There are 186097 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA BOX CONTAINING A QUANTITY OF AIRFIX FIGURES IN HO & OO SCALE, featuring a selection of different military groups from history this includes, Paratroopers S23-69, Waterloo French Imperial Guard S49, Waterloo British Artillery S46, American Indians S8, RAF Personnel S47, plus six additional in sealed bags without box, contents of boxes not checked and in poor condition
A QUANTITY OF BOXED AND UNBOXED MODERN DIECAST VEHICLES, boxed items include Revell 1/18 scale Mercedes 500 SL-32 Convertible, No.8801, Lledo Days Gone, Oxford Diecast, Atlas Editions, unboxed items to include Matchbox Models of Yesteryear, Lledo Days Gone, Corgi, Majorette etc., but also includes four Hong Kong made late 1960's/early 1970's F1 racing car models (possibly Zylmex or Playart)
A QUANTITY OF BOXED AND UNBOXED AIRFIX OO/HO PLASTIC SOLDIER FIGURES, contents of boxes not checked but all contain some of the correct soldiers, some of which have been painted to a fairly good standard, quantity of loose figures including ones from the boxed sets and other similar sets, boxes are a mixture of styles but all have some damage and wear, with a quantity of unboxed and assorted 1/32 and similar scale plastic soldier figures, mainly Airfix but also includes mounted and standing Timpo Arab Desert Fighters and Kelloggs Little John figure, all in playworn condition, some with minor damage and/or missing weapons and accessories (3 boxes)
A QUANTITY OF UNBOXED AND ASSORTED PLAYWORN DIECAST VEHICLES, to include a quantity of assorted heavy plant and equipment models by Joal and Majorette, assorted diecast by Dinky, Corgi, Matchbox, Majorette etc., small quantity of boxed modern diecast vehicles and an unboxed Ertl diecast large scale John Deere 2765 tractor with front loader (2 boxes & loose)
A BOXED MATCHBOX FRUEHAUF HOPPER TRAIN MAJOR PACK NO. M-4 AND ONE OTHER, red painted cab with grey trailer and red rims, accompanied by its inner packaging and outer box, all looks to be present, loss to paint on the truck, paint being lost the inside of the trailers at the bottom, outer box worn and signs of possible damp conditions to the inside box, together with a boxed Corgi Saints 1:50 scale MAN TGA XXL Box Trailer no. CC13406, looks to be unboxed, just wear to box on sides and edges, discoloured plastic window on box
THREE BOXED MAISTO 1:18 SCALE GT RACING CARS, Audi R8R Le Mans (1999), No.38881, B.M.W. V12 LMR (1999), No.38882, Audi R8 Le Mans-Sieger (2000), No.38899, with a boxed Mattel Hot Wheels 1:18 Cadillac CMP, No.29225, all appear complete and in very good condition and look to have hardly ever been removed from boxes, which are all complete and in fairly good condition with only minor damage and wear (4)
A QUANTITY OF BOXED ASSORTED CORGI TOYS 1970'S FORMULA 1 RACING CARS, No's. 150 - 156, 158 - 161, with a similar scale boxed Polistil Ferrari T5, No.E122,all appear complete and in good condition with only very minor paint loss, marking and wear, decals in good condition, Polistil Ferrari complete with unused decal sheet, all the Corgi models contained in red and yellow Whizzwheels or later window boxes, all with interiors but many have different degrees of damage, marking and wear to outer boxes, Polistil box damaged, some with original price sticker or price written on boxes (12)
A BOXED PART CONSTRUCTED AIRFIX 1930 BENTLEY 4.5 LITRE SUPERCHARCHED RACING CAR PLASTIC CONSTRUCTION KIT, Series 20 No.20440-8, 1/12 scale, contents not checked but majority of major parts appear present, with instructions and part used decal sheet, with a vintage boxed part constructed Monogram Classic 1934 Duesenberg Model SJ Weyman Torpedo Phaeton car plastic construction kit, No.PC81.298, 1/24 scale, contents not checked but majority of major parts appear present, with instructions, with an empty box for a Lego Technic Liebherr R9800 Excavator, No.42100, contains a very small quantity of parts but does include instructions books 1 and 2 for this model, damage and wear all boxes (3)
A QUANTITY OF UNBUILT AND PART BUILT AIRFIX AND OTHER AIRCRAFT PLASTIC CONSTRUCTION KITS, contents not checked, the Airfix kits are in type 3 and type 4 boxes and are 1/144 scale Boeing 727 (x2), Vickers VC-10 and Heinkel Hc111 H-20, two Nu-Bee 1/100 kits Yak-24 Assault Helicopter and Il-28 Jet Bomber, both boxes still sealed with original Sellotape, with six empty Airfix & Tamiya kit boxes that contain Airfix Header Cards, odd pieces, instructions, assorted decal sheets, empty plastic sprue etc., mix of type 3 and4 boxes, damage and wear to majority of the boxes (12)
A Steinway & Sons Grand Piano, overstrung scale Pat December 20 1859, May 28 1872, New York, with Repetition Action Pat. November 30 1875, Duplex Scale Pat. May 14 1872, and Capo D'Astro Bar Pat. November 30 1875, with elaborately carved music sheet stand, raised on fluted baluster legs, length 187cm Please note this lot is offered for sale in accordance with the Ivory Act 2018, Trevanion Auctioneers & Valuers LLP have applied for an exemption licence for the ivory in this lotRef: 6MU416KX
A well matched set of twelve mahogany Hepplewhite style dining chairs, to include a set of seven George III chairs and five further chairs circa 1910, each chair with an arched top rail applied with beaded detail above an ovoid pierced splat and a serpentine drop-in upholstered seat, re-covered in blue fish scale pattern fabric, raised upon reeded front legs of tapering square section and plain back swept rear legs united by an 'H' cross stretcher, to include two carver chairs, 96cm high, seat height 45cm CONDITION REPORT: These appear to be a very well matched set with the only contrasting differences between the seven George III examples and the later examples being a slight variation in patina, wear and weight. There appears to be little wear however scuffs, scratching, general blemishes, and minor losses can be seen to the legs. The frames appear particularly sturdy and would withhold a good weight. Seat frame height approx 43cm. Height including seat cushion approx 48cm high.
ANN CARRINGTON (BRITISH B.1962)PEARLY QUEEN OF ST JAMES'S PALACEacrylic and pearl buttons hand sewn on black linen, in artist's perspex box120 x 110cm (47 x 43¼ in.)"Interestingly, the most reproduced work of art in history is not the Mona Lisa. Sculptor Arnold Machin's portrait of the Queen has sold more than 200 billion copies since it was issued in 1967 as the new UK postage stamp. The Machin design has become instantly recognisable - an iconic piece of 20th century design.Collecting stamps as a child, I always found the Machin image strikingly beautiful. As the years went by, this humble stamp I unthinkingly attached to hundreds of envelopes became invisible to me with familiarity, yet gave a sense of continuity.A few years ago, while mulling these things over, a letter arrived at my studio. On a whim I removed the stamp, photographed it and projected the image on to the wall, blowing it up to the size of a small Royal Mail van. On this scale the printing dots looked like buttons, which got me thinking of another great London establishment - the Pearly Kings and Queens.Combining these two threads of thought, my first Pearly Queen was born. A Machin stamp was enlarged on to black canvas and embroidered from pearl buttons specially dyed in a kaleidoscope of high-pitched disco patchwork colours. It was commissioned by Jacob Rothschild in celebration of the Queens 80th birthday, and now hangs in Waddesdon Manor as part of the Rothschild Collection.Elton John, Gwyneth Paltrow and the Earl of Westminster have all commissioned Pearly Queens, but making a queen for the Queen(!) was the pinnacle. Created as a special commission for the Queen's Diamond Jubilee, and made to complement the crimson velvet and golden button banner for the Royal Barge, the stamp artwork hung in the Queen's waiting room.You can't just reproduce Machin's beautiful postage stamp of the Queen - even if it is a hundred times bigger and made from velvet and buttons. One has to have an official licence. Every one of my Pearly Queens is officially licensed by Royal Mail Ltd and The British Postal Museum Archive."- Ann Carrington
Laurence Stephen Lowry R.A. (British, 1887-1976)Girl Walking oil on panel19 x 6.5 cm. (7 3/8 x 2 1/2 in.)Painted circa 1965Footnotes:ProvenanceThe Artist, October 1974, by whom gifted to Daphne Cordelia Ives, thence by descentLaurence A. IvesHis sale; Christie's, London, 24 November 2000, lot 53Private Collection, U.K. ExhibitedStalybridge, Astley Cheetham Art Gallery, L.S. Lowry: Works from Public & Private Collections, 15 November-10 December 1983, cat.no.53Salford, Salford Art Gallery, L.S. Lowry: Centenary Exhibition, 16 October-29 November 1987Girl Walking is a fleeting figurative study painted during the mid-1960s, by which point Lowry was exploring individual and groups of figures at close quarters. The heavily populated images of the urban North that had cemented the artist's reputation were rich in their variety of people, both young and old, going about their everyday lives from afar. In the present work, the artist has plucked one such figure from the street and placed them under the microscope so that they can be observed intimately. The scale of the work is refined with the girl dominating the pictorial space, apparently walking at speed as she passes through the composition with one foot veering off the panel. She appears lost in her own thoughts and is unaware of our presence despite her proximity to us. Her face is distorted, which both enhances the sense of movement and at the same time acknowledges her position as one of many similar characters going about their business and populating Lowry's world. As in many compositions of the time, the girl has been placed against a plain white background, so she becomes the sole focus. In discussing works such as Girl Walking, Michael Howard has commented that 'his people are individualised in a way that his earlier inhabitants of the urban scene were not. Unlike his industrial figures, they are not set in a specifically urban framework; the world they inhabit is nebulous, uncertain and empty, as mysterious and ambiguous as they are themselves' (Michael Howard, Lowry, A Visionary Artist, Lowry Press, Salford, 2000, p.195).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
Henry Moore O.M., C.H. (British, 1898-1986)Recumbent Figure bronze with a brown patina on a wooden base13 cm. (5 1/8 in.) long (excluding the base)Conceived in 1938 and cast in bronze prior to 1948, in an edition of 9Footnotes:ProvenanceMarion and Gustave Ring, Washington D.C.Private Collection, New YorkWith James Goodman Gallery, New YorkWith Waddington Galleries, London, 2004, where acquired by the family of the present ownersPrivate Collection, U.K.ExhibitedFlorence, Forte di Belvedere, Henry Moore, 20 May-30 September 1973 (another cast)Caracas, Museo de Arte Contemporáneo, Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, March 1983, cat.no.E85 (another cast)Washington D.C., Hirshhorn Museum and Sculptural Garden, Selections from the Collection of Marion and Gustave Ring, 17 October 1985-12 January 1986, cat.no.35 (this cast)Jerusalem, The Israel Museum, Focus on the Collection: Henry Moore, July 2004-March 2005, cat.no.8 (another cast)LiteratureRobert Melville, Henry Moore: Sculpture and Drawings, 1921-1969, Thames and Hudson, London, 1970, p.100, cat.no.174 (monumental stone version illustrated, pp.100-101)Franco Russoli and David Mitchinson, Henry Moore Sculpture, With Comments by the Artist, London, Arthur A. Bartley, 1981, p.74, cat.no.121 (col.ill., another cast)Exh.cat., Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, Museo de Arte Contemporáneo, Caracas, 1983, p.100, cat.no.E85 (col.ill, another cast)Virginia Wageman (ed.), Selections from the Collection of Marion and Gustave Ring, Smithsonian Institution Press, Washington, D.C., 1985, cat.no.35, (coll.ill., as Reclining Figure)David Sylvester, (ed.), Henry Moore: Complete Sculpture, 1921-1948, Lund Humphries, London, 1988, Volume 1, p.11, cat.no.184 (monumental stone version illustrated, pp.112-113, no. 191)It is alleged that James Bolivar Manson, director of the Tate Gallery between 1930 and 1938, once said 'Over my dead body will Henry Moore ever enter the Tate'. Yet just one year following his retirement, the Tate (under the directorship of John Rothenstein) gladly accepted Moore's large green Hornton stone carving Recumbent Figure of 1938. Of all Moore's work perhaps, this carving (for which the present work is a maquette) came to symbolise not just Moore's output but to act as shorthand for modernity in 20th Century Britain.Recumbent Figure was commissioned by the architect Serge Chermayeff, who was building himself a modernist home on the Sussex Downs. The carving was to be positioned at the intersection of Chermayeff's terrace and garden, the connection point between his contemporary architecture and the ancient rolling countryside beyond. Moore recalled 'My figure looked out across the great sweep of the Downs and her gaze gathered the horizon. The sculpture had no specific relationship to the architecture. It had its own identity and did not need to be on Chermayeff's terrace, but it so to speak enjoyed being there, and I think introduced a humanising element; it became a mediator between modern house and ageless land' (Henry Moore in Sculpture in the Open Air, British Council film, 1955, transcript reprinted in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations, Aldershot 2002, p.258–9).Chermayeff ran into financial woes, and Recumbent Figure was returned to the artist, from whom it was purchased by the Tate in 1939. The carving was immediately shipped to New York to be showcased at the British Pavilion of that year's World's Fair, and due to the outbreak of war this intended brief excursion turned into a several-year-long stay. The work was displayed at MOMA and this unplanned circumstance greatly bolstered Moore's reputation in North America. The museum's director wrote in 1946 'It was with great regret that we saw it leave. It had won wide esteem among the museum visitors.' (John James Sweeny, letter to John Rothenstein, 7 March 1946, Tate Public Records TG 4/9/568/1).Following Recumbent Figure's return to the UK, the carving was featured in Battersea Park's first open-air exhibition, where again it drew much attention. Vogue magazine featured the work across its pages alongside sharply dressed models, appropriating Moore's carving as a symbol of the newness so appreciated by its fashion forward readership. In contrast, cartoonists satirised the figure, and in this context the carving's status as a modern icon was subverted to poke fun at politics of the day. Through such broad exposure the carving soon became one of the most famous modern works within the Tate's collection, a status confirmed when its image was included prominently as part of the tiling display at Pimlico station.At the time Moore carved the four-and-a-half-foot Recumbent Figure it was his largest and most ambitious work to date and only made possible by his recent move from Hampstead in London to Burcroft in Kent. The larger studio-space, ability to work outdoors and the hiring of Bernard Meadows as an assistant enabled Moore to increase the scale of his work substantially. To aid this new practice Moore produced a maquette for Recumbent Figure in clay. This is the first time in his career that he adopted a method of scaling up, which would become a mainstay of his sculptural practice thereafter. Meadows recalled that he and Moore attempted, unsuccessfully at first, to cast the clay maquette to lead in a meadow field at Burcroft. Moore subsequently cast the clay to a bronze edition in 1945, to which the present cast belongs.Not only does Recumbent Figure represent one of Moore's earliest maquettes, most importantly it possesses one of the earliest instances of piercing the form, a major development of a highly important device the artist would frequently draw upon throughout his career. Speaking of this progression at the time, Moore stated that 'The first hole made through a piece of stone is a revelation. The hole connects one side to another, making it immediately more three-dimensional. A hole can have as much shape-meaning as a solid mass. Sculpture in air is possible, where the stone contains only the hole, which is the intended and considered form' (Henry Moore, 'A Sculptor Speaks', Listener, 18 August 1937, pp.338–40).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
Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure No. 6 bronze with a brown patina on a stone base22 cm. (8 5/8 in.) long (excluding the base)Conceived in 1954 and cast in bronze in 1956, in an edition of 12 plus 1 artist's proofFootnotes:ProvenanceWith Marlborough Fine Art, London, circa late 1950s, where acquired byPrivate Collection, U.S.A.Private Collection, U.K.LiteratureIonel Jianou, Henry Moore, Arted, Paris, 1968, p.79, cat.no.346Robert Melville, Henry Moore: Sculpture and Drawings, 1921-1969, Thames and Hudson, London, 1970, n.p., cat.no.487 (ill.b&w, another cast)Alan Bowness (ed.), Henry Moore Volume 2: Complete Sculpture 1949-54, Lund Humphries, London, 1986, p.45, cat.no.337 (ill.b&w, another cast)John Hedgecoe, Henry Moore, A Monumental Vision, Collins & Brown, London, 1998, p.216, cat.no.308 (col.ill., another cast)Reclining Figure No.6 represents the culmination of a focused examination by Moore of one of his most fundamental themes, the reclining figure. This examination is displayed across a concise group of maquette-scaled figures, numbered 1 to 6 and executed between 1952 and 1954. Moore utilises a variety of treatments across this small group, and together they display the vast breadth of Moore's concern with this motif.Some of the group nod towards classicism, rendered naturalistically and clothed in drapery with precisely described details such as hands, faces and hair. Others recall primitive and ancient carving, with symbolist features that draw upon the Mayan chacmools which had many years prior first ignited Moore's fascination with the reclining form. Some, including Reclining Figure No.6, are abstracted to a greater degree. Their figural forms appear to have been mined from within the sculptor's material itself and are most attuned to Moore's concern with landscape. The legs and arms are denoted by piercings and negative space, hips, and shoulders by refined planes of mass. Their bodies are composed of great peaks and valleys, they are diminutive in scale, but substantial in presence.It was this specific form, Reclining Figure No.6, which Moore deemed so successful that he scaled it up to an eight-and-a-half foot elmwood carving, Reclining Figure of 1959-64 (now in the collection of The Henry Moore Foundation). Over his career Moore carved just six great reclining figure elmwood carvings, the first in 1935, the last in 1978. They are generally considered some of his finest work, in which the artist's control of the wood's broad grain to articulate the undulations of flesh is perhaps the strongest demonstration of his credence of truth to material. Five of the six Elmwood carvings, including the one relating to the present work, are in international museum collections.Interestingly, the maquette for Reclining Figure No.6 (now in the collection of The Henry Moore Foundation) was formed from a skeleton of plaster, over which the artist applied a surface layer of wax. This was an experimental use of materials for Moore, but highly successful. The sturdiness of the plaster allowed for a dynamic architectural form, awarding the figure a powerful rhythmic presence, yet the pliable wax layer affords a finer degree of refinement resulting in a highly nuanced surface.It should be noted that Moore's preoccupation with the present form began with the maquette in 1952-3 and peaked with completion of the elmwood carving in 1964. This period straddles one of Moore's greatest commissions, the monumental 16-foot UNESCO figure of 1956-8 carved in travertine marble. The two compositions share several features such as the enlarged and planed shins, which counterbalance the visual weight of the upright torso, and the alert, raised head which sits above a series of ovoid holes formed by poised limbs.Other casts from this edition are in the collections of the Montréal Museum of Fine Arts, The Henry Moore Foundation and the Milwaukee Art Museum.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
Adrian Heath (British, 1920-1992)Red Painting signed and dated 'Heath 62' (lower right)oil on canvas91.8 x 96.2 cm. (36 1/8 x 37 7/8 in.)Footnotes:ProvenanceWith Hanover Gallery, London, where acquired by John Weeks, 1962, and thence by descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Hanover Gallery, Adrian Heath, 12 December 1962-12 January 1963, cat.no.10'Alterations are frequent, shapes amalgamate or divide, new colours are superimposed or old ones intensified. These alterations are caused by the reaction of the painter to the physical aspect of his work, and to the demands that they seem to make as well as to the mood that they create within him. It is the ability to develop and finally unite both mood and structure that gives to that work its meaning and identity.' (Adrian Heath, Introduction to Statements Exhibition, I.C.A., 1956, quoted in Adrian Heath, Recent Paintings, Hanover Gallery, London, 1959).During the early 1960s Heath's work increased in scale, the largest seen to date, resulting from his reaction to the American abstract expressionists and in particular the work of Willem de Kooning and Robert Motherwell. But unlike the Americans, Heath's paintings emerged from his preliminary drawings, either of landscapes or figures, and in this sense were not as spontaneous as they first appear. The period witnessed noticeable change in Heath's paintings, at a time when Hanover Gallery in London staged three separate exhibitions from 1959-1962. By the final instalment, softer more fluid forms had taken over from the geometric, hard-edged shapes Heath had built his early career on, as evident in the present work.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
Mary Martin (British, 1907-1969)Six Groups signed and dated 'Mary Martin '63' (verso)stainless steel, Formica, wood and painted wood relief91.5 x 91.5 x 9cm (36 x 36 x 3 1/2in)(unframed)Footnotes:ProvenanceWith Molton & Lords Gallery, London, 1964, where acquired by Dennis Lennon, thence by descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Molton & Lords Gallery, Mary Martin, February 1964, cat. no.14Mary Martin was an innovative Constructivist artist, part of an avant-garde group which included Victor Pasmore, Robert Adams, Adrian Heath, Anthony Hill and her husband Kenneth Martin, who she had met while studying at the Royal College of Art. Martin explored the possibilities of making constructed abstract art, often using the medium of the relief and three-dimensional forms to do this, beginning from the early 1950s onwards. She is best known for her complex reliefs which used square and rectangular shapes organised in different permutations often to dazzling effect, exploring the many combinations she could create from the repetition of one simple element, which later focussed on the cube. As she herself wrote in 1957, 'the end is always to achieve simplicity'.Six Groups is a particularly striking example of Martin's signature style, and at 91.5 x 91.5cm, it is larger in scale than the majority of her other reliefs. This work was included in her solo exhibition at Molton and Lords Gallery in 1964, where Martin showed a number of related relief constructions. The common unit for all these works was the right-angled wedge, created from a cube of wood cut diagonally in half, with the rectangular surfaces then covered in a thin sheet of stainless steel, each set at 45 degrees. Set against an impressive background of black Formica, the reflective surfaces of the stainless steel are arranged to catch the light at numerous different angles. As David Sylvester noted in the catalogue essay accompanying her exhibition at Molton and Lords in 1964: 'The wedges are juxtaposed with the reflecting surface facing in all the various possible directions, so creating jagged contrasts of light and shadow which change as the spectator's position or the direction of the light changes.' (D. Sylvester, Mary Martin, Molton & Lords, 1964, n.p.) Despite creating a relief using hard, industrial materials in geometric shapes, Martin creates a sense of movement and rhythm into which the viewer is drawn to interact. The present work takes its title from the six groups of sixteen wedges which are arranged in a four by four formation. The groups have then been arranged asymmetrically on the Formica background, allowing the negative spaces to fill the remaining areas of the square. Six Groups shares with all Martin's reliefs an underlying mathematical logic, and she used principles informed by the Golden Section, Fibonacci sequences and pendulum permutations to devise the complex patterns she created.The present work has a special and interesting provenance, having been acquired from Molton and Lords Gallery in 1964 by the architect Dennis Lennon. Dennis Lennon was one of London's leading architects and designers in the 1960s. After a distinguished career in the war, his first job was with Maxwell Fry. Following this he became director of the Rayon Design Centre, where he offered the up-and-coming young designer Terence Conran his first job after seeing his end-of-term show. He set up his own practice in 1950, and was one of designers for the 1951 Festival of Britain. Examples of his furniture designs are in the collection of the Victoria and Albert Museum, and from 1963-1998 he was the set designer for many productions at Glyndebourne. He was also responsible for co-ordinating the design for the Cunard ocean liner the Queen Elizabeth II in the 1960s. In 1968, House and Garden magazine illustrated Six Groups hanging in situ in Dennis Lennon's home, Hampermill House. He was a great patron of the arts, and bought many pieces from up-and-coming artists of the time, and knew Francis Bacon, John Piper and Graham Sutherland.Particularly striking and impressive, Six Groups is a formidable example of Martin's best work, and the scarcity of her reliefs means that the chance to acquire one is a rare opportunity. A similar work, Spiral, also created in 1963 and exhibited alongside Six Groups in 1964 at Molton and Lords Gallery, is in the collection of the Tate, London, who acquired it directly from the above exhibition in 1964.We are grateful to Dr. Susan Tebby and the Estate of Mary Martin for their assistance in cataloguing this lot. A full analysis of the mathematical systems used in Six Groups by Dr. Susan Tebby is available on request.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
Patrick Heron (British, 1920-1999)White and Green Upright : August 1956 signed and titled 'Patrick Heron/White + Green Upright/August 1956' (on the stretcher)oil on canvas91.4 x 50.8 cm. (36 x 20 in.)Footnotes:ProvenanceWith Waddington, Galleries, LondonPrivate Collection, U.K.ExhibitedSt Ives, Tate Gallery,Patrick Heron: Early and Late Garden Paintings, 20 March-3 June 2001LiteratureAndrew Wilson,Patrick Heron: Early and Late Garden Paintings, Tate Publishing, London, 2001, p.27 (ill.)Mel Gooding,Patrick Heron, Phaidon Press, London, 2002, p.106 (col.ill.) White and Green Upright: August 1956 is a painting that belongs to a key moment in both Patrick Heron's life and the development of British art. In April 1956, just a few months before the present work was painted, the artist and his family settled at Eagle's Nest, the home he purchased from Mark Arnold-Forster. It was here, in close proximity to his friend and fellow artist Bryan Wynter and five miles west of the artists' colony of St Ives, amongst the hills overlooking the Cornish village of Zennor, that Heron found his idyll. This corner of west Penwith had captivated numerous people before, including D.H. Lawrence who wrote 'When I looked down at Zennor, I knew it was the Promised Land, and that a new heaven and a new earth would take place' (James T. Boulton (ed.), The Selected Letters of D.H. Lawrence, Cambridge, 1997, p.123).In January 1956 Modern Art in the United States arrived on British shores and caused a sensation at the Tate. Heron reviewed the exhibition, which included Jackson Pollock, Mark Rothko, Robert Motherwell and Willem de Kooning amongst others, for Arts and there can be little doubt it had a revelatory impact on both him and his peers. The scale of the works and the confidence with which they were composed meant he was 'instantly elated by the size, originality, economy and inventive daring of many of the paintings'. However, as an accomplished artist himself, Heron was confident enough to stress his view that there was a lack of resonance in their colour. This is perhaps not surprising given his grounding in European art, shaped by the formalist criticism of Roger Fry alongside the work of great Cubists and Fauves, their canvases imbued with vivid hues. He was also a keen admirer of another American artist, Sam Francis, who as a Tachiste alongside the likes of Hans Hartung and Pierre Soulages advocated gestural painting of a softer kind than Abstract Expressionism. The arrival at Eagle's Nest in 1956 marked a move away from figuration and the embracement of abstraction as Heron saw it. The property had been described as a 'painter's garden' owing to the spectacular planting undertaken by Arnold-Forster during his prior ownership and Heron clearly felt this to be the case with much of his work from the period drawing on the rich outdoor landscape and his own reference to 'Tachiste Garden Paintings'. White and Green Upright: August 1956 predominantly incorporates the colour scheme of its title in vertical planes across the surface with subtle tones and variations of red, yellow and black also introduced to give layered complexity. We may consider the ocean to also be at play here with Heron describing how it acted as a gigantic mirror around the property, 'brilliantly silver, and reflecting white light upwards. To have the rocks and the bushes illuminated from below, from a glittering reflector which is over 600 feet beneath one, and many miles wide – is a special experience' (Patrick Heron quoted in Michael McNay, Patrick Heron, Tate Publishing, London, 2002, p.38).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
Maqbool Fida Husain (Indian, 1915-2011)Mother-V printed Chinese signature upper left and signed and edition 16/100 versohand painted in silk screen203.5 x 101.5cm (80 1/8 x 39 15/16in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceArcher Graphic Studio, Ahmedabad. These works come from Husain's Chinese scroll series that he created between 2005-2009. They are a set of 29 large-scale serigraphs featuring two of his iconic themes, Mother Teresa and horses. Husain painted them, after which they were developed into silkscreens and were mounted onto black scrolls so that they could be hung like traditional Asian paintings. The series which included 18 and 11 prints of Mother Teresa and horses respectively, debuted as a complete collection in an exhibition that travelled to Dubai, Singapore, Beijing and Shanghai.In this series, Husain is paying homage to both East Asian artists and Mother Teresa. It was in 1952 that Husain visited China and was struck by ancient Chinese pottery and paintings, in particular that of the Sung dynasty renderings of horses and by the works of Xu Beihong. The dramatic monochromatic lines had the deftness of certainty yet also the fluidity of motion. Husain remained fascinated with the subject throughout his life, his early encounter with a horse being in his childhood when he saw the procession to mourn and commemorate the Prophet's grandson, Husayn ibn Ali, when an effigy of Husayn ibn Ali's horse was carried through the streets. As Husain has best surmised 'My horses, like lightening, cut across many horizons, hop across spaces, from the battlefield of Kerbala to Bankura terracotta, from the Chinese Tse Pei Hung horse to St Marco's horse, from the ornate armoured Duldul to the challenging white of Ashvamedha...the cavalcade of my horse is multidimensional.' (M.F Husain, 1987)Husain's first encounter with Mother Teresa was in 1979, when he met her at Delhi airport. She left a deep impression on him and become one of his most famous protagonists. The theme of motherhood was close to Husain's heart having felt the absence of his own mother, who died whilst he was an infant. Mother Teresa therefore represents ideal motherhood, nourishment, empathy and strength, however she is always painted without a face, as if to represent all mothers. The children are often seen clinging to her arms and clothes, a closeness that Husain wished he had with his own mother.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Jules Pierre van Biesbroeck (Belgian, 1873-1965)Mother and child; Sisters two works, both signed 'JBiesbroeck' (lower left); both with artist's exhibition labels (on the reverse)oil on panelone 85.5 x 34.5cm (33 11/16 x 13 9/16in); the other 86 x 28.5cm (33 7/8 x 11 1/4in). (2)Presented in the artist's original frames.Footnotes:Born in Italy in 1873, Jules Pierre Van Biesbroeck was the son of the painter Jules Evarist Van Biesbroeck. The family re-settled in Ghent when Jules was two, and like his father, he studied at the Academy of Fine Arts in Ghent, exhibiting his first painting at the age of just 14. On his Salon debut in 1888, Van Biesbroeck created a scandal with his large scale work, Le lancement d'Argos, which depicted nude figures, which had to be covered with drapery in order to be shown. Despite this, the young artist received 'special mention'.Van Biesbroeck was recognised for both his painting and sculpture, receiving awards and recognition throughout his career, as well as regular commissions. He was chosen to represent Belgium at the Universal Exhibition in Paris in 1900. Fleeing Belgium on the onset of the First World War, the artist settled in Bordighera in Northern Italy.Van Biesbroeck's first exposure to Orientalism came with a visit to North Africa in 1926, followed by a visit to Algeria in 1927, which radically altered the artist's style. The artist lived and worked in Algiers from 1929-1938, establishing a studio, 'La Volière', which became famous throughout the city.In 1938 Van Biesbroeck returned to Ghent where he remained until his death in 1965.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
NO RESERVE Norfolk.- Milne (Thomas) A Topographical Map of the County of Norfolk, Reduced... from the Large Map in Six Sheets, engraved county map with outline hand-colouring, 605 X 895 mm (23 3/4 x 35 1/4 in), dissected and mounted on linen, some spotting and surface dirt, minor offsetting, folding into marbled slipcase with owners printed label to upper cover 'Frederic Lane, Lynn', spines splitting and very worn, 8vo, William Faden, 1803; together with 2 parts only (of 3; lacking western section with calligraphic title) of Greenwood's large scale map of Somerset, with fine vibrant hand-colouring, in book-style slipcase, and a two-sheet Ordnance Survey map of Lincoln and Hull, published by J. Wyld, folding into slipcase, 8vo, 19th century (3)
NO RESERVE Yorkshire.- Teesdale (Henry) To the Nobility, Gentry & Clergy of Yorkshire, this map of the county constructed from a survey commenced in the year 1817 & corrected in the years 1827 & 1828 is respectfully dedicated by the proprietors, large scale county map in 3 sections, engravings with original hand-colouring, each section approx. 1830 x 735 mm (72 x 29 1/2 in), each section dissected and mounted on linen and edged with green linen, some missing, several splits and tears to folds crudely repaired verso, scattered spotting and browning, some off-setting, surface dirt, folding with marbled end, very worn, 4to, 1828.
A collection of brass snuff boxes, mid 18th century to mid 19th century, to include an oval example inscribed 'Thomas Glyde 1727', 10cm wide, a rectangular example dated 'January 1842', 11cm wide, and another rectangular example inscribed 'Europe & America United 1858', 7.5cm wide,together with two brass pocket sovereign scales, comprising an example dated '1782', and another with foliate engraving, each 13cm wide (16)Condition ReportThe hinge section is not attached to the 1782 sovereign scale and requires attention. Knocks, wear and tarnishing throughout commensurate with age and use.
An ebony and ivory octant,mid 19th century, by Norie & Co, London, with an ivory scale and name plate, housed in a fitted ebonised case stamped 'S.F. Harrison', 9.5inches wide (24cm) IMPORTANT NOTEThis lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.This item has been registered as exempt from the UK Ivory Act 2018, on account of it being made before 3 March 1947 with less than 10% ivory by volume. Ivory declaration submission reference: CQ14N495.Condition ReportRegister 8 plaque worn, paper label to inside of case worn, discoloured and with losses.Case worn, catch missing, wooden panels loose.
A scale model of a twin piston four stroke engine, 3 inch brass flywheel, green painted rocker cover and block with steel rockers, brass side exhausts, central brass carburettor, copper water pipe and brass fittings, rectangular black pained water tank and polished steel fuel tank on bracket supports, the whole mounted on a wooden base with perspex cover, size of base 32 x 20cm.
A scale model of the 37 foot 'Rother' Class lifeboat 'Horace Clarkson' RNLN 37-34: fully detailed with radar masts and aerials, hatches , buoys and fittings, fitted for remote control, in RNLB orange, red, blue and white, raised on turned column supports on a plinth base, overall size, 70 x 96cm.
A scale model of the 16th century Merchant House, Exeter 'The House That Moved' with title roof and brick chimney over to timber framed three story house with fitted interior and fixtures and fittings, on a flagstone base 87 x 43 x 46cm.*Notes- 16 Edmund Street, Exeter was originally known as 'Merchant House' and was built around 1450. A new traffic scheme in the 1950s posed a threat to the house and after a successful local campaign it was moved 70m to West Street.
Loading...
