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Lot 926
Schuppner, Robert (1896 Hamm - 1966 Bach an der Sieg)Große abstrakte Komposition mit Vision eines Auges. Öl auf (Mal)pappe, 1950er Jahre. Unten links in Schwarz signiert. In schmaler Künstlerleiste. 78 x 102 cm (ges.) Malträger stark verwölbt, Leiste reparaturbedürftig. Rückseitig mit Spuren eines Wasserschadens. Farbstarkes Werk der deutschen Nachkriegsmoderne. Provenienz: Privatbesitz, Geschenk des Künstlers. Large abstract composition with vision of an eye. Oil on cardboard, 1950ies. Signed in black bottom left. In artist's framing. Medium extremly wavy, framing to be repaired. Backside with traces of a former water damage. Work of the German Post-war-modernism in vivid colouring. Private owner, present by the artist.
Lot 169
Monumentaler Kopf, wohl Teil einer Pfostenfigur, mgl. Hemba/ ZaireHolz, geschnitzt, anthropomorpher Kopf mit helm-oder kronenartiger Kopfbedeckung. Fellbesatz (Gepard) mit Bastkordeln fixiert. Reste von weißem Pigment, Risse, partiell Nägel, Insekten-und Verwitterungsspuren. Auf modernes Standbrett mont. H. gesamt 50 cm Provenienz: württtembergischer Privatbesitz Head, probably part of a figural post, wood, carved, stripes of cheetah fur, nails. Damages by weathering and insects. Mounted on board. H. 50 cm (total). Hemba/ Zaire (?)
Lot 151
AVIATION: modern album containing approx 300 photographs and postcards, aviation, chiefly military subjects, mid-later c20 period including a few World War II snapshots of wrecked German planes: sample of paint chippings from a V2 rocket and rudder of a Junkers JU-878-1 (shot down by spitfire of No.602 Sqdn at Poling, Sussex, 18th August 1940 according to attached note), post-war air show photography etc. (Album)
Lot 93
A FINE FRENCH LOUIS XV KINGWOOD AND ORMOLU MOUNTED SERPENTINE BOMBE COMMODE ATTRIBUTED TO GILLES JOUBERT (FRENCH 1689-1775), C.1755-60 the rouge griotte marble top with a moulded edge, above parquetry trellis panels and scrolling Rococo mounts, fitted with two drawers, on cabriole legs terminating in lion's paw feet, with alterations 90.7cm high, 125cm wide, 53.4cm deep Provenance Alfred de Rothschild (1842-1918) the Bamfylde Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A Louis XV parqueterie commode with two drawers inlaid with panels of trellis and cube pattern, in kingwood borders mounted with ormolu borders and corners chased with scroll work entwined with branches of flowers and with lion's claw feet, surmounted by a veined red marble slab, £2,500.0.0.' Catalogue Note Gilles Joubert (French 1689-1775) was born in Paris to a family of joiners. He was apprenticed at the age of thirteen to a marqueteur and went on to marry Michelle Collet in 1714, the daughter of Edmond Collet, an ebeniste of the Faubourg and also a cousin of Pierre II Mignon who was a favoured cabinet maker of Madame Pompadour. Joubert began supplying furniture to the Garde-Meuble Royal in 1748 and his deliveries to the court became more significant after 1751 when Gaudreaus the Younger ceased to work for the Crown. From this time on Joubert was the principal supplier of furniture for the Royal court and remained so for nearly twenty-three years. To satisfy the high demand from the Crown, Joubert often sub-contracted work to his fellow ebenistes, including Antoine-Mathieu Criaerd, Leonard Boudin and especially Roger Vandercruse. Joubert's work is difficult to identify, as stamping was not mandatory in his early career there are only a dozen or so items with his signature. Once he became ebeniste de la Couronne in 1763, he was free from guild regulations and no longer had to sign his work. As a result, Joubert's work cannot be studied before his first deliveries to the Garde-Meuble Royal in 1748 when he was already nearly sixty. Nothing is known of his production before this date. Joubert's design can be characterised by a restrained Rococo style, with scrolling ormolu mounts in a symmetrical pattern, the marquetry in a geometrical arrangement of lozenges, often tulipwood veneers framed by strips of kingwood. 'The same cartouche is found on the front of several of his commodes, as well as the lacqueur ones made by Marchand for the Queen's Bedchamber at Fontaineblau in 1755 and those produced in the previous year by Criaerd for the Pavilion at La Muette. The corner mounts of these pieces often have large symmetrical motifs, often a pierced bouquet of flowers.' (French Furniture Makers p.212) Joubert retired in 1774 aged 85 and was succeeded in the post of 'ebeniste du Roi' by Riesener. Joubert died in 1775. The attribution to Joubert is based on a recently discovered Royal commode by Joubert now in the collection of the Chateau de Fontainebleau which has almost identical front mounts to our commode. It was originally made for the Louis XV's bedchamber at the Chateau de Fontainebleau and it was installed by Joubert in 1754. Declared a national treasure, it was acquired for the nation at the price of EUR 1,000,000. Literature Alexandre Pradere, French Furniture Makers, The Art of the Ebeniste from Louis XIV to the Revolution, pp.208-215.
Lot 62
A pair of mid 20th century Parker Knoll elbow chairs CONDITION REPORT: Post 1950’s FurnitureAll furniture manufactured post 1950 included in any sale was either not originally intended for use in a private dwelling or, will now be offered as a Work of Art. Such items may not comply with the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989 and 1993) and for this reason, should not be used in a private home.
Lot 811
POSTCARD ALBUM; an album of vintage postcards and photographic images of the North Lancashire area, mostly Winmarleigh and Forton, portraits of people and children, groups, buildings, Patten Arms, churches, two men walking a bull on country path, Winmarleigh Hall, staff, trades and school children, Snow Hill cottage, school buildings, post office, local coronation procession, etc (approx 160 postcards, photograph images and other ephemera, etc) (album 19).Provenance: From the Alvin Cook Collection. The album may contain photocopy reproductions of his previous cards and personal ephemera. CONDITION REPORT: There is a note to the folder 'Approx 160 postcards and photos, mainly photos'.
Lot 822
POSTCARD ALBUM; an album of vintage postcards and photographic images, mostly North West Lancashire, Dolphinholme, Abbeystead, possibly Trough of Bowland, to include Shearson's Farm Dolphinholme, Post Office, Dolphinholme Bottoms, Corless Mill, The Church and other street scenes, the vicarage, chapel, River Wyre, Starbank, local military boys going off to war, the lower village, Belvedere, Home Farm, Abbeystead to include the Post Office, School Lane, Catcha Mill Ruins, reservoir, River Wyre, Abbeystead House, various churches and farm buildings, Temperance Hotel, etc (approx 140 postcards and other ephemera, etc) (album 3).Provenance: From the Alvin Cook Collection. The album may contain photocopy reproductions of his previous cards and personal ephemera. CONDITION REPORT: There is a note to the folder 'Approx 141', mainly postcards.
Lot 177
A group of cigarette cards, pre decimal and world coinage, to include one pennies, Indian rupee, various sixpences, post 1946, world banknotes, a British United Order of Odd Fellows medallion and ribbon, two Chesterfield Races Committee badges, two King George V and Queen Mary Silver Jubilee medallions, a King George VII 1937 Coronation medallion, etc. (1 tin)
Lot 293
WW2 F/O John Cruickshank VC Signed Operation Chastise Dambusters FDC. Only 250 Covers Produced. 4 Guernsey Stamps with Two 16th May 2003 Guernsey Post Office Postmark. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 194
WW2 Grp Cptn PSE Tootal and Wg Cdr HJS Beazley Signed Battle of Britain 60th Anniversary FDC. 74 of 300 Covers Issue. Guernsey Stamp with 24. 4. 00 Guernsey Post Office Postmark. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 116
WW2 Sweetheart Dame Vera Lynn Signed 50th Anniv of Liberation FDC. 5 Guernsey Stamps with Three 9 May 1995 Guernsey Post Office Postmark. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 187
WW2 RAF John Cruickshank VC Signed Operation Chastise the Dambusters Raid FDC. Four Guernsey Stamps with 16 May 2003 Guernsey Post Office Postmarks. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 96
WW2 RAF Sir John Slessor Signed 60th Anniv of the First UK Ariel Post Hendon Windsor FDC. British 10p stamp with 9 Sept 71 Postmark. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 570
A gold, varicoloured paste and red glass bead suite of jewellery, probably Indian, comprising a bangle, inside width 6.2cm, a necklace and a pair of pendant earrings with post and butterfly fittings, all unmarked, total weight 72.7g, with a case.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 690
A pair of gold horseshoe shaped earrings, each with an openwork geometric design, detailed '750', with post and butterfly fittings, weight 6.4g, length 3.6cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 667
A pair of 9ct white gold and diamond curved square cluster earstuds with post fittings, the butterflies detailed '925', weight excluding butterflies 3.8g, length 1.4cm, a pair of 9ct gold drop shaped pendant earrings, weight 2.5g, a pair of gold and citrine single stone earstuds, detailed '14K', weight 1.1g, and another pair of earrings.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 669
A pair of gold and treated blue topaz pendant earrings with post and butterfly fittings, each butterfly detailed '9K', weight 1.4g, length 1.6cm, with a case.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 568
A 9ct gold bangle, claw set with an oval cut garnet, inside width 5.7cm, a colourless paste brooch, designed as a bow, a silver, blue and colourless gem set cluster ring, a pair of 9ct gold and sapphire pendant earrings with post and butterfly fittings, weight excluding butterflies 1.8g, and two further pairs of earrings.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 662
A pair of gold and citrine single stone earrings, each spectacle set with an oval cut citrine, detailed '9ct', length 2.3cm, and a pair of 9ct gold curved rectangular earrings with post and butterfly fittings, Birmingham 1997, total weight 4.6g, together with a gilt metal circular pendant locket, 1830s, the front glazed with a photographic portrait.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 529
A 9ct gold and diamond bangle, the front mounted with three rows of three circular cut diamonds, inside width 5.1cm, a 9ct gold and diamond pendant cross and a pair of 9ct gold, blue topaz and colourless gem earrings with post and butterfly fittings, the butterflies detailed '9k', total weight 8.3g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 578
A hallmarked 9ct yellow gold & purple stone demi parure. Having a matching set of stud earrings & a ring all with oval cut bezel set purple stones with twist mount. The ring having split shoulders & earrings post backs with butterfly fastenings. Hallmarked for Birmingham 1978. Total weight approx 3.3g. Ring size approx P.5.
Lot 686
Boyle Lectures. A Defence of Natural and Revealed Religion: Being An Abridgement Of The Sermons Preached at the Lecture founded by The Hon. Robert Boyle, Esq. (from the year 1691 to the year 1732) with additions and amendments of the several authors, In Four Volumes With a General Index. By Gilbert Burnet, Vicar of Coggeshall, Essex. London: Printed for Arthur Bettesworth and Charles Hitch, at the Red-Lion in Pater-noster Row. 1737, vols I - IV, post 8vo. (4)
Lot 606
Ransome, Arthur: Missee Lee, Macmillan Company, New York 1942 1st U.S. edition, maps to end pages with dust jacket, together with one other copy (rebound, no maps and facsimile D/J), Coot Club, Pigeon Post x2, Peter Duck, We Didn't Mean To Go To Sea x2, Winter Holiday, Secret Water and The Big Six. (11)
Lot 660
East Anglian interest, a collection of cloth and leather bound titles to include Glyde, John: The New Suffolk Garland: Ipswich: 1866, Pike, W.T. (Ed): East Anglia In the Twentieth Century, Brighton, 1912, Bayne, A.D.: Royal Illustrated History Of Eastern England, vol II, no date, Taylor, J.E.: In and About Ancient Ipswich, Norwich, 1888, (unnumbered of 350 demy quarto), Arnott, G.W.: The Place-Names Of The Deben Valley Parishes, Hand-written master copy with author signed letter, publishing details and various notes, Palmer, Charles John: The History of Great Yarmouth, Great Yarmouth, 1856, The Post Office Directory Of The Counties Of Cambridge, Norfolk And Suffolk, 1879, (Norfolk map missing), White, William: History, Gazeteer And Directory Of Suffolk, Fifth edition, 1891-2 and Layard, Nina Francis: Seventeen Suffolk Martyrs, Ipswich: 1902 etc. (11)
Lot 87
Hans J. WegnerTwo 'Shell' chairs, model no. FH1936, designed in 1948, produced 1948-mid 1950sWalnut-veneered plywood, beech.Each: 69.5 x 70.5 x 62.5 cm Manufactured by Fritz Hansen, Copenhagen, Denmark.Footnotes:ProvenancePrivate collection, LondonBonhams, London, 'Post War and Contemporary Art & Design', 10 March 2010, lot 4Acquired from the above by the present ownerLiteratureJohan Møller Nielson, Wegner en Dansk Møbelkunstner, Copenhagen, 1965, p. 82Lesley Jackson, The New Look: Design in the Fifties, exh. cat., Manchester City Art Galleries, 1991, p. 41Christian Holmsted Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, pp. 158, 166This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 32
Tom DixonEarly and rare 'S' chair, circa 1988Steel, Manila rope. 95.5 x 54.5 x 65.5 cm Produced by Tom Dixon, London, United Kingdom.Footnotes:LiteratureTom Dixon, Tom Dixon, London, 1990, pp. 40-43Claire Downey, Neofurniture, New York, 1992, p.126Tanya Harrod, The Crafts in Britain in the Twentieth Century, New Haven, 1999, p. 442Gareth Williams and Nick Wright, Cut and Shut: The History of Creative Salvage, London, 2012, p. 61Tom Dixon, Dixonary: Illuminations, Revelations and Post-rationalizations, London, 2013, p. 117This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 1
Robin DayTwo rare cocktail units, model no. 652, designed for the 'Furniture Trades Exhibition', Earl's Court, London, 1951 Sycamore, sycamore-veneered plywood, glass. Each: 183 x 71 x 44 cm Manufactured by Hille & Co., London, United Kingdom. One drawer impressed HILLE OF LONDON.Footnotes:LiteratureArchitects' Journal, 22 Feb 1951, p. 234The Cabinet Maker, 28 April 1951, p. 365Architects' Journal, 2 August 1951, p. 136Mavis Watney, 'Three Robin Day Cabinets', Antique Collecting, The Journal of the Antique Collectors Club, vol. 36, no. 7, December 2001-January 2002, illustrated p. 44Lesley Jackson, Robin & Lucienne Day: Pioneers of Contemporary Design, London, 2011, p. 174Tradition versus Modernity – The Ambiguity of British DesignLesley JacksonWriter, Curator and Design HistorianIt is impossible to understand the evolution of modern British design without addressing the thorny issue of tradition. It keeps bubbling up during the post-war period long after British designers had embraced the concept of 'Contemporary' design. Even in the 1960s, a decade we think of as unashamedly progressive, there was still a vestigial hankering for tradition, manifested through Art Nouveau and Art Deco revivalism. Since the 1980s, historical allusions have resurfaced again in a new guise, often ironic, emboldened by Post Modernism. Without recognising and reconciling these two apparently conflicting impulses – tradition versus modernity – it is difficult to appreciate the distinctive character of British design.It was the Finnish architect Alvar Aalto who helped to sow the seeds of Modernism in the UK. His appealingly tactile bent laminated wood furniture for Finmar [lot 14] found a receptive audience in the otherwise rather stick-in-the-mud market in Britain during the 1930s. Interestingly, as well as being sold through modern design emporia such as Bowman Brothers in Camden Town, Aalto's furniture was exhibited at Fortnum and Mason, a bastion of tradition. Gerald Summers' short-lived company, Makers of Simple Furniture, was clearly inspired by Aalto during its all-too-brief but glorious existence. The few surviving pieces from this remarkable workshop, such as the laminated birch plywood Mirror [lot 4], reflect the British propensity for organic modernism.Like many manufacturers, Makers of Simple Furniture was forced to close in 1940 following the outbreak of the Second World War. The ensuing period of make-do-and-mend austerity meant that ambitious young furniture designers, such as Robin Day, had to put their careers on hold for over a decade. The Festival of Britain in 1951 was a seminal event in British post-war design. As well as kick-starting the country's economic and cultural recovery, it provided a launch pad for a host of up-and-coming designers, including less well known figures such as the architect Ray Leigh, who went on to become Design Director at Gordon Russell, as well as acknowledged names such as Ernest Race and Robin Day. Day had already achieved international renown in 1948 when he and Clive Latimer won first prize in the storage section of the International Low-Cost Furniture Competition organised by the Museum of Modern Art in New York. It was this competition that brought Day to the attention of Hille, the firm with whom he would collaborate so productively for the next three decades. Day was determined to make the most of the unique opportunities provided by the Festival of Britain to showcase his ideas and get his furniture into production. As well as winning the contract to design the seating for the Royal Festival Hall, he created several room settings for the Homes and Gardens Pavilion. His stylish steel-framed room divider featuring an etching by the sculptor Geoffrey Clarke took pride of place in an open-plan living room / dining room, along with the aerodynamic moulded plywood chairs he had created for the Royal Festival Hall. While these designs are justifiably famous, some of Day's other contributions to the Festival are less well documented. Amongst these was a Cocktail Cabinet [lot 1] originally created for Hille's stand at the Furniture Trades Exhibition at Earl's Court in January 1951, which was later incorporated into a Country Parlour at the Festival designed by Eden Minns on behalf of the Council of Industrial Design. These cabinets, with their attractive sycamore and cherry veneers and their beaded tambour-effect bottom cupboards, are a curious hybrid, harnessing the traditional cabinetmaking skills of Hille's workforce, but embodying new ideas about functionalism and the clean-lined aesthetics of modern design. Although Robin Day's success at the Festival convinced Hille to pin their flag to the mast of modern design, other firms, such as Gordon Russell, who were based in Broadway in the heart of the Cotswolds, took a more measured path. Their post-war output continued to reflect the dichotomy between tradition and modernity, as evidenced by the finely crafted executive Desk [lot 22] designed by Ray Leigh and Trevor Chinn.The artist craftsman John Makepeace, who rose to prominence in the 1970s, is another designer whose work fuses tradition and modernity. On a purely technical level, his Fireside Desk [lot 10] represents the pinnacle of centuries-old hand craftsmanship, reflecting his conscious decision to pursue craft as an alternative to functionalist mass-production. Unexpectedly perhaps, the design incorporates some unmistakably modern materials, such as melamine and stainless steel. Makepeace's mastery of lamination and his fascination with organic forms also hark back to Alvar Aalto. The technical ingenuity displayed by John Makepeace, along with his entrepreneurialism, are both recurrent features of British design. Not surprisingly, these two characteristics frequently go hand-in-hand, with designers such as Ernest Race establishing their own companies specifically to produce their own technically unconventional designs [lot 8]. Artists Eduardo Paolozzi and Nigel Henderson, who teamed up in 1954 to found Hammer Prints to produce their own textiles, lamps and furniture, also demonstrate these qualities [lot 7]. They, too, were mavericks who chose to operate independently outside the establishment framework. Significantly, their radical pick-and-mix eclecticism drew on 'borrowed' imagery from historical sources, including 17th century woodcuts and 18th and 19th engravings, another typically quirky example of the fruitful alliance between tradition and modernity in British design.Paolozzi and Henderson's mischievous iconoclasm and do-it-yourself mentality have parallels with the ethos of New Wave designers Tom Dixon and Mark Brazier Jones, who pioneered the concept of Creative Salvage during the 1980s. In their case, however, it was the collapse of manufacturing that prompted them to become designer-makers. Dixon's iconic S Chair [lot 27] with its steel base and armature has an overtly contemporary aesthetic, although its rush upholstery derives from traditional crafts. The shock tactics of this deliberate mismatch enhance its visual impact. The incongruous marriage between tradition and modernity also lies at the heart of many of Mark Brazier Jones's pieces, such as his Dressing Table and Mantle Clock [lots 23 and 37] with their playful allusions to extravagant 18th-century rococo idioms. Such objects were already an anachronism by the 1990s but J... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 27
Tom DixonEarly and rare 'S' chair, circa 1988Steel, rush upholstery.108.5 x 44.5 x 49 cmProduced by Tom Dixon, London, United Kingdom.Footnotes:ProvenanceTom Dixon's studio, Kensington, LondonMr Tim Head, London, acquired from the above, circa 1990Thence by descent to the present ownerLiteratureTom Dixon, Tom Dixon, London, 1990, pp. 40-43Claire Downey, Neofurniture, New York, 1992, p. 126Tanya Harrod, The Crafts in Britain in the Twentieth Century, New Haven, 1999, p. 442Gareth Williams and Nick Wright, Cut and Shut: The History of Creative Salvage, London, 2012, p. 61Tom Dixon, Dixonary: Illuminations, Revelations and Post-rationalizations, London, 2013, p. 117This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 356
A MORROCAN INSPIRED PAINTED PINE BUREAU BOOKCASE LATE 19TH CENTURY AND LATER 212cm high x 105cm wide x 61cm deep Provenance: Purchased from the Collection of James McBey (1883 -1959) James McBey was a Scottish-born and largely self-taught artist and etcher whose prints were highly valued during the later stages of the etching revival in the early 20th century. In 1912 he travelled to Morocco and began to work in water colours this tour would open his eyes to the magic of Tangier that many since have been drawn to. McBey's poor eyesight prevented him enlisting as a soldier in World War One but in February 1916 he was commissioned as a second lieutenant while employed with the Army Printing and Stationery Service. Due to his success as a semi-professional artist during this time he was then appointed an official war artist to the Egyptian expeditionary force. During the post-war print boom in the 1920s his etchings fetched prices at auction that had only been achieved before by the Old Masters. In 1929 McBey visited America and returned in 1931 to marry Marguerite Loeb, a photographer from Philadelphia. In 1932 the couple bought a house on the Old Mountain near Tangier in Morocco, only a short distance from Tessa Wheeler's Grandfather, Jack Sinclair. They later bought a second property in Marrakesh, where the present lot was bought and brought back to their house in Tangier. Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use. There are losses, observations and restorations including: the polychrome and gilt painting worn and aged in particular to the fall front; some cracks to the construction joints including the arched frame to the panelled doors; some cracks to the panels; there is evidence of worm, with wood dust to the interior; the sides ebonised with no decoration; old filled holes from previous handles; lacking the tips of many of the bracket feet so that it sits low with the shaped frieze resting on the ground. Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Lot 247
Δ Frederick Gore RA (1913-2009)View from the terrace - Fornalutx, Majorcaoil on canvas82 x 102cmSon of the artist Spencer Gore (1878–1914), Frederick never knew him as sadly he died only a few months after his birth. Spencer, was the first president of the Camden Town Group and best known for his landscapes and interiors with their influence from French Post-Impressionism. Frederick shared his father’s passion for this period and it can be seen in his expression of colour and light in his Mediterranean views, particularly those painted in Majorca.Frederick Gore visited the Spanish island regularly during the 1970s, and for several summers he rented a house at Fornalutx. On the extreme left of this painting we see a little of the house as the remaining buildings and landscape are his viewpoint from the terrace. We see blazes of colours from the purples, blues and greens of the mountains, through to the orange and green fields and the red and yellow buildings. There is a very strong compositional foundation, which helps the eye dart about though the glowing colours. This is a really captivating work due to its large scale and vivid palette and the lot is enhanced by a lovely note written to the present owner by the artist in 1989 where he describes in detail the exact location depicted.'How nice to hear about a painting of some years ago – nineteen seventies, I suppose. Yes Majorca, painted from a house quite a long way up the Callé del Monté which leads straight up from the little main square at Fornalutx - 6 kilometres up towards the mountain (Puig Major) from Soller. The two peaks are Lóffra above Biniaraix the village closer to Soller in the same valley as Fornalutx. There is a plateau with a bit of cultivation, a hunting lodge and usually a bull and some sheep up there, behind the peaks, and an interesting walk to Soller along the heights seen on R. The house at Fornalutx belongs to a John Polimeni - Londoner of Sicilian extraction & I rented the house during several summers. Very good views on every side. Painted from the terrace above the house. A bit of the house shows on the extreme left….'Condition ReportIn good condition, under uv light no obvious signs of restoration or retouching.
Lot 171
A family group with consecutive army numbers: a WWI pair, British War and Victory medals awarded to: 27454 Pte H T Hambly, D of Corn LI, framed with death plaque, buttons and badges, with photographs of Pte Hambly's wooden cross, (possibly taken at Parchim p-o-w camp), also a WWI pair to 27455 Pte E C Hambly D of Corn LI, with cap badge, a collection of photographs/postcards of prisoners of war at Mannschaftslager Parchim Camp, a pencil letter home from Pte E C Hambly (Claude) to his mother referring to his brother's death, other letters, postcards, post-WWI orders of memorial service, etc.
Lot 141
Oxford Die-cast, Base Toys - 29 x boxed die-cast models - Lot includes a 1:76 #76WE004 van, a Royal Mail van, a Post Office Telephones van, a Skale Autos van, and similar. Lot also includes a 2008 Oxford Die-cast magazine. Boxes range from poor to good condition. Die-cast models appear in excellent condition. (This does not constitute a guarantee)
Lot 324
Palitoy, Action Man - A boxed Palitoy Action Man Command Post. The set appears incomplete with a broken main gun mount and is missing its accessories - there are signs of play wear but generally the Command Post appears to be in Very Good condition. Box appears Poor. A displayable piece in its own right or used for spares. (This does not constitute a guarantee)
Lot 37
A LADIES 9CT GOLD WATCH AND JEWELLERY, a ladies manual wind 'Regency' wristwatch, round silver dial, baton markers, black steel hands, in a polished yellow gold case, approximate case width 19.5mm, inside case back hallmarked 9ct London 1965, fitted with a rolled gold stretch link bracelet, case back weight 1.4 grams, a yellow metal crucifix pendant stamped 375, fitted with an oval bail, suspended from a fine trace chain with spring clasp stamped 9k, a yellow metal fine trace chain with spring clasp stamped 9ct, a pair of jade cabochon earrings, oval cabochons collet set within a rope twist surround with post fittings hallmarked 9ct Birmingham, a single garnet stud earring hallmarked 9ct London, approximate gross weight 4.3 grams, a pair of yellow and white metal stud earrings each set with a colourless cubic zirconia unmarked, two pairs of yellow metal knot stud earrings unmarked, approximate gross weight 2.8 grams
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