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Lot 49
Dinky, Matchbox, Revell Lego, Others - A collection of mainly unboxed diecast in various scales, plus a boxed vintage Lego set #6692 in a sealed Fair Plus box, and a boxed Revell Tornado 1:72 scale model kit. Lot also includes Matchbox Super Kings Plymouth Gran Fury; Dinky Toys Battle Lines VW KDF; Matchbox Battle Kings M1 Half Track and similar. All items are unchecked for completeness. Unboxed items are in Playworn condition.
Lot 6
Airfix - Four boxed plastic model kits by Airfix in 1:48 and 1:72 scale. Lot consists of AO4017 1:72 Bristol Blenheim; AO5125 Supermarine Spitfire Mk.Vb; AO5119 Supermarine Spitfire PT>XIX; and AO5122a Messerschmitt Bf109E - the latter 3 all in 1:48 scale. All models are in factory sealed boxes (therefore are unchecked for completeness),which appear in Very Good - - Near Mint condition with some storage wear. (4)
Lot 64
Oxford Diecast - A collection of 31 boxed diecast vehicles in 1:76 and 1:87 scale by Oxford Diecast. Lot includes American 1957 Mercury Turnpike Fiesta; 1956 Continental MKI; and MGZ002 in Steel/Mineral Blue. Models appear to be in Mint condition in Very Good - mostly Mint Perspex cases and carded sleeves. One model missing sleeve.
Lot 7
Revell -Two boxed 1:72 scale plastic model kits by Revell. Lot includes Revell #04340 Junkers Ju 290 A-5 'Seeadler'; and #04236 Handley Page Victor K Mk.2. Although unchecked for completeness the Victor is in an Excellent factory sealed box whilst the Junkers kit has parts in factory sealed clear plastic bags in a Good box. (2)
Lot 8
Revell -Two boxed plastic model kits by Revell in various scales. Lot includes Revell #04673 1:1444 scale Tupolev Tu-95"Bear D"; and #04849 1:32 scale BAe Hawk T.1A. Although unchecked for completeness both Revell kits are in Good - Very Good factory sealed boxes with some storage imperfections. (2)
Lot 1925
MAHOGANY PAGODA BRACKET CLOCK probably by Barraud, the painted dial with 7" chapter ring inscribed Barraud/London beneath a Strike Silent dial to the arch, on a brass, eight day, twin fusee movement with quarterly, musical chime playing to a nest of eight bells and striking to a ninth bell, the back plate and pendulum with floral engraving, the case with brass orb finials and feet, scrolling fretwork to the top, fish scale side panels and quarter columns, height 66cm, width 36cm, depth 21cm
Lot 7
Howard Hodgkin (1932-2017)For Edward 1984 debossed with the artist's initials and dated 1984acrylic and gouache on card laid on cardboard in found frame20 by 27.2 cm.7 7/8 by 10 11/16 in.Footnotes:A frontispiece cut from the exhibition catalogue Howard Hodgkin: Forty Paintings, 1973-1984, Whitechapel Gallery, London 1985, with a dedication written by the artist in pencil, 'For Edward Love from Howard 1985', was found inside the frame of the picture, which was discovered posthumously. This work will be included in the forthcoming catalogue raisonné being compiled by The Estate of Howard Hodgkin.ProvenancePrivate Collection, UKAcquired from the above by the present owner circa 1995A work that was only recently re-discovered and is completely fresh to market after having remained almost entirely unseen since the artist gifted the painting to its namesake in 1985, For Edward is a veritable lost treasure, which will be included in the forthcoming catalogue raisonné compiled by the artist's estate. It is amongst those rare paintings that embody the spirit of an artist at his zenith – negotiating scale, composition and colour with outstanding tact. With paintings residing in museums internationally, including the Museum of Modern Art, New York, the Museu de Arte Contemporanea de Sao Paulo, Brazil, and the Centro de Arte Moderna, Lisbon, this represents an opportunity to acquire a work of exceptional quality with unique provenance, by one of the most prominent and celebrated painters of the post-war period. Upon encountering Howard Hodgkin's paintings, the transcendent quality and extensive appeal of his style is palpable and evident. Mastering an orchestral sweep and dapple of the brush, Hodgkin's paintings are harmonic in their affect, and none quite so precisely composed as in the present work, For Edward, from 1984 – the same year Hodgkin stepped up to the international stage exhibiting in the British Pavilion at the Venice Biennale, before he would go on to win the Turner Prize in 1985. Hodgkin's virtuosic brushwork is exquisite and hypnotizing, and the present work is a truly compelling and succinct example of the artist's talent as it translates into his expressive mark. Emerging from the Bath Academy of Art at Corsham in 1954 under the pupilage of William Scott, Hodgkin was an influence unto himself. Early inspiration came in The New American Painting exhibition of Abstract Expressionist artists at the Tate Gallery in 1959, and the significance of Rothko's planes of colour is never far. Yet he shunned the flatness of American Modernism, pushing the painting out of its frame and creating abstract depths of field that translate as windows onto a vivid and luscious landscape. As his close friend, the acclaimed writer Julian Barnes once wrote: 'H.H.'s paintings are not narratives. Mostly, they are memories. But it is not a case of emotion recollected in tranquility. Rather, it is emotion recollected in intensity. In that sense his pictures are operatic' (Julian Barnes, Keeping an Eye Open, London: Jonathan Cape, 2015, 260). Produced in a hugely important year for Hodgkin, For Edward is exemplary of the later period of his career that the artist was entering in the mid-1980s. As hasty as the paintings appear, he was in fact renowned for the meticulous and slow nature of his work, with many paintings taking years to complete. In For Edward, the refined brushwork and teeming chromatic scales of green and orange are a delight to behold at such an elegant scale, and wonderfully speak to the Hodgkin's lifelong appreciation for Indian art and culture.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 18
Christo (American, Bulgaria 1935-2020)Store Front (Project) 1964 signed, titled and dated 64; signed, titled, dated 1964 and inscribed 1 Lampe 25w on the reverseenamel, pencil, charcoal, plywood, electric light, metal wire and plexiglas mounted on wood60 by 85 by 10 cm.23 5/8 by 33 7/16 by 3 15/16 in.Footnotes:This work is registered in the Christo & Jeanne-Claude archive.ProvenancePrivate Collection, Europe (acquired directly from the artist)Sale: Dorotheum, Vienna, Contemporary Art, 25 November 2009, Lot 3Acquired directly from the above by the present ownerOn the same day in June 1935, Christo and Jeanne-Claude were born into very different worlds – Christo Valdimirov Javacheff in Bulgaria and Jeanne-Claude Guillebon in French Morocco. Meeting in Paris in 1958, their personal and professional lives would be forever intertwined, eventually becoming the most important artist-duo of the second half of the 20th century. Their unique vision would bring their wrapped works and large-scale installations to cities and landscapes across the globe, including a final work to be presented in Paris in September 2021, L'Arc de Triomphe, Wrapped, posthumously in accordance with the artists' wishes. It is however in the artists' earlier Store Fronts and Store Front Projects where we can really begin to see this initial scaling-up of their unique aesthetic. A series of works that were initiated after their move to New York City in 1964, the present work Store Front (Project) from the same year is a delicate and thoughtful example of his preparatory works from this landmark series.After fleeing communist Bulgaria via Czechoslovakia and Vienna, Christo made his way to the French capital, where his quintessential style of wrapping cans, bottles and everyday domestic items was immediately established. In Paris, Christo gravitated towards the Nouveau Réalisme movement, joining the ranks of Yves Klein, Martial Raysse and Niki de Saint Phalle however soon after his marriage to Jeanne-Claude and the birth of their son, the young family decide to emigrate to New York. Initially installing themselves at the Chelsea Hotel, renown home-from-home for many artists, they would eventually move to a loft in downtown Manhattan, gifting the Chelsea Hotel owner with one of his Store Front Projects as collateral for the bill. To-scale shop façades created from wood and painted in a variety of colours, each Store Front was preceded by detailed architectural maquette-like sketches, typical of Christo's lifelong working process. The present work is a rare and intricate example of these preparatory works, with every detail of the eventual Store Front replicated: from the precise to scale measurements to the metal grill on the windows and the internal lights illuminating the colourful interior. Born from the Show Cases Christo was already creating from found medicine cabinets in Paris in 1963, the Store Fronts should be understood as their scaling-up. Similar to the evolution of the early Wrapped Cans or Packages, which would eventually evolve into projects such as The Pont Neuf Wrapped (1979), the Store Fronts recall the imposing architecture of New York City. 'The result was enigmatic, architectonically elusive, evocative: Store Fronts were of great beauty, possessed of quiet melancholy and a sense of loneliness that recalled the work of American painter Edward Hopper or the boxes of Joseph Cornell. The pervasive sense of mystery [leaving] the observer wondering what was behind the façades' (Jacob Baal-Teshuva, Christo and Jeanne-Claude, New York 2001, p. 27). If the Show Cases are understood as the precursor to the Store Fronts, the Store Fronts are understood by the artist as precursors to the Valley Curtains in Colorado (1972) and the Running Fence in California (1976). It is in the Store Fronts that the concept of internal and external space is initially explored, 'the store fronts radiate a kind of suspense, as if the blocked windows or the closed door might admit one if you only knew the hours of opening. However, our perceptual and physical links are arrested as the invitation stays unfulfilled. What Christo [and Jeanne-Claude have] done is to turn physical space into psychological response, as the façade becomes a wall, absolutely cancelling the inside... [They] cancel the internal space that we anticipate and define space as what is between us and the glass. The spectator's investigative, voyeuristic impulse is converted into an experience of himself, as an object in space' (Lawrence Alloway, Christo, New York 1969, p. VII). The Store Fronts act as a vehicle for our conceptual understanding of space in direct relation to our surroundings. Diverging from the work of the Minimalists, Christo's approach to space is specifically architectural, addressing our every-day interactions to the world around us and how we manipulate and manoeuvre within that space daily. Like the wrapping of the Pont Neuf or the Valley Curtain, the Store Fronts force the viewer to renegotiate their relationship to that space both physically and psychologically. The familiarity of these buildings and spaces is ruptured by the artist's intervention forcing us to confront our own physicality.While as much technical drawings as they are works of art in their own right, the preparatory works represent a lasting testament to the fleeting nature of their monumental culminations. The present work is a rare example within the Store Front Projects in its inclusion of internal light-fittings, its internal illumination bringing the potential of this project to life. The precise architectural nature of the Store Front Projects is evidence of Christo and Jeanne-Claude's unique vision as sculptors but also as visionaries who have made the world's cities and landscape their canvas. Christo's work has been celebrated in the world's most important museums with his Store Fronts and Store Front Projects found in some prominent collections including the Museum of Modern Art, New York, the Hirsshorn Museum, Washington D.C., the Kaiser Wilhelm Museum, Krefeld, Germany and the Museum of Contemporary Art, Los Angeles. His work can also be found in the collections of the Art Institute of Chicago, the Tate Modern, London and the Centre Pompidou, Paris, where the artist's work is currently being exhibited in a landmark retrospective, where an entire room has been dedicated to the extraordinary Store Fronts and Store Front Projects.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 555
Small Victorian silver fusee lever pocket watch, London 1856, the movement signed Jn'o Smith, 13 Goswell Road, London, no. 131, with engraved balance cock, steel three arm balance and silvered regulating scale, the dial signed Jn'o Smith, 7 Bridgewater Sq'r, London, 131, with Roman numerals, minute track and subsdiary seconds, blued steel hands, within an engine turned case with engraved cartouche, case maker J.H (Joseph Hirst), 42mm (in need of attention)
Lot 15
λ John Shinnors (Irish b. 1950) Rising Kite, Clare Island Cycle Oil on canvas Signed lower right, titled verso 143.5 x 284.5cm (56¼ x 112 in.)Painted in 1998.Provenance: Corporate collection, UKTo view a video of this lot, click here. Born in Limerick in 1950, Shinnors spent time in the early 1970s studying at the Limerick School of Art under influential local artist, Jack Donovan. Combining juxtaposed abstract shapes with familiar motifs such as lighthouses, cattle, sheep, scarecrows and kites, the present work is a seminal example of Shinnor's bold expressive style. He is known for his three-tone colour schemes executed on a large scale and his use of contrast with light and dark pigments lend both balance and a sense of pattern to his work. He has cited Rembrandt and Vermeer as central to his understanding of the interplay between light and shade. Shinnors developed his mature abstract style in the early 1990s moving away from a more realist approach of earlier years. The emblematic kite has since become a recurring theme in his painting and, as the artist himself explained, one that was central to his artistic development: '...I was in Kilkee, out on George's Head. It was a miserable day, with a grey mist over everything. Looking down, there was a tiny white figure moving against the rock, and I saw a flash of yellow in the sky. It was a child playing with a kite, and something clicked. It had all the elements - the human presence, air, sky and sea, a kind of dynamic interaction, and me, an interpreter, which is what I count myself as now...' (Shinnors in conversation with Aidan Dunne, John Shinnors, Gandon Editions, Kinsale, 2002, p.18). The present work, painted in 1998, on the mountainous Clare Island off the coast of County Mayo, returns once again to the powerful image of the kite - in its monumental form, the kite whilst always recognisable, becomes one with the harmonious juxtaposition of shapes and forms that complete the composition. Shinnors has exhibited widely across Ireland, represented by Taylor Galleries in Dublin. His work is held by numerous public and private collections such as the Arts Council of Ireland, Ulster Museum, Belfast, Limerick City Art Gallery and the National Self Portrait Collection. He has also been involved in supporting the visual arts in Ireland with the Shinnors Scholarship for an MA in Curatorial Studies in partnership with LIT, LSAD and Limerick City Gallery of Art and the Shinnors Drawing Award at LCGA. Condition Report: In overall very good original condition. Some (original) traces of pencil in the upper right corner. A few scattered brown spots of surface staining predominately to the area of white paint, lower centre. Unframed as originally intended. Some minor scuffs to the outside edges of the canvas. Some very slight craquelure to the grey paint at the centre of the right hand edge and again to the area of dark blue paint along the left hand edge. Please refer to the department for detailed images of these areas.Condition Report Disclaimer
Lot 53
λ Bill Jacklin (British b. 1943) Cherry Tree with Dog, Great Lawn Oil on canvas Signed, titled and dated 99-00 verso 198 x 244cm (77¾ x 96 in.)Provenance: Marlborough Fine Art, London Acquired from the above by the current ownerTo view a video of this lot, click here.Royal Academician Bill Jacklin initially studied graphic design before going back to painting, firstly at Walthamstow School of Art and then the Royal College of Art between 1964 and 1967. Whilst his early work centred on abstraction, from the mid-1970s onwards Jacklin moved towards figuration with a particular pre-occupation with the interplay between light and shadow and movement. The present work depicts Great Lawn, Central Park in New York. Jacklin moved to New York in 1985 where he focussed on producing 'urban portraits' of city life in all its different forms. Jacklin's depiction of Great Lawn owes as much to classical painting and influence of the French impressionists as it does to late the 20th century. His flowing, almost dreamlike figures, so reminiscent of Seurat's pointillist figures from over a century before, endow the work with a timeless quality. The artist captures a moment in time, the blurred figures suspended momentarily, the artist an unseen observer capturing that moment before the characters move along. In her essay from 1999, Phoebe Hoban asserts that Jacklin is "obsessed with the choreography of the moment; its blurred geometry of motion, its fleeting waltz of time." (from The Connected Vision, Marlborough, New York catalogue). The scale of the canvas in Cherry Tree with Dog, Great Lawn serves to envelop the viewer in the scene, inviting us to immerse ourselves for a moment in their world, whilst always remaining an observer. Jacklin was elected Royal Academician in 1991. Condition Report: There is a small concentrated area to the lower right corner where there are four or five isolated spots of flaking, the largest being approx. 2cm long. Also visible along the lower right corner edge are very light traces of uneven varnish. Otherwise, the work appears to be in good original condition with no evidence of retouching or repair when examined under ultra violet light. Condition Report Disclaimer
Lot 1
SEAN RICE (1931-1997); a monumental bronze and copper sculpture, 'Ancient Figure', on polished black slate base, signed to back of neck, height approx 102cm. (D) Footnote: This and the following six lots were produced by Sean Rice, one of Liverpool's foremost modern artists working in the city throughout the latter 20th century along with Arthur Dooley. He studied Fine Art at the Royal Academy School in London between 1951 and 1953 and was also a lecturer in sculpture at Liverpool School of Art. He set up a bronze casting studio in the grounds of his home near Everton's Goodison Park football ground and also ran a gallery near the Pier Head and Liver Buildings that operated throughout the 1980s and 1990s. The scale of these figures is unusual and we are very familiar with his work having sold the studio contents of the artist several years ago. The sculptural form and use of mixed materials combined with equally highly polished and raw aspects result in dramatic and appealing works.Additional InformationA few knocks to the extremities but overall in good order. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 1013
Irish mahogany stick barometer, the silvered scale signed I. Ribaldi, Limerick, over a flat trunk with fluted canted sides to the turned hemispherical cistern cover, surmounted by a broken triangular arched pediment and brass urn vase finial; also a mahogany wheel barometer/thermometer, the 8" silvered dial signed Paul Corti (Exeter) on a plate screwed to the dial, surmounted by an onion top (2)
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185385 item(s)/page