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Lot 4
§ KEITH MILOW, BRITISH. b. 1945. PR4NT A from 15 23/35 54/46 66, 1969 screen print with diagonal line. PROVENANCE: gifted to Michael Compton by the artist. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. This work is one of a series of six prints and the full set is in the Tate`s collection, London (ref: P07093). The six prints are formed from three photographic images which are used in pairs: Prints 1 and 2; 3 and 4; and 5 and 6. "PR4NT A is a halftone negative version of the second image. The diagonal which divides the print is dusted bronze. The lower left hand half of the print is covered with various letratone grids applied to the half tone and stuck around its edge. Because the negative half tone is printed on a faintly darker field grey the image is positive." - KEITH MILOW KEITH MILOW, b.1945: An abstract sculptor, painter and printmaker. Educated at Camberwell School of Art 1962-1967, and the Royal College of Art 1967-1968. In 1970 he received a Gregory Fellowship from Leeds University, which was followed in 1972 by a Harkness Fellowship to the USA. Awards included the Calouste Gulbenkian Foundation award (1976), and the Arts Council of Great Britain major award (1979). During the 1970s Milow`s work was shown by the young dealer Nigel Greenwood, along with artists such as Gilbert & George and was included in The New Art Exhibition, Hayward Gallery London 1972, organised by the Art`s Council of which Compton was a Panel member. From 1980 to 2002 Milow lived in New York; in 2002 he moved to Amsterdam where he still lives and works. 40½ x 40.30in. (102 x 102cm) § ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.Not been removed from frame. No visible tears, repairs of holes. Various stains to border. Possible slight fading of colour.
Lot 5
§ KEITH MILOW, BRITISH b. 1945. Print of part of James Sterling`s History Faculty Building, Cambridge University, on layered transparent medium with diagonal cross, sand filled between layers. PROVENANCE: gifted to Michael Compton by the artist. The History Faculty Building, Cambridge University designed by James Sterling was completed in 1968 and awarded a Royal Institute of British Architects Gold Medal in 1970. It caused much discussion among those who admired the architect and those who had to use the library which proved user-unfriendly. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. KEITH MILOW, b.1945: An abstract sculptor, painter and printmaker. Educated at Camberwell School of Art 1962-1967, and the Royal College of Art 1967-1968. At the RCA Milow had access to facilities for experimental printing of which this work is a very fine example. The subject matter suggests it was made between two exhibitions in which Milow showed work, `Young Contemporaries` 1967 (Tate Britain) and `Six at the Hayward` (Hayward Gallery, London 1969) with which Compton was connected. In 1970 Milow received a Gregory Fellowship from Leeds University, which was followed in 1972 by a Harkness Fellowship to the USA. Awards included the Calouste Gulbenkian Foundation award (1976), and the Arts Council of Great Britain major award (1979). During the 1970s Milow`s work was shown by the young dealer Nigel Greenwood, along with artists such as Gilbert & George and was included in The New Art exhibition, Hayward Gallery, London 1972, organised by the Art`s Council of which Compton was a panel member. From 1980 to 2002 Milow lived in New York; in 2002 he moved to Amsterdam where he still lives and works. 29.90 x 30½in. (76 x 76cm) Possibly some sand escaped over the years. Fixing tape visible around the border in three places, most notable to the top towards the centre. No other damage found.§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.
Lot 20
§ MARCEL BROODTHAERS, BELGIAN (1924-1976). `Tractatus logico-catalogicus` (L`Art ou l`art de vendre/ Art or the Art of Selling). Signed offset print, 1972. Edition 61/100. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Broodthaers made `Tractatus Logico-Catalogicus` in 1972 for a solo exhibition of the same name held at the Galerie MTL in Brussels. The work is based on the catalogue of a previous exhibition `L`Exposition à la galerie` held at the same gallery in 1970. At this earlier exhibition Broodthaers displayed files filled with papers relating to his earlier time as a poet including poems and other writings spanning over ten years of artistic output. The catalogue for the exhibition listed each page and arranged them into sections, it also described how the work was to be arranged in the gallery. For the 1972 exhibition Broodthaers focused even more on the role of the exhibition catalogue. He reprinted his 1970 catalogue, changing the cover dates but otherwise leaving as it was. He also produced the editioned print called `Tractatus Logico-Catalogicus - Art or the Art of Selling` which is created from negative images of the pages of this catalogue. Broodthaers used the original printing blocks in sheets ready to be folded and cut into book format, illustrated by the visible vertical bands to the margins bearing measurement markings that would ordinarily be cut off. In Broodthaers`s print the pages are not in order, with those on the upper register upside down. Broodthaers placed the first block in the middle so the central panel shows pages 1 and 2 upside down, and also pages 11 and 12 of the catalogue. The work`s title is influenced by the book `Tractatus Logico-Philosophicus` by German philosopher Ludwig Wittgenstein (1889-1951). In this book Wittgenstein proposed that the world is made up of facts and thoughts expressed through a logical structured language. These concepts appealed to Broodthaers, who developed interest in the relationship between words and images. A print from this edition was sold at Sothebys Paris in May 2007. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 26.40 x 60in. (67 x 152cm) Various small tears to the border underneath the frame mount. Staining and discolouration to border. No other damage found.§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.
Lot 23
§ MARCEL BROODTHAERS, BELGIAN (1924-1976). Three magic slate boards mounted on grey card. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 13½ x 27in. (33 x 69cm) Each Panel 7.75" x 5.75", frame 13.5" x 27".Each Panel 7.75" x 5.75", frame 13.5" x 27". According to vendor the original images have been lost from the slates. § ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.
Lot 1
A Chimu Woven Camelid Wool Textile Panel, ca. 1100-1400 A.D., Decorated with four standing warrior figures on a wine red ground.Appraised and authenticated by Kenneth Jay Linsner ASA, SCV, Harmer Johnson and Jane Werner-Aye.Dimensions: 23 x 14 1/2 in.Note condition: thread loss, surface soiling and staining, and holes due to oxidation and moth damage.
Lot 2
A Chimu Woven Camelid Wool Textile Panel, ca. 1100-1400 A.D., Decorated with nine standing warriors on a wine red ground.Appraised and authenticated by Kenneth Jay Linsner ASA, SCV, Harmer Johnson and Jane Werner-Aye.Dimensions: 28 x 18 1/2 in.Note condition: holes due to oxidation, moth damage, some losses throughout and surface staining.
Lot 3
A Chancay Textile Panel, ca. 1100-1400 A.D., Woven with openwork technique areas, in red, brown, yellow, blue and cream with two large standing figures carrying trophy-heads and wearing elaborate regalia, and upper and lower borders of small figures.Appraised and authenticated by Kenneth Jay Linsner ASA, SCV, Harmer Johnson and Jane Werner-Aye.Dimensions: 27 1/4 x 19 1/2 in.Note condition: surface soiling and staining, holes due to oxidation and moth damage.
Lot 4
A Chancay Woven Textile Panel, ca. 1100-1400 A.d., In red, blue, green, and cream depicting a stylized reptile figures with fish and geometric bands.Appraised and authenticated by Kenneth Jay Linsner ASA, SCV, Harmer Johnson and Jane Werner-Aye.Dimensions: 26 x 54 in.Note condition: holes due to oxidation and moth damage.
Lot 5
A Chancay Painted Textile Panel, ca. 1100-1400 A.d., Painted in brown and red depicting vertical bands of warrior and serpent forms.Appraised and authenticated by Kenneth Jay Linsner ASA, SCV, Harmer Johnson and Jane Werner-Aye.Dimensions: 58 1/2 x 27 1/2 in.Note condition: tears, thread loss, surface soiling and staining throughout. No oxidation or moth damage.
Lot 29
A Chancay Painted Textile Panel, ca. 1100-1400 A.D., Painted in brown, yellow and blue with warrior, serpent, and geometric design with two vertical woven borders.Appraised and authenticated by Kenneth Jay Linsner ASA, SCV, Harmer Johnson and Jane Werner-Aye.Dimensions: 62 1/2 x 53 in.Note condition: thread loss, areas of repair, holes due to oxidation, moth damage, and surface soiling and staining.
Lot 39
A Chancay Painted Textile Panel, ca. 1100-1400 A.D., Painted in red, brown, blue and yellow with warrior, bird, zoomorphic motifs within a geometric compartmented framework.Appraised and authenticated by Kenneth Jay Linsner ASA, SCV, Harmer Johnson and Jane Werner-Aye.Dimensions: 89 x 48 in.Note condition: holes due to oxidation, moth damage, thread loss and surface soiling.
Lot 147
A collection of football-related cigarette and trade cards, including WD & HO Wills `Association Footballers (1935)` 50/50 and 1939 (50/50), WA & AC Churchman `Association Footballers A Series` 50/50, 2nd Series 50/50, Sherman Pools `Searchlight on Famous Teams` 36 cards, Topical Times `Great Players` 24/24, x2, a collection of approximately 70 footballers panel portraits, (12 coloured, some doubles), also WA & AC Churchman `Boxing Personalities` 50/50.
Lot 57
Early 20th century carved figural memory board or lukasa in the form of a standing male figure, the rectangular body carved with central relief figure of a man covering his ears, stars, knife, brush and cross carved to the panel, elongated neck and the head with scarified face, perhaps Luba, Congo, 50cm
Lot 421
A 19th CENTURY CHINESE BLACK AND GILT LACQUER WORK BOX, the case elaborately decorated with pagodas, pavilions, fishermen and dragons, the fitted interior similarly decorated and containing ivory sewing implements, above a drawer fitted with compartments and lift-up lacquered panel. 16cm by 36cm by 27cm
Lot 168
Robert Morden (fl. 1668-1703) The Smaller Islands of the British Ocean, the central panel depicting the Isle of Wight with bordering panels containing The Farne Islands, Holy Islands, Isle of Man, Scilly Isles, Jersey, Guernsey and Alderney, sold by Abel Swale, Awnsham and John Churchill, hand coloured engraving with decorative title cartouche, c.1722, 14¼ x 16¾in. (37 x 42.5cm.).
Lot 476
A 16th / 17th century Tibetan storage chest beautifully painted front panel decorated with a central cartouche of a writhing blue eyed dragon rising above a gilt offering bowl of precious jewels, surrounded by brightly coloured peonies and foliage, the gilt floral filled spandrels frame the dark red oval reserve and lotus form cartouche, delicate iron banding and metal clasp, 30 x 14in. (76 x 35½cm.), 17in. (43cm.) high. *Chests of this design display the influence of Ming Chinese silk textiles on Tibetan furniture. They were mainly used by monasteries, chapels and in private quarters of senior lamas.
Lot 541
A 19th century Indian wood panel book cover red stained front with centralised floral design, red and gold border to edges, painted verso with ceremonial procession featuring Shiva astride Nandi, a procession of demonic animal figures behind him, riding towards a group of finely dressed Indian figures serving a feast, 19 x 9¼in. (48.2 x 23.5cm.).
Lot 612
A fine quality French Sevres style gilt bronze table casket mid-19th century, believed to have been purchased at the 1851 Great Exhibition by the current vendor`s great grandfather, the rectangular casket with outset columns to the corners surmounted by turned finials, set with six Sevres style gilded and hand painted porcelain panels depicting putti in various playful poses, the shallow pagoda style cover with scroll mounts to the corners, centred with a similar oval panel, the whole with finely engraved floral and foliate decoration, set upon an integral conforming shaped and stepped plinth base with similarly engraved border, the interior lined in the original fine dark blue silk velvet, 9½ x 8in. (24 x 20.25cm.), 4¾in. (12cm.) high, complete with original key, on an ebonised and red velvet base beneath a glass dome (cracked). * The casket contains the original purchaser`s `Exhibition Admission Card 1851` in a gilt lettered morocco leather wallet with emerald green silk lining, containing two `Season Ticket of Admission to the Exhibition of the Works of Industry of All Nations 1851`, No.350 (Henry Baker) and No.4407 (in pink card - Caroline M. Baker). Henry Baker was the son of Sir Robert Baker and the architect and surveyor of St. Pancras Station and the adjoining Baker Street. See Illustration.
Lot 630
A William IV inlaid rosewood sewing or jewellery table cabinet circa 1835, the hinged pagoda form lid with mother of pearl and steel dot and line inlay, the raised platform with reel moulded borders and centralised pierced mother of pearl panel depicting a swan amongst reeds, opening to reveal a recessed mirror within a frame of gilt tooled leather pulling forward to reveal a secret letter deposit, over a fitted tray with pin cushions and various open and lidded compartments, above twin doors with conforming mother of pearl inlay, opening to reveal three drawers, the upper and central drawers for storage, the lower with folding writing slope, turned rosewood handles to sides, on a reel moulded base raised on turned bun feet, 12 x 9in. (30.5 x 23cm.), 13in. (33cm.) high.
Lot 8
A FINE "RUSKIN LACE" PANEL, c. 1890, worked in red and pink silk on linen, framed with a card inscribed, "Square, worked in Red Silk on Linen .. The Langdale industry, Ambleside,..1891.. property of Mrs Harlstone, Authoress of Designs at Designs for Lacemaking". Panel 39cm square Note: The Langdale Linen Industry grew from an initiative of John Ruskin under the auspices of the Guild of St. George. Starting in the 1880`s it flourished until the 1920`s and the various independent seamstresses produced work which was acquired by Liberty & Co., Morris & Co., The Royal School of Needlework and others. It represented Ruskin`s Utopian ideal of craftsmen workers in a rural environment and was a classic example of the best aspects of the Arts and Crafts movement.
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