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Lot 249
Minichamps 1/18 scale diecast highly detailed Porsche 956L "Spirit Of America" (180 866508) Follmer/Morton/Miller 24H Le Mans 1986. Featuring working steering and removeable engine panel to reveal highly detailed engine. Model in excellent overall condition though there is cracking of the white "Joest Racing" windscreen decal and to the white surround on the bonnet "8" decal. Box excellent.
Lot 12
WASSILY KANDINSKY (1866-1944)Milieu jaune signed with the artist's monogram and dated '34' (lower left); signed with the artist's monogram, inscribed and dated 'No. 597 1934 - 'Milieu jaune'' (on the reverse)oil and tempera on panel64.6 x 81.3cm (25 7/16 x 32in).Painted in Paris in March 1934 Footnotes:ProvenanceNierendorf Gallery, New York, no. 28.Hilla von Rebay Collection, Westport (acquired by 1945).Nina Kandinsky, Paris.Galerie Maeght, Paris, no. 9433 (acquired from the above by 1970).Private collection, Europe (acquired from the above in 1975).A gift from the above to the present owner in 1983.ExhibitedLondon, April 1937. (Possibly) Bern, Kunsthalle Bern, no. 0060.New York, Solomon R. Guggenheim Foundation, Museum of Non-Objective Painting, In Memory of Wassily Kandinsky, 15 March - 15 May 1945, no. 146. Paris, Galerie René Drouin, Kandinsky, Époque parisienne, 1934-1944, 2 June – 2 July 1949, no. 43.Paris, Galerie Maeght, Kandinsky, November 1953, no. 42. Paris, Galerie Maeght, Kandinsky, Période parisienne, 1934-1944, 1969, no. 1 (later travelled to New York).Baden-Baden, Staatliche Kunsthalle, Wassily Kandinsky, Gemälde 1900-1944, 10 July – 27 September 1970, no. 129. Humlebaek, Louisiana Museum of Modern Art, Wassily Kandinsky-Paul Klee, 30 October 1971 – 9 January 1972, no. 31. Charleroi, Palais des Beaux-Arts, Wassily Kandinsky rétrospective, 29 January – 12 March 1972, no. 38. Zurich, Galerie Maeght, Kandinsky, April 1972, no. 45. Paris, Musée d'Art Moderne de la Ville de Paris, Hommage de Paris à Kandinsky, La conquête de l'abstraction, l'époque parisienne, 7 June – 30 July 1972, no. 16. LiteratureThe artist's handlist, Vol. IV, no. 597. W. Grohmann, Wassily Kandinsky, Life and Work, New York, 1958, no. 434 (illustrated p. 385). H.K. Roethel & J.K. Benjamin, Kandinsky, Catalogue Raisonné of the Oil Paintings, Vol. II, 1916-1944, London, 1984, no. 1034 (illustrated p. 934).His admirable eye, merging with his faint veil of glass to form perfect crystal lights up with the sudden iridescent glitter of quartz. It is the eye of one of the first and one of the greatest revolutionaries of vision.- André Breton in his preface for the catalogue of the 1938 Kandinsky exhibition organised by Peggy Guggenheim in London, translated by Samuel Beckett.A conjuror of sublime artistic realms, Wassily Kandinsky was limitless in achieving grand and adventurous compositions. But in the harsh grounds of reality – namely, Europe in 1933 – he once again found himself torn between worlds. Kandinsky and his wife Nina's uprooting from Berlin had been sudden, spurred by the Nazi regime's coordinated attack on Modern art, which culminated in the closing of Kandinsky's beloved Bauhaus school. As a Russian-born artist whose fame was then more pronounced in Germany than in France, Kandinsky encountered in Paris a strange hybrid of novelty and familiarity. Cubism was enjoying a fervent resurgence, the Surrealists were transforming the definition of art, and the Abstraction-Création movement was revitalising austerity and constructivism in art. But none of these dogmatic movements, with their rigid formulae and manifestos, wooed Kandinsky. While he extracted certain stylistic and technical innovations from his peers, he ultimately sought freedom and solitude in his wholly individual style. The present work was created at the outset of Kandinsky's richly prolific Paris period, commencing in 1934 after a six-month hiatus due to his and Nina's relocation. In his new studio at Neuilly-sur-Seine, Kandinsky generated a body of work that exploded with vision and colour, introducing a fresh vocabulary of forms grounded in the infinite complexity of the natural world. Despite his being forced to leave Germany at the brink of its demise, these paintings - the first of which was aptly titled Montée gracieuse ('Graceful ascent') - exude optimism, sentimentality and faith in the future. Toiling in relative seclusion, Kandinsky reaffirmed his persona as a painter of worlds, concocting grandiose visions of words, sounds and organisms, distilled by his unique and highly spiritual painterly formula. Milieu jaune presents to the viewer a celestial vision, which at once feels universal and deeply personal. The background throngs with the cosmic force of some omnipotent entity made of glowing yellow starlight, encased in swirling vortexes of lavender and pink. To the lower centre, a purple crescent moon rendered with compass-like exactitude rises like an omen over a conservatory dome bathed in daylight, housed behind a proscenium archway one might access via the floating rungs beneath it. These architectural forms conjure a grand temple in an Arcadian realm, immortalised by their constructive frameworks and yet undulating in a rhythmic trance. Indeed, the central diagonal lines seem to evoke successive chords in a symphony, while the alternating colour planes in the nearby pentagon conjure a tinkling melody, anchored by the steady percussion of the short, staccato lines to the upper centre. These tantalising currents, made tangible through the repeated hints of gateways and ladders, generate an ultimate odyssey of contemplation. The viewer – guided by divine light – is invited to step up into the painterly realm and explore its glimmers of interlinking narratives and settings. The Surreal notion of physically inhabiting an artwork captivated Kandinsky since childhood, as he would later call upon the viewer to 'take a walk' in his paintings, 'to compel him to forget himself, to dissolve himself in the picture' (Kandinsky quoted in W. Grohmann, op. cit., p. 31). Concurrently, the resemblance between Kandinsky's semi-circular and oval forms to eyes invokes a sense of omnipotence, as we the all-seeing viewers take stock of the artist's grand design. This overwhelming sense of gazing upon a primordial universe is a powerful incantation of Kandinsky's abstraction, which was crafted according to 'the totality of natural laws governing the cosmos' (Kandinsky quoted in W. Grohmann, ibid., p. 224). In Paris in the 1930s, Kandinsky's new focus on scientific, biological and cosmic motifs brought that motive to fruition, in the spirit of his friends Paul Klee and Jean (Hans) Arp, as well as Surrealists such as Salvador Dalí and Joan Miró. Indeed, the playful sequence of undulating semicircles to the lower left could convey fairy-tale toadstools, or the interlocking segments of a caterpillar-like entity on the brink of its imminent metamorphosis.
Lot 246
SIR GRAYSON PERRY (b. 1960) 'Forest Spirit Alan' unglazed ceramic planter, hand decorated, stamped to the underside, 36cm high x 21cm wide x 18cm deepThis planter is based on Grayson Perry’s Forest Spirit Alan (2022), an artwork featured in 'Grayson’s Art Club: The Exhibition'. The artist notes "This is Alan Measles, my teddy bear god, channelling the anger of the rainforest flora and fauna. We talk of saving the planet but the earth and many species will survive, it’s the human race that is likely to die out because of climate change. This sculpture is influenced by the pre-Columbian pottery of the Chancay culture of South America."
Lot 160
BORIS SVECHNIKOFF (SVESHNIKOV) (1927-1998) AN INTERESTING COLLECTION OF MATERIAL comprising: an artist painting a church as a figure walks past, pencil, 20.25cm x 28.75cm; six framed lithographs depicting figures in landscapes, some with dates and inscriptions (printed); a folio of unframed prints; a gatefold album containing futher unframed prints and biographical information on the artist; and two unopened volumes of 'The Camp Drawings' (a lot)Boris Sveshnikov was arrested in 1946 while a third-year student at the Moscow Institute of Decorative and Applied Arts. He spent the next eight years in Siberian labor camps working under inhuman conditions in mines and lumber camps before becoming a night watchman in a carpentry workshop, where he was able to create paintings and drawings. Sveshnikov's memories of those years colored his work until the end of his life, but, at the same time, his voluminous output remains a testament to the strength of his spirit and his willingness to confront the horrific experiences he lived through.His early drawings and paintings, however, are not realistic portrayals of the brutality of camp life but fantasies derived from that life. His sources lay in his memories of works or copies he studied during his student years, illustrations in books left behind by previous inmates, or materials his parents were able to send him. Of particular importance was the grotesque imagery of the Netherlandish artists Hieronymus Bosch (ca. 1450-1516) and Pieter Brueghel (ca. 1525-1569) and the carnivalesque frenzies of the French printmaker Jacques Caillot (1592-1635). The works he produced in the camps include multi-figured sketches of wild parties with plenty of food and drink; abrupt juxtapositions of pleasurable, even highly erotic, scenes with those of torture and death; and images depicting the indifference of camp inmates to the misfortunes of others. Whether intentional or not, Sveshnikov attested to the amorality and immorality of camp life, which existed outside of the unrealistic norms of communal behaviour established by the Soviet regime.After his release in 1954, he lived for three years in Tarusa before receiving permission to return to Moscow. There, he joined the Artists' Union and supported himself as a book illustrator, often for Russian translations of Western European Romantic literature. The German writer E.T.A. Hoffmann (1776-1822) was a favourite, and perhaps provided him with subject matter for his later work. Around 1960, Sveshnikov's style began to change. He developed a stipple technique made up of myriad small dot-like strokes in which objects near and far were reproduced with the same degree of detail and intensity of color, thus calling attention to the pictorial surface and the resulting claustrophobic spaces. Faces and entire bodies might be portrayed in close-up while surrounding forms appear in miniature. Sometimes, bodies almost disappear into the welter of small strokes. Subjects ranged from the macabre to scenes evoking his camp memories to seemingly pleasant urban scenes, but many having the uncanny appearance of a nightmare still in progress.
Lot 188
A heavy hallmarked silver spirit kettle on stand. The kettle with tapering fluted bowed ebony handle, gadrooned border and lobed lower base. The stand on four leaf-capped pronounced cabriole legs terminating in cast shell-like feet. Maker's mark of George Nathan & Ridley Hayes, assayed Chester 1899. (Height 31 cm) . (Approx. 1,315 g including ebony handle) * Condition: Pins present, burner present; tips well; no dents/scratches.
Lot 163
A collection of English silvervarious makers and dates Including a silver powder pot, Sampson & Mordan, Birmingham 1922, capstan form, with pull off cover and curved central reserve, diameter 9.5cm; together with an Edwardian silver rose bowl, Charles Boyton, London 1906, traditional circular form, the body spirally fluted, all on a raised pedestal foot, height 13.5cm, diameter 22cm; a large Victorian silver sugar caster, Josiah Williams & Co, London 1895, traditional form, with embossed floral and foliate decoration, height 22cm; a modern silver footed waiter, Viners Ltd, Sheffield 1946, shaped circular, diameter 15cm; and a Victorian silver kettle on silver spirit stand, Charles Favell and Co, Sheffield 1882, traditional form, part fluted, height 36cm, weight total 76oz. (5)For further information on this lot please visit Bonhams.com
Lot 142
Ten progressive and psychedelic vinyl albums from the 1960s and 1970s including Spirit- Twelve Dreams of Dr. Sardonicus, Santana- Moonflower, Janis Joplin Joplin In Concert, Stone The Crows- Continuous Performance, Focus- Focus, Supertramp- Crime of the Century, Jethro Tull- MU- The Best of Jethro Tull, JJ Cale- Shades, Yes- Close to the Edge and Going for the One, (10) All covers show the usual age related and shelf wear with the vinyl of all showing light marks and scratches.
Lot 212
Two tall ruby overlay/stained glass bottle decanters and stoppers, two liqueur decanters and a stopper, a decanter and stopper with silver overlay of vines, a jar and cover, spirit decanter and stopper and six liqueur glasses (13) CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 1205
Various Artists,20th/21st Century,(i)Enrico Embroli,American b. 1945-Flight Spirit, c.1980;monoprint on textured black paper,signed, titled and numbered 1/1 in pencil,sheet: 76 x 56cm(ii)Penny Layland,South African, 20th/21st Century,Man and Nature, 1985;lithograph in colours on wove.signed, dated, titled and numbered 4/20 in blue pencil,sheet: 55.5 x 62cm(iii)Garrington,20th Century,Club House, St Andrews;aquatint in colours on wove,signed, titled and inscribed A/P in pencil,sheet: 53 x 61cm(all unframed)(3)
Lot 416
a small spirit flask, inscribed, 2 tobacco boxes (one initialled) and 3 cigarette cases (gilt interiors & one initialled), mixed makers & dates; the flask 4.5" (11.3cm) long; 18.4ozt (5). *CR All pieces with wear, quite bashed & with issues - not great examples. Please contact Connor for further information connor.swanwick@lawrences.co.uk.
Lot 288
a swing-handle sugar basket (blue glass liner), a Victorian engraved christening mug, an oval milk jug, 2 sugar bowls (one embossed), an inkwell (loaded), a pair of Victorian squat circular salts, a small dish with openwork handles, and a spirit burner, some pieces with dedications, mixed makers & dates; the sugar basket 3.25" (8.3cm) high; 31ozt (10). *CR All pieces with wear & in mixed conditions Please contact Connor for further information connor.swanwick@lawrences.co.uk.
Lot 403
an Edwardian mounted glass spirit flask with a twist-open hinged cap and a pull-off cup, by John Yates & Son, Birmingham 1904, a Victorian case with a sprung hinge, monogrammed, gilt interior, by Walter Thornhill & Co, London 1887, a Victorian card case, initialled, by Sampson & Mordan & Co, London 1884, a Victorian sovereign case with engine-turned decoration, by Alfred Wigley, Birmingham 1899, a George V cigar cutter with attached cigar piercer, by Arthur Downing Ltd, Birmingham 1911 and another small spirit flask with a non-matching cup, inscribed; the former flask 5" (12.6cm) long; 8.4ozt weighable silver (7). *CR All pieces with wear & in mixed conditions, the smaller flask with a cup that does not match. Please contact Connor for further information connor.swanwick@lawrences.co.uk.
Lot 267
A mahogany and box strung wheel combination barometer/thermometer by Vanetti & Benzzoni, Brighton, late 19th / early 20th century, the swan neck pediment with brass finial, above a hygrometer and arched silvered thermometer scale for Fahrenheit, the silvered 8-inch dial calibrated in barometric inches with typical weather observations, the base with spirit level signed Vanetti & Benzzoni, 22 North St Brighton, Warranted, 97.5cm high, together with a Surveying Aneroid barometer by Short & Mason, London, no. L. 736, made for Ahrend no. 7906, with silvered dial and attached magnifying loop, in leather case (2)Please note Roseberys do not guarantee the working condition of barometers offered for sale.
Lot 559A
A Weber Spirit E310 Classic gas barbeque, with a three burner grill132cm wide x 69cm deep x 113cm high (lid closed)Qty: 1Some staining to the outher body work. The grill in used condition, wth flaking to the paintwork on the top of the inside of the hood. Mild oxidisation throughout the frame. Gas pipe present.
Lot 169
CMKR - Mercury - Opatus - Others - A collection of 11 boxed diecast and plastic model ships in various scales. Lot includes Opatus SX104 Princess Ragnhild 1987; CMKR #330 Carnival Spirit; Mercury #448 T/N Flavia and similar. Models generally appear to be in Very Good - Excellent condition with the vast majority of models being adhered to the base of their boxes, which are mainly plain and unbranded in Fair Plus - Good overall condition. All items are unchecked for completeness. (This does not constitute a guarantee) (K)
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