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Lot 95
William Alfred Dutt, collection 16 titles, including: 'By Sea Marge, Marsh and Mere', London, Simpkin, Marshall, Hamilton, Kent & Co, Lowestoft, W Gwyn [1898], 1st edition, original printed wraps, plus another copy of the same work, later rebound cloth gilt; 'Highways, Byways and Waterways of East Anglia', Lowestoft & London, 1899, 1st edition, frontis, 168pp, original wraps (toned and slightly worn); 'George Borrow in East Anglia', David Nutt, 1896, 1st edition, original printed wraps; 'King's Lynn (Norfolk), With Its Surroundings', Lynn & London, 1905, 1st edition, folding plan, plates and illustrations in text, original pictorial wraps worn a/f; 'The Waveney Valley in the Stone Age', 1905, original printed wraps (worn, top wrap detached but present); 'A Popular Guide to Norfolk', [1904], 1st edition, map, 104pp, original pictorial wraps; 'The King's Homeland Sandringham & North-West Norfolk', 1904, plates, original cloth gilt; 'Wildlife in East Anglia', 1906, 1st edition, original cloth gilt (VGC); 'Some Literary Associations of East Anglia', 1907, 1st edition, original cloth gilt (VGC); 'A Guide to the Norfolk Broads', 1923, original cloth gilt; plus 5 others (16)
Lot 44
A 17th century German Renaissance stone and silver gilt tankard or stein, turned footed baluster form with chased strap banding and acanthus foot, the cast figural and scroll handle with bust thumb piece, embossed with mask, scroll and berry banding to the lid, surmounted by a putto with shield and staff, 20.5cm high Provenance: Jacques Guerlain Collection
Lot 381
A diamond five stone ring, the graduated old cut diamonds in white claw settings, to a tapered shoulder plain polished shank, total estimated diamond weight 1.05 carat approximately, finger size H. The ring is in good to fair condition. It is stamped '18CT' and 'PLAT' and in our opinion would test as gold and platinum. The central stone measures 4.45mm x 4.45mm x 3.22mm = 0.45 carat approximately. The approximate qualities of the diamonds are; colour I/J/K, clarity I1/I2/I3. Gross weight 2.4 grams.
Lot 587
PLYMOUTH ARGYLE Letter from the Devon County F.A. advising Lt. A.R. Stone that he has been appointed linesman at the Plymouth home Friendly v. C.A.R. Las Paz of Bolivia 30/10/1961 plus a programme with "Linesman" written on the cover and team changes. Plus a poster for the away Friendly v Dorchester Town 19/7/1978. Generally good
Lot 143
Jeremy Gardiner Portland Stone, Anvil Point, Swanage, 2021 Acrylic and Jesmonite on Poplar Panel Signed on verso 15 x 10cm (5¾ x 3¾ in.) Jeremy Gardiner's artistic excavation of the geology of landscape is shaped both by human activity and by the forces of nature. His painting is informed by science, geomorphology, new technologies and direct physical engagement with ancient landscapes. Gardiner interprets, through his painting and printmaking, a variety of landscapes that contain the marks and secrets of their own distant formation, giving them a unique, contemporary depth and beauty. His artistic exploration has taken him from the Jurassic Coast of Dorset to the rugged coast of Cornwall, the Oceanic islands of Brazil, the arid beauty of the island of Milos in Greece and the Lake District and its numerous waterfalls. Gardiner's spatially probing and texturally explicit pictures creatively transform the lessons learnt from pioneering modern British landscape painters such as John Tunnard, Ben Nicholson, Peter Lanyon and the American artist Richard Diebenkorn. 'Gardiner's distinctive laminar landscapes reveal their layered meanings only over time - this is not instant art, but art which discloses itself gradually. Its richness matches the complexity of the world it seeks to evoke, and offers back an interpretation of it which is both personal and penetrating.' Andrew Lambirth, Art Critic Gardiner studied Fine Art at Newcastle University from 1975 -79 and painting at the Royal College of Art from 1980-83. He was a Harkness Fellow at Massachusetts Institute of Technology from 1984-86.Gardiner's monograph 'The Art of Jeremy Gardiner: Unfolding Landscape' was published by Lund Humphries in 2013 that year Gardiner was awarded the prestigious Discerning Eye ING Art prize for 'Pendeen Lighthouse', the first painting in a series that would evolve into Pillars of Light, his sellout exhibition which took place in September, 2016 at The Nine British Art, St James's, London. His paintings have been exhibited in Europe, the USA, South America, and Japan. He has won numerous awards throughout his career including a Churchill Fellowship and New York Foundation for the Arts Fellowship. Gardiner's paintings are represented in public and corporate collections including the Victoria and Albert Museum, the Government Art Collection, BNP Paribas and Pincent Masons. His most recent exhibitions include Drawn to the Coast in 2017, and Tintagel to Lulworth in 2019. South by Southwest a recent touring museum exhibition was a journey to explore the modern-day reality of our coastline from Kent to Cornwall, looking afresh at the harbours, bays, coves, castles and follies that characterise the remarkable shoreline of the South Coast. The show was cut short by the pandemic in 2020, paintings from this body of work are on display at Linley Belgravia and The Nine British Art, St James's, London during summer 2021.The Nine British Art, 9 Bury Street, St James's, LondonMy work reflects a deep and long-term interest with the geology of landscape and how it is shaped by the forces of nature. In this piece, a study of the Purbeck limestone at Anvil Point my working method involves building accretions of paint on poplar panel and sanding them down, in an attempt to emulate on the surface of my paintings, the effects of geological time on the terrain. Landscape painting is thriving in the 21st Century, reasons may include our imminent environmental collapse and an increasingly digitally mediated existence. I believe if I can paint pictures that encompass an understanding of different landscapes their underlying structures, contours and unique history, then it is time well spent.
Lot 425
Henrietta Armstrong SEER, 2021 Collage, Masking Tape and Spray Paint Signed on verso 15 x 10cm (5¾ x 3¾ in.) Henrietta Armstrong is a multimedia artist and curator based in London, specialising in sculpture, installation and public art. She looks at man-made objects and structures from everyday technologies that are often obsolete or defunct, and the symbolism or meaning that we imbue them with. Her recent work has been looking at the brutalist forms of sea defences, sea erosion and the global threat of rising sea levels. Co-founder of Come Quick Disaster - a platform for arts providing help & information for artists as well as curating exhibitions and running regular events. Studied BA Fine Art (Hons) at Sir John Cass School of Art, London, graduating in 2003. Henrietta has recently been selected as a finalist for the National Sculpture Prize 2021, working on a sculpture to be installed at the Broomhill Estate Sculpture Park in Devon later this year. She was awarded as a runner up for the Soho House Art Prize 2020 and is currently working on a public sculpture commission for the village of Tytherington commissioned by Cotswold Homes & South Gloucestershire Council. Exhibitions include: Soho Editions: Art Prize 2020 where she created a print edition for Soho Home with Jealous Gallery - 2021, Jealous Gallery Rooftop Mural - 2021, Throwing Bones II at Window 135 - 2020, The Pendle Hill Stones, a permanent public sculpture installed on Pendle Hill in Lancashire - 2018, Contemporary Perspectives in Printmaking at Mall Galleries, London - 2017. About the Postcards The SEERs were created by Henrietta for her 'Temple of M E D U S A' installation around the time of the #metoo movement. Demonised for her beauty by those that desired her, punished for being a victim of rape, then vilified as a monster, never to be looked at again, Medusa's story scarily echoes the misogynistic realities of today. She was mortal and not a goddess so creating a temple for Medusa felt like a reprieve. The SEERS are Medusa's victims that she has turned to stone. They now watch over and protect her with their sightless eyes, her servants for eternity. Seers in Ancient Greece interpreted signs sent by the gods through bird signs, animal entrails and other methods of divination. However only direct yes & no questions could be answered.
Lot 426
Henrietta Armstrong SEER III, 2021 Collage, Spray Paint and Holographic Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Henrietta Armstrong is a multimedia artist and curator based in London, specialising in sculpture, installation and public art. She looks at man-made objects and structures from everyday technologies that are often obsolete or defunct, and the symbolism or meaning that we imbue them with. Her recent work has been looking at the brutalist forms of sea defences, sea erosion and the global threat of rising sea levels. Co-founder of Come Quick Disaster - a platform for arts providing help & information for artists as well as curating exhibitions and running regular events. Studied BA Fine Art (Hons) at Sir John Cass School of Art, London, graduating in 2003. Henrietta has recently been selected as a finalist for the National Sculpture Prize 2021, working on a sculpture to be installed at the Broomhill Estate Sculpture Park in Devon later this year. She was awarded as a runner up for the Soho House Art Prize 2020 and is currently working on a public sculpture commission for the village of Tytherington commissioned by Cotswold Homes & South Gloucestershire Council. Exhibitions include: Soho Editions: Art Prize 2020 where she created a print edition for Soho Home with Jealous Gallery - 2021, Jealous Gallery Rooftop Mural - 2021, Throwing Bones II at Window 135 - 2020, The Pendle Hill Stones, a permanent public sculpture installed on Pendle Hill in Lancashire - 2018, Contemporary Perspectives in Printmaking at Mall Galleries, London - 2017. About the Postcards The SEERs were created by Henrietta for her 'Temple of M E D U S A' installation around the time of the #metoo movement. Demonised for her beauty by those that desired her, punished for being a victim of rape, then vilified as a monster, never to be looked at again, Medusa's story scarily echoes the misogynistic realities of today. She was mortal and not a goddess so creating a temple for Medusa felt like a reprieve. The SEERS are Medusa's victims that she has turned to stone. They now watch over and protect her with their sightless eyes, her servants for eternity. Seers in Ancient Greece interpreted signs sent by the gods through bird signs, animal entrails and other methods of divination. However only direct yes & no questions could be answered.
Lot 427
Henrietta Armstrong SEER IV, 2021 Collage, Masking Tape and Spray Paint Signed on verso 15 x 10cm (5¾ x 3¾ in.) Henrietta Armstrong is a multimedia artist and curator based in London, specialising in sculpture, installation and public art. She looks at man-made objects and structures from everyday technologies that are often obsolete or defunct, and the symbolism or meaning that we imbue them with. Her recent work has been looking at the brutalist forms of sea defences, sea erosion and the global threat of rising sea levels. Co-founder of Come Quick Disaster - a platform for arts providing help & information for artists as well as curating exhibitions and running regular events. Studied BA Fine Art (Hons) at Sir John Cass School of Art, London, graduating in 2003. Henrietta has recently been selected as a finalist for the National Sculpture Prize 2021, working on a sculpture to be installed at the Broomhill Estate Sculpture Park in Devon later this year. She was awarded as a runner up for the Soho House Art Prize 2020 and is currently working on a public sculpture commission for the village of Tytherington commissioned by Cotswold Homes & South Gloucestershire Council. Exhibitions include: Soho Editions: Art Prize 2020 where she created a print edition for Soho Home with Jealous Gallery - 2021, Jealous Gallery Rooftop Mural - 2021, Throwing Bones II at Window 135 - 2020, The Pendle Hill Stones, a permanent public sculpture installed on Pendle Hill in Lancashire - 2018, Contemporary Perspectives in Printmaking at Mall Galleries, London - 2017. About the Postcards The SEERs were created by Henrietta for her 'Temple of M E D U S A' installation around the time of the #metoo movement. Demonised for her beauty by those that desired her, punished for being a victim of rape, then vilified as a monster, never to be looked at again, Medusa's story scarily echoes the misogynistic realities of today. She was mortal and not a goddess so creating a temple for Medusa felt like a reprieve. The SEERS are Medusa's victims that she has turned to stone. They now watch over and protect her with their sightless eyes, her servants for eternity. Seers in Ancient Greece interpreted signs sent by the gods through bird signs, animal entrails and other methods of divination. However only direct yes & no questions could be answered.
Lot 428
Henrietta Armstrong SEER VIII, 2021 Collage, Spray Paint and Holographic Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Henrietta Armstrong is a multimedia artist and curator based in London, specialising in sculpture, installation and public art. She looks at man-made objects and structures from everyday technologies that are often obsolete or defunct, and the symbolism or meaning that we imbue them with. Her recent work has been looking at the brutalist forms of sea defences, sea erosion and the global threat of rising sea levels. Co-founder of Come Quick Disaster - a platform for arts providing help & information for artists as well as curating exhibitions and running regular events. Studied BA Fine Art (Hons) at Sir John Cass School of Art, London, graduating in 2003. Henrietta has recently been selected as a finalist for the National Sculpture Prize 2021, working on a sculpture to be installed at the Broomhill Estate Sculpture Park in Devon later this year. She was awarded as a runner up for the Soho House Art Prize 2020 and is currently working on a public sculpture commission for the village of Tytherington commissioned by Cotswold Homes & South Gloucestershire Council. Exhibitions include: Soho Editions: Art Prize 2020 where she created a print edition for Soho Home with Jealous Gallery - 2021, Jealous Gallery Rooftop Mural - 2021, Throwing Bones II at Window 135 - 2020, The Pendle Hill Stones, a permanent public sculpture installed on Pendle Hill in Lancashire - 2018, Contemporary Perspectives in Printmaking at Mall Galleries, London - 2017. About the Postcards The SEERs were created by Henrietta for her 'Temple of M E D U S A' installation around the time of the #metoo movement. Demonised for her beauty by those that desired her, punished for being a victim of rape, then vilified as a monster, never to be looked at again, Medusa's story scarily echoes the misogynistic realities of today. She was mortal and not a goddess so creating a temple for Medusa felt like a reprieve. The SEERS are Medusa's victims that she has turned to stone. They now watch over and protect her with their sightless eyes, her servants for eternity. Seers in Ancient Greece interpreted signs sent by the gods through bird signs, animal entrails and other methods of divination. However only direct yes & no questions could be answered.
Lot 434
Anish Kapoor Untitled, 2021 Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Anish Kapoor is one of the most influential sculptors of his generation. Perhaps most famous for public sculptures that are both adventures in form and feats of engineering, Kapoor manoeuvres between vastly different scales, across numerous series of work. Immense PVC skins, stretched or deflated; concave or convex mirrors whose reflections attract and swallow the viewer; recesses carved in stone and pigmented so as to disappear: these voids and protrusions summon up deep-felt metaphysical polarities of presence and absence, concealment and revelation. Forms turn themselves inside out, womb-like, and materials are not painted but impregnated with colour, as if to negate the idea of an outer surface, inviting the viewer to the inner reaches of the imagination. Kapoor's geometric forms from the early 1980s, for example, rise up from the floor and appear to be made of pure pigment, while the viscous, blood-red wax sculptures from the last ten years - kinetic and self-generating - ravage their own surfaces and explode the quiet of the gallery environment. There are resonances with mythologies of the ancient world - Indian, Egyptian, Greek and Roman - and with modern times. Anish Kapoor was born in Mumbai, India in 1954 and lives and works in London. He studied at Hornsey College of Art, London, UK (1973-77) followed by postgraduate studies at Chelsea School of Art, London, UK (1977-78). Recent solo exhibitions include Houghton Hall, Norfolk, UK (2020); Pinakothek der Moderne, Munich, Germany (2020); 'Surge' at Fundación Proa, Buenos Aires, Argentina (2019); Central Academy of Fine Arts Museum and Imperial Ancestral Temple, Beijing, China (2019); CorpArtes, Santiago, Chile (2019); Pitzhanger Manor and Gallery, London, UK (2019); Serralves Museum, Porto, Portugal (2018); 'Descension'' at Public Art Fund, Brooklyn Bridge Park Pier 1, New York, NY, USA (2017); Parque de la Memoria, Buenos Aires, Argentina (2017); MAST Foundation, Bologna, Italy (2017); Museo Universitario Arte Contemporáneo (MUAC), Mexico City, Mexico (2016); Couvent de la Tourette, Eveux, France (2015); Château de Versailles, Versailles, France (2015) and The Jewish Museum and Tolerance Center, Moscow, Russia (2015). He represented Britain at the 44th Venice Biennale in 1990 with Void Field (1989), for which he was awarded the Premio Duemila for Best Young Artist. Kapoor won the Turner Prize in 1991 and has honorary fellowships from the University of Wolverhampton, UK (1999), the Royal Institute of British Architecture, London, UK (2001) and an honorary doctorate from the University of Oxford, UK (2014). Anish Kapoor was awarded a CBE in 2003 and a Knighthood in 2013 for services to visual arts. Large scale public projects include Cloud Gate (2004) in Millennium Park, Chicago, USA and Orbit (2012) in the Queen Elizabeth Olympic Park, London, UK and Ark Nova (2013) the world's first inflatable concert hall in Japan.
Lot 231
Keene (Charles Samuel) 10 Proof Plates, of which 8 are finished compositions and studies for 'Punch', including a study for 'Arry of the Boulevard', c.1868-90 § Stone (Marcus) 7 Proof Plates for 'Young Brown' by Grenville Murray, for The Cornhill, 1873-74, all mounted on card, several with pencil captions, wood-engravings and offset lithographs; and others by Robert Barnes and William Small, c.115 x 180mm or c.115 x 155mm, (20).⁂ Provenance: Ex-collection of George Smith, of Smith, Elder & Co. Exhibited at The Christopher Mendez Gallery, London, 1986 and, Bloomsbury Auctions, London, 2015.
Lot 95
A selection of George III and later silver flatware, to include four Victorian Fiddle pattern dessert spoons, John Stone, Exeter, 1844, six Victorian Old English pattern teaspoons, Josiah Williams & Co, London, 1896, two George III fiddle pattern forks, Thomas Wallis (II) & Jonathan Hayne, London, 1814, etc, gross weight 23.11ozt.Condition report: Overall condition good to fairMarks mostly clear and legible
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