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Lot 1
A. R. Penck (German, 1939-2017)Standart TTABTTT 5 1984 signed and titledacrylic on canvas160 by 130 cm.63 by 51 3/16 in.This work was executed in 1984.Footnotes:ProvenanceWaddington Galleries, LondonPrivate Collection, New YorkSale: Sotheby's, New York, Impressionist, Modern and Contemporary Paintings, Drawings and Sculpture, 8 October 1986, Lot 95Germans Van Eck Gallery, New York (AP102)Guy Pieters Gallery, KnokkeAcquired directly from the above by the present owner circa 1987ExhibitedLondon, Waddington Galleries, A.R. Penck, 1984Teeming with the symbols, cyphers and metaphors embedded in A.R. Penck's practice and executed at a pivotal moment in his career, Standard TTABTTT 5 is consummate example from the artist's celebrated oeuvre. Having remained in the same collection for over thirty years, the present work is a rare opportunity to acquire a painting, not only entirely fresh to the market, but also permeated with the intense atmosphere and raw vitality found in all of the artists best known and most coveted works in private and institutional collections.Born in Dresden in 1939, Ralf Winkler was old enough to see and remember the city burning in 1945. The traumatic experience and his life in a war-torn and soon to be separated Germany would influence his life and work profoundly. Taking the decision to remain in East Berlin after the wall had been erected in 1961, Winkler experienced artistic isolation, surveillance and censorship by the secret police. In 1957 he began a lifelong friendship with Georg Kern (later to become Baselitz) and after meeting the Gallerist Michael Werner in 1968, he started illicitly exhibiting in the West. To avoid the unwanted attention of the state and facilitate smuggling his paintings across the border Winkler used a variety of pseudonyms, including 'Mike Hammer', 'Theodor Marx', 'a. Y' and just 'Y'. It was 'A.R. Penck', adopted after reading the work of the geographer and geologist Albrecht Penck that eventually stuck.Penck's iconic 'Standart' works employ a lexicon of pictograph-like marks he referred to as building blocks. First developed in the 1960s and derived from the words 'standard' and 'art', with an echo of the German word 'Standarte', signifying a banner or flag, the term represented a universally accessible aesthetic, a standard art for all, which would transcend language, boundaries and borders and addressed complex, socio-political themes. Penck claimed never to have heard of conceptualism at the start of his career which would go on to span five decades, but whilst his art developed more or less in isolation behind the wall, it soon found wide spread appreciation in the West especially in the New York art scene that welcomed him with open arms. In 1980, Penck was forced to emigrate to the West and became part of a milieu of Neo-Expressionist painters which included Markus Lüpertz and Jörg Immendorff. In New York he met likeminded artists such as Jean-Michel Basquiat with whom he shared a great mutual respect and artistic exchange that is visible in both artists' works from that time. In 1984, Penck payed homage to his friend with a poem that was published in Basquiat's exhibition catalogue of the same year.In Standard TTABTTT 5 a monumental, almost life-sized central stick figure, part man, part abstract primitive deity, is surrounded by the rudimentary shapes and symbols that form Penck's artistic language. Executed in the vibrant colours Penck began to use more after emigrating to the West, the work conveys a vibrant energy and confident execution of an artist at the height of his career. Whilst this phase of his life coincided with a period of disillusionment caused by the major upheaval in his life, it was also a time of significant artistic recognition. The theme of duality in Standard TTABTTT 5, red against blue, a figure split by use of subtle colour variations, seems highly politically charged and appears to echo the strained relations between the Federal and Democratic Republics, two entirely opposed ideologies of Soviet Communism and Western Capitalism. The fluid, vibrant brush strokes and rhythmic composition pay homage to the artists love of Jazz music; Penck himself was a drummer and played in the band Triple Trip Touch in the late 1980s. Whilst Penck is often described as one of the fathers of Graffitism, his work is difficult to put into any category and his legacy is yet to be fully evaluated. Whilst his work is often associated with Keith Haring and Jean-Michel Basquiat, Penck's inspirations were manifold, ranging from Ernst Ludwig Kirchner to ancient cave paintings. His colourful pictorial language represents a constant dialogue between Primitivism and Art Brut, between painting and Street Art. Penck's work was included in the ground-breaking Zeitgeist show at the Martin-Gropius-Bau, Berlin (1982), A New Spirit in Painting at the Royal Academy of Arts (1981) and New Art, Tate (1983). Penck went on to participate in the 1984 Venice Biennale, the same year Standard TTABTTT 5 was painted, as well as in four editions of Documenta. His work fell out of favour after the heyday of the 1980s, but in recent years regained relevance and is seen as a significant influence on many contemporary artists. Today, his works are held in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Kunstmuseum Basel, and the Städel Museum in Frankfurt.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 16
Shara Hughes (B. 1981)Centerpiece 2008 signed and dated 2008; signed, titled and dated 2008 on the reverseoil, acrylic, oil stick, gouache, ink, crayon, spray paint and glitter on paper57 by 76 cm.22 7/16 by 29 15/16 in. Footnotes:ProvenanceMuseum 52, LondonMetroquadro, TurinAcquired directly from the above by the present owner in 2009ExhibitedTurin, Metroquadro, Shara Hughes: I knocked. Then without waiting to be asked I went in, 2009, p. 13, illustrated in colour, p. 40, illustrated in black and whiteFor further information on this lot please visit Bonhams.com
Lot 2045
Edwardian 9ct gold seed pearl, star and swirl design brooch retailed by F. Appleby Retford boxed, four 9ct and 15ct gold stone set stick pins, 9ct gold propelling pencil and a 9ct gold brooch, all stamped, tested or hallmarked - Condition Report Brooches approx 3.5gm (back pins not gold), stick pins approx 4.1gm,
Lot 2107
Early 20th century tooled leather jewellery box, velvet and silk lined containing Victorian and later 9ct and 15ct gold jewellery, stone set pinchbeck seal fobs, mourning brooches, stick pins, lockets and earrings - Condition Report Two 9ct stone set gold rings approx 5.3gm, gold brooch (a lot of soldering) approx 5.1 tested 9-15ct, 9-15ct stick pins approx 3.6gm, lockets etc (all with glass liners approx 18gm
Lot 2113
Irish gold Claddagh ring, gold brooch, heart locket all 9ct stamped or hallmarked, 18ct gold diamond set stick pin finial, fob, seed pearl brooch etc - Condition Report 9ct gold approx 8gm, Claddagh ring - Dublin assay mark (date letter rubbed) 9ct gold brooch back pin not gold, 18ct approx 1.2gm (tested)
Lot 1210
DANISH TEAK DINING TABLE & CHAIRS a teak extending dining table with 2 additional leaves, the top supported on struts and cross stretcher. Also with a matching set of 6 stick back dining chairs with woven seats. Marked on the back of the leaves, No 33, Denmark. Table 137cms by 88cms (not extended), Chairs 98cms high. (7)
Lot 1211
GORDON RUSSELL - SET OF DINING CHAIRS, DESIGN COUNCIL a set of 8 walnut stick back dining chairs with upholstered seats, from the Burford range. One with a label to the base, Design Council, 10353. 86cms high. (8) *These chairs were formally in the Boardroom of the Design Council in Haymarket. The Design Council moved to Haymarket in 1956, so these probably date to around that time. Sir Gordon Russell was Director of the Design Council from 1947-1960. In the 1990's the Design Council had a large re organisation and the furniture including the boardroom furniture was sold off. The current vendor was formally an employee and managed to purchase the chairs from the boardroom.
Lot 758
A QUANTITY OF JEWELLERY including a gold horseshoe stick pin, a cultured pearl and gold brooch, a garnet and gilt metal brooch, a cultured pearl and rose-cut diamond circle brooch, a turquoise and half pearl insect brooch, a cultured pearl and gold bow brooch, a pair of paste set buckles, a paste set star brooch and various other items
Lot 770
A QUANTITY OF JEWELLERY including a gilt metal, enamel and gem set posy holder designed as a brooch, a diamond and 15ct gold stick pin, a gem set salamander brooch, a blue and white paste set cluster ring, a red and white paste set five stone ring, a lava cameo brooch, a carved foliate shell cameo brooch and various other items
Lot 1032
A Victorian walnut stick barometer, inscribed to the ivory dial 'Pastorelli & Co, Piccadilly, London' with silvered thermometer and carved detail to the bob, length 104cm.Additional InformationAs the dial is ivory it cannot be exported outside of the UK without relevant licences, missing the adjusting knob to the base, a few dents and scratches to the woodwork throughout, both dials are very dirty and would benefit from a clean. The right hand adjusting upper dial knob is damaged, general surface wear.
Lot 36
NEWLYN; an Arts & Crafts copper chamber stick with repoussé decoration depicting fish, with detachable sconce, length 25cm, unmarked, and a William Hutton & Sons English Pewter candlestick No.1830, height 21.5cm (2).Additional InformationThe chamber stick has an old repair to the handle, it has been soldered and repaired. The candlestick has been dropped and the top rim is dented heavily. The foot rim and drip dray are also bent around the edge.
Lot 701
A small Victorian walnut and band inlaid lidded box, width 23cm, a malacca shafted walking stick with silver cap, length 91cm, and a circa 1900 oak mantel clock, width 34cm (3).Additional InformationQuite heavy wear to the malacca towards the top, hallmark obscured and a few dents to the silver. Heavy wear to the straw workbox and lacking any interior. The clock is missing the glass and the front door and has signs of wear throughout. No guarantee of working order.
Lot 1013
Irish mahogany stick barometer, the silvered scale signed I. Ribaldi, Limerick, over a flat trunk with fluted canted sides to the turned hemispherical cistern cover, surmounted by a broken triangular arched pediment and brass urn vase finial; also a mahogany wheel barometer/thermometer, the 8" silvered dial signed Paul Corti (Exeter) on a plate screwed to the dial, surmounted by an onion top (2)
Lot 31
Great War Gallipoli Casualty 1st / 5th Battalion Lancashire Fusiliers Memorial Plaque, bronze memorial plaque awarded to “JAMES HARGREAVES YATES”. Remains in very good condition. Company Sergeant Major James Hargreaves Yates was a native of Bury, Lancashire. He was killed on 7th August 1915 and is commemorated on the Helles Memorial. An extract from Geoffrey Moorhouse in Helles Foundations published in 1992 wrote, “The 1/5th too had by now been reduced to a token of its original strength. It landed in May with 30 officers and 1000 men. When George Horridge returned to it on August 15th, he found to his horror that it has shrunk to 6 officers and 150 men. Company Sergeant Major Yates was one of those who had disappeared during Horridge’s absence in the Egyptian hospital. In Cairo, before they set sail for the Peninsula, Yates had confided in the young Second Lieutenant his belief that he would die sometime in the months ahead. But he had come through the landing and Third Krithia without a scratch. The night before the Helles diversion he spent several hours quietly alone, at prayer. He went over the top next morning carrying a walking stick, with a pistol in his other hand. He returned from that engagement, too, unharmed. During the night a shell landed in his trench, and that was the end of him.”
Lot 437
Inert WW1 Semi-Relic German 1915/1916 Stick Grenade, an interesting transitional period example with the head section being the early 1915 type and the haft being the later pattern with the porcelain ball to the inside of the wood. Haft nicely stamped “5 ½ SECONDE” and a Berlin makers mark. Old glue marks / residue towards the top of the haft and grenade head. Old collectors label attached. This item is empty and safe, legal to own within the UK. We are not able to offer any post and packing options on this item.
Lot 671
Battlefield Recovered Inert M-17 German Stick Grenade, with heavily dented / crushed head, original haft with remains of stampings. Complete with cap and porcelain ball. This lot is a inert lot and is legal and safe to own in the UK. We are not able to offer post and packing on this lot. Please note only available to clients bidding from the UK who can arrange collection.
Lot 754
Royal Flying Corps / Royal Air Force Propeller Walking Stick Stand, an interesting item probably made in an aircraft park by a mechanic or similar position. The laminated wooden propeller blades have been cut to slot into the propeller central boss and two holes drilled for the fitting of a rope to hold the sticks in place once placed inside the propeller hub centre. The hub is clearly marked and stamped. An unusual item. All comes apart but we would not be able to offer in house post and packing.
Lot 599A
SMOKING PARAPHERNALIA. A 'YZ' WOOD AND HORN NUT BIRD SMOKER?S COMPANION, POSSIBLY FOR ALFRED DUNHILL LTD., C1925-30, OF SEVERAL DIFFERENT TYPES OF WALKING STICK WOOD, WITH HORN BILL AND FEET AND AMBER GLASS EYES, ON SHAPED GREEN MARBLED WOOD BASE WITH ORIGINAL GREEN PHENOLIC RESIN ASHTRAY, 42CM H, MOULDED ?YZ? TRADE MARK TO ASHTRAYCondition report A good example in original condition with aged patina ashtray very slightly nibbled around the edge; missing the gong which hangs from its tail
Lot 149
λ A RARE MAHOGANY AND BRASS BALLOONING OR MOUNTAIN STICK BAROMETER BY THOMAS JONES, EARLY 19TH CENTURY of cylindrical shape, the screw-off cap top revealing a suspension ring, above a sliding cover revealing a silvered register with a manually operated vernier scale, with an ivory thermometer, inscribed 'Thos Jones Charing Cross', above an ivory registered 'Tempe of the mercury, correction of the expann of mercury & mean dilation of glass, heights of the mercurial column in inches, neutral point 30.340, capacity 1 / 56, temperature 52 degrees', in a leather travelling case 94cm high
Lot 2522
A collection of four late 19th century stick pins, comprising: a yellow metal shield shaped stick pin set with a citrine and a piece of branch coral, with intertwining strand, citrine dimensions approx 10.9 x 9.4mm, branch coral length 20mm, length of stick pin 90mm, gross weight 5.9g, tested as approx 15ct; a yellow metal egg shaped coral stick pin, with intertwining snake set with 7 rose cut diamonds, coral dimensions 12 x 8mm, rose cut diamond dimensions between 1.1 and 1,7 x 1.3mm, stick pin length 80mm, gross weight 3.8g, tested as 18ct; a yellow metal button shaped coral stick pin, the round cabochon coral measuring 8.75mm diameter, length 75mm, gross weight 2.4g, not marked but tested as 15ct; and a yellow metal stick pin in the form of an engraved sceptre, set with six round 2.9 x 3.1mm turquoise cabochons, length 90cm, gross weight 4.9g, safety chain attached, tested as 9ct (4)
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122897 item(s)/page