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Lot 234
Tom Barrett Gauge 1 10mm scale spirit fired live steam model of a Caledonian Railway CR No.33 4F locomotive and tender, finished in blue with CR initials to tender and Caledonian Railway Insignia to centre, executed and built to a good standard, well-lubricated example that has been maintained very well, complete with wooden purpose-built storage box
Lot 1
Marcel BreuerEarly and rare 'Long Chair', designed 1935-1936, produced circa 1935Laminated birch plywood.69.5 x 62.5 x 137 cm Seat manufactured by Venesta, Estonia for Isokon Furniture CompanyLtd., London, United Kingdom. Front of seat stamped MADE IN/ESTONIA. Frame manufactured by Isokon Furniture Company Ltd., London, United Kingdom. Footnotes:ProvenancePrivate collection, LondonAcquired from the above by the present owner LiteratureChristopher Wilk, Marcel Breuer Furniture and Interiors, exh. cat., Museum of Modern Art, New York, 1981, pp. 127, 145Jack Pritchard, View from a Long Chair: the memoirs of Jack Pritchard, London, 1984, front cover, frontispiece, pp. 90, 113, 120, 179Martin Eidelberg, ed., Design 1935-1965: What Modern Was, New York, 1991, p. 35Magdalena Droste, Manfred Ludewig and Bauhaus Archiv, Marcel Breuer Design, Germany, 1994, pp. 29, 132-133James Peto and Donna Loveday, eds., Modern Britain: 1929-1939, exh. cat., Design Museum, London, 1999, pp. 90, 92Charlotte and Peter Fiell, eds., Decorative Art - 1930s & 1940s, Cologne, 2000, pp. 319, 384Alastair Grieve, For Ease For Ever, London, 2004, pp. 4, 28, 30, 33, 42Hugh Aldersey-Williams, British Design, New York, 2010, p. 70Christopher Wilk, Plywood A Material Story, London, 2017, front coverGive and Take: The Cosmopolitanism of British DesignBy Glenn AdamsonINDEPENDENT WRITER AND CURATOR, NEW YORKOn the second of June, 1961, the SS Canberra - billed as the 'ship of the future' - set sail from Southhampton, bound for far-off Australia. On board were over two thousand people, about half of them intending to emigrate permanently, and a wealth of art and design. There was a restaurant and pool by Sir Hugh Casson. Harry Bertoia's diamond chairs for Knoll, upholstered in canary yellow, graced the 'crow's nest.' And down in the cleverly titled Pop Inn – a jukebox lounge – an interior by John Wright was enlivened with pyrography murals by a 23-year-old artist by the name of David Hockney.Wright's armchairs from the SS Canberra are an obvious reminder of the internationalism of British design; they were literally sent on the high seas as emissaries of a newly energised nation. But many other objects in the present sale performed similar roles, or conversely, reflected global currents of influence. Marcel Breuer's prewar 'Long Chair,' a masterwork by the great German designer, was principally manufactured in Estonia of high-quality Baltic birch. Aluminium die-casting, which Ernest Race used to such effect in his iconic BA3 chair, was pioneered in America, and first applied to furniture by Otto Wagner in Austria. Race adopted it in 1945 to take advantage of British manufacturing capacity in the metal, which had dramatically increased during World War II. Lucie Rie, born and raised in Austria, is considered the most significant of all British potters, having emigrated in 1938 to find refuge from the Nazis. Though her flared bowl with its luminous gold rim was made many years later, it reflects the refined sensibility she imbibed in prewar Vienna. Today, when Britain's role in the world is hotly debated, it is salutary to remember how very cosmopolitan its design history has been, even (and perhaps especially) in the years when its empire was breaking apart. This is true of ideas just as much as technology. The potter Bernard Leach, despite his reputation for introverted traditionalism, was actually a marvelously syncretic thinker. The 'Tree of Life' that appears on the vase in the present sale was originally inspired by ancient cave paintings in China. Leach loved the motif above all, though, because it appears in the art and mythology of so many cultures. Meanwhile, at first glance, William Plunkett – who, as it happened, created designs for another ocean liner, the QE2 – would seem to be the most British of designers. Trained at Kingston School of Art, he operated his own small manufactory in Croydon and even liked to upholster his seating in Harris Tweed. Yet he was born in India, a child of empire, and while his Epsom chair may be named for a town in Sussex it takes its stylistic cues primarily from contemporaneous French designers like Pierre Paulin.At the other end of the aesthetic spectrum from Leach's earthy earnestness and Plunkett's finely calibrated modernism, there is the rough and tumble phenomenon known as Creative Salvage. This was the design equivalent of New Wave, the post-punk movement in music, and similarly combined sharp intellectualism with a freewheeling experimental spirit. Though the movement wasn't named until 1985 (by Mark Brazier-Jones, Nick Jones, and Tom Dixon), its progenitor was Ron Arad, who had relocated to London from Tel Aviv to study architecture. His shop One Off, founded in 1981, quickly became the engine room of avant garde British design – a space where the new was both made and shown. Arad's use of found objects and materials, as seen in his Rover Chair and Tree Light, were pragmatically expedient, but also indebted to the Duchampian Readymade – an import from France and the USA. As a final example, consider Deborah Thomas, who operated in the wider orbit of Creative Salvage. She made her way into design from the London theatre scene, and showed primarily at the Notting Hill gallery Theme and Variations. All very British, you might say. Yet it's impossible to look at her compositions of shattered glass without seeing the impact of Arad's work, or equally, her anticipation of sculptural lighting that followed in the succeeding decade, notably by the German designer Ingo Maurer (whose famous Porca Miseria! fixture, made of broken crockery, was designed in 1994). So far as I know, nobody ever decked out an ocean liner with Thomas' ferociously brilliant chandeliers and sent it around the world, bearing a message of Britain's deep connections to everywhere else. Maybe the time has come?This lot is subject to the following lot symbols: TPTP Lot 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 95
Ten 1:18 scale diecast collectors model cars including Motor Max 73109 1958 Chevrolet Corvette, Anson Metal Series 30317W Lotus Super Seven 1957-1973, Corgi 46703 MGF Closed Top Rover Team Spirit, Gearbox Toys 68001 Sherwood Green and Dune Beige 1955 Chevy Bel Air, Hotwheels 360 Modena Ferrari, Burago Dodge Viper 1993, MB Sales LP Ferrari 1972 312P and Racing Fuel Pump and three Maisto, each boxed, (10).
Lot 102
Joseph Meeker (American, 1827-1887). Oil on canvas titled "Morning on the Upper Mississippi" depicting riverboats steaming along Lake Pepin in the dawn light. Signed and dated 1878 along the lower left. There is a label from Richard York Gallery, New York, New York, affixed to the verso, indicating the artwork was included in the 1983 "Sunset to Dawn" exhibition; there are additionally labels from Hirschl & Adler Galleries, Inc., New York, New York, and the Greenville County Museum of Art, Greenville, South Carolina.Joseph Meeker grew up in New England, and studied under Hudson River School painter Asher B. Durand at the National Academy of Design in New York City. As Meeker began working independently as an artist, he worked creating landscapes heavily influenced by the Hudson River School and by Luminism. MeekerÃs relationship with the Mississippi River began during the American Civil War, when he served as a paymaster for the Union Navy on a gunboat sailing up and down the Mississippi River. He was enchanted by the scenes of the bayous, and did extensive sketches of river scenes during this period. Following the war, Meeker made paintings from these sketches, which proved to be extremely successful. Although he is best known for his landscapes of the southern Mississippi, Meeker also traveled up his cherished river to explore its northern reaches.This artwork is the result of one of those journeys. It depicts Lake Pepin as it was in the late 1870sñan important stopover point for the industry and travel steaming up and down the Mississippi. All this industry, however, is overshadowed by the natural beauty of the location: the tall bluffs looming over the water, touched by the first pink of the morning light, the lush trees reaching down to the edge of the lake; and the gulls swooping across the rippled surface of the river, up toward the cloud-studded sky. It is MeekerÃs eye for the unique beauty of a place that makes his work exceptional; more than just the landscape, he captured the spirit of the locations he painted.Unframed; height: 25 in x width: 30 in. Framed; height: 34 in x width: 39 in.
Lot 43
Benjamin Upton (American, 1818-1910). Cabinet card photograph depicting the Old Government Flour Mill in 1857 in Minneapolis, Minnesota. Titled "Old Government Flour Mill, Erected in 1822 where Northwestern Flour Mill now stands, Minneapolis, Minn., Photographed in 1857." Labeled in ink below the photograph indicating Spirit Island, Lower Bridge, 1856-7, Cheever's Tower, O.G. Flour Mill, 1823, and O.G. Saw Mill, Erected 1820-21. Additionally labeled in ink below the formal title "Looking down the river." Numbered "19" in ink along the upper right corner of the mat. Stamped along the verso "Published by E. A. Bromley, Minneapolis, from the original Upton negatives." and "Hill Reference Library St. Paul" along with a library catalog number in pencil.Provenance: Collection of the James J. Hill Reference Library.Certain individuals are prohibited by law to purchase items in this auction. Descendants of James J. Hill within three generations (Great Grandchildren and closer) are not allowed to purchase items. Additionally, board members of the foundation and their families (spouses, children, spouses of children, grandchildren) are also prohibited from purchasing items.Unframed; Height: 6 in x width: 8 1/4 in. Matted; Height: 10 in x width: 12 in.
Lot 130
Northern European School of the 18th century."Virgin and Child, the dove of the Holy Spirit and angels".Etching on vellum with hand-illuminated border. Golden haloes.Measurements: 9,5 x 12,5 cm.A striking border of flowers in the purest Baroque style frames an etched composition. It is a scene with the Virgin, the Child Jesus, the dove of the Holy Spirit and a group of winged angels offering her baskets with fruit and flowers. The brightly coloured border is reminiscent of Baroque works in which the beautiful, highly developed garlands competed for prominence with the subject itself.
Lot 131
Northern European School of the 18th century."Holy Trinity".Mixed media on vellum.Measurements: 26 x 17,5 cm.A beautiful and subtle border of flowers in the purest baroque style frames the Holy Trinity, welcomed in a window in the shape of a semicircular arch. It is a composition with the dove of the Holy Spirit on the top, to the right God Almighty with a red mantle pointing to the orb and to the left Christ with the Passion Cross. The harmoniously coloured border is reminiscent of Baroque works in which the beautiful, highly developed garlands competed in prominence with the subject itself.
Lot 2
Sevillian school, 18th century."Immaculate surrounded by angels".Oil on canvas.Cracked in the painting.Frame with slight chipping.Measurements: 80 x 60 cm; 92 x 71 cm (frame).This successful representation of the Immaculate Conception is part of the Spanish Baroque, and more specifically, it derives from the Murillesque school. This model of the Immaculate Conception emerging from a gilded background and surrounded by cherubs was initiated by Murillo, who used this same theme in dozens of paintings, creating his own iconography. In it, he wished to eliminate the superfluous in order to focus on the enveloping effect of the golden atmosphere illuminating the Virgin. The present painting inherits Murillo's teaching: the softness of the features and their ethereal appearance, thanks to a skilful play of light. Mary, dressed in white and blue (symbols of purity and the concepts of truth and eternity, respectively), appears surrounded by child angels, who have been skilfully modelled in foreshortened and varied poses, playing amidst cottony clouds. The Virgin's mantle is fluttering in a gentle breeze, draped beautifully. The angels carry symbols of litanies, such as bunches of flowers and palms. The Holy Spirit (the symbol of the dove traditionally associated with this theme) has been omitted, but the ascending movement of the figure is conveyed by the subtle chromatic shifts. This painting clearly corresponds to "The Immaculate Conception of the Venerables", painted by Murillo around 1660 and now in the Museo del Prado.
Lot 7
Spanish school; second half of the 17th century."Holy Family with Saint Joachim and Saint Anne".Oil on canvas.It presents restorations.It conserves frame of the XVIIIth century, in coloured wood with faults.Measurements: 110 x 150 cm; 143 x 181,5 cm (frame).In the most common sense of the expression, the Holy Family includes the closest relatives of the Child Jesus, that is to say, mother and grandmother or mother and nourishing father. In both cases, whether it is Saint Anne or Saint Joseph who appears, it is a group of three figures. Other figures may be added to this main group, as here St. John the Child, a relative of Jesus. From an artistic point of view, the arrangement of this terrestrial Trinity poses the same problems and suggests the same solutions as the heavenly Trinity. However, the difficulties are fewer. It is no longer a question of a single God in three persons, whose essential unity must be expressed at the same time as his diversity. The three personages are united by a blood link, certainly, but they do not constitute an indivisible block. Moreover, all three are represented in human form, while the dove of the Holy Spirit introduces a zoomorphic element into the divine Trinity that is difficult to amalgamate with two anthropomorphic figures. Some authors such as Leonardo da Vinci had already introduced a more naturalistic approach to the scene, but it was in the Baroque period that these schemes were definitively superseded in favour of a realistic, human, close-up representation. Both the composition and the theme, which seeks to emphasise the importance of Jesus and Mary by placing them in such a clear relationship with the Trinity, was common, although not very common, in Spanish Baroque art, following the Counter-Reformation line of defending Catholicism and the artistic dispositions and norms arising from the Council of Trent.Spanish Baroque painting is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who encouraged its development, with the works sometimes being financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture during this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying throughout the century in the depiction of expressive values.
Lot 95
Ɵ CH'ENG-EN, Wu. (1500 - 1582). Monkey. Translated from the Chinese by Arthur Waley. 1942. first edition, 8vo, (222 x 155mm), original orange cloth, yellow top, others untrimmed, dust-jacket unclipped, priced 12s. 6d., dust-jacket and title page design by Duncan Grant, further within glassine wrapper, half-title, 305pp. A sixteenth-century Chinese novel, compounded of adventure, popular folklore, Buddhist mysticism and poetry; HARRISON, Ernest John. (1873 - 1961). The Fighting Spirit of Japan. 1913. first edition, 8vo, (230 x 160mm), original blue cloth, gilt top, others untrimmed, half-title, 35 illustrations including frontispiece of Dr. Kano Founder of Kudo-Kwan, 352pp; MURRAY, Margaret Alice. (1863 - 1963). The God of the Witches. nd. later impression, 8vo, (230 x 150mm), original black cloth, dust-jacket unclipped, priced 8/6. to spine, further within clear protective wrapper, half-title, 16 illustrated plates, 208pp. The author's second work, a popular exposition of her 'witch-cult hypothesis'. Margaret A. Murray was an Egyptologist, archaeologist, anthropologist, historian, and folklorist.(Qty. 3). Condition Report: 1. Monkey - bright cloth slightly faded to edges, corners scuffed, spine bumped head/tail, dust-jacket with minor marks and chips to head/tail of spine, front cover detached, glassine wrapper fragile, foxing to untrimmed edges and light foxing to pastedowns, occasional light foxing internally to a few pages, o/w. a clean copy. 2. The Fighting Spirit of Japan - bright cloth and gilt with light marks, corners scuffed, spine bumped head/tail, browning to e/ps., gilt top faded, light foxing and toning to untrimmed edges with further occasional light foxing to a few pages, joint cracked (but still tight) to pp. 82-83, o/w. internally clean. 3. The God of the Witches - clean bright cloth, spine bumped head/tail, dust-wrapper with light marks, darkening to spine, toning and chips to edges, foxing to edges affecting leaf edges, further occasional foxing, some heavier in places. Condition Report Disclaimer
Lot 708
A large Victorian silver spirit flask, with removeable beaker, and twist lock cap, with gilt interior maker's marks LG, hallmarks Birmingham 1891, length 17cm, 9.8ozBody and base edges have a few minor dents, cap has 2 heavy dents, twist lock working, beaker gilding very bright, hallmarks clear
Lot 46
A silver double ended spirit measure, J A Campbell, London 1996, of plain polished flared form with gilt bowls and loop handle, 10.4cm high, weight 2.61oztCR; Moderate wear and loss to the gilt interior of both bowls. Moderate scratching and wear to the interior and exterior of the measure. No thinning, splitting, repair or denting. Hallmarks are crisp and legible.
Lot 113
EDWARD VILLIERS RIPPINGILLE (c. 1790–1859) Beating the Bounds Oil on canvas, 103 x 145cm Signed 'E.V. Rippingille and dated 1848' Edward Villiers Rippingille began his career as a portrait artist but soon found that his talents were best utilised in the creation of whimsical genre pieces. Rippingville first exhibited at the Royal Academy in 1819 and continued to do so throughout his lifetime, becoming known for capturing community events, such as the one featured here. Beating the bounds is a tradition that can be traced back to the medieval period. At this time, land was divided into parishes and the clergy and church wardens held the responsibility for its upkeep and management. It was up to the Church to ensure that its parishioners knew the local boundary lines and, before maps became commonplace, this had to be kept as a mental record. Such information was vital as it determined where the town’s livestock could be grazed, what land could be tilled and where the local jurisdiction ended. A yearly practice was thus devised in which the community would come together to walk the parish and take note of the dividing lines. Usually taking place during Rogation days (the three days directly before Ascension Thursday) or on Ascension Day itself, the inhabitants would gather alongside the clergy and proceed around the boundaries, blessing the land, singing songs and reading homilies. Partaking in the event became a measure of good spirit and those seen as abstaining were thought to be lacking a neighbourly disposition. However, for certain members, the day would not have rendered fond memories. It was the duty of the older generation to instil the knowledge of the boundaries in the younger and a belief that pain enforced memory often led to some less than agreeable methods being used. Young boys were made to carry thin rods of willow or ash and they were charged with beating the boundary markers in order to help make a mental note of where they lay. However, it was not uncommon for the rods to be turned on the boys themselves, with a quick whipping aiding to remind them of specific spots. Some communities chose to utilise the land itself and became more creative. At streams, boys had their heads rudely dunked under the water, they were pushed into patches of stinging nettles and forced to run wildly along walls so as they would fall prey to the menacing bramble patches on either side. Some records even note that at stone markers, the boys may be lifted, turned upside down and bashed against the rock. Although the tradition was banned by Oliver Cromwell, beating the bounds made a resurgence during the Victorian era and scenes such as this would have been an expected sight in the weeks following Easter. True to the nature of genre painting, Rippingille expertly captures this important day and pleasantly conveys the varying characters of a local community. Our eyes are assaulted with activity and our minds dart playfully to take in each individual, from the miserly woman who skulks away from the festivities to the boys apprehensively waiting with their rods and the young women eagerly looking on.
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