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Lot 13
LÉONARD TSUGUHARU FOUJITA (1886-1968)Femme allongée, Youki signed and dated 'Foujita 1923' and further signed in Japanese (lower left); signed 'Foujita' and further signed, inscribed and dated in Japanese (on the stretcher)oil on canvas50 x 61.2cm (19 11/16 x 24 1/8in).Painted in Paris in December 1923Footnotes:ProvenancePrivate collection, ParisPrivate collection, Paris (a gift from the above in the 1930s).Thence by descent to the present owners.ExhibitedParis, Palais à la Porte Maillot, Salon des Tuileries, 1924.Paris, Musée de Montmartre, Léonard Tsuguhuaru Foujita et l'Ecole de Paris, 10 April - 23 June 1991, no. 14 (later travelled to Tokyo). Dinard, Palais des Arts du Festival, Foujita, le maître japonais de Montparnasse, 27 June - 25 September 2004, no. 51.Kawamura, Kawamura Memorial DIC Museum of Art, Léonard Foujita et ses modèles, 17 September 2016 - 15 January 2017, no. 16 (later travelled to Iwaki, Niigata & Akita).Paris, Musée Maillol, Foujita, peindre dans les années folles, 7 March - 15 July 2018, no. 79. LiteratureF. de Miomandre, 'Foujita', in L'Art et les artistes, Paris, Vol. XXIII, no. 120, October 1931 (illustrated p. 14; titled 'Femme couchée' and dated '1924').S. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 23.30 (illustrated pp. 29 & 187).In the three decades from the Meiji Restoration until the turn of the century in 1900, Japan had changed in the most profound way. Closed off to the Western world throughout the Tokugawa shogunate, Japan had maintained the purity of its traditions in a way that seemed unimaginable to its contemporaries in the melting pot of central European culture. This was certainly true of the Arts, as painters and craftsmen revived and refined the ancient styles of painting, wood-blocking and porcelain production. When Japan threw off this self-imposed isolation in the 19th Century, a new wave of painting was promoted by the government to reflect the cultural rebirth and global reintegration: yoga, or Western, style. Artists were now encouraged to travel to Europe, seeking an exchange with their French, Dutch and Italian counterparts, returning to Japan well-versed in the aesthetic developments they had encountered there. One young artist who set off on this journey of discovery was Tsuguharu Foujita. However, he did not return to Japan shortly after his training in Paris: he went on to become one of the leading figures of the European avant-garde. By blending both Eastern and Western canonical traditions, and elevating them with a talent entirely of his own, Foujita remains one of the most significant figures to emerge from this period of cultural exchange. Born not long after the reopening of Japan to the West, Foujita trained as a yoga painter at the Tokyo National University of Fine Arts and Music, and shortly thereafter moved to France with the intention of immersing himself in the art and culture of Paris, the epicentre of the international art scene. Perhaps Foujita's intentions were never to return to Japan bringing with him an understanding of the current French practice, but it soon became clear upon his arrival that he would not be satisfied with mere artistic reportage. Within a decade of his arrival in 1910, Foujita had attained critical success, and was a leading light of the Montparnasse scene, alongside his friends and fellow artists Amedeo Modigliani, Chaïm Soutine, Pablo Picasso and Fernand Léger. The end of the First World War in 1918 brought with it a new dawn in Paris. As Fernand Léger described it, 'man could finally lift his head, open his eyes, look around him and enjoy once again a taste for life' (Léger, quoted in S. Buisson, Léonard Tsuguharu Foujita, ACR Edition, Vol. I, Paris, p. 80). The Grand Palais reopened the following year, after spending the war as a barracks, and a Salon d'Automne was organised in which Foujita took part alongside some of the great names of the day: Matisse, Bonnard, Marquet. Foujita became a regular fixture at the annual Salons, and through these occasions he began to gain greater and greater acclaim. After the heartache of losing his close friends Amedeo Modigliani and Jeanne Hébuterne in 1920, Foujita threw himself ever more fervently into the practice of his art. He gained critical success for his serene still-lifes, and portraits embodying both his Eastern traditions and the most thrilling elements of the avant-garde. By the time the current work, Femme allongée, Youki, was exhibited in the Salon des Tuilieries in 1924, Foujita was at the very height of his 'golden-age'. Painted in 1923, the present work is one of the most alluring of Foujita's grands nus: a series of medium and large-scale canvases depicting the odalisque of the European tradition, seen through the prism of the Japanese painter's unique vision. Around 1920 Foujita moved away from the brighter palette he had adopted during the 1910s, and developed a restrained palette of greys, browns, blacks and creamy whites. Foujita even created a technique called nyhakushoku, or 'milky white', that he used to paint the serene tones of his nudes' skin. He employed these almost monochrome hues with devastating effect: in the present work, Foujita has used a smoky black to depict the background of the bedroom, throwing his sitter's alabaster skin into stunning contrast. Upon close study the subtle variations in her skin tone become clear, the shell-pink of her nipples and lips, and the shadows highlighting her breasts. The warm brown of her wavy hair identifies the sitter as Lucie Badoud, or 'Youki' as she was called affectionately by Foujita. The close perspective takes the viewer into the bed itself, enveloped in the soft grey ripples of the bed linens and the darkness of the intimate space Foujita has created. Youki gazes directly at the viewer, as if looking in to the eyes of her lover. The Japanese writer Teiichi Hijikata remarked that 'the skin [of Foujita's nudes] has the smooth and sparkling surface of porcelain, containing all the charm of white with none of the coldness' (Hijikata, quoted in S. Buisson, ibid., p. 96).Foujita had noted that the nude was all but absent from Japanese art, and that he had made a conscious decision to focus on the subject, looking to the greats of the Western canon, for whom the female nude had been a cornerstone since the Italian Renaissance. In 1921 the artist travelled to Italy, and encountered many of the great Western paintings so admired throughout the centuries. Painters like Michelangelo, Titian and Raphael were to become as important for Foujita's artistic development as Picasso and Modigliani had been during the preceding decade. It is likely, for instance, that Foujita would have seen The Venus of Urbino during this formative trip, and one cannot behold Femme allongée, Youki without recalling the direct gaze and gently downward tilting face of Titian's golden-haired beauty. Foujita's obsession with the female nude during the early 1920s can be seen partly as a response to his discovery of the Old Masters, but also as a conceptual choice very much tied to his Japanese heritage. Foujita applied the Japanese concept of Geidō, which means 'the way of art', to his practice. This concept encompassed the idea of an artist only attaining greatness through an apprentice-like devotion to perfecting technique. He believed that only through applying himself with an almost monkish devotion to his practice, could he then introduce an element of individuality and creative greatness to his work. This goes some way to explain Foujita's somewhat repetitive 'self-copying', as Sylvie Buisson refers to it, (S. Buisson, op. cit., p. 92), where the artist returned ... 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 24
TATO (GUGLIELMO SANSONI) (1896-1974)Lo Stormo signed 'Tato' (lower right); signed and inscribed 'Ali fascisti sull'oceano Tato' (on the reverse)oil on canvas46 x 66.6cm (18 1/8 x 26 1/4in).Painted in 1931Footnotes:The authenticity of this work has kindly been confirmed by the Archivio Tato, under the guidance of Generale Salvatore Ventura.ProvenancePrivate collection, Rome.ExhibitedRome, La Camerata degli Artisti, Prima mostra di aeropittura dei futuristi, 1 - 10 February 1931, no. 34. Paris, Galerie de la Renaissance, Enrico Prampolini et les aeropeintres futuristes italiens, 2 - 16 March 1932, no. 112.Rome, Palazzo Valdina, Tato Futurista. Inventore dell'aeropittura, 21 November - 6 December 2019.Tato was born Guglielmo Sansoni in Bologna in 1896, and would go on to become one of the principal protagonists of the Italian 20th Century movement, Aeropittura.Inspired by the revolutionary spirit of the first wave of Futurism, Tato began creating artworks in the early 1920s that depicted the new Italy. Scenes of the city at night, speeding trains and experiments in Cubist-inflected compositions populate his early work, and display the clear influence of Severini, Boccioni and the group responsible for the 1909 manifesto. The young artist in fact held a mock funeral for himself, where he mourned the 'death' of Guglielmo Sansoni, and celebrated in turn the 'birth' of Tato – a clear demonstration of the Futurist ideal of renewal and a break from the weight of Italy's cultural past. In 1922 he met Filippo Tommaso Marinetti, who of course was a towering figure in the artistic movements that sprang up in the wake of Futurism, and the meeting would accelerate Tato's development of his now-celebrated form of Futurism alongside his fascination with flight. Together they published the Manifesto of Aeropainting in 1929, formalising the interest in flight that Tato, and a number of other young artists, had been exploring in the preceding years.Tato's works define the notion, set out in this manifesto, that 'the changing perspectives of flight constitute an absolutely new reality, one that has nothing in common with the reality traditionally constituted by earthbound perspectives'. His investigation of flight led to the creation of a great number of works tackling the new view of the world from above, such as the present work, Lo Stormo of 1931. Depicting the flight of sea planes, this work is one of three pieces of the same title: a preparatory gouache, a medium-sized canvas (the present work) and a large-scale canvas. This was typical of Tato's process when he was particularly convinced of the success of a composition. Indeed, the present work was selected by the artist to be included in the first Aeropittura exhibition, where the canvas was displayed alongside works by Balla, Dottori, Fillia and Prampolini, and embodies the stylized vision of this boundary-pushing artist.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 1400
Corgi - Saints Finely Detailed Ltd Edition Haulers of Renown Scale 1.50 Model Man TGA XXL Box Trailer - Saints Transport CC13406 + Corgi Blue Circle Cement Scale 1.50 Ltd Edition. 75902 Leyland DAF Powder Tanker. Both with Original Boxes and Certificates, As New Condition - Please Confirm with Photo.
Lot 1401
Corgi - Classics Collection of Boxed Ltd Edition - Detailed Diecast 1.50 Scale Models for Adult Collectors. All In Never Used Condition, with Papers and Certificates ( 5 ) In Total. Comprises 1/ 16304 Crow Carrying Company Scammell Highwayman Tanker. 2/ 97971 Foden 8 Wheel Rigid Robsons of Carlisle. 3/ 98600 General Motors 4502 Pacific Greyhound Lines. 4/ 54603 A.C.Transit GM 5307 Passenger Coach. 5/ 97887 Chipperfields Circus Bedford O Articulated Horse box, Includes Replica Poster. All In Nr Mint Never of Box Condition with Certificates.
Lot 1402
Corgi Classics Collection of Boxed Ltd Edition Detailed Diecast 1.50 Scale Models for Adult Collectors - All In Never out of Box Condition with Papers and Certificates. ( 5 ) In Total. Comprises 1/ 97840 Shell Mex / BP Scammell Highwayman Tanker. 2/ 98451 Mark CF Pumper - Berwick. 3/ 98453 Mack B. Series Van Breyer. 4/ 97930 ERF Tanker, Blue Circle. 5/ 98458 White Brewery Truck Jacob Rupperts. Please See Photo.
Lot 1403
Corgi - Classics Collection of Boxed Ltd Edition Detailed Diecast 1.50 Scale Models for Adult Collectors. All In Never out of Box Condition, with Papers and Certificates. Comprises 1/ London Brick Company 24502 Leyland 8 Wheel Platform Lorry with Bricks. 2/ 97179 Burlingham Seagull Coach Banfield Coaches. 3/ T34701 Nottingham City Transport Karrier W. Trolly bus Set. 4/ 97870 Karrier W4 Trolley Bus Newcastle-Upon-Tyne Corporation. 5/ 98465 Burlington Railways Yellow Coach 743. All Never out of Box Condition - Please Confirm with Photo.
Lot 1404
Corgi Classics Collection of Boxed Ltd Edition - Detailed Diecast 1.50 Scale Models for Adult Collectors. All In Never out of Box Condition, with Papers and Certificates. Comprises 1/ 97810 Weymann Single Deck Bus - Leicester City Transport. 2/ 14501 Blue Circle Cement Foden 521 Closed Tipper. 3/ 29101 Guy Invincible 8 Wheel Platform Lorry with Canvas Blue Circle Cement. 4/ A.E.C Regal Wallace Arnold Coach 98162. 5/ Corgi Heritage Collection 73201 Shell Berliet GLR8 Citerne Oil Tanker. All In Excellent Condition - Please Confirm with Photo.
Lot 1405
Corgi Classics Collection of Boxed Ltd.Edn. Detailed Diecast Scale Model Coaches (Public Transport), five in total comprising 1/ Van Hool T9 Caelloi Motors AN 45904, 2/ 97870 - Karrier W4 Trolleybus, Newcastle upon Tyne Corporation, 3/ 97801 Sunbeam W Utility Trolleybus, Maidstone Corporation, 4/ 97824 Daimler Fleetline, Birmingham City Transport, 5/ Island Transport - 97741 Two Jersey Bedford OB Coaches. All models with boxs and certificates, and in 'nevner out of the box' mint condition
Lot 1406
Corgi Classics: Collection of Diecast Scale Models, all boxed and in 'never out of the box' mint condition, comprising 1/ 71403 Renault Faineant Fourgon Calberson, 2/ 97303 Bedford O Articulatted Traveller with replica poster, 3/ 97781 Tate and Lyle Set, Foden Tanker and Bedfoed O Series, 4/ Bass Model T Van and Thorneycroft, 5/ 'We're On The Move' Swanson to Leicester Coach and Renmovals Van, 6/ Open Top - Regent Coach Set 97050. All models in 'never out of the box' mint condition with papers/booklets
Lot 133
Two Anglo-Indian style measuring canes Various dates late 19th/early 20th century The first an Anglo-Persian silver and malacca systems walking stick, monogramed "SDMM," the cap unscrewing to reveal compartment with thermometer, missing ferrule; and the second a silver-plated white metal-mounted malacca systems cane, opening to a tubular weighing infant Portia Read spring scale, the handle decorated with pseudo-Tropical scene, with steel ferrule. (2).L: 35 1/2 in. (longest) PROVENANCE: The collection of award-winning independent film director Larry Clark, New York.
Lot 60
Le Corbusier and Pierre Jeanneret'Committee' table, model no. LC/PJ-TAT-14-B, designed for the Assembly and Administrative Buildings, Chandigarh, 1963-1964Teak-veneered wood, teak.74 x 362 x 137 cmFootnotes:ProvenanceThe Assembly, ChandigarhLiteratureEric Touchaleaume and Gerald Moreau, Le Corbusier Pierre Jeanneret, The Indian Adventure, Design-Art-Architeture, Paris, 2010, pp. 246-47, 582A UNIQUE HARMONY by architect John O'SheaBuilding the future'It was a matter of occupying the plain. The geometrical event was, in truth, a sculpture of the intellect ... It was a tension ... a battle of space, fought within the mind. Arithmetic, texturique,1 geometrics: it would all be there when the whole was finished' (Le Corbusier, Modulor 2).Following Indian Independence and the resulting partition of India and Pakistan in 1947, a new administrative capital was needed for the Indian Punjab. Prime Minister Jawaharlal Nehru proclaimed that the building of the new city of Chandigarh was to be 'symbolic of the freedom of India, unfettered by the traditions of the past ... an expression of the nation's faith in the future'. The commission was originally awarded to the American architect Albert Mayer, but after he withdrew from the project, Le Corbusier was approached to work on a masterplan for the new city. Here was the opportunity the great architect had been waiting for since the 1920s: to construct an entire city and thus fully realize his thesis on urban design. After complex negotiations, Le Corbusier agreed to accept the commission on condition that his cousin, and collaborator since 1922, Pierre Jeanneret serve as project architect: 'In 1922 I joined forces with my cousin, Pierre Jeanneret. With loyalty, optimism, initiative and persistence, with good humour ... and in league with the resistance forces of the age we set to work. Two men who understand each other are worth three who stand alone. By never pursuing lucrative goals, by refusing to make compromises, but, rather, being in love with our passionate quest, which is what makes life worth living, we have managed to occupy the entire field of architecture, from the minutest detail to the vast plans of a city' (Le Corbusier, Design 3).The team had a colossal task: to deliver the masterplan, which included infrastructure, landscaping and buildings for uses related to education, government, healthcare and recreation, as well as housing for all of the city's new inhabitants. Le Corbusier saw himself as the 'Spiritual Director' of the project and appointed himself two main tasks: shaping the masterplan and designing the Capitol Complex, the group of buildings dedicated to governance. Jeanneret's role was to run the site office at Chandigarh, overseeing the design and construction of the city as an integrated whole. The MasterplanFaced with the challenge of planning a new city for 500,000 people on a vast rural site, Le Corbusier turned to geometry and his recently patented invention, the Modulor, a proportional system for design based on a set of measurements – relating to the 'golden section' (a ratio of approximately 1:618) – taken from a 'universal' human form, Modulor Man. 'On the 28th March, 1951, at Chandigarh, at sunset, we had set off in a jeep across the still empty site of the capital – Varma, Fry, Pierre Jeanneret and myself. Never had spring been so lovely, the air so pure after a storm the day before, the horizons so clear, the mango trees so gigantic and magnificent. We were at the end of our task (the first): we had created the city (the town plan). I had noticed then that I had lost the box of the Modulor, of the only Modulor strip in existence, made by Soltan in 1945, which had not left my pocket in six years ... A grubby box splitting at the edge.4 During that last visit of the site before my return to Paris, the Modulor had fallen from the jeep onto the soil of the fields that were to disappear to make way for the capital. It is there now, in the very heart of the place, integrated in the soil. Soon it will flower in all the measurements of the first city of the world to be organized all of a piece in accordance with the harmonious scale' (Le Corbusier, Modulor 2).The principles of Albert Mayer's original plan for Chandigarh that aligned with Le Corbusier's theories on urban planning were retained: differentiated zones for civic functions, with residential, industrial, business and governance activities separated by a circulatory transport system. The most radical of Le Corbusier's departures from Mayer's plan was the implementation of an ordered rectilinearity to the masterplan grid. This ordering was governed by the dimensions of a residential sector, a basic unit of 800 x 1200 meters derived from his mathematical system. Each of these sectors was designed as a self-sufficient neighborhood for living, working and leisure, and whose dimensions meant a person could walk to its centre from any point within ten minutes. The sectors were subdivided into 'villages' of around 150 houses – the size of a typical Punjabi village. At Chandigarh, the polemic plans of Le Corbusier's early speculations are tempered by the realities of the site and local context. The iconic towers of the utopian model are replaced with low-slung residential superblocks, and the traffic systems are designed to accommodate native modes of transport including rickshaws and camels. The Capitol ComplexWe are in a plain; the chain of the Himalayas locks the landscape magnificently to the north. The smallest buildings appear tall and commanding. The government buildings are conjugated with one another in a strict ratio of heights and sizes ...' (Le Corbusier, Modulor 2).Le Corbusier envisioned the city as an organism and articulated the layout of Chandigarh accordingly. The Capitol Complex was analogous to the head, the commercial centre to the heart; the university and industrial areas at the city's peripheries were conceived as the limbs, and the green spaces the lungs, with everything connected by the 'arteries' of the transport network. A Complete Work of Art'I say it with pride. Finally, here at 67 years of age ... I was able to erect an architecture which fulfils day to day functions, but which leads to jubilation' (Le Corbusier, Sketchbook 3). The Chandigarh project was Le Corbusier's most important commission, a rare opportunity to create a Gesamtkunstwerk: a 'total work of art' encompassing masterplan, neighborhood layout, landscaping, construction, interiors and furnishings. In the very fabric of the city, and at every scale, lie Le Corbusier 's two great inspirations and disciplines: geometry and symbolism. The arithmetical ratios of the Modulor ensure a harmonious relationship between elements, but it is at the intimate human scale of Chandigarh's furniture, its interior 'equipment', that we can most directly experience the exactitudes and harmony of elegant proportions.The Committee TableThe other great source of Le Corbusier's inspiration was symbolism. Le Corbusier often distilled his design philosophy into elemental symbols. The recurring forms found in the architect's art and buildings were often inspired or directly generated by metaphor, symbol or figurative reference. The enamel-clad doors that form the entra... This lot is subject to the following lot symbols: † TP† VAT at the prevailing rate on Hammer Price and Buyer's Premium.TP Lots denoted with a 'TP' 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 23
Danny LaneUnique and monumental 'Mandorla' sculpture, 2003Hand-cut float glass, stainless steel. 312.5 x 82 x 25 cmFootnotes:Sacred Geometry by Nick WrightBy defacing the surface of glass Danny Lane invites one to look inside a material designed to be seen through. He makes the invisible visible. It began with a visit to Ron Arad's first shop, an old bicycle store, on Endell Street. Arad was showing tables made with scaffold bases and seeing the glass tops Lane felt he 'could do more'. He noticed a chipped sheet and, with Arad's agreement, took it back to his Hackney studio and polished the broken edge. The safe but still fractured line drew the eye into the seemingly infinite green breadth. Having used pliers to replicate accidental breakage, Lane set about the surface. He sandblasted swirls, whorls, scratches and stabs into the glass creating a 'sand blasted drawing'. The jagged pieces, redolent of industrial decline and social facture, sat well on Arad's scaffold bases – and with buyers. French critics coined the term 'ruinism'. Arad, an AA educated architect dislikes it. 'Destruction wasn't on the flag', he says. Lane is less resistant. 'Though the techniques were destructive, they opened up the material to reveal the beauty inherent, its soul'. Both shared a Duchampian quest for what Arad called 'the perfect line'. Designed in its entirety by Lane in 1985, the RSJ table comes close to describing that line. A massive steel RSJ serves as a cross-member. Bolted to one end is a plate of pliered glass, welded to the other an even larger steel. The rusted RSJ was sheared using a torch, ripped apart, then hammered by the industrial machinery that Lane was even then salvaging from London's bankrupt engineering industry.The RSJ table is elegant despite its scale, avant-garde despite his pillaging of a redundant industrial past for materials. Indeed, when his contemporaries were using scrap Victorian ornament to make whimsical, sometimes historicist, even New Romantic forms, Danny Lane created a brutalist monster piece that remains timeless because it is 'right'. Most designers would have produced a sizable edition. Lane made five, all different – of course - before continuing his own quest; to divine the depth of glass. He talks of a conscious break too from making furniture; 'How well I was misplaced'. An American, he had travelled throughout Europe as a young man, entranced by the stained-glass saints illuminating the windows of the great cathedrals. He came to the UK to study glass making under Patrick Reyntiens, took a degree in painting at the Central School of Art and Design, and only though a chance meeting with Ron Arad was he diverted into furniture. Design and art are, despite the protestations of many designers, not equivalent; why limit expression to the representation of a chair or lamp when the imagination is, or feels to be, limitless? That said, there is continuity between, and Danny Lane's career demonstrates this.Mandorla (a medieval architectural frame enclosing a sacred figure) has no utility beyond the aesthetic. Like any artwork its success must be measured in its ability to 'move' as David Hockney put it 'Art has to move you, design does not, unless it's a good design for a bus'. That and its originality. Mandorla succeeds when judged by the first criterion. The pliared edge of each plate draws the eye inside an interior seemingly illuminated by the cold light of a distant sun. Stood before the shard one sees one's reflection as if frozen within. Stand further back and the fall of layered glass awes, not with its scale or technicality of construction, but its elegance despite them. In aesthetic terms Mandorla is a success.In terms of originality the sculpture has antecedents; Danny Lane has done this before. The stacked glass sculptures that grace Canary Wharf, The General motors HQ, make up the balustrade in the Victoria and Albert Museum, and Mandorla itself, were prototyped in chairs he made in the 1980s. Danny Lane did not break with furniture design. He used techniques developed in furniture to continue his quest. That quest is to divine the depth of a material that has entranced him all his life, glass. It is by his own account a spiritual quest and one his work, furniture and sculpture, permits us to accompany him on. His work moves. Bonhams wishes to thank Nick Wright, the author of Cut and Shut: The History of Creative Salvage, London, 2012.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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 317
A fine and rare late 18th century mahogany stick barometer with one-inch diameter glass tubeJohn Russell, FalkirkThe flat top with moulded cornice over a hinged glazed door, the waisted trunk terminating in an oval cistern cover and set to the front with a well carved reeded column to protect the one-inch diameter glass tube, with brass Corinthian capital and base (with traces of original lacquer), terminating in a brass capital and base, the arched silvered one-piece dial (12ins x 5.5ins) surmounted by a hygrometer dial over twin scales, to the left a mercury Centigrade thermometer with oval bulb and to the right with 27-31 inch scale with eight weather predictions, with manual sickle-shaped vernier. 110m (43ins) high (1)Footnotes:John Russell, born c.1745-1817, was a highly respected clock and watch maker who in his later life rose to become Watchmaker to his Royal Highness the Prince Regent. A similar example also by Russell of Falkirk was sold in these salerooms on 14 July 2010, lot 48.For further information on this lot please visit Bonhams.com
Lot 272
Of Taymouth Castle Interest: A set of fourteen William IV carved oak dining chairsEach with overstuffed brass nailed back upholstered in red tooled morocco leather, centred by the Breadalbane crest depicting a Boar's head crest with the motto 'FOLLOW ME', the scrolled uprights carved with stylised laurel leaves above spiral twist mouldings with pierced trefoil dividing rails, the brass nailed sprung seats with later leatherette upholstery, with leaf lappet carved rails on octagonal tracery carved tapering front legs with Coronet capitals and gilt-brass strapwork cast castors, the back legs carved with paterae and overlapping leaf borders, the castors stamped 'COPE'S PATENT', one lacking castor, 53cm wide, 57cm deep, 100cm high (20 1/2in wide, 22in deep, 39in high). Footnotes:The West Wing of Taymouth Castle was extensively re-modelled by the architect James Gillespie Graham between 1837 and 1842. The Hall and Library were designed in the Gothic taste and the present chairs are shown in many photographs of this part of the castle. It is clear from Gillespie's diaries that the celebrated architect and designer Augustus Welby Pugin was working under his supervision, and it also has recently been discovered that the Edinburgh firm of Trotter executed many of Pugin's designs at Taymouth, some of which are in the Trotter Albums held by the National Archives of Scotland. Additionally, the London firm of J. G. Crace were involved in the decoration of the new rooms, although their invoices of 1842 show that they were not responsible for providing any furniture for the principal rooms.The Campbell clan were one of Scotland's greatest landowning families, owning castles at Holyrood and Inverary as well as Taymouth. Taymouth itself was built on a lavish scale and survives as one of the largest baronial castles in Scotland. The extensive phase of building and redecoration during the late 1830's was carried out in preparation for a state visit made by Queen Victoria in 1842. In her diaries the Queen described her grand reception in highland dress, huge crowds and guns being fired as 'one of the finest scenes imaginable'. She also went on to remark on the inside of the castle, saying that '...the whole of the house is newly and exquisitely furnished', describing the Banner Hall as follows, 'The dining room is a fine room in Gothic style and has never been dined in till this day. Our apartments are also inhabited for the first time.' (cf. John Kerr, Queen Victoria's Scottish Diaries, 1992, pp.27-37).At the end of the First World War the Breadalbane Estates were sold and many of the furnishings auctioned by Dowell's of Edinburgh during a six day sale (24-29 April 1922). The chairs may have formed part of lots 2907-2909 each described as '12 oak dining chairs the panel backs with carved foliage and Gothic borders, seats and backs in scarlet morocco upon carved supports', listed as being in the Baronial Hall. The copy of this catalogue in the National Art Library, London shows that they were bought in at 8I guineas each. Taymouth Castle was used as a hotel in the 1920's and 1930's and then requisitioned by the Government during the Second World War to be used as a convalescent home. After the war the Authorities turned it into a headquarters for Civil Defence Training in Scotland, and it has now returned to private ownership.Alistair Rowan, 'Taymouth Castle, Perthshire - II', Country Life, 15 October 1964, pp.978-981James Macaulay, 'The Gothic Revival 1745-1845', 1975, pp.193-8Paul Atterbury and Clive Wainwright (eds.), 'Pugin: A Gothic Passion', 1994, pp.49-51James Macaulay, 'The Architectural Collaboration between J. Gillespie Graham and A.W.Pugin', Architectural History, No.27, 1984, pp.406-420For further information on this lot please visit Bonhams.com
Lot 1549
James Hadley for Royal Worcester, a large scale porcelain figure of a female Grecian water carrier with impressed marks and purple factory stamp, H: 50 cm. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)Condition Report: Small flea bite to top of base, gilt wear to robe, otherwise no cracks, chips or visible restoration.
Lot 385
An early 19th century walnut and Dutch marquetry glazed hanging cabinet, the cavetto moulded top over a pair of arch glazed doors with brass clenched fist handle, enclosing two later shelves, flanked by glazed canted sides, decorated throughout with foliate, floral and scale marquetry, 40 x 8in. (101.5 x 20.25cm.), 30½in. (77.5cm.) high.
Lot 662
A Royal Worcester Dr Wall style bowl, late 19th century, with hand painted decoration of pheasants within shaped reserves, highlighted in gilt on cobalt blue scale ground, the central well with floral spray and insects, 6in. (15.3cm.) diameter; together with a Royal Worcester coffee cup and saucer, decorated with floral sprays, Royal Worcester mark to bases, dating to 1904. (3)
Lot 453
Corgi 1:72 scale Modelzone limited edition models, Battle of Britain Memorial Flight 1957 - 2007, comprising AA31930 Supermarine Spitfire MkIIA Serial P7350 'XT-D' boxed; AA32015 Hawker Jurricane MkIIC Serial LF363'YB-W', boxed and AA32614 Avro LAncaster Mk III 'Phantom of the Ruhr' Serial EE139, boxed (3)
Lot 455
Corgi 1:144 scale die-cast models, The Aviation Archive, AA31209 Avro Vulcan B.2, boxed; AA39404 Vickers Valiant B(PR) Mk.1, boxed; AA31603 Falklands 20th Anniversary Handley Page Victor K.2 - XL511 No.55 Squadron, boxed; AA33501 Boeing B-52C 'Stratofortress' 54-2672, 7th BW, Carswell AFB, Fort Worth, boxed; 1:72 scale AA38002 Fairchild A-10A Thunderbolt II - 74th Tactical Fighter Sqn, boxed and a 1:72 scale AA33408 Sikorsky HSS-2 Sea King, boxed (6)
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