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Click here to subscribeA vintage 1950's Mettoy tinplate typewriter, together with assorted lead figures and other toys CONDITION REPORT Our team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself. To that end, we have provided a number of additional images to showcase the lot in further detail.
AMENDMENT: Please note, this gramophone is a Gramophone & Typewriter Ltd. 'Senior Monarch' model and not 'Type D' as previously catalogued, the date is c.1906-7. Additionally please note the updated provenance: Christie's Mechanical Music and Technical Apparatus Sale, 31/05/2006, lot 80 (unsold lot). An oak cased 'Type D' gramophone by The Gramophone & Typewriter Ltd., early 20th century, the case with carved Neo-Classical ornamentation including a fluted column to each corner, dentil mouldings, recessed panels, and foliate motifs to the base, the case bearing label for The Gramophone & Typewriter Ltd., 21 City Road, Finsbury Square, London, the metal arm fitted with a Golding Luxus soundbox, with crank handle, the case approx. 34 x 34 x 18cm, together with a German oak cased travelling gramophone with tortoiseshell soundbox, the case with leather handle, approx. 14 x 16 x 11cm, and a Gilbert tone reflector (3) Provenance: the gramophone - Christie's 31/05/2000, lot 80.Condition Report: The crank handle fits into the gramophone loosely but still turns, the table turns when cranked. Not tested with vinyl or bakelite disks. Roseberys do not guarantee the working operation of any musical instrument or playback device offered for sale.
WILLIAM KENTRIDGE (B. 1955)Office Love 2001 signed with the artist's signature woven into the reverse; signed, titled, dated 2003, numbered 3/3 and variously inscribed on a label affixed to the reversemohair, acrylic and polyester tapestry341 by 451.6 cm. 134 1/4 by 177 13/16 in. This work was executed in collaboration with Marguerite Stephens in 2003, and is number 3 from an edition of 3 and 2 APs.Footnotes:ProvenanceAnnandale Galleries, SydneyAcquired directly from the above by the present owner in 2004ExhibitedSydney, Annandale Galleries, William Kentridge: Learning The Flute / Automatic Writing, 2004, illustrated on the cover in colourSydney, S.H. Ervin Gallery, 2004: The Year in Art, 2004 Philadelphia, Philadelphia Museum of Art, William Kentridge Tapestries, 2007-2008, p. 65, no. 17, another example exhibited and illustrated in colourSydney, University of Technology Sydney, 2010-2015, work on loan to the University Another example of this edition is held in the permanent collection of the Philadelphia Museum of Art, Philadelphia.Incisively political and yet profoundly poetic, Office Love belongs to a series of tapestries which William Kentridge began in 2001. This present work is from an edition of three that were executed between 2001 and 2005; the first edition of which is held in the permanent collection of the prominent Philadelphia Museum of Art. The monumental scale and intricate execution of this present work, along with the foundations of cultural and historic sensibility, sets Kentridge apart as an artist who has achieved an extraordinary, compelling contribution to the disciplines of 21st century art. Office Love illustrates an intricate map of Johannesburg with almost life size silhouettes dramatically set against the cartographical formality of the chart. The duality of his composition is arresting; the darkness of his silhouettes, or protagonists, as they so boldly encompass the composition, rest atop the delicate pastel threads delicately woven to construct a map of the city, in an almost collaged fashion. The silhouettes depict a stocky businessman with a typewriter for a head, who purposefully approaches three pieces of what one might decipher as 'feminine' office furniture, the largest of which is a transcriber's table. Interestingly, typewriters started to become standardised in the 1890s, shortly after the years in which Johannesburg was founded and developed as a city. It might be considered that everyday objects such as typewriters recall an early 20th-century colonial world as perceived by the artist that would be apparent to a child growing up in the 50s and 60s. The title Office Love contributes to the assertion of male and female receptivity and possibly contains a more profound meaning; perhaps the depiction of the stocky male advancing is sexual tension or perhaps it is simply progress in today's age. Born in Johannesburg in 1955, William Kentridge has become one of the most highly regarded and sought after living contemporary artists. He has produced a searing interdisciplinary body of work ranging from drawing, film, animation, theatre, sculpture, tapestry and even opera, that explores themes of colonial oppression and social conflict, loss and reconciliation, alongside the transient nature of both personal and cultural memory. He seeks to transmute sobering political events into powerful poetic allegories that resonate profoundly, still to this present day. Setting his oeuvre in context, Kentridge was the son of prominent anti-apartheid lawyers; Sir Sydney Kentridge and Felicia Geffen. His father famously defended Nelson Mandela during the Treason Trials of 1956 – 1961, and his mother was a highly respected human rights advocate who set up an organisation to provide free legal support to marginalised members of South African society, that is still in service today. This political background and family lineage proved vital to shaping Kentridge's artistic career. Upon graduating from the prestigious University of Witwatersrand with a bachelor's degree in politics and African studies, Kentridge enrolled at the Johannesburg Art Foundation, where he studied Fine Arts. His interest in African history and politics remained with him and influenced his work. Due to his parents' involvement in South African politics, Kentridge grew up acutely aware of the injustices in the country, and art became a form of expression for him. Reputed perhaps more widely are his compelling animations that reveal the process of their own creation by showing how individual frames have been drawn, adapted, erased, and otherwise transformed from one image to the next; but William Kentridge introduced the medium of tapestry into his repertoire as another way to tell difficult and harrowing stories akin to his native homeland and the period in which he grew up in. Like his animations, Kentridge's tapestries are also developed from his drawings, the first media his artistic practise evolved from. These preparatory collaged drawings conjure shadowy figures from ripped construction paper which he then collaged onto the web-like background of nineteenth-century atlas maps of Europe and Johannesburg. He began making tapestries in collaboration with the Stephens Tapestry Studio, run by the mother and daughter team of Marguerite Stephens and Tina Weavind, whom he would collaborate with for 24 years. The tapestries are woven from mohair harvested from Angora goats farmed in the Eastern Cape, South Africa, and in Lesotho. The raw mohair was processed and dyed in northern Eswatini before being transferred to the looms at the studio in Diepsloot on the outskirts of Johannesburg. The mapping of geography across many South African cities to produce these tapestries, perhaps speaks to Kentridge's heritage and underlying political preoccupations that resonated in his art. Kentridge's tapestries, which included the first edition of Office Love, were the subject of an important exhibition dedicated solely to this medium organised by the Philadelphia Museum of Art in 2007. Exhibited were eleven works from a multiple of series that showcase similar silhouetted figures set against the backdrop of maps, carrying bundles and belongings as they move forward. The backgrounds of the beautifully woven and embroidered maps, along with the juxtaposition of hulking figures couldn't be more direct. The curator of the exhibition, Carlos Basualdo, explained, 'Kentridge initially thought of his tapestries as 'permanent projections. While they evoke the moving image, his tapestries also illuminate the centrality of drawing in his practice. He uses the language of one medium to talk about another medium, while at the same time dealing with societies that are themselves in a state of transition'. (Carlos Basualdo, William Kentridge Tapestries https://philamuseum.org/calendar/exhibition/notationswilliam-kentridge-tapestries, 19 September 2023). It is plausible to argue that no other South African artist has achieved greater status than William Kentridge. His career has brought him international recognition as one of today's major living artists. This reputation is confirmed by the stature of the global institutions and art museums that have exhibited his work.
Sir Roger Moore's Olympia SM3 DeLuxe typewriterCirca 1958Serial no. 1208776 engraved to the base, by Olympia, with OLYMPIA REG. U.S. PAT. OFF sticker and maker's plaque to the back, faded white body and frame, QWERTY keyboard with black keys, formatting with black keys, appears in working order but in need of cleaning, oiling, and ribbon replacement, in silver-painted and shaped Olympia travel case with green carrying strap, the case: 16.5cm high, 35.5cm wide, 34cm deep (6 1/2in high, 14in wide, 13 1/2in deep)Footnotes:Although Moore is not known to have produced a screenplay during his career, he was renowned as a masterful and witty raconteur of his life in the film industry. His bestselling autobiographies and memoirs include My Word Is My Bond (2008), Last Man Standing: Tales From Tinseltown (2014), and A Bientot... (2017).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
λ VICTOR PASMORE (BRITISH 1908-1998) MILLBANK Oil on canvas Signed with initials (lower left) 51 x 68cm (20 x 26¾ in.) Painted circa 1929.Provenance:Purchased directly from the artist by Dr. Stella Churchill and thence by descent until sold Christie's, South Kensington, 7 November 2006, lot 99, where purchased by Robert Kime Born in Chelsham, Surrey, Victor Pasmore developed a keen interest in painting at Harrow School. His art master there recognised his burgeoning talent and was keen to nourish his affection for art by introducing him to the work of the French Impressionists. Unfortunately, his studies were curtailed with the untimely death of his father in 1927 and he was forced to take employment at the London County Council. For the next decade Pasmore worked in the Public Health Department but continued to paint in his spare time. He would frequently turn down promotion so that his menial day job would not encroach on the time he had to paint. It was here in the Public Health Department that Pasmore first met Dr. Stella Churchill, the original owner of the present work. She had been asked to psychologically assess Pasmore after it had been purported that he had thrown a typewriter out of the window! During this time he attended evening classes at the LCC Central School of Arts and Crafts under the lithographer and watercolourist A.S. Hartrick. It was here that he met other artists and first encountered the revolutionary School of Paris. After visiting France in 1927 and 1928, Pasmore moved into his studio in Devonshire Street and it was here that he painted Millbank. The present work is one of only a few paintings that survive from this early period. Fellow Euston Road School artist Claude Rogers suggested that `Few of Pasmore's early works are catalogued (and known to exist), and around 1931 Pasmore was painting `twice as many canvases as Coldstream and I combined', A reasonable explanation is that many canvases may have been turned and re-used. (B. Laughton, The Euston Road School, Aldershot, 1985, p.53) Condition Report: Rubbing to the extreme edges with associated loss most notable to the upper right corner. Yellowing varnish throughout causing some discolouration. The canvas is slightly slack. Patches of craquelure and paint shrinkage scattered across the canvas. A vertical line of retouching circa. 10cm running down between the two boats on the right side. Inspection under UV reveals a thick green varnish and patches of retouching scattered across the sky. Condition Report Disclaimer
THREE BOXES OF BOOKS, MAPS & A TYPEWRITER, containing over ninety miscellaneous book titles in hardback and paperback formats, subjects include bibles, Guiness Book of Records, a Repair Manual, health, photography, book-keeping, and classic or contemporary novels, a small selection of ordnance survey maps and an Adler typewriter (3 boxes+ loose)
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