage and flowers, juxtaposed against a textured matted ground, a vacant cartouche to the front, all on a plain circular base, height 32.5cm, diameter 13cm, weight 57.5oz.Footnotes:ProvenanceOwned by the Edmondson family of Baltimore and thence by family descent.Lot ResearchThe Metropolitan Museum in New York, Fifth Avenue, has a stylistically similar 'Milk Pot' and other comparable items by Andrew Ellicott Warner on view in the American Wing, Gallery 774. What makes this lot on offer so rare is its large size and despite thorough research, nothing resembling the capaciousness of this jug has to date been found.Andrew Ellicott Warner Sr. (1786-1870) was one of Baltimore's most celebrated silversmiths. He was a skilled craftsman and provided stiff competition for Samuel Kirk (1793-1872) during the second quarter of the nineteenth century. Warner contributed to the popularity of silver work featuring excessive repoussé ornamentation, a style that defined Baltimore silver amid that time period. In his working lifetime, Warner generated eleven different maker's marks and in addition, his son Andrew Ellicott Jr. (1813-1896) created three of his own maker's marks. Each mark's use sometimes overlapped the time span when other Warner marks were also employed, so dating items after 1830 can only ever be approximate. Baltimore tried to enforce an official assay mark system from 1814 to 1830, but instigation proved unsuccessful and implementation ceased. Hence after 1830 only the maker's name and the figures indicating silver purity were stamped on a silver item, applied by the maker rather than an official body. Regarding the Baltimore usage of the '11' standard mark, 'numerical quality marks first appear after the passage of the 1830 Assay Law ... The new law required silver that was not assayed to be marked with a numeral which indicated the amount of silver contained per troy pound of twelve ounces. Thus, the numerical quality mark '11' refers to the Old Baltimore assay standard alloy composed of 11 ounces of pure silver to 1 ounce of base metal'. Under Baltimore Statutes and Ordinances in February 1830, the standard mark '11' indicates that the item has to have a minimum fineness of 91.7% pure silver content. These marks can be seen on the Baltimore silver entered into the current auction.Andrew Ellicott Warner Sr. (1786-1870) was the second son of Cuthbert Warner and Ann Smith, and was born in Harford County, Maryland on November 27, 1786. He learned his trade from his father, a watch maker and silversmith, who had moved to Maryland at the close of the Revolution, and then on to Baltimore in circa 1798. In 1805, Andrew E. Warner formed a partnership with his eldest brother Thomas Warner, opening a silversmith shop at 5 North Gay Street. This partnership was dissolved in 1812, the same year Warner married Dorothy Litsinger of Baltimore, with whom he had several children. He also participated in the War of 1812, commissioned as a captain in the Maryland Militia, and consequently took part in the Battle of North Point in 1814. From 1812, 'Andy' Warner, as he was known, had his working premises located at his former shop at 5 North Gay Street, working continuously there at his forge and anvil until his death in 1870. His son, Andrew E. Warner Jr. carried on his father's profession, moving the shop to 135 West Baltimore Street until his retirement in 1893.If you were a prestigious family in Baltimore during the nineteenth century, it would have been a symbol of status to purchase your silver (an indicator of wealth and class) from the two pre-eminent silversmiths of the day - either Andrew E. Warner Sr. or his rival Samuel Kirk. The Edmondson family of Baltimore were one such family, and it is their collection of silver which is on offer today. The Baltimore silver items listed, from Lot 206 to 211, were commissioned by the Edmondson's in Baltimore in the nineteenth century, and have been handed down by descent to the current owner.The original purchaser was Dr Thomas Edmondson, who was born in 1808 as the son of a prosperous local merchant, graduating in medicine from the University of Maryland in 1834. He never practiced medicine, but instead focussed on art and horticulture, building a grand mansion and greenhouses on a hill now bounded by Edmondson Avenue, Harlem, Fulton and Mount. Dr Edmondson died in 1856 and his estate presented a section of the property to the City of Baltimore on November 11th 1867, as a gift for the creation of a public park or square. 'Harlem Park' was dedicated in 1876, and still exists in modern-day Baltimore as a testament to the Edmondson family.LiteratureJennifer Faulds Goldborough, Martha Gandy Fales and Patrick M. Duggan, 'A. E. Warner Gold and Silversmiths', accessed via www.nutmeggraters.com, Investigation Profile #7Jennifer Faulds Goldborough, 'Silver in Maryland Catalogue and exhibition Paperback', 1983J. Hall Pleasants and Howard Sill, 'Maryland Silversmiths 1715-1830', originally published 1930, (New York: Robert Allan Green reprint, 1972), pp.193-200Eli Pousson, 'Harlem Park', Explore Baltimore Heritage, accessed via https://explore.baltimoreheritage.orgFor further information on this lot please visit Bonhams.com
ARTHUR GIARDELLI (1911-2009), a perspex, box-framed construction/assemblage: varying concentric paper circles, titled verso 'Between the Tides', also inscribed verso in pencil 'Finished 14.2.80', Gallerie Convergence, Nantes, small monogram in pencil lower left. Giardelli's work is held in many Collections including The Tate, The National Museum of Wales, The National Library of Wales, Contemporary Art Society of Wales, Arts Council of Wales, Museum of Modern Art Wales, Brencknock Museum, Tenby Museum & Art Gallery, together with Museums and Galleries in New York, Dublin, Nantes, Bratislava and Prague (73.5cm high x 45cm wide x 6.2cm deep)
Stefan Dakon - Goldschieder - A 1930s Art Deco statue 'Bubi' modelled as a stylish modern lady with bob haircut dressed in a pussy bow blouse, short blue shorts and blue heeled shoes, stood with her hands in her pockets, model 6210, impressed and printed marks, height 33cm. NB - It is believed that this is modelled on Louise Brooks who, in the 1920s, wore the sharp bob haircut.
Francis Picabia (1879-1953), Jeudi (Thursday), signed and dated 'Francis Picabia 1951' (lower right), oil on canvas, 46x38,5 cm, The elusive and mercurial Francis Picabia (1879-1953) dedicated his life escaping any and every label that couldpossibly be put on him, whether it regarded his personal life or his artistic endeavours.In 1912 a New York Times critic called him the “Cuban who out-cubed the Cubists”, much to Picabia’s pleasure,as he loved to provoke and to play up his “exotic” background. Born in Paris to a wealthy Cuban father and aFrench mother with her own fortune, Picabia actually never fitted in any specific culture or art scene, nor couldhe or would he play the ‘poor Romantic painter’ card.After studying at the École des Arts Décoratifs in Paris, Picabia tries his hand at Impressionism, but whereasMonet and his colleagues work en plein air, Picabia uses postcards as inspiration. This approach is key tohis art: he is playing with the assumptions and structures of a certain style, translating these into a ready-madestyle, and thus questioning the whole movement altogether. The next typical Picabia move is to then make aclean break and jump to a completely different style, while vehemently condemning the previous one. Thisprocedure would become Picabia’s very trademark.Picabia’s career is one that covers most art movements of the first half of the 20th century. After a brief periodof experimenting with Impressionism and Fauvism, he transitions to Cubism, only to denounce the latteragain at the onset of World War I. During WWI Picabia spends quite some time in New York, then a haven forEuropean artists escaping the war. Here he plays a catalytic role in bringing modern art to America. He diveshead over heels into Dadaism together with his Dada friends Marcel Duchamp, Man Ray and the photographerAlfred Stieglitz. His Portraits Mécaniques, in which bodies morph into pistons and pumps, were exhibited atAlfred Stieglitz’s gallery 291 while Stieglitz’s journal of the same name carries numerous other Picabia’s Dadacontributions. Travelling between New York, Zürich and Barcelona, Picabia picks up new artistic ideas and artfriends as new toys to play with, ever ready to let go of them as soon as he becomes captivated by new ones.By 1920 Dada slowly sizzles out and we see Picabia denounce the movement in his typical way with the crypticstatement: “I separated from Dada because I believe in happiness and I loathe vomiting; the smells of cookingmake a rather unpleasant impression on me.”Dadaism is followed by a short fling with Surrealism while the frenzied mood of the 1920s and 1930s is reflectedin Picabia’s skipping between abstraction, figuration and optical illusion on an almost daily basis. Time andtime again he is playing with the fictional idea of originality and the boundaries of good taste. Materials likehousehold paint, feathers and pasta are put to good use in his everlasting attempt to deliberately mock theholiness of a certain style.In 1937, Picabia’s work takes yet another surprising turn as he starts to produce realistic nude portraits. Subjectsfrom soft-core pornographic magazines are worked over with smooth, fluid brushwork to imitate the sheen ofphotographic paper. Initially, their garish appearance was much frowned upon, decennia later to be connectedwith the work of Rauschenberg, Warhol and Koons and considered a tongue-in-cheek attack on mass media.After WWII Picabia leaves Southern France to return to Paris and although plagued by ill health during his finalyears, he keeps on working tirelessly. True to his fierceful dislike of consistency he creates hybrid works thatmerge the very disciplines he had previously helped shape. See the present lot (Jeudi/Thursday, no. 31) on sale,showing one of his latest works of 1951 and in itself reminiscent of a work by him of 1949, titled ‘Colloquium’.“Notre tête est ronde pour permettre à la pensée de changer de direction: Our heads are round so ourthoughts can change direction”, is another famous quote by Picabia. In 2016 the Museum of Modern Art in NewYork took this citation as the title for its extensive exhibition of Picabia’s work. (MoMa, 2016-17). After havingconsidered his manifold and capricious career we can see why. Impressionism, Cubism, Dadaism, Surrealism,Realism: Picabia has been there and done that. As his friend Marcel Duchamp once said, his oeuvre was a ‘akaleidoscopic series of art experiences’.Consistent in being inconsistent is one thing, but the true genius of Picabia does reveal itself if you try to lookpast Style with a capital S. With wispy watercolours on the one hand and kitschy photo-realism on the other,often in one and the same year, he is the first to push the boundaries between high art and low art, betweendelicate good taste and downright kitsch.Especially in this era where the premises of high art and low art are continuously being questioned, Picabia canbe looked upon as a refreshing example who knew how to scramble elements of good and bad taste. Or, in hisown words: “If you want to have clean ideas, change them like shirts.”-Francis Picabia: ‘the grasshopper of contemporary art’ in: Christies, stories, 18-02-2022, Francis Picabia: ‘the grasshopper of contemporary art’ | Christie’s(christies.com)-Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction / by Anne Umland et al. (Catalogue accompanying the major 2016 exhibitionon the artist, jointly organized by The Museum of Modern Art, New York, and the Kunsthaus Zürich. NY : MoMa, 2016-Francis Picabia: the art ‘loser’ who ended up winning it all : an extravagant new retrospective of the avant-garde French-Cuban artist highlights oftentroubling yet always distinctive work / by Jason Farago, in: The Guardian 23-11-2016.-Dada and beyond: The many Artistic lives of Francis Picabia / by Albert Mobilio, in: New York Times 02-12-2016.-Francis Picabia, 1879-1953, MoMa, Art and artists, Francis Picabia | MoMA-Francis Picabia, awful artist and provocatuer of genius / by Michael Gibson, in: New York Times 21-12-2002-Picabia / by W.A. Camfield, NY : Guggenheim Foundation, 1970, Provenance:-Anon. sale, Loudmer Paris, 23 March 1992, cat. no. 175.-Collection Galerie Beaubourg, Marianne and Pierre Nahon, Ventes.-Galerie Lasés, Amsterdam, where acquired by the present owner.Literature: M.L. Borràs, 'Picabia', London 1985, p. 500, cat. no. 1149, illustrated.'Francis Picabia Anthology', p. 195, cat. no. 124, illustrated in colour.Exhibited:-Paris, Palais des Congrès, 'Picabia: dandy et héraut de l'art du XXe siècle', 1980-81, cat. no. 79.-Milan, Studio Marconi, 'Picabia, Opere 1898-1951', February - March 1986, cat. no. 48, illustrated in colour.-Florence, Galleria Vivita 1, 'Francis Picabia', 14 October - 10 December 1988, p. 47, illustrated in colour.-Montrouge, 39ème Salon de Montrouge, 'Picabia et Montrouge-Barcelone', April - May 1994, p. 56, illustrated in colour.-Lisbon, Centro Cultural de Belém, 'Francis Picabia antologia/anthology', 1997, p. 195, cat. no. 36, illustrated in colour.-Vence, Galerie Beaubourg, 'Picabia', July - October 1998.
RAMON MARTÍ ALSINA (Barcelona, 1826 - 1894)."Cloister".Oil on canvas.Signed in the lower right corner.Slight damage to the frame.Measurements: 60 x 77 cm; 80 x 97 cm (frame).In this work Martí Alsina, offers us a vision of a cloister that could well be the one of the Cathedral of Barcelona, showing us the gothic architecture and the iron grilles, made by the best forgers of the time. All this is done with the brushstrokes and pictorial chromatisms of the great master of Catalan landscape painting.Considered one of the most important figures of Spanish realism, Martí Alsina was part of the European avant-garde of the time. He revolutionised the Spanish artistic panorama of the 19th century, was a pioneer of the study of life and the creator of the modern Catalan school, as well as the master of a whole generation, with disciples of the importance of Vayreda, Urgell and Torrescassana. He began his studies in philosophy and literature, alternating them with evening classes at the Barcelona School of Fine Arts until 1848. After completing this first apprenticeship and deciding to take up painting, he took his first steps in the Maresme region, where he began to earn his living by painting portraits in a naturalistic style and landscapes "à plen air". In 1852 he became a teacher of line drawing at the Escuela de la Lonja in Barcelona, and two years later he began to teach figure drawing, a post he held until the accession of Amadeo of Savoy to the throne. In 1853 he travelled to Paris, where he visited the Louvre and became familiar with the work of Horace Vernet, Eugène Delacroix and French Romanticism. Later he became acquainted with the work of Gustave Courbet, the greatest exponent of realism. In 1859 he was appointed a corresponding member of the Sant Jordi Academy of Fine Arts in Barcelona. His first important exhibition was the General Exhibition of Fine Arts in Barcelona in 1851. From then on he exhibited regularly in Barcelona, Madrid and Paris, and was invited to the Universal Exhibition in the French capital in 1889. His prizes included medals at the National Exhibitions in Madrid, third in 1858 for his work Last Day of Numancia and second in 1860 for his landscape. In his last years he lived in seclusion, focusing his efforts on the search for new forms of expression, with an undone brushstroke close to Impressionism. His subjects include numerous landscapes and seascapes, urban views (especially of Barcelona), portraits and human figures, genre scenes, temperamental female nudes, history painting and biblical scenes. He rarely devoted himself to still lifes, although he also painted some still lifes. Works by Martí Alsina are kept in the Prado Museum, the Thyssen-Bornemisza Museum, the National Art Museum of Catalonia, the Barcelona Museum of Contemporary Art, the Museum of the Abbey of Montserrat and the Museum of l'Empordà in Figueras.
Loading...-
19749 item(s)/page