§ Anthony Benjamin (British 1931-2002) Untitled, 1958 signed and dated in pencil (lower right), oil and watercolour on paper Dimensions:90cm x 58cm (35 1/2in x 22 7/8in) Provenance:ProvenanceThe Estate of the Artist. Note: A Journey from Social Realism to Abstract Expressionism: Works from the Estate of Anthony BenjaminFew artists successfully span both Modern and Contemporary periods in British art whilst moving between multiple mediums. Anthony Benjamin (1931-2022) was one such polymath working in painting, drawing, printmaking and sculpture in wood, metal and plastic. Benjamin wrote that, for him, ‘an idea is more important to a man than any physical object’, in the catalogue for his 1966 exhibition at the Institute of Contemporary Arts in London. Chris Stevens, then curator of modern British art and Head of Displays at Tate Britain, described Benjamin as ‘an anarchist who ignored trends and forged his own path’. A bit of a loner and a bit of a thinker, Benjamin was quick to accept opportunities to work in new spaces, learning from the best. It was in Paris in the late 50’s, at Atelier 17 with William Stanley Hayter, that he experimented with new forms of painting, moving away from the landscape abstraction of St Ives. However, a constant in his practice was a precision of line, an incomparable quality of execution and an intense understanding of colour and form. Benjamin thought as he made and his thinking was always one-step ahead of the rest. It was during the 1970s, in collaboration with leading printer Kevin Harris at Calvert Studio, that Benjamin produced his seminal series of screenprints Roxy Bias Suite. Inspired by his student Brian Eno, Benjamin was fascinated by the new electronic music Eno was composing. Each of the six images in the series was named after computer music terms such as Inverse Echo and Multi-Mode Jitter. The screenprints use outrageously clashing bold colours, almost as if electrified and challenge the viewer with uncompromising energy. Sumptuous pieces, they were both of the time but also way-ahead of their time. No matter what Benjamin turned his hand to the results were always perfectly executed. In the 1990s he returned to drawing with a solo show at Gimpel Fils in London. Large scale works, they are more paintings in graphite than drawings. Involving a complex range of techniques of masking and erasure, of painting with graphite dust as well as drawing with broad pencils, these works incorporate texture and atmosphere, geometric forms, polar whites and intense blacks. They are some of the most powerfully evocative images that Benjamin produced. Throughout his career Benjamin held teaching posts at a variety of colleges of art and universities including time spent in the USA and Canada as Professor of Art at the University of Calgary and Hayward State College in California. His work is now held in a great number of international public collections including the Arts Council of Great Britain, the Tate, UK and the Museum of Modern Art in New York.
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§ Anthony Benjamin (British 1931-2002) District II, 1968 stamped, dated and numbered BENJAMIN 1968 1/5, chromed steel and acrylic Dimensions:30cm high x 30.5cm wide x 22.5cm deep (11 3/4in high x 12in wide x 8 7/8in deep) Provenance:ProvenanceGimpel Fils, London.ExhibitedComsky Gallery, Beverly Hills, 1971. Note: A Journey from Social Realism to Abstract Expressionism: Works from the Estate of Anthony BenjaminFew artists successfully span both Modern and Contemporary periods in British art whilst moving between multiple mediums. Anthony Benjamin (1931-2022) was one such polymath working in painting, drawing, printmaking and sculpture in wood, metal and plastic. Benjamin wrote that, for him, ‘an idea is more important to a man than any physical object’, in the catalogue for his 1966 exhibition at the Institute of Contemporary Arts in London. Chris Stevens, then curator of modern British art and Head of Displays at Tate Britain, described Benjamin as ‘an anarchist who ignored trends and forged his own path’. A bit of a loner and a bit of a thinker, Benjamin was quick to accept opportunities to work in new spaces, learning from the best. It was in Paris in the late 50’s, at Atelier 17 with William Stanley Hayter, that he experimented with new forms of painting, moving away from the landscape abstraction of St Ives. However, a constant in his practice was a precision of line, an incomparable quality of execution and an intense understanding of colour and form. Benjamin thought as he made and his thinking was always one-step ahead of the rest. It was during the 1970s, in collaboration with leading printer Kevin Harris at Calvert Studio, that Benjamin produced his seminal series of screenprints Roxy Bias Suite. Inspired by his student Brian Eno, Benjamin was fascinated by the new electronic music Eno was composing. Each of the six images in the series was named after computer music terms such as Inverse Echo and Multi-Mode Jitter. The screenprints use outrageously clashing bold colours, almost as if electrified and challenge the viewer with uncompromising energy. Sumptuous pieces, they were both of the time but also way-ahead of their time. No matter what Benjamin turned his hand to the results were always perfectly executed. In the 1990s he returned to drawing with a solo show at Gimpel Fils in London. Large scale works, they are more paintings in graphite than drawings. Involving a complex range of techniques of masking and erasure, of painting with graphite dust as well as drawing with broad pencils, these works incorporate texture and atmosphere, geometric forms, polar whites and intense blacks. They are some of the most powerfully evocative images that Benjamin produced. Throughout his career Benjamin held teaching posts at a variety of colleges of art and universities including time spent in the USA and Canada as Professor of Art at the University of Calgary and Hayward State College in California. His work is now held in a great number of international public collections including the Arts Council of Great Britain, the Tate, UK and the Museum of Modern Art in New York.
§ Anthony Benjamin (British 1931-2002) Roxy Bias Suite, 1972 complete set of six, comprising Butterfly Echo, Erase Function, Inverse Echo, Multi-Mode Jitter, O Factor and Ringing Filter, each signed, titled, dated and numbered 59/95 in pencil (in the margin), silkscreen on BFK Rives handmade paper, printed by Kevin Harris at Calvert Studio Dimensions:each sheet 105.5cm x 76.5cm (41 1/2in x 30 1/8in) Provenance:ProvenanceThe Estate of the Artist. Note: A Journey from Social Realism to Abstract Expressionism: Works from the Estate of Anthony BenjaminFew artists successfully span both Modern and Contemporary periods in British art whilst moving between multiple mediums. Anthony Benjamin (1931-2022) was one such polymath working in painting, drawing, printmaking and sculpture in wood, metal and plastic. Benjamin wrote that, for him, ‘an idea is more important to a man than any physical object’, in the catalogue for his 1966 exhibition at the Institute of Contemporary Arts in London. Chris Stevens, then curator of modern British art and Head of Displays at Tate Britain, described Benjamin as ‘an anarchist who ignored trends and forged his own path’. A bit of a loner and a bit of a thinker, Benjamin was quick to accept opportunities to work in new spaces, learning from the best. It was in Paris in the late 50’s, at Atelier 17 with William Stanley Hayter, that he experimented with new forms of painting, moving away from the landscape abstraction of St Ives. However, a constant in his practice was a precision of line, an incomparable quality of execution and an intense understanding of colour and form. Benjamin thought as he made and his thinking was always one-step ahead of the rest. It was during the 1970s, in collaboration with leading printer Kevin Harris at Calvert Studio, that Benjamin produced his seminal series of screenprints Roxy Bias Suite. Inspired by his student Brian Eno, Benjamin was fascinated by the new electronic music Eno was composing. Each of the six images in the series was named after computer music terms such as Inverse Echo and Multi-Mode Jitter. The screenprints use outrageously clashing bold colours, almost as if electrified and challenge the viewer with uncompromising energy. Sumptuous pieces, they were both of the time but also way-ahead of their time. No matter what Benjamin turned his hand to the results were always perfectly executed. In the 1990s he returned to drawing with a solo show at Gimpel Fils in London. Large scale works, they are more paintings in graphite than drawings. Involving a complex range of techniques of masking and erasure, of painting with graphite dust as well as drawing with broad pencils, these works incorporate texture and atmosphere, geometric forms, polar whites and intense blacks. They are some of the most powerfully evocative images that Benjamin produced. Throughout his career Benjamin held teaching posts at a variety of colleges of art and universities including time spent in the USA and Canada as Professor of Art at the University of Calgary and Hayward State College in California. His work is now held in a great number of international public collections including the Arts Council of Great Britain, the Tate, UK and the Museum of Modern Art in New York.
A Superb 18ct Gold Diamond and Emerald Set Pendant - Attached to a 18ct Gold Chain. Both Marked 750 - 18ct. The Step-cut Emerald of Excellent Colour, Est 2.00 cts, Surrounded by 12 Round Faceted Diamonds of Excellent Colour / Clarity. Est Diamond Weight 1.50 cts, Weight 7.2 grams, Length Including Pendant 19 Inches - 47.5 cms, Excellent Condition.
Ladies - Excellent Quality Contemporary Designed 18ct Gold Diamond Set Dress Ring, Full Hallmark to Interior of Shank. The Central Step-cut Diamonds of Excellent Colour / Clarity. Est Diamond Weight 0.35 pts, Total Diamond Weight 0.45 pts. Ring Size N. Weight 4 grams. Shank / Setting Very Good Condition.
18ct Gold Designer Step-cut Diamond Set Fashion Ring, Highlighted with Triangle Cut Peridots, Citrine's, Amethysts as Spacers. Marked 750 - 18ct to Shank. The Step-cut Diamonds of Excellent Colour / Clarity, Est Diamond Weight 2.00 cts. Ring Size M. Weight 9.9 grams. Shank / Setting In Excellent Condition.
Tänzerin und Gärtnerpaar. Polychrom bemalt, goldstaffiert. H 27 und 18 cm. 1x E. A. MÜLLER/Schwarza: Junge Frau im blütenbelegten Kleid, im Tanzschritt über einem Blumenkorb. / 1x POTSCHAPPEL: 2 Gärtnerkinder mit Hund auf einem Rocaillesockel.| Nachtrag 13.10.23: Haarband mit Chip am Blütenband; Blütenblatt am Kleid mit Chip (Blumenhändlerin) Aufrufzeit 27. | Okt 2023 | voraussichtlich 19:01 Uhr (CET)Dancer and gardener couple. Polychrome painted, gold decorated. H 27 and 18 cm. 1x E. A. MÜLLER/Schwarza: Young woman in flower-covered dress, dancing step over a basket of flowers. / 1x POTSCHAPPEL: 2 gardener's children with dog on a rocaille pedestal.| addendum 10/13/23: hair band with chip on flower band; petal on dress with chip (florist) Call time 27th | Oct 2023 | probably 19:01 clock (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Doppelstockbus "Lehmann's Autobus 590". E. P. Lehmann. Marke: Firmenzeichen, Made in Germany, DRGM. 1907-1945. Blech, farbig lithografiert. 13 x 7 x 20,5 cm. Mechanischer, rot-weißer Omnibus mit Fahrerfigur und offenem Dach. Intaktes Werk mit festem Schlüssel. Bespielt, Lackdefekte. 1 Treppenstufe eventuell ergänzt. Literatur : Ein Jahrhundert Blechspielzeug. München 1981, S. 78. Aufrufzeit 26. | Okt 2023 | voraussichtlich 10:53 Uhr (CET)Double-decker bus "Lehmann's Autobus 590". E. P. Lehmann. Mark: company mark, Made in Germany, DRGM. 1907-1945. Sheet metal, color lithographed. 13 x 7 x 20.5 cm. Mechanical red and white omnibus with driver figure and open roof. Intact movement with fixed key. Played, paint defects. 1 step possibly supplemented. Literature : A Century of Tin Toys. Munich 1981, p. 78. Call time 26 | Oct 2023 | probably 10:53 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Eisenbahn-Konvolut. Märklin. Marke: Firmenzeichen Germany. 1930-1954. Blech, farbig lackiert. Schwarze Lok für Elektrobetrieb (L 19 cm) mit Tender, 2 Personenwagen 3. Klasse, 1 Güterwaggon "17280" mit 2 seitlichen Schiebetüren (L je 19,5 cm). Dazu Trafo "Der feinstufige Electric-Transformator mit Kurzschlussauslösung" (6-22 Volt), Tunnel, Signal, Lampe, ca. 20 Schienenstränge und 1 Weiche "0 R 8". Funktion nicht geprüft. Altersspuren, kleine Defekte, Lok: 1 Rad lose, 1 Glühlampe fehlt. Aufrufzeit 26. | Okt 2023 | voraussichtlich 11:00 Uhr (CET)Railroad Convolute. Märklin. Mark: Company mark Germany. 1930-1954. Sheet metal, painted in color. Black locomotive for electric operation (L 19 cm) with tender, 2 passenger cars 3rd class, 1 freight car "17280" with 2 side sliding doors (L each 19.5 cm). In addition, transformer "The fine-step Electric transformer with short-circuit release" (6-22 volts), tunnel, signal, lamp, about 20 rail lines and 1 turnout "0 R 8". Function not tested. Traces of age, small defects, locomotive: 1 wheel loose, 1 bulb missing. Call time 26th | Oct 2023 | expected 11:00 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Große Weihnachtspyramide und Konvolut alte Figuren. Holz. In Weiß und Gold lackierte Erzgebirgs-Stufenpyramide mit 4 drehbaren Stockwerken, 9 Kerzentüllen und großem Flügelrad mit Altersspuren (H ca. 120 cm). Dazu Konvolut 10 geschnitzte Krippenfiguren (vermutlich Böhmen), 2 Schäfer, 14 Schafe, 1 Hund und 3 Bäume (H 2,5 - 13,5 cm). Altersspuren, kleine Defekte. Pyramide nachlackiert. Versand nicht verfügbar.Aufrufzeit 26. | Okt 2023 | voraussichtlich 11:03 Uhr (CET)Large Christmas pyramid and convolute old figures. Wood. In white; and gold lacquered Erzgebirgs step pyramid with 4 revolving floors, 9 candles and großem Flügelrad with signs of age (H ca 120 cm). In addition Konvolut 10 carved nativity figures (probably Böhmen), 2 Schäfer, 14 sheep, 1 dog and 3 Bäume (H 2.5 - 13.5 cm). Traces of age, small defects. Pyramid repainted. Shipping not available.Call time 26th | Oct 2023 | probably 11:03 am (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
A gold and garnet bracelet, mid 19th century, centring on a step-cut almandine garnet, within an engraved shield-shaped mount with scrolled edges, to a bracelet composed of engraved rectangular linking, length 16cm, length of extension 5.5cm, French import assay marks for 18ct gold, fitted case
A diamond solitaire ring, set with a step-cut diamond weighing 0.56 carats, to a plain 18ct white gold mount, size L1/2, British hallmarkAccompanied by The Gem Testing Laboratory of Great Britain report no.0077641, Dated September 2nd 1999, stating that the emerald-cut diamond weighing 0.56 carats is G colour, VS2 clarity with no fluorescence.
A group of jewellery, comprising: an emerald and diamond ring of asymmetrical design, mounted in 18ct white gold, size L1/2, British hallmarks; an 18ct gold and green tourmaline ring, size N, British hallmarks; a gold ring set with four emeralds, size O; a gold and onyx signet ring, size O1/2; a pair of faceted blue glass earrings mounted in gilt silver; length 1.6cm each, clip and post fittings; and a multi-gem necklace set with cushion-shaped and step-cut gemstones including amethyst, zircon and citrine, length 38cm
Three gem-set and diamond rings, comprising: a ring of bombé design, pavé-set with brilliant-cut diamonds and floral arrangements of circular-cut rubies, mounted in gold, size M, stamped 18K 750; a ring pavé-set with brilliant-cut diamonds, spaced by bands of calibré-cut emeralds, rubies and diamonds, mounted in gold, size O, stamped 750, numbered 25021; and an articulated gold ring set with step-cut sapphires and brilliant-cut diamonds, size O
Vever, a sapphire and diamond brooch, early 20th century, of bar design, centring on a step-cut sapphire weighing 4.93 carats, between three circular-cut diamonds at each side, mounted in gold, length 7cm, numbered 3492, French assay marks for 18ct gold, French maker's mark for VeverAccompanied by SSEF report no. 129040, dated May 16th 2023, stating that the rectangular-cut sapphire weighing 4.93 carats is of Kashmir origin, with no indications of heat treatment
A collection of three stick pins and four brooches, early 20th century, comprising: three gold stick pins, capped respectively with a sphere set with step-cut rubies and rose-cut diamonds, a dachshund with ruby eyes, and a chick set with rubies and rose-cut diamonds emerging from an egg, longest 7.6cm; a brooch designed as an arrow, set with a natural pearl measuring approximately 7.8mm diameter, and a circular-cut rhodolite garnet, accented with rose-cut diamonds, mounted in gold, length 3.3cm; and three matching bar brooches, set with step-cut rubies, rose-cut diamonds and pearls, each mounted in gold, length 2cm each, pearls untestedA verbal report from GCS states that the pearl in the brooch of arrow-design is natural, saltwater, the remaining pearls untested.
A diamond, emerald and ruby brooch, France, 1960s, of abstract rosette design, set with brilliant-cut, single-cut and baguette diamonds, step-cut and circular-cut emeralds, and a line of channel-set calibré-cut rubies, mounted in platinum and white gold, length 5.5cm, French assay marks for 18ct gold and platinum, indistinct French maker's mark HP
An unusual Art Nouveau silver and gem-set pendant, early 20th century, designed as a standing bird, possibly a shoebill, amongst abstract foliate scrolls intermingled with human faces, set with a step-cut emerald and cushion-shaped rubies, suspending a mask pendant, length 9.5cm, mask pendant possibly later
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26534 item(s)/page