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Four commemorative spoons relating to Kitchener, Joffre, French Beaty and another Kitchener together with an active service edition New Testament Bible in a silver plated cigarette case together with various badges to include second World War navigator wings, Victory Badge, Civil Defense Corps arm band and badge, various postcards and World War One handkerchief
Cocktail and evening wear belonging to our vendor's grandmother and mother. Dating back to the 1930's and 1960's some of these couture dresses are lacking labels.1. Two dresses handmade for the four feet eleven grandmother, believed to be living in Surbiton at the time with her politician husband, both mint green, they are beaded, one with a waist sash ribbon on a crushed velvet, L 38", W 26", Bust 30". The second a satin, linen lined shift dress with beaded separate over bodice, L 33", W 24", Bust 30". Our vendors mother shot to fame in the 60's, Lynn Annette Ripley, better known as 'Twinkle' had hits with 'Terry' and 'Golden Lights'. She married the actor and star of the man in the 'Milk Tray' advert for those old enough to remember!All the clothes are of high quality but succumbed to age in storage.2. A cream chiffon and glass beaded evening dress by 'Stavropoulos' of New York and Athens. Long sleeved, high neck with beaded belt, flowing dress, L 56", W 30", Bust 34".3. A beaded lace show costume, Length to hem 24", W 22", Bust 28".4. A black sequinned over floral patterned backless gown with gold leather gloves. The sequins carefully cut to draw out the pattern of the flowers. L 56", W 28", Bust 36".5. A French glass, heavily beaded full length evening coat, crepe lined. L 52", Bust 36".6. A silver metallic high neck evening dress with beaded bodice back and front. L52", W 26", Bust 30".7. A multi coloured floral boho smock dress. L 44", Bust 30".
§ Diane Thubron (British 20th Century) Necklace and Two Bracelets white metalDimensions:inner width of neckpiece 15.5cm (6 1/8in)Provenance:ProvenanceThe Collection of Ann Sutton O.B.E.Note: Diane Thubron is the daughter of renowned art educationalist Harry Thubron, who had been the founder of the 1960s Basic Course. College principals flocked to his short courses as students to discover his revolutionary methods. Ann Sutton met Diane Thubron when she was assisting her father at Barry Summer School. The pair became close friends, and for several years Sutton was invited to their mill house in Leeds for the holidays. Thubron was the oldest of four children, and Sutton reminisces on these times spent together as a family, “it was touching to see the Christmas tradition of Harry and the two youngest girls shutting themselves away in a room on Christmas Eve, and emerging several hours later with a magnificently decorated cake.” Thubron and Sutton found that they were hopeless at selling their own work, but could sell the work of the other with ease. So Sutton sold Thubron’s ground breaking silver jewellery, and Thubron sold the mohair stoles which Sutton was making at that time as a way of discovering the colour forms which occurred when the weft was tied in a resist and then dyed. Sutton describes the power of Thubron’s work, “Diane was a ground-breaker in her use of scrap silver. She assembled bits of silver chain, tube, bar, into dynamic combinations and new forms of bracelet structure which re-used silver watch chains as a base. We rewarded each other for our sales skills in kind, and I was thrilled to wear these genius pieces of salvage.” Her inclusion of scrap pieces in the bracelets was prescient, and may have been inspired by Kurt Schwitters.
§ Wendy Ramshaw C.B.E. R.D.I. (British 1939-2018) Three Part Ring Set, 2001 from the Indian Collection, 18ct yellow gold, silver, enamel with gold dust, amethyst, on a clear acrylic stand, the amethyst-set rings hallmarked for London 2001, the silver and enamel ring with import hallmarks for London 1992 Dimensions:Ring size: MProvenance:ProvenanceThe Estate of the Artist.
§ Wendy Ramshaw C.B.E. R.D.I. (British 1939-2018) Four Part Geometric Ring Set, 1994-1995 from Geometric Variation Series, silver, on a clear acrylic stand, hallmarked for London 1994 & 1995Dimensions:Ring size: OProvenance:ProvenanceThe Scottish Gallery, Edinburgh, 1997;Private Collection, UK.
§ Wendy Ramshaw C.B.E. R.D.I. (British 1939-2018) Twelve Hair Ornaments, 1989 silver, yellow metal, paper and gold leaf, from Ornaments for Woman With The Hair Net from the Picasso Series, ten hallmarked for London and stamped 925Dimensions:the largest 9cm wideProvenance:ProvenanceThe artist, where acquired from by the present owner circa 2006.Private Collection, UK.Note: LiteraturePicasso's Ladies: Jewellery by Wendy Ramshaw, Arnoldsche Art Publishers, 1998, cat. no. 9, seven of the hair ornaments illustrated. Ramshaw's inspiration for the hair ornaments was taken from Picasso's Woman with the Hair Net lithograph (1949-56) that depicts the young painter, Francoise Gilot, who Picasso met in April 1943. Ramshaw noted 'Soon after this meeting, her features appear in several drawings. This lithograph was made in 1949 in the same year their daughter, Paloma, was born. The portrait shows a beautiful pale face, large eyes and, to either side of the head, dark loops of hair clearly contained within a hair net'. In the publication Picasso Ladies it states that 12 works were made, but two of the works illustrated are not in this selection. It is likely that Ramshaw would have made more individual elements than would be required for her to make a final selection or further elements might have had to be made because of damage or further refinement of the composition over time (especially given that the full collection would have been exhibited on three separate occasions in London, New York and Germany). This might account for this anomaly with the work illustrated in the literature.
§ Breon O'Casey (British 1928-2011) Two Pairs of Earrings the first modelled in silver of cirular lattice design, hallmarked for Birmingham 1981, makers mark; the second of circular outline with beaded detail, makers mark only, white metalDimensions:lattice 3.5cm diameter (1 3/8in diameter); beaded 3cm diameter (1 1/8in diameter) approximatelyProvenance:ProvenancePrivate Collection, Scotland.Note: ‘Breon O’Casey is a man for all seasons. He thinks and feels with his hands and moves with apparent ease from two-dimensional to three-dimensional activities, from one medium to another, without losing the artistic integrity of his intent. Breon O’Casey’s sensitive observations of life, art and nature inform his rich personal, visual language and beautifully balanced prose. His respect for his immediate environment and for tradition have enabled him to move forward with a confident, quiet ease, creating a refreshingly honest approach to art. He is an artist who is prepared to wait for the right shape, for the right brushstroke or the perfectly chosen word to express his meaning’. (Peter Murray (1)) Breon O’Casey was a true polymath and was possibly unique in the combination of skills he possessed over so many mediums in a single career. He was a painter, printmaker, weaver, sculptor and jewellery maker and it is hard to think of any other contemporary artist and maker who was so broadly talented. Son of the playwright Sean O’Casey (1880-1964), Breon spent most of his career in Cornwall, where he was closely associated with many of the painters, potters and sculptors of the St Ives movement. He arrived in the coastal town in the 1959 and served artistic apprenticeships under sculptors Barbara Hepworth and Denis Mitchell, and was friends with leading artists such as Peter Lanyon, John Wells and Tony O’Malley. In 1999 O’Casey recalled: ‘One day, watching television, some time in the late fifties, I saw a film about Alfred Wallis…the film incidentally showed St Ives and the studios of the artists living there. I realised it was the place for me. I owned a small orange Ford van. I packed the van and went. St Ives! In those days it was still a working fishing port, with tourism and artists tolerated, but kindly tolerated. Coming from Torquay, where I had felt like a rhinoceros walking along the streets, the relief of mingling with other crazy artists was enormous…I felt secure and there was a sort of electricity in the air.’ (2) O’Casey’s abstract style was poetic and focussed on discovering the simplicity of objects and forms. For him there was ‘nothing new under the sun, but an infinity of arrangements’ and when asked about objects that captivated him it was ‘not the wood, not the tree, but the leaf; not the distant view, but the hedge; not the mountain, but the stone’. He would return to geometric motifs and natural forms again and again throughout his career and considered himself a ‘traditional innovator’, fascinated by ancient, primitive and non-western art, but imbuing it with his own poetic sensibilities and discoveries through all the creative channels he explored. Although often overshadowed by his St Ives contemporaries, O’Casey’s legacy, talents and unique skills are now being reassessed, and greater importance given to his accomplishments beyond narrow and interlocked art circles. We are delighted to bring this collection of his work together to showcase many of the aspects of O’Casey’s prodigious artistic output, and to celebrate his significance as a true renaissance figure of British 20th-century art and craft. 1 / Peter Murray quoted in Sarah Coulson and Sophie Bowness, Breon O’Casey: An Anthology of his Writings, Yorkshire Sculpture Park, Wakefield, 2005, p.32 / Breon O’Casey quoted in Brian Fallon and Breon O’Casey, Breon O’Casey¸ Scolar Press, Aldershot, 1999, p.48.
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2475480 item(s)/page