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Lot 130
A collection of retro vintage mid 20th century circa 1950's buttons to include a group of unusual white metal buttons having both four holes and shank for fixture, grey marled gloss two hole shirt buttons, smaller grey plastic shank buttons of curled dish form and grey and white shank buttons having the effect of stone. Taken from a large private collection. Measures 0.5cm to 2.5cm.
Lot 235
A collection of retro vintage mid 20th century buttons to include a mixed group of plastic shirt buttons, a group of chrome coloured shank buttons having floral decoration atop, white metal shank buttons having plaited borders and a faux turquoise stone at the centre, marled blue plastic shank buttons and many more different styles with several still being held on their original mounts. Taken from a large private collection. Measures approximately 1.5cm to 3.5cm in diameter.
Lot 15
Laurence Stephen Lowry R.A. (British, 1887-1976)Man with a dog signed and dated 'L.S.Lowry 1966' (lower right)pencil20.6 x 12.8 cm. (8 1/8 x 5 in.)Footnotes:ProvenanceWith The Stone Gallery, Burford, circa 2000, where purchased by the present ownerPrivate Collection, U.K.The present work is executed on the verso of headed stationery from The Seaburn Hotel, Sunderland.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 40
John Piper C.H. (British, 1903-1992)Flowers IV signed 'John Piper' (lower right)chalk, ink, watercolour and gouache57.8 x 79 cm. (22 3/4 x 31 1/8 in.)Footnotes:ProvenanceWith Waddington Galleries, LondonMrs. M.L. StonePrivate Collection, U.K.Age and some health issues meant from 1985, when Flowers IV was likely painted, John Piper turned more to his own garden for inspiration and subjects. Waddington Galleries put on three exhibitions including these works in 1986, 1988 and 1989. The present work is a precursor to the large oil on canvas Summer Flowers I (1985/6), exhibited in the 1986 show and went on in 1987 to become a popular etching titled Dahlias and Ferns (Levinson 391).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 47
Dame Barbara Hepworth (British, 1903-1975)Maquette (Variation on a Theme) bronze with a brown and white patina43.8 cm. (17 1/4 in.) high (excluding the wooden base)Conceived in 1958, the present work is number 2 from the edition of 9Footnotes:ProvenanceWith Laing Gallery, TorontoMichael Tollemache, 1970With James Goodman Gallery, New York, 1971Private Collection, U.S.A.With James Goodman Gallery, New York, September 1999, where purchased byWith New Art Centre, Salisbury, February 2000, where purchased byRoss D. Siragusa Jr., from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedOttawa, National Gallery of Canada, Recent British Sculpture, organised by the British Council, 13 April 1961, cat.no.4 (another cast); this exhibition travelled to Québec, Montreal Museum Of Fine Arts, May, Winnipeg, Art Gallery, June, Regina, Norman Mackenzie Art Gallery, July, Toronto, Art Gallery Of Ontario, August, London (Ontario), Regional Art And Historical Museum, September, Vancouver, Vancouver Art Gallery, 1-30 April 1962, Aukland, City Art Gallery, 5-29 July, Wellington, Dominion Gallery, 21 August-9 September, Dunedin, Otago Museum, 9-28 October, Christchurch, Canterbury Museum, 20 November-9 December, Adelaide, Art Gallery Of South Australia, January 1963, Canberra, Australian National Museum, 13 January-23 February, Perth, Art Gallery Of Western Australia, 24 January, Adelaide, Adelaide Festival, 4 April-5 May, Hobart, Tasmanian Museum And Art Gallery, May, Launceston, Queen Victoria Art Gallery, 30 May, Melbourne, National Gallery Of Victoria, July, Sydney, Art Gallery Of New South Wales, August, Brisbane, Queensland Art Gallery, September, Newcastle, Newcastle Region Art Gallery, October and Canberra, National Gallery, 1 January-31 March 1964London, Whitechapel Art Gallery, Barbara Hepworth: An Exhibition of Sculpture from 1952-1962, May-June 1962, cat.no.37 (another cast)Florence, British Arts Council, Barbara Hepworth: Mostra Fotografica con Disegni e Originali, 8-16 October 1966, cat.no.4 (another cast)New York, Memorial Art Gallery, Twentieth Century Art: The Charles Rand Penny Collection, November 1983-August 1984, cat.no.47 (another cast); this exhibition travelled to New York, State University Art Gallery, October-December 1984, California, San Jose Museum of Art, September-November 1985, Wheeling, Stifel Fine Arts Centre, January-March 1986, Baton Rouge, Louisiana Arts and Science Centre, April-May, Tampa, Tampa Museum of Art, June-July, Little Rock, Arkansas Art Centre, August-September, Oklahoma, Oklahoma Art Centre, November-December, Jackson, Mississippi Museum of Art, January-February 1987, Spokane, Cheney Cowles Memorial Museum, June-July, Oshkosh, Paine Art Centre, September-November, Texas, Beaumont Art Museum, January-February 1988 and Shreveport, Meadows Museum, March-May 1988Liverpool, Tate, Barbara Hepworth: A Retrospective, 14 September–4 December 1994, cat.no.57 (another cast); this exhibition travelled to New Haven, Yale Centre for British Art, 4 February-9 April 1995 and Toronto, Art Gallery of Ontario, 19 May-7 August 1995LiteratureJ.P. Hodin, Barbara Hepworth, London, Lund Humphries, 1961, cat.no.247 (ill.b&w) (another cast)Matthew Gale and Chris Stephens, Barbara Hepworth, Works in the Tate Collection and the Barbara Hepworth Museum St Ives, Tate Publishing, London, 2001, p.182Owing to her desire to have direct contact with materials, Barbara Hepworth came to bronze casting somewhat later in her career with the first appearing in 1956. Alongside wood and stone, bronze was a medium which the artist would continue to explore until the end of her life, producing some of her finest and most memorable work from it. Maquette (Variation on a Theme) was conceived in 1958 and belongs to the early stages of development in one of the artist's important commissions. At Lillian Somerville of the British Council's recommendation, Hepworth was put in touch with the architects Trehearne & Norman Preston who were designing a sixteen-story office block on High Holborn for The Wohl Group. This was to become the now demolished State House with the sculpture presiding over the entrance titled Meridian. As Somerville explained, 'for once these architects do not want symbolism or a subject or a theme but an abstract sculpture', which must have been a particular draw for the artist (M. Gale and C. Stephens, Barbara Hepworth, London, 1999, p.182). Indeed, in an interview at the time, Hepworth described how 'with this commission I felt no hesitation whatsoever. By next morning I saw the sculpture in my mind quite clearly. I made my first maquette, and from this, began the armature for the working model. The architect must create a valid space for sculpture so that it becomes organically part of our spiritual perception as well as our three-dimensional life. To do less is to destroy sculpture and admit to an impoverished architecture' (P. Curtis and A.G. Wilkinson, Barbara Hepworth, A Retrospective, Liverpool, Tate Gallery, 1994, pp.154-155). Following an initial plaster model, Hepworth first created Maquette for State House (Meridian) (BH 245), which was later cast in an edition of 9. The present work, Maquette (Variation on a Theme), followed and was also to be cast in an edition of 9 with this being number 2. The work displays a complex tangle of ribbons which bind together and form triangular loops with the ultimate intention of contrasting with the building's linear architecture. The sculpture is clearly derived from the landscape with its strong sense of form and texture which was always at the forefront of the artist's mind. Maquette (Variation on a Theme) conveys a vivid sense of the artist's experience with the childhood memories of hills in Yorkshire and the weathered coast of Cornwall both translated into sculptural form. When explaining her choice of title for Meridian to the architect Harold Mortimer, Hepworth commented that 'it refers either to an imaginary arc of longitude (quintessentially, the Greenwich Meridian) or to the highest point in the arc of the sun' (M. Gale and C. Stephens, loc. cit.). Meridian was erected in London in 1960, the year after Hepworth claimed the Grand Prix at the Sao Paulo Art Biennial and was unveiled in front of a wall of Cornish granite by Sir Philip Hendy, Director of the National Gallery. Upon its demolition in 1990, the sculpture was sold to the Donald M. Kendall Sculpture Gardens in Purchase, New York, which is the headquarters of PepsiCo. The success of Meridian was an important development for Hepworth and led to future commissions including Winged Figure for the John Lewis building on Oxford Street. We are grateful to Sophie Bowness for her assistance in cataloguing this lot.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 48
Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure stamped with a 'C. VALSUANI CIRE PERDUE' foundry mark (on top of the base)bronze with a black patina15.2 cm. (6 in.) longConceived in 1945 and cast in an edition of 7Footnotes:ProvenanceSale; Kornfeld & Klipstein, Bern, 10 May 1963, lot 794With Samlaren Gallery, Stockholm, from whom acquired byTheodor Ahrenberg, from whom acquired byLa Boetie Inc., New York, 1967, from whom acquired byPrivate CollectionTheir sale; Sotheby's, New York, 4 November 1993, lot 370, where acquired by the present ownerPrivate Collection, SpainExhibitedStockholm, Samlaren Gallery, Henry Moore: Sculptures and Drawings, 1952Stockholm, Akademien, Henry Moore, 1952, cat.no.121LiteratureDavid Sylvester, Henry Moore: Volume 1, Complete Sculpture 1921-1948, The Henry Moore Foundation in association with Lund Humphries, Much Hadham & London, 1988, p.15, cat.no.246During his long and distinguished career, the 'reclining figure' along with the 'mother and child' theme were the two subjects that obsessed Henry Moore more than any other. Recent information from the Henry Moore Foundation indicates there are 270 examples of the reclining figure and 140 of the mother and child, perhaps confirming the former as the most significant; certainly the most fundamental. By 1968, Moore admitted this was the case: 'From the very beginning the reclining figure has been my main theme. The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures' (John Hedgecoe, Henry Moore, London, Thomas Nelson, 1968, p.151). The origins of that first reclining figure (male and now destroyed) can be traced back to the Toltec-Mayan idol Chacmool. Impressed by a life-sized limestone carving from the eleventh or twelfth century found in Chichen Itza in Mexico, Moore came across a plaster cast of Chacmool on a visit to the Trocadero Museum in Paris in 1925. The curious reclining posture of the figure on its back, with knees drawn up and head twisted to the right fascinated Moore and it became 'undoubtedly the one sculpture which most influenced my early work' (Henry Moore Writings and Conversations, ed. Alan Wilkinson, London, Lund Humphries, 2002, p.98).The present work was conceived at the end of WWII in 1945 as a preparatory study for the 30 in. Hornton stone carving Reclining Figure (1947-49, LH 273, now in the collection of the Philadelphia Museum of Art). It was originally modelled in terracotta (whereabouts unknown) with an edition of seven cast in bronze. This was a particularly significant time as the end of conflict meant a renewed availability of metals and Moore was able to break free from the constraints of two dimensions and work more regularly in three. Reclining Figure is therefore one of the first sculptural examples of what the artist had absorbed through his graphic observations of the public sheltering from The Blitz in the London underground. The undulating profile of the sculpture draws on both the example of a body sheltering on the platform floor and the artist's early preoccupations with the naturalistic rendering of bones, rocks and mountainous landscape, as such she can be read as both abstract and human at the same time. Writing of the scaled up carving of the present form, John Russell writes 'After many Reclining Figures in which the central hole was the dominant compositional feature here is one in which, on the contrary, the central area is filled in. Such is the modelling of that area that two complementary movements are set up: one begins below the heart and swings up and away to the left, while the other begins at the bottom of the right thigh and swings up and away to the right. The relationship, here, between the thing seen and the thing imagined is one of the most moving in all Moore's work, in that the spreading and subtly modulated area between heart and knees is continuously alive in terms both of human anatomy and of the landscape-analogy, the sublimations of moorland and bluff, which Moore keeps going at the same time. This is not one of Moore's largest carvings – it is only thirty inches long – but it is one in which social duty is laid aside and the imagination runs free to glorious effect.' (John Russell, Henry Moore, The Penguin Press, London, 1968, p.177)Another example from this edition is in the collection of the Memorial Art Gallery, University of Rochester, U.S.A.We are grateful to the Henry Moore Foundation for their assistance in cataloguing this lot.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
![[Camden (William)] Tomus alter, & idem: or The historie of the life and reigne of that famous princesse, Elizabeth, first](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/eb80391e-751a-41a9-ad5e-ac5d011b984c/468x382.jpg)
Lot 111
[Camden (William)] Tomus alter, & idem: or The historie of the life and reigne of that famous princesse, Elizabeth, first edition in English, lacking frontispiece and initial blank f., woodcut portrait to title verso, woodcut initials and headpieces, occasional dampstaining, engraved illustrations trimmed and laid down to front and rear endpapers, contemporary calf, gilt, joints cracked, extremities rubbed and a little worn, [STC 4498], Thomas Harper, 1629 § Strange Newes from Warwicke which hapned 17 Nov., 1642, manifesting how Jeremiah Stone, a Corporal of Dragoons (in the Civil War) being wounded at the Battell at Keynton came to the Anchor at Warwick, 1 of 20 copies, presentation inscription from the editor, contemporary half roan, extremities rubbed, 1826; and 12 others, similar, v.s. (14)⁂ The second mentioned a reprint of a tract with only 1 copy listed on ESTC.
Lot 508
SCHUBART SCHUBART Deutschland. Um 1990. 750/- Gelbgold, Punze, Gesamtgewicht: ca. 27,0 g. EU-RM: 54. 1 länglicher Mondstein-Cabochon ca. 18,1 x 8,4 mm. Mondstein oberflächlich leicht verkratzt. Punze "Schubart". Schubart Deutschland Schmuck 1990er Ring Gelbgold Mondstein Deutschland Erläuterungen zum Katalog SCHUBART Moon Stone-Ring. SCHUBART Germany. 1990s. 750/- yellow gold, with mark, total weight: ca. 27,0 g. EU Ring Size: 54. 1 oblong moon stone cabochon ca. 18,1 x 8,4 mm. Moon stone slightly scratched on the surface. With mark SCHUBART. Explanations to the Catalogue Schubart Germany Jewellery 1990s Ring Yellow gold moonstone Germany
Lot 402
HISTORISCHER DIAMANT-EMAIL-RING. HISTORISCHER DIAMANT-EMAIL-RING. Wohl Russland. Um 1900. 750/- Gelbgold, getestet, blaues und weißes Email, Gesamtgewicht: ca. 11,0 g. EU-RM: 47. 29 Diamanten in verschiedenen Altschliffen zus. ca 1,9 ct., davon der Mittelstein mit ca. 0,4 ct., SI-P. Zur Farbe des Diamanten kann aufgrund der geschlossenen Fassung keine Aussage getroffen werden. Ring nachträglich von hinten geschlossen. Das Email in sehr gutem Zustand in Anbetracht des Alters. Schmuck 1900er Ring Gelbgold Diamant Russland Erläuterungen zum Katalog HISTORISCHER DIAMANT-EMAIL-RING. HISTORIC DIAMOND-ENAMEL-RING. Presumably Russia. 1900s. 750/- yellow gold, tested, blue and white enamel, total weight: ca. 11,0 g. EU Ring Size: 47. 29 diamonds in various old-cuts in total ca. 1,9 ct., of which central stone is ca. 0,4 ct. SI-P. No statement can be made about the colour of the diamond due to the closed setting. Ring subsequently closed from behind. Great condition for its age. Explanations to the Catalogue Jewellery 1900s Ring Yellow gold diamond Russia
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