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Lot 450
`The Grand Panorama of London` , a folding panorama of the Thames from Western Stone Wharf to Glasgow Steam Wharf and a folding `Chronological glance of the most celebrated ancient and modern painters and the extent to which they are represented in the Manchester Art Treasurers Exhibition of 1857`
Lot 91
A Rare French Empire Cast Iron Fontaine de Cygne, early 19th c., probably Lyon, incurvate swan neck fountain head over a shell-form tazza, on a spiral column with acanthine and C-scroll foliate capital and molded base, height 46 1/2 in. Note: This fountain was inspired by the public fountains Napoleon I erected in Paris following his return from the Egyptian campaigns. One of the earliest fountains was the "Fontaine de Léda"- a bas relief stone plaque from which a swan`s neck protruded to form the water spigot. Two successive fountains, the "Fontaine du Palais des Arts" and "Chateau d`eau du boulevard Bondi", were largely made of cast-iron. Both fountains combined Neoclassical elements with stylized lions (influenced by Egyptian iconography). In the Palais des Arts fountain, designed by Vaudoyer, four cast-iron lions mounted on pedestals projected water into two basins. In the Chateau d`eau fountain, cast-iron lions spouted water into scalloped shaped basins, influenced by the tazzas in ancient Roman villas. The tazza, after the Greek kylix cup, was an architectural element not used in Parisian garden ornament a priori Girard`s design of the fountain. Cast-iron garden ornaments created before the Second Empire are more singular in aesthetic design, because foundries were not regulated until 1848. As specialist Barbara Israel points out in her book, it was quite common in the early to mid- nineteenth century for "customers to select and combine components according to their own taste." References: Massounie, Dominique, ed.. Paris et ses fontaines, de la Renaissance à nos jours. Paris, 1995; Israel, Barbara. Antique Garden Ornament. New York, 1999. pp. 125.
Lot 604
A Chinese Carved Stone Inkstone and Case, probably 20th c., probably Songhua, green rectangular inkstone carved to the face with two deep wells shaped by phoenix heads flanking the larger shallow shield-form well, green and brown fitted case elaborately carved on the cover with archaistic motifs, case height 1 in., width 3 7/8 in., depth 5 1/4 in.
Lot 753
A Large Vintage French Advertising Poster, c. 1935, "Légères Comme une Gazelle", by Robys (b. 1916), stone lithograph, published by Edition Avenir Publicité, printed by Imp. Reunies de Lyon, the three pairs of shoes springing out of a box, void retailers cartouche below, sheet 60 in. x 44 1/4 in.
Lot 210
A pair of emerald & diamond cluster earrings of swag form, each set with an emerald cut emerald of approximate weight 1.2 carats and accompanied by an Anchor Cert lab report number 20016840 stating each to be a natural stone, one of Brazilian origin, the other of Colombian origin with insignificant clarity enhancement, the small diamonds of approximate total weight 4 carats, four-claw set in `18ct` white metal
Lot 8
§ RICHARD LONG, BRITISH b.1945. `Wednesday - moving slowly`,1971. revised estimate. ADDENDUM: WORK IS A PRINT, SIGNATURE IS ALSO PRINTED. BELIEVED TO BE AN INVITATION TO AN EVENTWork in three sections recording the artist`s journey along a single line in Dartmoor Forest in 1971, each day the times are recorded with the time taken increasing in duration from day to day. The central section a part of an Ordnance Survey Map of Dartmoor Forest (O.S. Map 175, 1 inch to 1 mile), marked with a straight horizontal line from a marked `start` position. The left section signed by Richard Long in pencil, with typescript text: `For one hour I walked in a straight line, then marked the distance on the map. On each of the following days I walked along the same line and the times taken are given. Monday 1 hour Tuesday 4 hours Wednesday 8 hours Thursday 16 hours Friday Saturday 32 hours - THE SCULPTURE BECOMES SLOWER AND SLOWER, FROM DAY TO DAY, DAY TO NIGHT, DAY NIGHT DAY, MOTIONLESS - March 1971 O. S. Map 175 1 inch to 1 mile.` Right section shows a photo of the artist walking with the caption `wednesday - moving slowly`. PROVENANCE: Gifted to Michael Compton by the artist at an unknown date - possibly at the time of `The New Art` - an arts council exhibition at the Hayward Gallery, August-September 1972 or when Compton curated Long`s solo exhibition at the 37th Venice Biennale 1976 (for the British Arts Council) and wrote `Some Notes on the work of Richard Long`, London, Lund Humphries. A similar work by the artist from 1971/72, `A Hundred Mile Walk`, is held in the Tate Archive (purchased 1973, ref: T01720). See also the following works owned by the Tate: `A Line Made By Walking`, 1967 (ref: P07149); and `Dartmoor Walks` ,1972 (ref: P07082). This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. RICHARD LONG (b.1945): Born in Bristol, England in 1945, Long studied at Saint Martin`s School of Art, London during 1966-68 and is a former Turner Prize winning artist who made his international reputation during the 1970s with sculptures made as the result of long walks. These walks would often last many days, to remote parts of the world. Guided by a respect for nature and the formal structure of basic lines and shapes, with some sculptures evoking connotations with ancient stone circles or monuments. Long used different modes of presentation, sometimes combined, to bring the artist`s experience of nature back to the museum or gallery. For some works he used maps, words and photographs to present places, routes, things seen, thoughts evoked and actions performed. Others were three dimensional, assembled from natural elements such as twigs, driftwood or stones. Long stressed that the meaning of his work lay in the visibility of his actions rather than the representation of a particular landscape. Compton was the curator when the artist represented Great Britain at the Venice Biennale in 1976. Long was the recipient of the Turner Prize awarded at the Tate Gallery in London in 1989. In 2009 Tate Britain organised their major exhibition, Richard Long Heaven and Earth. 6 x 24in. (15 x 61cm) § ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.Slightly lifted nd bend on all corners. Small stain to the `text ` section.
Lot 123A
A Costa Rican Stone Metate, Pre- Columbian, Having a concave platform with zoomorphic openwork legs below forming geometric patterns with incised decoration.Dimensions: h: 10 1/4 x w: 16 3/4 x d: 12 1/2 in. Note condition: repaired crack to openwork and upper edge, surface wear and stone loss throughout.
Lot 896
COMMONWEALTH British West Indies: Collection on pages incl Jamaica 1860-70 to 1s, 1870-73 to 5s, 1883-97 to 5s, 1890-91 2½d on 4d with PFNNY and broken K for Y (SG 30ca) 1905-11 to 5s incl 4d red-brown and 2s venetian red, 1912-20 to 5s, 1919-21 to 5s and 1921-29 to 10s, Bahamas from better `Chalons` incl SG 9, 11, 18 and 19, 1884-90 to £1, Queen`s Staircase types to 3s, KGV wmk MCA and script to £1, War Tax issues incl 1s local overprint (SG 95) 1930 Tercentenary to 3s, Cayman Islands 1902-03 and 1905 to 1s orange, 1907 to 5sm 1907-09 to 10s incl both 1s, 1912-20 to 10s, 1921-26 wmk MCA and script, both to 10s, 1932 Centenary to 10s, Turks Is 1867 to 1s dull blue, 1873-79 incl 1s lilac (this reperforated) 1881 to 1s slate-green, Turks & Caicos 1909-11 to 3s, 1913-21 to 3s, 1921 wmk script to 3s, 1922-26 to 3s, 1928 to 10s, Tobago 1879 to 1s, 1880 wmk crown CC to 1s yellow-ochre, 1883 2½d on 6d stone, 1882-84 incl 4d yellow-green, 1891-92 ½d on 4d grey, 1896 ½d on 4d lilac & carmine (2 incl one with wider space) Trinidad 1854-57 white paper 1d dark grey and 1d rose-red, 1859 imperf 6d deep green and 1s indigo, 1860 clean-cut perf 6d bright yellow-green, 1869 5s rose lake with cds, 1896-1906 to £1, 1904-07 to £1, 1885 and 1905-06 postage dues to 1s, 1894 Officials to 5s rose-lake, Trinidad & Tobago 1921-22 to £1, 1922-28 to £1 and 1935-37 to 72c (682)
Lot 54
Two ancient dark green carved stone figures depicting a man and a woman, the bearded man carved ornately to back and front with ornate headdress and ceremonial ware, clasping a staff with carved cross to base, the semi naked woman with ornately carved hair, shoulder cloak and dress holding a small pillar with circular carved hash marking to base, both weighing approx. 400 gms. The figures being possibly North African.
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