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Lot 108
CHARLES SPOONER (1862-1938) DESIGNS FOR A CHAPEL AT LETCHWORTH, HERTFORDSHIRE, CIRCA 1906 pen and ink, watercolour and graphite, inscribed to two CHARLES SPOONER F.R.I.B.A. ARCHITECT/ 23 OLD BUILDINGS LINCOLNS INN W.C. and to the third CHARLES SPOONER F.R.I.B.A. ARCHITECT/ 17 BEDFORD ROW LONDON W.C.Dimensions:46cm x 66cmNote: Note: These plans by Charles Spooner are for a church in Letchworth Garden City, St Hugh of Lincoln,1907-1908. Father Fortescue claimed it was the ‘only church worth looking at West of Constantinople’. C. R. Ashbee thought that Spooner was one of the four great names of the Arts and Crafts Movement, the other three being W. R. Lethaby, Sidney Barnsley and Ernest Gimson.
Lot 130
MARY R. PERCY (DESIGNER) ARTS & CRAFTS WALL SHELVES, DATED 1904 carved oak, 99cm wide, 67.5cm high, 12cm deep; together with a NORTHUMBERLAND HANDICRAFTS GUILD MEDALLION 1905-07, silvered metal, within original case, inscribed MARY R. PERCY 1905-07, 5cm diameter, and a PHOTOGRAPH OF THE MAKER
Lot 250
CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) IVY SEED, WALBERSWICK pencil and watercolour, inscribed, signed and dated lower right IVY SEED/ WALBERSWICK/ 1915/ CRMMMMDimensions:25.5cm x 18.2cmProvenance:Provenance: Acquired after the Memorial Exhibition, 1933, by R. W. B. Morris, a partner in Charles Macdonald's legal firm and an executor of Margaret Macdonald Mackintosh's estateThe Fine Art Society, LondonPrivate Collection (1977-present)Note: Exhibited: The Fine Art Society, London, The Flower Drawings of Charles Rennie Mackintosh, May/June 1977Literature: Billcliffe R. Charles Rennie Mackintosh and the Art of the Four, Quatro, 2017, pp.194-198 and 211-219 Billcliffe R. Mackintosh Watercolours Glasgow Art Gallery, London 1978, p. 38, no. 139Note: By 1914, Mackintosh’s professional fortunes were dwindling and life in Glasgow became unbearably oppressive. Following the completion of the Glasgow School of Art in 1909, Honeyman, Keppie & Mackintosh’s business received very little work, much like their competitors, as the city was grappling with a recession. Mackintosh resigned as partner of the firm in December 1913, supposedly with the intention of setting up his own company, yet sadly nothing came of this. Clearly requiring some rest and recuperation from this drastic turn of events, the Mackintoshes left Glasgow for a summer break to Walberswick in June 1914, but the uncertainty of the First World War and a rather unstable economic climate persuaded them to remain in the village for fifteen months.Like a number of coastal villages across the UK, Walberswick became a hub of artistic creativity in the summer months. Bright blue skies, endless coastal cliffs and colourful fields as far as the horizon brought the likes of Philip Wilson Steer, E. A. Walton and Mary Newbery Sturrock to this charming fishing and boatyard community. Mary Newbery was the daughter of Frances Newbery, Headmaster of the Glasgow School of Art at the time Mackintosh designed its new premises. The two men had formed a very close friendship during their time in Glasgow. Mary was convalescing in Walberswick while the Mackintoshes were staying in the village, close to her family’s villa there. Every day they would venture over to her studio and it is thought that Mackintosh was encouraged by the Newberys to turn to painting during this time, in his search for solace and seclusion.Over the next ten months or so, Mackintosh made over forty botanical watercolour studies using a variety of species: from wild plants such as willow catkins and kingcups to garden favourites fuchsias and petunia, as well as flowers from local fields and hedgerows such as sorrel and chicory. From 1901 Mackintosh had been sketching similar plants and flowers whilst on holiday within Britain, and further afield in Italy and Portugal. These earlier studies are more technical in composition; the background is almost completely abstract as alternating and overlapping perspectives of botanical cross-sections are illustrated. The focus of these sketches was analytical: investigating ways in which certain plant forms could be stylised to create abstract patterns on the page.At Walberswick, the studies are decorative depictions, delicately drawn in a naturalistic manner. It is likely that Mackintosh worked with pressed specimens, perhaps picked on his walks to Sturrock’s studio, giving him an already flattened section to work from. In Ivy Seed, the plant is positioned off-centre as the coloured leaves pointing towards the cartouche draw the eye into the complex structure of the branch itself. Mackintosh was clearly meticulous in his approach: connected stems and foliage are interwoven and overlaid in a beautiful display; there is a careful balance of tension, and delicacy in the delineation of the leaves. The vibrancy of colour, subtly deployed across the page, breathes life into the work and helps capture the decorative beauty of his peaceful new environment.The initials of Margaret Mackintosh appear frequently on many of these watercolours, and it was previously suggested that she contributed to the studies in some way. However, there is no stylistic evidence that correlates with Margaret’s own watercolour techniques. Mary Newbury Sturrock has stated that her initials merely indicate that she was there when the studies were made, thereby highlighting her constant presence in Charles’ life and art.Mackintosh’s time spent studying the coastline and nature in and around Walberswick subsequently led to his arrest in 1915 when he was mistaken for a German spy. After a thorough search of their home led to discoveries of their artistic endeavours in Germany and Austria, Charles and Margaret were forced to leave the area with immediate effect. They eventually settled in London, where his deeply personal connections with nature formed the basis for further watercolours and some innovative textile commissions.The spectacular series of Walberswick studies marks an interesting point in Mackintosh’s career. His intense personal and professional struggles prompted a search for solace in nature: these careful, naturalistic renderings of his surroundings are captivating in their simple beauty, evoking the serenity and contemplation he longed for.
Lot 252
§ JAMES HERBERT MACNAIR (1868-1955) & CHARLES J. ALLEN (1862-1956) FOR THE LIVERPOOL SCHOOL OF TROPICAL MEDICINE MARY KINGSLEY MEDAL, DESIGNED CIRCA 1903 silver, inscribed and engraved around the rim, signed J H MACNAIR/ C J ALLEN, stamped marks for Turner & Simpson, hallmarked Birmingham 1968, with fitted case Dimensions:9.5cm x 5.6cmNote: Literature: Robertson P. Doves and Dreams, The Art of Frances Macdonald and James Herbert McNair, 2006. Illustration p. 121, cat. no. M61. For an example of this medal in bronzeNote: Lt. Col. J. R. Danson M.C., T.D. served with some distinction in both World Wars, earning the M.C. in the 1st and as Lieutenant Colonel, commanding the Fourth Battalion Cheshire Regiment at Dunkirk in the 2nd. After retiring, he lived at Dry Close, the house at Grasmere, which his grandfather had built when he retired in 1880. The famous Danson bequest of antiquities he and his father collected is in the National Museums, Liverpool.
Lot 256
CHARLES RENNIE MACKINTOSH (1868-1928) TEXTILE DESIGN, CIRCA 1920 pencil and watercolour heightened with white, on tracing paper, signed and inscribed C.R. Mackintosh./2 Hans Studio/43 A Glebe Place Chelsea SW3 lower right, on the backing sheet, overmountedDimensions:17.5cm. x 16cmProvenance:Provenance: The Fine Art Society, London, 1989Note: Exhibited: The Fine Art Society, London, 1994 Mackintosh and the Glasgow Style, Travelling Exhibition in Japan, September 2000 - February 2001, p. 137, Cat. No. 140.Literature: Billcliffe R. Charles Rennie Mackintosh. Textile Designs, San Francisco 1993, p. 84 ('Ochre, Black and White') and p. 85 ('Cyclamen')Billcliffe R. Charles Rennie Mackintosh and the Art of the Four, Quarto 2017, pp. 219-225, p. 222, pl. 260Note: In 1916 the Mackintoshes left Walberswick for London where they made their new home in rented lodgings in Chelsea and two adjacent small studios in nearby Glebe Place. The war had ended any idea of Charles setting up an architectural practice either in Glasgow or London, where he lacked the contacts or the money to do so. The series of wildflower studies that Mackintosh produced at Walberswick suggested a new way forward as an artist. In London, he began a series of cut flower watercolours and textile designs. The first of these flower paintings to be exhibited, Anemones, appeared at the ISSPG (The International Society of Sculptors, Painters and Gravers) in May 1916. A piece of fabric made from one of his designs can be seen in the background, suggesting he had begun working for the textile roller printers, William Foxton Ltd and William Sefton & Co. before this date. His early textile designs developed from his later work in Glasgow and from the Viennese designers he had admired before the war. Later, he drew on his intimate knowledge of the natural world, to produce abstracted repeat patterns, as in the current example. A variation of this design also provides the backdrop for Cyclamen, a watercolour of around 1922-23.By 1920 Mackintosh had built an impressive body of work and had become one of the leading textile designers of the period. His diary entry for this year recorded income of £200 from the sale of designs for voiles, chintzes and handkerchiefs. Despite this relative success, fabric designs did not bring him the recognition he needed to attract further work or commissions as his name would not have been associated with the designs at this time. In 1916 Mackintosh did however receive a commission from the engineering and toy model manufacturer W.J Bassett-Lowke for his house at 78 Derngate in Northampton, where he was able to use some of his printed textiles. However, apart from this and a small commission for Miss Cranston in Glasgow no other architectural work was forthcoming and painting remained his alternative career until his death in 1928.
Lot 375
HEAL & SON, LONDON WRITING DESK, CIRCA 1931 mahogany, with brass fittings, with original pencil designDimensions:108.5cm wide, 101cm high, 62.5cm deepNote: Note: The original pencil design for this desk, with instructions on how to open the secret drawers and dated 1931 is stuck to the inside of the central drawer. In addition, early Heal's label included with this lot, registration number R. 4759
Lot 133
A mixed group of ceramics, to include two shaped rectangular plates decorated with gilded rims and botanical studies, the plants named to the underside, 21.5cm x 21.5cm, a Wedgwood creamware leaf plate with osier border, impressed Wedgwood to the underside, a Royal Worcester egg coddler with white metal lid, a Dresden porcelain dish decorated to the centre with deutsche blumen and gilded vine motif border to the rim, marked to underside for R. Grossbaum & Söhne, 39cm diameter, and a modern studio pottery unglazed dish, impressed mark to underside, 27cm diameter (6) (VAT charged on the hammer price)
Lot 28
A burgundy leather travelling vanity case fitted with five silver mounted glass bottles, London, 1899 and 1900, Frederick Wick; together with a further silver mounted vanity jar, London, 1906, G H James & Co., all caps with monogram, the case with twin folding lid, carrying handle, and fittings for various items, several deficient, one side of the lid with compartment for jewellery, key present, lock untested, the lid marked with an R crowned, dimensions 23 x 16 x 14.5cm Provenance: Property from the Estate of the Rt. Hon. the Countess of Sutherland.
Lot 380
A collection of decorative cloth bound books, 19th and 20th centuries, to include: R. M. Ballantyne, The Giant of the North, or Pokings Round the Pole, London: James Nisbet & Co., 1886; Prof. J. H. Ingraham (ed.), The Prince of the House of David, or Three Years in the Holy City, London: Frederick Warne & Co., 1899; Captain Marryat, Masterman Ready, or The Wreck of the "Pacific", Routledge edition, London: George Routledge & Sons, 1914; Leo Cotton (ed.), Old Mr. Boston De Luxe Official Bartender's Guide, Boston: Ben Burk Inc.,1935; W. H. G. Kingston, How Britannia came to Rule the Waves, London: Gall and Inglis; Harold Avery, Out of the Running: A School Story, London, Glasgow and New York: Collins' Clear-Type Press; Charles Folkard and others, Twenty Folk and Fairy Tales from East to West, London: A. & C. Black Ltd.; Christine Chaundler, Arthur and His Knights, London: Nisbet & Co. Ltd; Michael Felmersham, The Mary Jane Book, illustrated by Eileen Watts, London: The Featherstone Press, Ltd.; together with six editions of a series by various authors, London: Odhams Press Limited., to include: The Practical Handyman; The Home Entertainer; The Wonderful Story of the Human Body; Real Life Problems and their Solutions; The Home Counsellor; Secrets of Successful Gardening (lot)(VAT charged on the hammer price)
Lot 389
A collection of reference books on glass and glassware, 19th and 20th centuries, to include: Albert Hartshorne, Old English Glasses, quarter vellum bound with blue cloth boards, illustrated with 67 plates and numerous in letterpress, London and New York: Edward Arnold, 1897; Francis Buckley, English Baluster Stemmed Glasses of the Seventeenth and Eighteenth Centuries, blue cloth bound with gilt lettering, illustrated with 18 plates, Edinburgh: Ballantyne Press, 1912; Joseph Bles, Rare English Glasses of the 17th & 18th Centuries, brown cloth bound with gilt lettering, illustrated with 100 plates, London: Geoffrey Bles, 1924; Grant R. Francis F.S.A, Old English Drinking Glasses, green cloth bound with gilt lettering and original dust cover, illustrated with 72 plates, London: Herbert Jenkins Limited, 1926; W. A. Thorpe, English & Irish Glass, red cloth bound with gilt lettering, London and Boston: The Medici Society, 1927; W. A. Thorpe, English Glass, third edition, red cloth bound with gilt lettering and original dust cover, illustrated with 23 plates, London: Adam and Charles Black, 1967; Laurence Whistler, Scenes and Signs on Glass, limited edition no. 852/1200, bearing author's signature, Suffolk: The Cupid Press 1985; Laurence Whistler, Fifty Years on Glass, London: he Greater London Council, 1985 (8)
Lot 392
A group of decoratively leather and cloth bound books, to include: E. Chambers, F.R.S, Cyclopaedia: or, an Universal Dictionary of Arts and Sciences, fifth edition, vol. 2 (L-Z) only, full leather bound, London: 1743; The Satires of Juvenal, translated and illustrated by Francis Hodgson A.M., quarter-bound with marbled boards, London: Payne and Mackinlay, 1807; Cassell's Popular Natural History, vol. 1 & 2, quarter-bound with cloth boards, library label to inside front page, London: Cassell, Petter & Galpin; Matthew Arnold, Poetical Works, quarter-bound with cloth boards, London: Macmillan and Co.,1905, bearing inscription and dedication to front pages; H. R. Westwood, Modern Caricaturists, with foreword by David Low, green cloth bound with gilt tooling to front board and lettering to spine, London: Lovat Dickson Limited, 1932; Gilbert A. Foan (ed.), The Art and Craft of Hairdressing, second edition, quarter-bound with blue cloth boards, inscribed to inside board 1943, with coloured plate frontispiece and four further coloured plates, London: The New Era Publishing Co., Ltd. (7)(VAT charged on hammer price)
Lot 44
A group of silver, comprising: a sugar caster, Sheffield, 1936, Harrison Brothers & Howson (George Howson), with pierced top, octagonal body and circular foot, 17cm high; a pepper mill, London, 1967, 10cm high; a napkin ring, Sheffield, 1944, R F Mosley & Co (Robert Fead Mosley); a pair of Victorian open salts, Birmingham, 1897, maker's marks rubbed, of oval form, with associated blue glass liners, 7cm wide; a mustard with hinged lid and an open salt, Sheffield, 1922, Adie Brothers Ltd., both with shaped rims and four feet, with two associated blue glass liners and associated mustard spoon; a pepper, London, 1919, maker's mark rubbed, with four feet and pierced top, 9.5cm high; a salt, Birmingham, 1925, Docker & Burn Ltd, of cylindrical form, lacking base, 5.8cm high; an oval open salt, probably Birmingham, 1925, Docker & Burn Ltd., marks rubbed, on four bun feet and with blue glass liner, 5.5cm wide; three condiment spoons; and one blue glass liner, total weighable silver approx. 16.9oz (lot) Condition Report: weighable weight 16.6oz
Lot 59
A small group of silver, comprising: a cigarette case, Birmingham, 1935, maker's mark FG, the rectangular engine turned case monogramed R, with gilded interior, 12.8cm high, 8.5cm wide; a cigarette case, Birmingham, 1915, G F Westwood & Sons, of curved form chased with scrolling foliate decoration and with engraved initials to central circular cartouche, with gilded interior, 9.8cm high, 8cm wide; and a set of six modern napkin rings, Sheffield, Carr's of Sheffield Ltd., in fitted box, total weight approx. 17.1oz (8)
Lot 709
Raffaele Mainella, Italian 1856-1941- Venice from the lagoon; pencil and watercolour on paper, signed and inscribed 'R. Maniella / Venise' (lower left), 22.5 x 41 cm. Condition Report: Framed, mounted, and glazed, and unexamined out of frame. Minor marks and scuffs to the frame generally. Spots of foxing to the sheet, alongside possible minor discolouration in areas. No evidence of creasing, tearing, or water damage. Otherwise in fair condition overall.
Lot 754
Roberto Ciprini, Italian school, 20th century- Venetian scenes; oils on board, each signed 'R. Ciprini' (lower right), each 15 x 30.3 cm., two (2). Condition Report: Both framed, and both unexamined out of the frames. Minor marks and scuffs to the frames generally. Abrasions and chips, leading to losses to the paint surface, particularly towards the sky of one of the works. Further minor abrasions and marks of surface dirt generally. Areas of impasto are well-preserved. Otherwise in fair condition overall.
Lot 756
Robert Charles Goff, British 1837-1922- View of Florence; etching, signed 'R. Goff' in pencil (lower right), faintly signed and dated 'R. Goff 1912' within the sheet, 20 x 30.5 cm.Condition Report: Framed and glazed, unexamined out of frame. Some marks and scuffs to the frame in areas. Light cockling to the sheet within the frame. Possible discolouration/browning to the sheet, and spots of foxing in areas. Otherwise in fair condition overall.
Lot 19
Vintage Autograph Collection of 7 Signed Items. Signatures include Sybil Thorndike signed album page and black and white photo affixed to A4 sheet, Phyllis Dare signed vintage 6x4 black and white photo affixed to A4 sheet, Zena Dare signed vintage 6x4 sepia photo affixed to A4 sheet includes bio sheet, Michael Denison signed 6x4 album page and unsigned colour photo affixed to A4 sheet, Glynis Johns signed 6x4 album page and colour photo affixed to A4 sheet, Dame Barbara Cartland signed album page and promo photo affixed to A4 sheet, And R. T Hon Kenneth Clarke QC MP signed 6x4 white card. Good Condition. All autographs are genuine hand signed and 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 £10
Lot 20
WW2 Signed Collection of 12 Signed Items. Signatures include Owen V Burns Signed Photo, Robert J Blatnik Signed Card, William T Clark Signed Photo, Peter Ayerst Signed Photo, R H Jones Signed Photo, Trevor Gray Signed Photo, Ken Wilkinson, Tony G Pickering and John Ellacombe Signed Photo, Bert Cooper and Albert Eccles Signed Photo, Colonel John Sweeney Signed FDC, Richard Todd and Tod Sweeney Signed FDC, Tim Elkington and Allan Scott Signed Card. Good collection. Good Condition. All autographs are genuine hand signed and 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 £10
Lot 287
Singer, Gwen Dickey signed 12x8 inch colour promo photograph. Dickey (born December 1, 1953) is an American born British singer best known as the front woman of the R and B band Rose Royce, where she performed under the name Rose Norwalt. Her most recognized songs include Car Wash and Wishing on a Star. In 1976, her lead vocals on the Billboard Hot 100 number one single Car Wash brought Dickey and the band immediate international fame. Good Condition. All autographs are genuine hand signed and 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 £10
Lot 57
Film and TV plus Military Signed photos and Signature Pieces includes Captain G R Norton VC, Robert Flemyng, plus others good condition. Good Condition. All autographs are genuine hand signed and 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 £10
Lot 400
BENJAMIN ROBERT HAYDON (1786-1846). PORTRAIT OF A GENTLEMAN, IDENTIFIED AS NATHANIEL HOWARD, SCHOOLMASTER IN TAMERTON FOLIOT, DEVON. Bust length, wearing a red coat and white shirt, signed and dated `B. R. Haydon/ 1807` verso, oil on canvas 50 x 42.5cm. * The pose mirrors closely Haydon's c.1811 portrait of the poet James Henry Leigh Hunt (b.1784) (London, National Portrait Gallery). Further biographical details of the sitter are available upon request. Provenance: George Lambert MP (1866-1958) and thence by descent. *CR Scattered retouching from a 1979 restoration; small tear lower left.
Lot 581
RARE SCRATCH BUILT STEAM LOCOMOTIVE 'GWR PRAIRIE' - 5 INCH GAUGE. An impressive 5 inch gauge 45xx GWR Prairie No 5525 locomotive, scratch built by a Mr R G Joyce over a five year period and completed in 1990. With blue print designs, a letter from Mr Joyce when sold in 1994 to the vendor, and a range of documents including an old boiler certificate from 1991, photographs when in use etc. Also with a section of track mounted on a wooden plinth, not with a current boiler certificate. Locomotive 101cms long, approx 37cms high *This locomotive has been 'steamed' on a number of occasions in conjunction with the Tiverton & Blundells Model Engineering Society, it has not been used in recent years and would need a new boiler certificate. *CR This does not have a current boiler certificate, condition seems generally good, the lettering of Great Western has flaked a little in places, a few marks and scratches as you would expect over time and use.
Lot 651
ALBUMS OF CRICKET AUTOGRAPHS INCLUDING DON BRADMAN & AUSTRALIAN CRICKETERS. Three albums including a large album with signed photographs of cricketers (Don Bradman, Allan Lamb, Malcolm Marshall, Robin Smith, Richard Hadlee, R E S Wyatt, Richie Beneud, Clive Lloyd, Jim Laker and many more. Second album 'The Glory of Lord's' with various signed covers etc, and a third album with single autographs including various Australian cricketers (Rod Marsh, Geoff Marsh, Gil Langley, Lindsey Kline, Terry Jenner, Merv Hughes, Ian Healy, John Dyson and many more. (3). *CR See online images.
Lot 752
MARTIN BROTHERS - LARGE STONEWARE VASE, SIGNED & DATED 1883. A large stoneware vase of tapering form with applied curved handles to the neck, painted with birds perched on flowering tree branches on a buff ground. Impressed marks, 'R W Martin, London, Southall, 6-5-83. 29.5cms high. *CR The base has a large firing crack from manufacture which partially obscures the signature (not visible inside), also some firing cracks around the edge of the handles from manufacture, some marks and scratches to the base over time, a few black marks inside the rim. A few minor nibbles to the rim.
Lot 755
STELLA CROFTS (1898-1964) - LARGE POTTERY CHEETAH. A large pottery figure of a Cheetah eating a piece of meat, the animal seated with tail wrapped around the green mottled glazed base. Incised signature to the base, 'Stella R Crofts'. 26cms long, 20cms high. *CR In good condition, no obvious damages that I can see.
Lot 805
H & R DANIEL - GARNITURE OF VASES. In the Chinese style, the twin handled vases painted with a single figure by a flowering tree, also painted with exotic birds on a green ground and with gilded decoration. With painted number 196/200, and with an old retail label for ' B & T Thorn & Son, Budleigh Salterton'. Largest 25cms high, pair 21cms high. (3). *CR Large vase, crack visible inside the vase, small chip to foot, general crazing, line on both sides between the ends of the handles, some wear to the gilding in places. Pair of vases, one vase with sections of the rim restored, crack to the base and side of foot, base broken and restored, wear to gilding in places. The other, large section of rim restored, base broken and restored, wear to gilding in places.
Lot 893
INDIAN INTEREST - THREE UNUSUAL FRAMED PAINTINGS ON COURT FEE DOCUMENTS & BANK NOTE. Three Court Fee Documents from the Jaipur Goverment, each then painted in bodycolour (gouache) with various figures including a military figure on horseback, and figures with swords, and one with two cattle locking horns. Also with a Goverment of Bikaner Twelve Anna note, painted underneath with a tree and gilded ground (signed, difficult to read possibly R Aigswathy?). Each mounted and framed, frames 48cms by 34cms. *CR The paper of each has various stains and discolouration to the paper over time, see online images.
Lot 782
A gold and diamond three stone ring, claw set with a row of circular cut diamonds, the principal diamond mounted to the centre, detailed '18ct', weight 3.2g, principal diamond weight approx 0.40ct, ring size approx R, 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 745
A 9ct gold wide band wedding ring, London 1987, ring size approx U, and a 9ct gold wide band wedding ring with engraved decoration to the edges, London 1981, ring size approx R, total weight 5g.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 569
A gold and marquise shaped sardonyx signet ring, unmarked, weight 3.2g, ring size approx R, a Victorian gold and turquoise pendant cross with scrolled decoration, unmarked, weight 1.5g, and a pair of earring butterfly fittings, detailed '375', weight 0.4g.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 642
An Edwardian 18ct gold, ruby and diamond nine stone cluster ring, mounted with the ruby within a surround of rose cut diamonds, Birmingham 1901, weight 1.9g, ring size approx R.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 325
Arnulf RainerDas schenk ich euchfrühe 1970er JahreFotografie, übermalt; gerahmt47 x 59,5 cm (Darstellung)Bezeichnet und signiert rechts unten: Das schenk ich euch, A. R.Galerie Ruberl, Wien;seither österreichischer PrivatbesitzGleichzeitig mit den Grimassen Fotos entstehen zwischen 1970 und 1975 die als Body Pose bezeichneten körpergestischen Arbeiten. Arnulf Rainer posiert vor der Kamera. In zahlreichen Séancen arbeitet er performativ. In den theatralischen Posen und den dramaturgisch durchdachten Bewegungen zeigt sich seine Kenntnis der pathologischen Körpersprache. Der exzessive Ausdruck in den Körperinszenierungen basiert auf Abbildungen in Lehrbüchern der Psychiatrie oder auf psychiatrischen Patienteninformationen. Rainer ist sehr interessiert an der enormen Ausdrucksfähigkeit seines Körpers, setzt sich mit absurder und übertriebener Physiognomie auseinander und erforscht dieses reichhaltige Feld an Attitüden, Motorik und Gestik.Die vorliegende Arbeit ist ein beeindruckendes Beispiel für die emotionale Intensität solcher Bilder. Die schwebend anmutende Figur, die übertriebene und dabei deutlich angespannte Pose und der starre in sich gerichtete Blick verstärken sich durch die feurige rote Linienführung. Diese verschränkt die Pose in sich selbst, ohne Ausweg. Die rote Linie, die schenke ich euch, könnte der Titel bedeuten."Bei diesen Schaustellungen bin ich in einem Zustand der Anspannung, einer nervösen Erregung. Später enttäuschen mich die starren Fotos...Es drängt mich den Bildern jene Dynamik und Spannung aufzumalen, die mich bei den Fotoaufnahmen erfüllte." (in: Arnulf Rainer Schriften, Hg. Corinna Thierolf, Ostfildern 2010, S. 84)(Christa Armann)
Lot 396
Rudolf HausnerEin starker Mann1937Öl auf Papier auf Hartfaserplatte; gerahmt51,5 x 73 cmMonogrammiert und datiert links oben: R.H. 37Bezeichnet oben mittig: Ein starker MannSigniert rechts oben: R. HausnerGalerie Zentrum, Wien;österreichischer PrivatbesitzAusstellungskatalog, Adam und Anima. Rudolf Hausner. 80 Jahre, 196. Sonderausstellung des Historischen Museums der Stadt Wien, Wien 1995, S. 64, Abb. Nr. 5;Hans Holländer (Hg.), Rudolf Hausner, Werkmonographie, Offenbach am Main 1985, Abb. S. 34.Hausner war das älteste Mitglied der Wiener Schule des Phantastischen Realismus. In seinen mythologisch geprägten Bildern spiegeln sich sein Interesse am Symbolismus, die Faszination für kinematographisches Sehen und psychische Introspektion wider. Er experimentierte mit surrealistischen, neusachlichen, pointillistischen und abstrakt-geometrischen Wirklichkeitsmodellen, ohne diese jemals vollständig zu übernehmen. Nach einer Art Vision während seines Kriegsdienstes begann er, vor allem autobiografische Motive zu verarbeiten.Noch in der Zwischenkriegszeit 1931-36 hatte Hausner bei Carl Fahringer und Karl Sterrer an der Wiener Akademie der bildenden Künste studiert. 1936 malte er in seinem ersten eigenen Atelier im Hanuschhof in Wien-Erdberg Bilder in impressionistischer und expressionistischer Tradition, wobei er sich besonders mit den Werken van Goghs und Paul Cézannes auseinandersetzte. In dieser "Erdberg-Phase" (bis 1939) beschäftigt er sich besonders mit sozialen Fragen und las Werke von Dostojewski, Zolá und Henri Barbusse.Das hier gezeigte Bild "Ein starker Mann" von 1937 datiert aus dieser frühen, noch experimentellen Periode, und ist, anders als seine fein gemalten, surrealistischen Werke ab Mitte der 1940er Jahre, ganz im Expressionismus verhaftet. Das Gesicht und der angespannte Arm des Mannes sind mit deutlich sichtbaren schwarzen Umrandungen definiert, die satten Farben der eher groben Gesichtszüge mit den starken Augenbrauen, die an Portraits Ludwig Kirchners erinnern, sind mit kräftigen, breiten Pinselstrichen aufgetragen. Im gleichen Jahr noch wurde Hausner zum österreichischen Bundesheer einberufen, ein Jahr später wurden seine Bilder mit einem Ausstellungsverbot durch die Reichskulturkammer belegt. 1941 wurde er von der deutschen Wehrmacht eingezogen. Während dieser Zeit kam es zu einem prägenden traumatischen Blockhauserlebnis in der russischen Tatra, das er in seinen späteren Arbeiten immer wieder aufgriff.1946 gründete Rudolf Hausner zusammen mit E. Jené, E. Fuchs, W. Hutter und F. Janschka eine surrealistische Gruppe im österreichischen Art Club; später schlossen sich noch A. Lehmden und A. Brauer an. 1959 folgte die Gründung der surrealistisch geprägten "Wiener Schule". Der von J. Muschik propagierte Begriff des "Phantastischen Realismus" setzte sich durch.(Ina Waldstein)
Lot 9
Rudolf WackerSträußchen (mit schwarzer Vase)1938Öl auf Sperrholz; gerahmt24,5 x 32 cmSigniert und datiert links unten: R. Wacker 38Rückseitig eigenhändig bezeichnet: B32 H24 1/2 / Rudolf Wacker / Bregenz / 1938 / "Sträuszchen" / (schwarze Vase)1938 bei der Galerie Schwarz, Bregenz, erworben;Privatbesitz, Lindau;Ruef München, 05.07.2001, Nr. 1377;österreichischer PrivatbesitzBregenz 1938, Galerie Schwarz, Weihnachtsausstellung der Vorarlberger KunstgemeindeMax Haller, Rudolf Wacker 1893 - 1939. Biografie mit dem Oeuvre-Katalog des malerischen Werkes, Lustenau 1971, Nr. 361 (ohne Abb.) Blumenstillleben nehmen in Wackers Œuvre einen besonderen Stellenwert ein. Während er in früheren Bildern noch die Schönheit blühender Pflanzen malerisch verewigt, gehören nach 1930 welke und verdorrende Blumen zu seinem bevorzugten Motivrepertoire. Von beeindruckender malerischer Raffinesse und tiefreichender Symbolkraft sind die Blumenbilder der letzten Schaffensjahre. Das kleine "Sträusschen" entstand im Oktober 1938, in jenem für den Künstler schwierigen Jahr, als bei ihm Hausdurchsuchungen und Verhöre durch die Gestapo stattfanden. Schon etwa ein halbes Jahr später sollte Rudolf Wacker seinem Herzleiden erliegen. Er starb am 19. April 1939.Berührende Worte aus dem Tagebuch des Malers spiegeln dessen Affinität zum Thema "Vergänglichkeit" und zur Symbolik verwelkender Blumen wider: "Verdorrte Sträusse - Sie haben nicht die gleissenden, aufdringlichen Farben frischer Blumen; stiller sind sie, wie aus Staub aufglimmend. Es liegt eine unbemerkte Schönheit in diesen im Sterben erstarrten Formen und nachglühenden Farben. Sie haben ihre sinnliche Üppigkeit verloren und - Symbole des Welkens und Vergehens, sind sie doch reich noch von den Spuren des Lebens und voller Bedeutung. Ich bin ja ein Anwalt der unbeachteten bescheidenen Dinge. Es ist ein kleiner Beitrag neuer Sujets, die nie von ungefähr kommen und ohne Sinn sind. Übrigens ist es unangenehm, neben den frischen Blumen der Vasen gemalte an den Wänden zu sehen; es ist aber ein anderes, die verdorrten im Bilde in bleibender Lebendigkeit zu halten." (Rudolf Wacker, Tagebuchnotiz, 10.11.1934)(Claudia Mörth-Gasser)
Lot 1668
A collection of British and world coins, medals and medallions, including a First World War 1914-15 Star to 'SS-15928 Pte. R. Warner. S.S.C.', a Victory Medal to '3741 Tpr. A. Hoare 1-L-Gds', a Sarawak J. Brooke Rajah one cent 1863, a Cyprus forty-five piastres 1928, a Woodside Ferry Contractors ticket 1862, a Meissen porcelain medal/coin celebrating Johann Sebastian Bach, dated 1923, a small group of year-type sets and other British commemorative coins, and an RAF medallion commemorating the Battle of London 1940-41.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 1728
Paul & Bente R. Withers 'British Coin-Weights: A Corpus of the Coin-Weights made for use in England, Scotland and Ireland', together with two other books on trade weights.This lot is subject to a Buyer’s Premium of 24.5% (including VAT @ 0%) of the hammer price. Purchased online via the-saleroom.com, this lot will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Lot 1781
An early Anglo-Saxon period sceatta, secondary phase, annulet cross type, obverse with degenerated radiate bust facing right, runic legend before, reverse with annulet cross, Abramson 14.10, variety P3c, series R obverse, weight 0.90g, with an old collector's ticket.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.
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