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Lot 2553
A VICTORIAN MAHOGANY BRASS-BOUND CAMPAIGN-STYLE BOX BY EDWARDS, LONDON With recessed handles and inset plaque to lid bearing armorial crest, the interior part-lined in gilt tooled deep blue Morocco and with maker's stamp - "Edwards, 21 King Street, Holborn" over flower device - to lid, fitted with a Bramah lock; measuring approx. 35cm wide x 18cm deep x 13.5cm high Condition Report:Available upon request
Lot 2022
A 20TH CENTURY ARTS & CRAFTS BRASS FRAMED WALL MIRROR brass frame embossed in the manner of Charles Rennie Mackintosh with floral motifs framing rectangular mirror pane with makers stamp to bottom right corner (possibly RJ) , 56cm high x 153cm wide Condition Report:"Frame is in good overall condition with mild age related wear throughoutMirror pane is in good condition with some very mild spots of tarnish"
Lot 2614
A MATCHED PAIR OF MILITARY FIELD TELESCOPES Probably WW1-era, two-draw with leather-clad tubes, one being engraved on brass barrel "W. Ottway & Co. Ltd., Ealing, London, 29850" over Broad Arrow stamp, the other apparently unmarked but of remarkably similar form, each measuring approx. 97cm in length when collapsed and mounted upon an oak-legged tripod (2) Condition Report:Available upon request
Lot 2555B
ERNST HEINRICH ROTH VIOLIN BOWThe ebonised frog mounted with white metal ferule and screw with mother of pearl slide and eyes, the stick inscribed Ernst Heinrich Roth 56 grams together with another violin bow bearing an illegible stamp to the stick, white metal ferule and screw 58 grams Condition Report: "Ernst Heinrich Roth The bow presents in good condition.The second bow is missing a mother of pearl eye and shows signs of repair work to the tip plate and some loss of varnish."
Lot 2557
THE STAUNTON CHESSMEN BY JACQUE & SON, LONDON In boxwood and ebony, both kings stamped "Jacques London" and measuring approx. 7cm in height, one knight and one castle of each side bearing crown stamp to head/top, contained in the original baize-lined mahogany box with paper label to lid; together with a set of unmarked draughts pieces and a Jacques "ABC of Chess" booklet Condition Report:"Chess pieces have weighted bases.Baize covering to bases is beginning to peel on many pieces. Overall wear/patination through handling. Losses to the black queen's crown, one black knight's ear and one black pawn's circular disc, beneath the spherical head. Minor nicks/dents to other pieces. Joints of box a little slack at rear. Paper label to lid interior pitted and discoloured around edges."
Lot 112
Elijah Wood, a signed Lord of the Rings FDC with Tolken stamp. In the trilogy, Wood played Frodo Baggins. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Lot 125
John Cleese, a signed Ian Fleming 2014 Guernsey Mini Sheet FDC, with £3 stamp and insert. The Monty Python star appeared in two James Bond films, The World Is Not Enough (1999) and Die Another Day (2002). Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Lot 215
An Interesting En Clair Telegram from The Greek Prime Minister George Papandreou to Winston Churchill, received by Army Signals 28.1.45, and with Foreign Affairs to Greece acceptance stamp. The telegram reads "PLEASE ACCEPT AND CONVEY TO THE GOVERNMENT AND PEOPLE OF BRITAIN THE HEARTFELT WISHES OF THE ROYAL HELLENIC GOVERNMENT AND MYSELF FOR A HAPPY CHRISTMAS AND VICTORIOUS NEW-YEAR. THE PEOPLE OF GREECE WHOSE DEARLY WON LIBERTIES ARE SO CRUELLY THREATENED AT PRESENT LOOK UPON THEIR BRITISH ALLIES AND THEIR GREAT LEADER AS THE CHAMPIONS OF A FREEDOM WHICH SHOULD REMAIN THE UNDISPUTED RIGHT OF THE WHOLE NATION. THE GREEK PEOPLE MOURNS IN GRATITUDE AND ADMIRATION FOR THE GALLANT BRITISH OFFICERS AND MEN WHO ARE NOW GIVING THEIR LIVES FOR THE SAME CAUSE OF THE LIBERTY OF GREECE WHICH YOUR HEROIC ARMIES DEFENDED HERE THREE YEARS AGO AND HOPE THAT THEY SHALL SOON BE FREE TO RESUME AT YOUR SIDE THE STRUGGLE AGAINST OUR COMMON ENEMIES", countersigned
Lot 3160
World Stamp Collection in stock books(19) and albums with Great Britain from 1840 1d black, 1883 10 shilling ultramarine used, value in decimal Presentation Packs and Mint stamps up to 2017, plus First Day Covers.Full proceeds to be made payable to Sutton, Kingston and Epsom branch of Parkinsons UK.
Lot 8
Dr. Jeremy Paul (British 1954-) "Long-Eared Owl" Signed, acrylic.37.5 x 47.5cm (framed 62.5 x 72.5cm)This painting is illustrated on page 117 of Art of Mann, published by Moods of Mann Limited 1996 and also on a stamp for the Isle of Man, "Hong Kong '97", International Stamp Exhibition.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 44
JEAN-BAPTISTE CARPEAUX (1827-1875)Le Chinois (BU 23 - Esquisse)buste en bronze signé sur l'épaule gauche « JB te Carpeaux » et sur la droite « Fonte spéciale./Susse Frs Edt/Paris/ » avec le cachet circulaire « SUSSE FRERES EDITEURS. PARIS. » et au dos le cachet rectangulaire « SUSSE PARIS/CIRE PERDUE »reposant sur un socle en marbre vert veiné quadrangulaire probablement d'époque postérieurefonte posthume à la cire perdue réalisée vers 1920A bronze bust of Le Chinois Esquisse (the sketched Chinese man), Jean-Baptiste Carpeaux (1827-1875)signed on the left shoulder 'JB te Carpeaux' and on the right 'Fonte spéciale./Susse Frs Edt/Paris/' with the circular stamp 'SUSSE FRERES EDITEURS. PARIS.' and on the back the rectangular stamp 'SUSSE PARIS/CIRE PERDUE'standing on a green veined marble base probably later periodposthumous cire perdue cast circa 192055 x 48.5 x 29 cm (21 5/8 x 19 1/8 x 11 7/16 in); hauteur totale: 67 cm (26 3/8 in)Footnotes让·巴普帝斯蒂·卡尔波(1827-1875)中国人(BU 23 - 草图)青铜，失蜡铸造法，雕塑家死后被铸1920年完成ProvenancePar tradition, ancienne collection Robert Spira.ExpositionParis, Didier Imbert Fine Art, "20 ans de Passion" Alain Delon, Sculptures, Printemps 1990, no 5, p. 20, ill. p. 21.Bibliographies comparativesExposition des œuvres de Carpeaux et de Ricard, Catalogue Salle du Jeu de Paume, 15 mai-15 juin, 1912.S. Lami, Dictionnaire des Sculpteurs de l'Ecole Française au dix-neuvième siècle, Paris, 1914, Vol. I, pp. 265-9.J. G. Lovett, A Romance with Realism : The Art of Jean-Baptiste Carpeaux, Williamstown, Massachusetts: Sterling and Francine Clark Art Institute, 1989, p. 30.M. Poletti, A. Richarme, Jean-Baptiste Carpeaux, Sculpteur, Catalogue raisonné de l'œuvre édité, Paris, 2003, BU23, pp. 122-5.J. Draper, L. de Margerie, The Passions of Jean-Baptiste Carpeaux, The Metropolitan Museum of Art, Exhibition Catalogue, New York and Paris, 2014, pp. 156-167.Dans le cadre de la restructuration de Paris par le Baron Georges-Eugène Haussmann, de nombreuses commandes publiques sont faites par la ville ; le quartier du Luxembourg bien que protégé par son jardin voit le prolongement de l'avenue de l'Observatoire et la création du Parc des Explorateurs. Pour ce parc, Haussmann préfet de la Seine en 1867, commande à Jean-Baptiste Carpeaux la fontaine des Quatre parties du monde, pour la pièce centrale. Quatre grandes figures féminines représentant, l'Europe, l'Asie, l'Afrique et l'Amérique soutenant la Sphère Céleste.Carpeaux veut s'assurer de l'exactitude culturelle de ses personnages et s'inspire notamment des bustes ethnographiques que réalise son confrère Charles Cordier (1827-1905). Carpeaux recrute des modèles africains et chinois afin de restituer avec la plus grande exactitude les allégories africaines et asiatiques. Travaillant dans le Paris du XIXe siècle, l'artiste n'a pas pu trouver de femme d'origine chinoise prête à poser pour lui. Il a donc employé un homme chinois, dont il a ensuite greffé la tête sur le corps d'une femme occidentale nue afin de créer sa figure allégorique de l'Asie. La qualité androgyne du Chinois devient ainsi facilement compréhensible lorsqu'elle est considérée dans le contexte d'une création d'après un modèle masculin et pourtant destinée à une forme féminine.Carpeaux a réalisé deux versions du Chinois. Le buste Le Chinois (Esquisse) est une étude préparatoire de 1868 pour la version Le Chinois N°1 exécutée en 1872, et le Chinois N°2 une réduction à demi-grandeur.Le plâtre original Le Chinois (Esquisse) a été exposé à l'Ecole nationale supérieure des Beaux-Arts à Paris en 1894, puis a figuré en 1912 à l'Exposition de la salle du Jeu de Paume; il a été vendu 27.000 francs, à la galerie Manzi, le 30 mai 1913 lors de la vente Carpeaux. Il a été ensuite exposé au Salon à Bruxelles en 1874, et a été édité en plus petit, et souvent présenté en paire avec le Buste Négresse. Il est intéressant de noter que lorsqu'un modèle du buste Le Chinois de 1868 est apparu aux enchères à Amsterdam le 19 octobre 1874, il était déjà considéré comme une "esquisse".Cette œuvre, bien qu'à l'état d'esquisse, est considérée par l'artiste comme achevée, dès 1870, elle est éditée en terre cuite a seulement quelques exemplaires et Carpeaux l'imposait dans ses ventes. Les tirages en bronze sont posthumes et réalisés par la maison Susse Frères à partir de 1914. La fonderie Susse a produit un catalogue pour les œuvres de Carpeaux et a édité les deux versions du buste Le Chinois. Identifiés comme les modèles N° 1 et N° 2, les bustes sont répertoriés dans le catalogue sous les numéros 7 et 8 respectivement. L'esquisse en bronze figure dans le catalogue Susse de 1914 au prix de 800 francs.La version esquissée du buste Le Chinois compte parmi les plus beaux exemples de l'art du portrait de Carpeaux. Il présente une multiplicité de facettes, notamment dans le costume, ce qui lui confère une surface vibrante et spontané. Véritable démonstration de virtuosité artistique, Carpeaux a saisi les traits dans les moindres détails. Par son modelé sensuel, notre buste traduit admirablement le travail de la main du sculpteur, suggérant ainsi un précurseur de la sculpture moderniste d'Auguste Rodin qui suivra peu de temps après.As part of the renovation of Paris by Baron Georges-Eugène Haussmann, many public commissions were implemented by the city; the Luxembourg district, although protected by its garden, saw the extension of the Avenue de l'Observatoire and the creation of the Parc des Explorateurs. For this park, Haussmann, Prefect of the Seine in 1867, commissioned Jean-Baptiste Carpeaux to create the fountain of the Quatre parties du monde, for the central piece: four large female figures representing Europe, Asia, Africa and America supporting the Celestial Sphere.Carpeaux wanted to ensure the cultural accuracy of his characters and was inspired by the ethnographic busts made by his colleague Charles Cordier. Carpeaux recruited African and Chinese models in order to render the African and Asian allegories with the greatest veracity. Working in 19th century Paris, the artist could not find a woman of Chinese origin willing to pose for him. So he employed a Chinese man, whose head he then grafted onto the body of a naked Western woman to create his allegorical Asian figure. The androgynous quality of the Chinaman thus becomes easily understood when considered in the context of creating a female form from a male model.Carpeaux created two versions of the Chinaman. The bust of Le Chinois (Esquisse) is a preparatory study from 1868 for the version Le Chinois N°1 executed in 1872, and Le Chinois N°2 is a half-size reduction.The original plaster cast of Le Chinois (sketch) was exhibited at the Ecole Nationale Supérieure des Beaux-Arts in Paris in 1894, then in 1912 at the Exposition de la Salle du Jeu de Paume; it was sold for 27,000 francs at the Galerie Manzi on May 30, 1913 at the Carpeaux auction. It was then exhibited at the Salon in Brussels in 1874, and was produced in smaller editions, and often presented in pairs with the Buste Négresse. It is interesting to note that when a model of the 1868 bust Le Chinois appeared at auction in Amsterdam on October 19, 1874, it was already considered a to be a "sketch."For further information on this lot please visit Bonhams.com
Lot 40
CAMILLE PISSARRO (1830-1903)La moisson à Eragny cachet des initiales (en bas à droite), situé « Eragny » (en bas à gauche)pierre noire, plume et encre brune, lavis bruninitials stamp (lower right), located 'Eragny' (lower left)black chalk, pen and brown ink, brown wash10.5 x 20 cm (4 1/8 x 7 7/8 in)Footnotes:卡米耶·毕沙罗(1830-1903)埃拉尼的秋收碳粉，羽毛笔和棕色油墨，棕色水洗ProvenanceAvec la Coleman Art Gallery, Philadelphia, selon une étiquette au revers.ExpositionParis, Didier Imbert Fine Art, '20 ans de Passion' Alain Delon, Dessins, Printemps 1990, pp. 158-159, no 64, ill.For further information on this lot please visit Bonhams.com
Lot 53
REMBRANDT BUGATTI (1884-1916)Lion couché dévorant signé et daté « R. Bugatti 1908 » ; numéroté « (1) » ; porte le cachet de fondeur « CIRE PERDUE A.A Hébrard » (sur la terrasse) bronze à patine nuancée de brun-noirconçu et exécuté en 1908, l'un des 3 exemplaires, fonte Albino Palazzolosigned and dated 'R. Bugatti 1908'; numbered '(1)'; with the foundry stamp 'CIRE PERDUE A.A Hébrard'(on the base)bronze with a shaded brown and black patinadesigned and executed in 1908, one of the edition of 3, fonte Albino Palazzolo28 x 93 x 38 cm (11 x 36 5/8 x 14 15/16 in)Footnotes:伦勃朗·布加迪(1884-1916)躺着吞食的狮子青铜，1908年Provenance Collection de Monsieur Hauser, 1908 (inv. 1332).Collection particulière, Versailles (probablement par descendance).Acquis par M. Delon en 1988 de cette dernière.BibliographieVéronique Fromanger, Rembrandt Bugatti Répertoire monographique, p. 336, no 217.ExpositionsParis, Salon d'automne, Collection A.A Hébrard, 1908, ill.Paris, Didier Imbert Fine Art, '20 ans de Passion' Alain Delon, Sculptures, Printemps 1990, p. 56-57, no 20, ill.Berlin, Alte Nationalgalerie, Rembrandt Bugatti Der Bildhauer 1884-1916, mars - juillet 2014, ill.Un certificat d'authenticité établi par Véronique Fromanger accompagne cette œuvre.A certificate of authenticity from Véronique Fromanger accompanies this work.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 34
JEAN-BAPTISTE-CAMILLE COROT (1796-1875)Gênes. Un bout de la ville et les Apennins cachet de la vente Corot (L. 460, en bas à gauche) et timbre de l'atelier de l'artiste (L. 3905, verso, sur le chassis)huile sur papier, marouflé sur toilestamp of the Corot sale (L. 460, lower left) and the artist's red wax seal (L. 3905, on the stretcher, on the reverse)oil on paper, laid down on canvas24.5 x 40 cm (9 5/8 x 15 3/4 in)Footnotes:让-巴蒂斯·卡米耶·柯洛(1796-1875)热那亚，城市的一部分和亚平宁山脉纸上油画，全纸粘贴在帆布上ProvenanceVente posthume de Corot, mai 1875, no 84 (1000 francs pour M. Brame)M. Brame.Vente Paton, avril 1883, no 46 (pour 1005 francs).Vente, Paris, 9 mars 1886 (900 francs).Paul Chéramy, sa vente Paris, Galerie Georges Petit, 6-7 mai 1908, p. 81, lot 120.ExpositionParis, Didier Imbert Fine Art, '20 ans de Passion' Alain Delon, Peintures, Printemps 1990, no 4, ill.BibliographieA. Robaut, L'oeuvre de Corot, catalogue raisonné, Paris, 1965, vol. II, p. 106, no 302, ill.Corot voyage plusieurs fois en Italie, pour y travailler en plein air pendant la belle saison. Ses premiers séjours datant des années 1820, Corot passe le plus clair de son temps à Rome ou dans les environs, alors qu'en 1834 il reste dans la partie nord de la péninsule, ne descendant pas en-deça de Florence. Après avoir quitté Paris vers la fin du mois de mai 1834 en compagnie du peintre Jean-Charles Denis Grandjean, il s'arrête à Gênes où il reste jusqu'à la mi-juin. Il passe ensuite six semaines en Toscane, entre Volterra et Florence, puis trois semaines à Venise et termine son voyage par les lacs de Garde et de Côme (voir P. Galassi, Corot en Italie : La Peinture de plein air et la tradition classique, Paris, 1991, pp. 213-214). La plupart des sites qu'il visite offrent à l'artiste de nouveaux sujets de peinture. Dans le chef-lieu de la Ligurie, il réalise trois vues de la Superbe, les trois à la fois denses et finement observées (le présent tableau, une version conservée au Chicago Art Institute, inv. 1937.1017 et une Vue depuis le Palais du Prince, vendue à Drouot, Hôtel des ventes de Montpellier Languedoc, le 8 mai 2021, lot 6, voir Y. Taillandier, Corot, Paris, 1990, p. 14). A la différence des deux autres versions, l'œuvre de la collection Delon ne montre pas le centre de la ville et ses palais baroques, privilégiant plutôt le paysage valonné des Apennins qui entourent la ville. Toute la composition est baignée d'une brume bleuâtre. Au premier plan, des vignes ; à gauche, un cloître blanc avec des galeries supportées par des colonnes ; plus loin, au fond, formant une note délicate, une villa indiquée par une touche rose brique à droite, la vue sur la vallée avec une route tortueuse et des maisons; au fond, des montagnes.Corot travelled to Italy several times, working in the open air during the summer months. His earliest visits date from the 1820s, when he spent most of his time in and around Rome; returning in 1834, he remained in the northern part of the peninsula, not going below Florence. After leaving Paris towards the end of May 1834, in the company of the painter Jean-Charles Denis Grandjean, Corot stopped in Genoa, where he stayed until mid-June. He then spent six weeks in Tuscany, between Volterra and Florence, followed by three weeks in Venice, and ended his journey by visiting Lakes Garda and Como (see P. Galassi, Corot en Italie: La Peinture de plein air et la tradition classique, Paris, 1991, pp. 213-214). Most of the sites he visited offered the artist new subjects for painting. In the capital of Liguria, Corot produced three views of the Superba, all three dense and finely observed (the present painting, a version in the Chicago Art Institute, inv. 1937.1017, and a View from the Prince's Palace, sold at Drouot, Hôtel des ventes de Montpellier Languedoc, on 8 May 2021, lot 6, see Y.Taillandier, Corot, Paris, 1990, p. 14). Unlike the other two versions, Alain Delon's work does not show the centre of the city and its baroque palaces, favouring instead the rolling Apennine landscape surrounding the city. The entire composition is bathed in a bluish mist. In the foreground, vineyards; on the left, a white cloister with galleries supported by columns; further back, forming a delicate note, a villa indicated by a touch of brick pink; on the right, the view of the valley with a winding road and houses; in the background, mountains.For further information on this lot please visit Bonhams.com
Lot 52
REMBRANDT BUGATTI (1884-1916)Panthère grognant et feulant signé « R. Bugatti » ; porte le cachet de fondeur « CIRE PERDUE A.A Hébrard » (sur la terrasse)bronze à patine polychrome nuancée de bruns et noir sur son socle en marbre d'origineconçu et exécuté vers 1907, l'un des 6 exemplaires, fonte Albino Palazzolosigned 'R. Bugatti'; with the foundry stamp 'CIRE PERDUE A.A Hébrard' (on the base)bronze with polychrome patina shaded with brown and black on its original marble basedesigned and executed circa 1907, one of the edition of 6, fonte Albino Palazzolo34 x 61 x 23 cm (13 3/8 x 24i x 9 1/16 in);37.5 x 60 x 24.5 cm (14 3/4 x 23 5/8 x 9 7/16 in) (avec socle)Footnotes:伦勃朗·布加迪(1884-1916)豹怒吼青铜，约1907年ProvenanceVente, Enghien, 21 juin 1988. ExpositionGalerie Charles Bailly, Paris, Les Bugatti d'Alain Delon, 1988.BibliographieVéronique Fromanger, Rembrandt Bugatti Répertoire monographique, p.331 , no 208.Un certificat d'authenticité établi par Véronique Fromanger accompagne cette œuvre.A certificate of authenticity from Véronique Fromanger accompanies this work.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 54
REMBRANDT BUGATTI (1884-1916)Lionne couchée baillant signé « R Bugatti » ; porte le cachet du fondeur « CIRE PERDUE A.A HEBRARD » et inscrit « Paris » (sur la terrasse) bronze à patine polychrome nuancée de bruns et vert conçu et exécuté en 1903, l'un des 4 exemplaires, fonte Albino Palazzolosigned 'R Bugatti'; with the stamp of the foundry 'CIRE PERDUE A.A HEBRARD' and inscribed 'Paris' (on the base)bronze with a shaded brown and green polychrome patinadesigned and executed in 1903, one of the edition of 4, fonte Albino Palazzolo 28.4 x 55.1 x 22.5 cm (11 3/16 x 21 11/16 x 8 7/8 in)Footnotes:伦勃朗·布加迪(1884-1916)躺着的狮子打哈欠青铜1903年设计和打造ProvenanceVente, Paris, Drouot, 11 décembre 1974, lot 17.Vente, Londres, Sotheby's, 4 avril 1990, lot 278.ExpositionsGalerie A-A Hébrard, 8 rue Royale, Paris, vers 1906.Galerie Charles Bailly, Paris, Les Bugatti d'Alain Delon, 1988, lot 1, ill.BibliographieVéronique Fromanger, Rembrandt Bugatti Répertoire monographique, p. 273, no 47.Un certificat d'authenticité établi par Véronique Fromanger accompagne cette œuvre.A certificate of authenticity from Véronique Fromanger accompanies this work.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 73
δ Salvador Dalí (1904-1989)Hemerocallis thumbergii elephanter furiosa, from Surrealistic Flowers (Field 72-7D; M&L 545)Drypoint with heliogravure printed in colours, 1972, signed and inscribed 'E.A' in pencil, artist's proof aside from the edition of 350, co-printed by Ateliers Rigal and Draeger, published by Editions Graphiques Internationales, Paris, with their copyright stamp verso, on Arches paper, with full margins, sheet 750 x 558mm (29 5/8 x 22in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 160
δ John Piper (1903-1992)St Amand-de-Coly, Dordogne (Levinson 196)Screenprint in colours, 1968, signed and inscribed 'proof' in pencil, a proof aside from the edition of 70, printed by Kelpra Studio, published by Marlborough Fine Art, London, with the printer's ink stamp verso, on J. Green wove paper, with full margins, sheet 1015 x 696 (39 7/8 x 27 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 74
δ Salvador Dalí (1904-1989)Lilium auratium formicans, from Surrealistic Flowers (Field 72-7K; M&L 548)Drypoint with heliogravure printed in colours, 1972, signed in pencil, numbered from the edition of 350, co-printed by Ateliers Rigal and Draeger, published by Editions Graphiques Internationales, Paris, with their copyright stamp verso, on Arches paper, with full margins, sheet 753 x 560mm (29 3/4 x 22in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 76
δ Salvador Dalí (1904-1989)Tulipa crudeliter basiantes, from Surrealistic Flowers (Field 72-7E; M&L 550)Drypoint with heliogravure printed in colours, 1972, signed in pencil, numbered from the edition of 350, co-printed by Ateliers Rigal and Draeger, published by Editions Graphiques Internationales, Paris, with their copyright stamp verso, on Arches paper, with full margins, sheet 752 x 555mm (29 5/8 x 21 7/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 259
Roy Lichtenstein (1923-1997)Modern Head #4, from Modern Head Series (Corlett 94)Lithograph printed in colours on engraved and anodised aluminium, 1970, incised witth signature, date and numbered from the edition of 100 verso, printed and published by Gemini G.E.L., Los Angeles, with their stamp screenprinted verso, in the original polished aluminium frame, the full sheet printed to the edges, sheet 520 x 430mm (20 3/8 16 7/8in)
Lot 41
Adriaen Jansz van Ostade (1610-1685)The Backgammon PlayersEtching, circa 1682, a well inked impression of the fifth state (of six) on laid paper without watermark, platemark 83 x 71 mm (3 1/4 x 2 7/8 in), sheet 99 x 85 mm (3 7/8 x 3 1/4 in), some minor spotting and light surface dirt (unframed)Provenance:Unidentified collector's ink stamp [apparently not in Lugt]Literature:Bartsch, Hollstein 39 v/vi
Lot 212
Damien Hirst (b.1965) after.Spin PaintingAcrylic and metallic paint on paper, 2014, with the stamp 'This work was made on the Harrodian school visit to Damien Hirst's studio on 22nd March 2014' verso, diameter 520mm (20 1/2in)Provenance: Damien Hirst's eldest son, Connor Hirst, attended The Harrodian School, London, and the present work was produced on a school art trip to Hirst's studio in 2014. This work comes from the collection of a former pupil of the school.
Lot 75
δ Salvador Dalí (1904-1989)Narcissus telephonans inondis, from Surrealistic Flowers (Field 72-7J; M&L 549)Drypoint with heliogravure printed in colours, 1972, signed and inscribed 'E.A' in pencil, artist's proof aside from the edition of 350, co-printed by Ateliers Rigal and Draeger, published by Editions Graphiques Internationales, Paris, with their copyright stamp verso, on Arches paper, with full margins, sheet 747 x 550mm (29 3/8 x 21 5/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 336
δ Blek le Rat (b.1951)Masters Voiceless (Yellow)Acrylic and spray paint on canvas, 2007, signed and dated in black paint, numbered from the edition of 5 in black pen verso, with artist's stamp, accompanied by a certificate of authenticity, overall 800 x 800mm (31 1/2 x 31 1/2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 72
δ Salvador Dalí (1904-1989)Polyanthes, tyberosa et cygnus vegetalis, from Surrealistic Flowers (Field 72-7C; Michler and Löpsinger 542)Drypoint with heliogravure printed in colours, 1972, signed in pencil, numbered from the edition of 350, co-printed by Ateliers Rigal and Draeger, published by Editions Graphiques Internationales, Paris, with their copyright stamp verso, on Arches paper, with full margins, sheet 750 x 558mm (29 5/8 x 22in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 77
δ Salvador Dalí (1904-1989)Anemone per anti pasti, from Surrealistic Flowers (Field 72-7A; M&L 551)Drypoint with heliogravure printed in colours, 1972, signed in pencil, numbered from the edition of 350, co-printed by Ateliers Rigal and Draeger, published by Editions Graphiques Internationales, Paris, with their copyright stamp verso, on Arches paper, with full margins, sheet 752 x 550mm (29 5/8 x 21 5/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 149
L.S. Lowry R.A. (British 1887-1976) "Peel Park, Salford" Signed in pencil in the margin, with Fine Art Trade Guild blind stamp, published in 1975 by Venture Prints Limited of Bristol, limited edition colour print.image size 38cm x 76cm (15in x 30in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. The colours are slightly down across the print and there is some light time staining and browning around the edges of the paper near the mount board. The print is framed and glazed. The original metal frame has some knocks and the lower edge is loose.
Lot 100
L.S. Lowry R.A. (British 1887-1976) "The Football Match" Signed and numbered 537/850 in pencil in the margin, with publisher's blind stamp, limited edition print from an original pencil drawing.26.5 x 37cm (framed 45.5 x 56cm)Artists' Resale Right (droit de suite) may apply to this lot.The print is in good, original condition. The paper has browned universally across the sheet and there is some time staining and browning around the edges of the paper near the mount board. There are some spots of foxing and browning across the paper. The print is framed and glazed. The original metal frame has some minor scracthes and knocks commensurate with age.
Lot 19
L.S. Lowry R.A. (British 1887-1976) "Woman with a Beard" Signed in pencil in the margin, from the edition of 750, with the Fine Art Trade Guild blind stamp, published by Adam Collection Ltd in 1975, printed by Chorley & Pickersgill Ltd, limited edition colour print.60.5 x 49.5cm (framed 74 x 62.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. There are some minor creases and spots of foxing across the paper. The print is framed and glazed.
Lot 119
L.S. Lowry R.A. (British 1887-1976) "Street Scene" Signed in pencil in the margin, from the edition of 850, published by the Adam Collection Ltd., printed by Chorley and Pickersgill Ltd., Leeds, with the Fine Art Trade Guild blind stamp, limited edition colour print.27.5 x 21.5cm (framed 48.5 x 42cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition with strong colours. There is a minor crease running across the paper approximately halfway down the print. The print is framed but not glazed. The original metal frame has some scuffs and knocks.
Lot 110
L.S. Lowry R.A. (British 1887-1976) "People Standing About" Signed in pencil, with Fine Art Trade Guild blind stamp, from an edition of 500, limited edition colour print.33.5 x 49.5cm (framed 54.5 x 68.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. There are some minor spots of browning across the sheet and some light time staining and browning around the edges of the paper near the mount board. The print is framed and glazed.
Lot 137
L.S. Lowry R.A. (British 1887-1976) "Britain at Play" Signed in pencil in the margin, with Fine Art Trade Guild blind stamp, published by Mainstone Publications, Norfolk, printed by Beric Press, London, limited edition colour print.47 x 61.5cm (framed 69 x 82cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. The colours have faded across the print and the paper has slightly yellowed across the sheet. There are some minor spots of foxing and browning across the paper. The print is ornately reframed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 129
John Goodlad (British 20th/21st century) "Station Approach" after L.S. Lowry Signed, with the artist's stamp and certificate of authenticity on verso, oil on canvas board.30 x 40cmArtists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is unframed.
Lot 93
L.S. Lowry R.A. (British 1887-1976) Preliminary sketch for 'Woman with a Beard' Unsigned, with the Fine Art Trade Guild blind stamp, from the edition of 750, published by Adam Collection Ltd, printed by Chorley & Pickersgill Ltd, limited edition print.25 x 15.5cm (framed 51.5 x 40.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are some minor creases across the paper. The print is ornately reframed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 64
John Goodlad (British 20th/21st century) Figure studies and street scene after L.S. Lowry All signed, with the artist's stamp and a certificate of authenticity on the reverse of each, oil on board.various sizes 25 x 30cm and 30 x 25cmQty: 3The paintings are all in very good, original condition. There are one or two minor surface marks across the paintings and a small bump to the top left corner of one of the boards. The paintings are all unframed.
Lot 489
French white marble and gilt brass three-piece portico clock garniture, circa 1900, AD. Mougin, Paris, retailed by 'Anc'ne Mon. Williez Chauveaus'er, Aix-en-Provence', as signed to the 8.5cm convex Arabic dial with floral swags, lacks dial glass, the two-train movement outside countwheel-striking on a bell, with Exposition stamp, the case with cast nesting birds surmount to drum-head housing over four column supports, cast swags and sunburst pendulum on toupie feet, 37cm high, together with a pair of two-branch candlesticks, 27.5cm high, (3)
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