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Lot 32
CECIL KING (1921-1986)NexusOil on canvas, 128 x 92cmSigned, inscribed and dated (19)'72 versoDavid Hendriks Gallery label and Peppercanister Gallery label versoUpon returning from a trip to Berlin in 1970, Cecil King began to work on a series of paintings, bearing the same titles, which reflect his future preoccupation with single block colours and the use of finely drawn lines to delineate the picture space. This would continue into his Nexus series of the following year which deviated from the focus on a named place to the more general connotation of an elemental link between people and things. In this present work, the subtle angling of the white lines either side of the grey paint draw the eye into the centre and create a sense of movement as if the composition is titling on an axis. The bright yellow ground occupies much of the composition, set against, but distinct from the deep black background. There is often a discussion of separation and divided spaces within King’s work, in which he uses broad expanses of primary colour to communicate across these boundaries. It has been linked to social and political issues such as the contested landscape of Berlin during the 1970s, but in the Nexus series, of which this present work is included, the artist has drawn more attention to the visual interactions between line, form and colour of the painted surface. Despite the fact that the works in this series have the appearance of following strict geometric formulas, King did not meticulously measure out the lines, instead he used masking tape for the arrangement of the linear elements. The paint was then applied with a sponge to create a heightened materiality to the painted surface. He was very interested in all aspects of the artistic process, mixing his own paints to create very specific colour tones. The minimalist aesthetic is imbued with a more sensual and organic expression.King’s use of abstract graphic shapes became central to his artistic language, as tools to purify sensation and communicate directly with the viewer.Niamh Corcoran, October 2019
Lot 510
A 19th century French mahogany and brass bound gentleman's travelling box (nécessaire de voyage) with silver-gilt fittings by Aucoc Ainé, ParisThe hinged lid engraved with a plate 'WJ' with coronet, enclosing a ratcheted mirror, a tooled leather document pocket, a kettle and coffee pot, two cut glass cologne bottles, one rectangular lidded pot, three circular lidded pots (one damaged and one with glass missing), two cut glass bottles, a pencil, a pair of scissors, seven mother of pearl handled manicure tools, and a thimble, lifting to reveal there lidded leather trays (one tin lined) and a secret drawer; with flush handles to the sides, engraved Aucoc ainé à Paris, fittings hallmarked for Paris, 1st standard, 1819/38, 38cm wide, 24cm deep, 16cm, high.Provenance:Private Collection, LondonJean-Baptiste Casimir Aucoc founded the Parisian firm in 1821 after taking over an existing business from Pierre-Dominique Maire. Aucoc worked mainly as a silversmith specialising in the manufacture of Nécessaire de Voyage (dressing and travelling cases). He moved to 4 & 6 rue de la Paix, Paris in 1835 and expanded into goldsmithing. Joined by his son Louis in 1850, they won a prize medal for their dressing cases in the Great Exhibition in 1851.
Lot 525
Selection of miscellaneous silver, including flatware, manicure tools, pair of ivory glove stretchers, Mexican silver sombrero, and other items, together with a fitted case containing six late Victorian dessert forks, with silver pistol handles and six associated silver handled knives. (Various dates and makers). Approximately 15ozs weighable silver. (qty)
Lot 1029
A 19th century stained pine carpenters tool chest with hinged lid containing a quantity of related tools including a number of moulding planes of varying design, examples stamped T Crang, J Westcott, two hand saws, a removable box section with segmented interior containing further interesting items, Auburnny Ohio tool company circular plane, two further interesting planes, etc
Lot 364
A collection of silver plated wares including a gallery tray, entree dish and cover, further serving dishes, a pair of wine coasters, embossed caddy of oval form with trailing floral detail, a cased of set of horn handled Victorian carving tools, two sectional cutlery box containing various flatware, circular ceramic tray with plated mount, etc
Lot 337
Library Records / Harmonic 78s, approximately ninety Harmonic Private Recording Library 10" 78 records mainly from the late 1950s and early 1960s with titles including Jet Flight, Percussives, Colossus, Seximental, Against The Law, Machine Tools, Crime Patrol, Fowl Play, Towards The Summit and more - plain sleeves - various conditions but mainly VG+ to Excellent
Lot 119
Original vintage American World War Two food propaganda poster urging young people to help with the work shortage on farms through the Victory Farm Volunteer programme (1943-1947): "Join us on the Farm Front! Be a Victory Farm Volunteer of the U.S. Crop Corps." Great image featuring a black and white photograph of a boy and girl smiling to the viewer and holding field farming tools against a blue background, the text above and below with the VFV logo. Very good condition, light staining, backed on linen. The Women's Land Army (WLA) was formed as part of the United States Crop Corps, alongside the Victory Farm Volunteers (for teenage boys and girls), and lasted from 1943 to 1947. In the five years the WLA operated, the program employed nearly 3.5 million workers, which included both farm laborers and non-laborers. Before the Women's Land Army (WLA) founding in 1943, states such as Connecticut, Vermont, California, and New York had already employed women's farm labor in 1941 and 1942 out of immediate necessity. Such local initiatives provided successful examples and motivation for the United States government to establish federal labor programs, like the WLA.Year of printing: 1944, country of printing: USA, designer: Fred Taylor, dimensions (cm): 71.5x52.
Lot 110
Original vintage World War Two propaganda poster - More American workers were killed and wounded in industrial accidents last year than all the casualties from bombs in Britain in two years of war Follow Safety Rules! Dynamic design featuring various worker caps, hard hats and helmets with construction and factory tools including a spade, pick axe, saw, wrench, spanner and welding mask, on rows of small white crosses on graves reminiscent of the Arlington National Cemetery with the text below. The safety of workers and on-going need for production on the Home Front during WWII was an important theme of public service announcements. Published by the War Production Board Washington DC. Good condition, restored folds, restored creases, restored tears, backed on linen.Year of printing: 1942, country of printing: USA, designer: Unknown, dimensions (cm): 101x73.
Lot 60
Original vintage health propaganda poster - For Health's Sake Keep Them Clean Food poisoning germs are spread by things not properly washed up - featuring a minimalist design showing various kitchen tools and appliances including a whisk, carving fork, cleaning brush and a pan with the bold text against a white background and Keep The Clean against a deep pink block in the centre. Produced for The Ministry of Health by the Central Office of Information. The UK government department of the Ministry of Health (1919-1968) led to the formation of the NHS National Health Service in 1948; the Central Office of Information (COI; 1946-2011) was the UK government's marketing and communications agency. Excellent condition.Year of printing: 1950s, country of printing: UK , designer: Unknown, dimensions (cm): 37.5x24.5 .
Lot 1802
Original vintage Champagne advertising poster for Tattinger Collection by Arman. This poster shows a photograph of a bottle of Taittinger Champagne designed by French artist Arman, against a black background. Arman (November 17, 1928 – October 22, 2005) was a French-born American artist. Born Armand Fernandez in Nice, France, Arman was a painter who moved from using objects for the ink or paint traces they leave ("cachet", "allures d'objet") to using them as the painting itself. He is best known for his "accumulations" and destruction/recomposition of objects. Arman can be seen in Andy Warhol's film Dinner at Daley's, a documentation of a dinner performance by the Fluxus artist Daniel Spoerri that Warhol filmed on March 5, 1964. Fascinated with the scene in New York, Arman took up part-time residency there from his home in Nice in 1961, after his first exhibition at the Cordier Warren Gallery. In the city, he met Marcel Duchamp at a dinner given by the artist and collector William Copley. First living at the Chelsea Hotel and later in Church street while keeping a studio in Bowery, then in TriBeCa, Arman began work on large public sculptures. There were varied expansions of the accumulations. Their content included tools, watches, clocks, furniture, automobile parts, jewelry, and, of course, musical instruments in various stages of dismemberment. Musical instruments, specifically the strings[3] and bronze, through his collaboration with a foundry in Normandy, France, became a major avenue in Arman's work. Of Arman's accumulations, one of the largest is Long Term Parking, which is on permanent display at the Château de Montcel in Jouy-en-Josas, France. Completed in 1982, the sculpture is an 18-meter (60-ft.) high accumulation of 60 automobiles embedded in over 18,000 kg (40,000 lbs.) of concrete. Just as ambitious was the 1995 work Hope for Peace, which was specially commissioned by the Lebanese government to commemorate 50 years of the Lebanese military's service. Standing in once war-torn Beirut, the 32-meter (105-ft.) monument consists of 83 tanks and military vehicles. Taittinger is a French wine family who are famous producers of Champagne. The estate is headed by Pierre-Emmanuel Taittinger (born 1953), a member of the consultative committee of the Banque de France. Its diversified holdings included Champagne Taittinger, Société du Louvre and Concorde Hotels, whose flagship is the famed Hotel de Crillon on the Place de la Concorde in Paris, France as well as the Loire Valley wine-producing firm of Bouvet-Ladubay, and a partnership in Domaine Carneros in California, until it was sold to Starwood Capital in 2005.Year of printing: 1981, country of printing: France, designer: Arman (Bottle) / Anna (Poster), dimensions (cm): 168x115. Good condition, restored folds, repaired tears, minor paper losses, backed on linen.
Lot 2570
A CMC Exclusive Models No. M-036 Mercedes Benz 1954 Renn Transporter car transporter, 1/18 scale comprising of blue body with bare metal parts, ramps, and accessories, model appears unopened in the original polystyrene packaging with model leaflets, tools and information certificates (M,BM)
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