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Lot 80
An extremely scarce Singer 222K Red S featherweight sewing machine with case, original instruction manual, Singer embroidery hoop in box for 222k machines, a selection of tools and components, including zipper foot etc and original sales tag, in superb condition. In total 108,900 Singer 222K Featherweights were made before production ceased in 1961, the majority had the standard Singer badge with a black patterned border on the pillar. In September 1959 this badge was replaced by the famous Singer 'Red S' and the last 27,000 machines produced sported this badge on the front of the pillar.
Lot 105
A collection of 19th and 20th century jewellers and watch maker's tools, including a Rolex opener, size 10.5, miniature brass clamps, cased, punch set, Bergeon bush set, cased, 'Tour a Pivoter, a Vis de Rappel', cased, 'Cutil a Centree', cased, miniature lathe, gauges, measuring instruments, and other tools. (1 box)
Lot 29
RICHARD HAMBLETON (1952-2017)Standing Shadowman 2012 signedacrylic on found metal and wood door270 by 127 by 7 cm.106 5/16 by 50 by 2 3/4 in.This work was executed in 2012. Footnotes:ProvenancePrivate Collection, New York (acquired directly from the artist) Shin Gallery, New York (acquired directly from the above)Richard Hambleton: Melding the City into the Shape of a Canvasby Ekin Erkan, Shin GalleryThe Canadian-born artist Richard Hambleton (June 23, 1952 – October 29, 2017), colloquially known as the 'Godfather of Street Art' amongst insiders, was a fixture in Manhattan during the early 1980s. Hambleton's retinue included Keith Haring and Jean-Michel Basquiat, all tragic figures in their own right, initially scrounging in poverty whilst following their passion amongst scrawled walls and cragged sidewalk that they bent in the shape of a canvas. Today, we all know the names Banksy, Kaws, and Shepard Fairey; if one is better informed, they may even know the stencil-based street artist, Blek Le Rat. But without Hambleton, none of these artists–all of whom pay homage to and exalt Hambleton in interviews and art practice–would have developed their own unique street art lexicon.Hambleton gained a cult following with his splattered, adumbrated images of outlined figures on buildings throughout the Lower East Side. Hambleton was truly one of the bohemian spirits threading through the downtown scene–frail, even ghastly, stumbling but never dropping the buckets of black paint he balanced in his fingers, alongside a handy paintbrush. The brush-and-bucket, not the aerosol can, were his tools par excellence. Hambleton's early public art from 1976 to 1978 included the Image Mass Murder, a predecessor to the Shadowman works. In the former, Hambleton would paint a police 'chalk' outline around bodies of volunteer 'homicide victims'. He would then drip flecks of bright crimson paint on the outline, the result being a realistic-looking crime scene. Some read these as critiques of police, others as a documentary process of the city's malefactions. Hambleton subsequently trekked through 15 major cities across the United States and Canada where he produced these outlines, showing an undoubtedly prolific discipline. Then came the Shadowman pieces, clandestinely executed with expressive flourishes of speedy brushwork. Highly stylized, life-size figures and animals, these were charted on derelict structures–again, first in downtown Manhattan and then internationally. Hambleton's Shadowman even adorned the Berlin Wall.Hambleton was a fixture on the East Village gallery scene, but following the mid-'80s, he disappeared for a time. Hambleton retreated to his studio on the corner of Grand St. and Orchard St. to develop a distinctive form of gestural abstraction inspired by nature and the nineteenth century American Luminists, teeming with mellificious pools of color. This marked something of a turn away from the urban environment and Street Art proper, as evinced by his late-career 'The Beautiful Paintings' 2007 solo exhibition. Unfortunately, during this period he was diagnosed with skin cancer and took to self-medicating.In 2012, Hong Gyu Shin opened Shin Gallery, across the street from Richard Hambleton's studio. During the early days of the gallery, which now spans three gallery rooms, Hambleton would visit the gallery regularly. He would usually arrive around 6:10 PM, 20 minutes prior to the gallery's closing. Shin had a makeshift bedroom downstairs, and the two would discuss art history and the downtown scene at length. Hambleton, ever-opinionated, introduced Shin to many of the bastions of Contemporary Art, unspooling tales of his time at Club 57 and how Hambleton and his good friend Basquiat would trade artworks with one another. Each evening, Hambleton would mount his meager children's bicycle and peddle over to the gallery, propping it against the gallery's glass door before spending hours into the evening exchanging such tales with Shin. One day, Hambleton, increasingly destitute and afflicted by addiction, was evicted from his studio. He had been unable to pay his rent. The artist was still sharp but had become something of a loner. Left with nowhere to work and no friends who would help him, Shin stepped in and offered to let Hambleton use the gallery as a makeshift studio after hours. Every evening, the gallery staff would dismount the artworks exhibited to clear a space for Hambleton to work and, each morning, reinstall the works. By the time Shin would go to bed downstairs, Hambleton would have just propped up a blank, pallid canvas. When he woke, the canvases showed dazzling images–Shin recalls, in particular, one particularly captivating painting of an energetic rodeo with a horse buoyantly jumping.Consigned by Hong Gyu Shin, Standing Shadowman is executed in acrylic on a steel door. It is an example of Hambleton's idiosyncratic Shadowman paintings. The tradition of using the door as a canvas is tried and true–e.g., Basquiat's 1985 painting Sam F, featuring a suit-jacketed man in a wheelchair, painted on an apartment door. This piece not only shows a Street artist at his peak maturity but also speaks to Hambleton's choice material–the urban surroundings which he cultivated into canvases.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 2481
A group of mainly 19th century miniature collectors' items, including a selection of gilt brass woodworking tools, a Stevenson's Rocket charm and a cased 'Replica Miniature Bottle of Eno's "Fruit Salt" in the Queen's Dolls' House', width of case 3.4cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2672
A 19th century pitchfork with long wooden handle, length 286cm, a similar vegetable fork, two 19th century pit saws, another smaller saw, a small group of tools, a wrought iron anchor and a linen smock.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 3350
A collectors lot to include; A small Dolls house doll figure, a Dinky toys Meccano M.G record car, two jade like stone cat ornaments, a miniature Deity figure seal/figure, a miniature copy of Charles Dickens 'The Chimes' circa 1910 book, a folding magnifying glass, a novelty miniature book shaped tin box, a Murano style glass swan, a large wooden fruit bowl, a modern Eastern inspired plate, various bone or mother of pearl handled manicure/other tools, glass inkwells, marble eggs and pot, a Wedgwood powder bowl, two pieces of crested ware, a Carnival glass bowl, a Continental modernist ceramic vase, a Russian bird ornament, a brass photo frame, three pin trays, a Hereford commemorative medal, a wooden gear object, a tin, some small dice, a glass stork ornament, along with some stamps, postcards and a bag of keys. (1 box)
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