A full description can be found at https://www.specialauctionservices.com/Auction-Calendar/2023/Photographica-and-Cameras-Auction-(5)The Noakes 'Quad' Magic Lantern or Noakesoscope (Special Auction Services wishes to extend its gratitude to Dr Richard Crangle for the following lot description and analysis), description - the lantern body of single, unitary mahogany and lacquered brass construction (not triunial with a demountable ‘single’ or two stacked biunials), but stands no taller than the average triunial: 35 inches including the baseplate, plus 2 inches for the detachable domed top and maybe another 6 inches for the absent chimney cowl; the body is 10 inches long and 9¼ inches wide, attached to its baseplate (23 by 11 inches) by two hinges along its back edge – this allows it to be tilted to elevate the lenses by around 10 degrees, secured by rotary clamps at the front corners ;there are no lifting handles; all references to ‘right’ and ‘left’ here refer to the sides of the lantern when looking ‘forward’ towards its lenses; there are four hinged access doors (6½ by 5¾ inches) on the right side, aligned with the illuminant chambers inside, and four dummy doors (moulded wooden panels screwed onto the body, complete with fake catches and inspection windows) in matching positions on the left side; the interior of the body is lined with tinned iron sheet spaced from the wood; the original chimney cowl is missing (and also not visible in a 1940s photograph); the chimney hole in the lantern top has been blanked off with a metal sheet to prevent light escaping upwards; from the ‘workshop’ photo the chimney cowl appears to have been a standard Noakes pattern; there are three sets of objective lenses (6, 8 and 10 inch focal length) and a set of lens extension tubes - these allow configurations for projection in spaces ranging from a small parlour (Gordon Noakes used the lantern in his home) up to the Albert Hall (around 130 feet [40m] ‘throw’, giving an image width of 40 feet [12m]); there are also, unusually, five extra sets of condenser lenses of varying convexity and focal length, which could be swapped in and out of the cylindrical condenser mounts within the lantern body to give further variations; in other words this was the travelling set-up of a highly professional, indeed perfectionist, lanternist who knew exactly how to achieve the best effect in different situations; it was originally illuminated by limelight: screw holes in the back of the lantern correspond to the mountings of a dissolving gas tap and pipe fastenings, as seen in the ‘workshop’ photograph; however there are references in accompanying press cuttings to electric arc illumination, so it was modified at some stage (perhaps by Gordon Noakes); the current lamp fittings, which are fed by post-1970s cables arranged neatly on the back of the lantern, are bayonet mountings for large 500-watt projector bulbs, which are mounted on horizontal bars with thumbscrews for lateral adjustment relative to the lantern body, which probably relate to the electric arcs rather than being original (they are not visible in the ‘workshop’ photograph); dimensions of lantern - 920mm high, 690mm deep, 280mm, dimensions of iron-bound wooden lantern-carrying chest - 970mm high, 640mm wide, 330mm deep, dimensions of iron-bound wooden slide chest- 840mm high, 660mm wide, 350mm deep. Analysis - the 'Noakes Quad' was a ‘workhorse’ rather than a ‘show pony’ – compared to some triunials there is no ostentatious decoration, beyond the typical wooden beading, shaped chimney and brass fittings contrasting with the mahogany body; this may reflect its being built for Noakes’s own use, rather than in the hope of attracting commercial orders; it shows signs of considerable use: some of the metal surfaces are rubbed and worn, and there is localised charring to the wooden body; rather surprisingly, the four lenses are not aligned along the vertical centre-line of the lantern body, being one inch closer to the right side than to the left: there is no obvious practical explanation for this; the same arrangement is replicated inside the body, where the metal lining includes an additional spacing chamber at the left side, running through all four compartments; both sides carry engraved brass plates reading ‘NOAKES’ PATENT'; however, no patent for a four-lens lantern is known, and it is unlikely that such an ‘invention’ would have been patentable anyway, being just an extension of the principles well-known in the ‘prior art’ of biunial and triunial lanterns.; if the four-lens configuration had been patented, we might expect it to have been made commercially: patents require the invention to find commercial success to recoup the initial and ongoing fees; the ‘Noakes Patent’ designation must refer to one or more detailed design refinements, probably the same ones claimed by similar plates on Noakes’s triunials; the right side also has a brass maker’s plate at the top, reading: 'D.W. NOAKES, “PLEYDELL”, HUMBER ROAD, WESTCOMBE PARK S.E.'; that is the address recorded for Noakes in the 1901 Census, and is probably the house at Westcombe Park mentioned as “lately purchased” in an 1897 OMLJ interview, where he lived until around 1924; the plate could, of course, have been added later, though it is overlaid by other fittings and looks original; if it was attached during construction, the lantern can have been made no earlier than 1896; there is other circumstantial evidence on dating: Noakes published a small booklet listing lectures he offered, giving the same Humber Road address and including the remark that “I have constructed a Quadruple projection apparatus (the only one existing)"; the booklet quotes glowing press reviews, including one praising a “very fine lantern, which was manipulated with practised skill” – however the original 1893 newspaper source used the wording “very fine patent triple lantern;” in other words the Quad was not in use in 1893, yet it definitely was in use by 1901, when (the earliest press reference found so far) a lecture by Pastor Charles Spurgeon was supported by “Mr D.W. Noakes with his Quadruple Dioramic Lantern". Magic Lantern Slides - the 'Noakes Quad' magic lantern to be offered with large collection of mahogany-mounted 3¼sq. in. magic lantern slides, mainly photographic and coloured photographic, being the working collection of David Noakes as a professional lanternist, including slides from 11 out of the 12 readings in Noakes' printed 'Syllabus of Dioramic Lectures', probably printed circa 1901 (treating No. 12 and No. 13 'England Bisected by a Steam Launch' as one set, missing only No. 3 'A Visit to Cloudland'), three period copies of the Syllabus included in lot, some sets in the Syllabus including effects, with occasional rackwork slides, contents of each set not checked for completeness, some slides for use in more than one set - sets detailed as : No. 1 'The Victorian Era' (122), No. 2 'Picturesque Devon' (50), No. 4 'Rambles in Normandy and Brittany' (78), No. 5 'Antwerp, Brussels and Waterloo' (54), No. 6 'River Rambles or The Strange Adventures of a Steam House Boat' (69), No. 7 'The Channel Islands through my Camera' (99), No. 8 'Manxland & its Beauties' (70), No. 9 'Tamesis', including 'RW', probably Raising Wrecks (104), No. 10 'The Greatest Cities of the World' (95), No. 11 'Ancient and Modern Methods of Travelling' (82), No. 12 'England Bisected by a Steam Launch Part 1 The Outward Journey and Part II
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Miró, Joan. Exhibition. Japan 1966. Chromolithographie. 40 x 57 cm. Tokyo, The National Museum of Modern Art, 1966.Vom Künstler entworfenes Ausstellungsplakat der "Joan Miró Exhibition" in Tokio aus dem Jahre 1966. Der spanische Künstler Joan Miró (1893-1983) stellte im japanischen National Museum aus. - Leicht knickspurig, sonst frisches Exemplar.
Small collection of modern art books: Paul Horton, In my Life, 2005, signed; Fletcher Sibthorp, Passion - Paintings, Drawings and Studies, 1998 - 2005, hardback in shell case (still sealed); Josep Domenech, Meditations/ Meditaciones, 2005, signed with print of 'Peinandose', numbered edition of 10, in shellcase, together with five other volumes of standard release; Sarah-Jane Szikora, Infatuation, 2005, Washington Jane Publications.
A GROUP OF TABLE LAMPS, VASES, PLANTERS AND DECORATIVE HOMEWARES, to include a Bitossi-style Italian piggy bank, a Celtic Pottery table lamp, a Parian ware ewer on a marble base, a stoneware keg impressed 'J Barrows & Son, Birmingham', a modern ceiling light fitting, an art glass figure of a Mexican man, a pair of tall wrought iron candlesticks, etc (qty) (Condition Report: most pieces appear ok, sd, electrical items untested)
WILLIAM OSBORNE (IRISH, 1823-1901) 'GONE TO GROUND' Oil on board, signed with monogram lower left, inscribed to modern back board verso detailing the inscription to the board with title 35 x 46cm; 48 x 59cm including frame Provenance: Gorringe's, Sussex, UK, Fine Art, 8 Dec 2011 Condition: Has light/minor scratched line to paint at centre top of 7.5cm. Additional photograph included. Otherwise fine condition. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Harold Riley DL, DLitt, FRCS, DFA, ATC (1934-2023) and Laurence Stephen Lowry RBA, RA (1887-1976) Crowther Street Stockport Signed by Harold Riley and L S Lowry, with an oil sketch of a young man to the reverse, oil on canvas, 49cm by 39cmProvenance: A gift from the artist to the vendor's father Thence by descent Harold Riley and Lowry often embarked on joint ventures together over their thirty-year friendship, having first met in 1945 when the former presented Riley with an award for first prize at a Salford Grammar School art exhibition. However, these were usually works on paper, thus making this fully finished oil painting a rarity.This scene depicts Crowther Street in Stockport, a landmark re visited by Lowry throughout his lifetime.Tennant’s Modern & Contemporary Art sale in March 2023 saw the sale of a pencil drawing by Lowry titled “The Stepped Street”, this was a depiction of Crowther Street and sold for £70,000 hammer. (see image).Shortly after leaving Art School in 1928, Lowry sought to record locally threatened architectural gems such as Crowther Street, which was later partially demolished leaving only the right-hand portion. This also indulged his love of steps as subject matter.Though somewhat changed since the artist’s day and with far fewer people than in Riley’s view, the cobbled street is still recognisable to this day.
A Liberty & Co. Terracotta Olaf Garden Pot, designed by Archibald Knox, with four loop handles, cast with a band of Celtic patterns, impressed DESIGNED AND MANUFACTURED BY LIBERTY & CO., 44cm highLiterature: Stephen A Martin, Archibald Knox, ARTMEDIA page 276 for this design illustrated Veronica Franklin Gould, Archibald Knox & Mary Seton Watts, Modern Celtic Art Garden Pottery Arrow Press, page 20 for a comparable example illustrated in a 1903-4 Liberty catalogue. A chip to the Celtic decoration on one side, chips to the foot rim, chips to the interior rim
EDOUARD VUILLARD (FRENCH 1868-1940) LE GRENIER DE LA GRANGETTE À VALVINS Pencil, pastel and wash Signed with initials (lower right) 10 x 9.5cm (3¾ x 3½ in.)Executed in 1896Provenance: Sotheby's, Olympia, Impressionist and Modern Art, 23 March 2005, lot 48, where purchased by Robert Kime This work will be included in the forthcoming supplement of the catalogue critique of paintings and drawings by Edouard Vuillard being prepared by Mathias Chivot. Condition Report: Unexamined out of glazed frame. In good original condition. Condition Report Disclaimer
AN ART DECO PAINTED PINE SERPENTINE SIDE CABINET EARLY 20TH CENTURY Scumble painted to simulate Hungarian ash 125cm high, 111cm wide, 48cm deep Condition Report: Marks, knocks, scratches, abrasions consistent with age and use,Some old splits and cracks, some marks and wear to the surface, Handles all applied with modern screws, these may be original but re-fittedThere is an old lock to the cupboard and a key that operates at time of report, The carcass is probably pine (the drawer linings certainly are) Please see additional images for visual reference to condition Condition Report Disclaimer
Collection of artist signed limited edition prints to include Talantbek Chekirov (with large quantity of loose CoA's), various sizes 60x80, 35x70, 50x50cm etc and other modern art prints (no CoA'S). Also included a series of numbered limited edition landscape prints by James McIntosh Patrick, no CoA's, sizes vary (73.3x58.5cm etc) and others including wildlife, Robin Hoods Bay, Whitby pencil sketches etc. Approx 30-40 prints total
A modern pitch pine dresser base, with two short and two long drawers, with raised back fitted with three drawers, 122x101x55cm, and a folk-art painted coffee table. 122x54x46cm. (2) Dresser is missing top section. Appears to have been stored somewhere damp. Drawers stick, back panel warped, top split, moulding to left side is detached but present. Splits to both side panels. Various marks and scratches.
A GROUP OF THREE DUTCH FALCONRY HOODS MID 19TH CENTURY Fashioned from leather and various feathers tallest 11cm high, smallest 8cm high Condition Report: All with marks, knocks, scratches, abrasions consistent with age and use, The leather straps to secure are old and fragile, the leather is splitting and weak and has creasingThe baize patches to the sides all with wear, the smallest hoods with balding and wear through to the underlying leather, the larges with wear and discolourationThe feathers to the largest hood are in the best condition, these may have had some refreshing. the stitching to the interior beneath this area to secure appears fresher, the smaller two hoods feathers are more threadbare, these may well be original Overall these are sold as decorative works of art, the condition appears to fragile to be used as a falconry hood in the modern day The smallest hood with indistinct inscription to the top front sidePlease see additional images for visual reference to condition Condition Report Disclaimer
AN ARTS AND CRAFTS OAK KNEEHOLE DESK ATTRIBUTED TO CHARLES ROBERT ASHBEE EARLY 20TH CENTURY Of slatted panel form, the drawers around the kneehole ingeniously locking with the central drawer, opposing three drawers above four doors, the copper drawer handles stamped 'RATHBONE 543' 76cm high, 183cm wide, 99.5cm deep Charles Robert Ashbee (1863 - 1942) was an English architect and designer who was a leading proponent of the Arts and Crafts movement. His disciplines included metalwork, textile design, furniture, jewellery and other objects in the Modern Style (British Art Nouveau style) and Arts and Crafts genres. He became an elected member of the Art Workers' Guild in 1892, and was elected as its Master in 1929. Richard Llewellyn Benson Rathbone (1891-1939) trained with the distinguished Arts and Crafts metalworker W A S Benson, setting up his own workshop in the 1890s. Rathbone continued production until the early 1900s making metal fittings both to his own designs and for other designers including C F A Voysey, Lamb of Manchester, Morris & Co and A H Mackmurdo. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useThe leather inset with the usual marks and scratches consistent with age and use, some deeper areas too. The oak top of the desk with old water marks and stains affecting the polish, this is a ring mark and a rectangular mark - water has split and left this mark at some point The ingenious locking system is working at time of report, there is a key that operates the central drawer lock at time of report, this lock appears to have been changed, it may well have had a Bramah type lock previously, there is a circular inset hole to the drawer front where the keyhole probably projected through. There are no other keys present, the rear cupboards are all open at time of report - the drawers to the rear are not operated on the same locking mechanism and are openable when the other drawers are shut and locked. The large right hand drawer was previously divided, this has been well filled to the drawer front and the back drawer lining.The handles are all stamped as per the description, these are almost certainly original.Some later screws are present to the interior to hold front and back elements togetherOverall solid and stablePlease see additional images for visual reference to condition Condition Report Disclaimer
JAMES FERRIER PRYDE (BRITISH 1866-1941) THE HOUSE Oil on canvas Signed (lower left) 91 x 74cm (35¾ x 29 in.)Painted in 1917 for the Red Cross. Provenance: Private Collection, Jeremiah Colman Private Collection, William H. Miller Arthur Tooth & Sons, London Private Collection, The Lord Parmoor, Sutton Verney Private Collection, Viscount Bearsted, M.C. T.D Sotheby's, Gleneagles, 31 August 2005, lot 970, where purchased by Robert KimeExhibited: London, The Fine Art Society, Spring, 3 May - 3 June, 1988, no. 45 London, The Redfern Gallery, An Exhibition of Paintings and Drawings by James Pryde, 22 September - 26 October 1988, no. 4 Edinburgh, The Scottish National Gallery of Modern Art, James Pryde, 14 August - 11 October, 1992, no. 91, p. 106, pl. XXIII illus. Literature: Derek Hudson, James Pryde, Constable and Company Ltd., London, 1949, p. 97 This dramatic and imposing work was ultimately a result of the terrifying war years during which it was painted. 'The House' was completed in 1917, commissioned by the Red Cross. Flashes of red material are seen cascading down the facade of the house owing to the 'Red Cross' and possibly the representation of blood shed during the war years. James Pryde was born in Edinburgh in 1866. From a young age Pryde was influenced by the Glasgow School of painters looking towards artists such as James Guthrie for inspiration. After school Pryde went onto study Fine Art at the Royal Scottish Academy and felt deeply connected to Scotland throughout his life. It was his later works which were particularly influenced by Edinburgh in particular. It was the architecture, history and spirit of the city which fascinated him. Pryde became renowned for his architectural capriccios and depictions of ruins which weaved together elements of fantasy and reality to create whimsical compositions that challenged the concept of architectural representation. His compositions combined elements from different architectural styles, blending historical references and dreamlike interpretations, pushing the viewer to become immersed by the landscape and step inside the architectural form. Whilst pursuing his career as an artist Pryde worked as a part time actor. He became close friends with Sir Henry Irving and designer Edward Gordon Craig. In 1930, Pryde was commissioned to design the set of Paul Robeson's Othello. It is clear to see the mixture of influences in the present lot combining architecture, set design and sheer imagination. Condition Report: Not relined. Inspection under UV reveals no obvious evidence of restoration or repair. Appears to be in good original condition commensurate with age. Condition Report Disclaimer
CHRISTOPHER WOOD (BRITISH 1901-1930) LAKE IN THE WOOD Pencil and watercolour Indistinctly inscribed (lower left) 22 x 29.5cm (8½ x 11½ in.)Provenance: The Redfern Gallery, London Acquired from the above by D. Rosner on 4 January 1945 Christie's, South Kensington, Modern British & Irish Art, 24 October 2007, lot 84, where purchased by Robert Kime Exhibited: London, The Redfern Gallery, Christopher Wood, January, 1945, no. 35Saleroom notice:This work is indistinctly inscribed to the lower left corner. Condition Report: Unexamined out of glazed frame. Very slight undulation to the sheet. Very small scratch to the lower right corner. In generally good original condition. Condition Report Disclaimer
PAUL NASH (BRITISH 1889-1946) SILBURY HILL Watercolour and pencil Signed (lower right) 38.5 x 57cm (15 x 22¼ in.)Executed in 1938. Provenance: Private Collection, C. Allsopp, by whom sold Christie's, London, Modern British Drawings, Paintings and Sculpture, 20 March 1970, lot 180 Agnews, London (by 1971) Private Collection, Harold Riley Christie's, London, 20th Century British Art & Irish Art, 19 November 2004, lot 97, where purchased by Robert Kime Exhibited: Newcastle-upon-Tyne, Northern Arts Gallery, Paul Nash 1889-1946, September-October, 1971, no. 34 London, Tate Gallery, Arts Council of Great Britain, Paul Nash Paintings and Watercolours, November-December 1975, no. 175 (loaned by Harold Riley) Literature:Andrew Causey, Exhibition Catalogue, Paul Nash 1889-1946, Newcastle, Northern Arts Gallery, 1971, p. 15, no. 34 pl. 12 Andrew Causey, Paul Nash, Oxford, 1980, pp. 265-6, cat no. 952, pl. 312 Silbury Hill, located near Avebury in Wiltshire is the largest artificial mound of its kind in Europe. It is believed to have been completed around 2400BC and is similar in scale to the pyramids in Egypt. The purpose and significance of the mound are unknown and remain the subject of much speculation. Given Nash's fascination with pre-historic sites and the spiritual qualities of the English landscape, it is unsurprising that Silbury Hill was of interest to him. Nash first visited Silbury Hill and the nearby stones at Avebury in July 1933 whilst on holiday in Marlborough. According to Ruth Clarke, who travelled with him, Nash was 'excited and fascinated' by the landscape which appealed to his 'sensitiveness to magic and the sinister beauty of monsters' (cited in Andrew Causey, Paul Nash Landscape and the Life of Objects, 2013). The ladder laid against the hill in the present work was a figment of Nash's imagination which derived from his interest in the idea of something rising out of the earth or up from the water and creating a new form above ground. A postcard found in Nash's collection depicts a ladder inside a pit at the excavation of Maiden Castle leading upwards from the ground beneath. This postcard alongside the watercolour of Silbury Hill, is discussed by Andrew Causey in his 1980 publication on the artist:.:'Silbury, as might be expected, intrigued Nash: its clear, plain, and - to Nash - symbolic shape was both palpable and inscrutable. In the oil painting Silbury Hill [Causey no. 880] he hinted at its symbolical meaning, its special, reserved ambience, with the closed gate and the pyramidal tumulus beyond, while constructing at the same time elaborate formal congruences of triangles within the over-all design. In the slightly later watercolour [the present work] he revealed a little more of his reaction to the hill's shape by adding a ladder leaning against the mound in front of it. This was no more than a now familiar Nash image, but there could be special interest in this if the idea was suggested by a postcard he had of Maiden Castle [Causey pl. 313]. It is not just that both are sites of ancient occupation, but that the postcard and watercolour are complementary images: in one the ladder comes up out of a dark pit, in the other it seems to continue its journey up the side of the hill; the sequence seems a characteristic product of Nash's mind' (see A. Causey, Paul Nash, Oxford, 1980, p. 265). Condition Report: Examined out of glazed frame. The sheet is stuck down to the card backing along each edge. Staining to the extreme edges of the sheet. Very slight undulation to the sheet. Light spotting scattered across the sheet most notable to the sky and to the upper landscape, however this does not appear to be a result of moulding or foxing. This damage does appear to be treatable. Please contact the department on pictures@dreweatts.com for more details. The colours are strong and there appears to be no other significant condition issues. Condition Report Disclaimer
ROBERT POLHILL BEVAN (BRITISH 1865-1925) ON LUPPITT HILL, BARN FARM, LOOKING TOWARDS HARTRIDGE COMMON Oil on canvas Signed (lower right) 64 x 75cm (25 x 29½ in.)Provenance: Private Collection, Robert Alexander Bevan (1901-1974), second son of Robert Bevan and Stanislawa de Karlowska Sale, Christie's, London, Modern British and Irish Paintings, Watercolours, Drawings & Sculpture, 23 June 1994, lot 116, where purchased by Robert Kime From a young age Robert Bevan's career path had been carefully planned out for him. Born into a family of bankers his family descended from Silvanus Bevan and Robert Barclay which founded Barclay, Bevan, Tritton and Co. of Lombard Street in London. Today simply known as Barclays. However, Bevan rejected the invitation to continue his education and follow in his family's foosteps he wished to pursue his interest and passion in the arts and partake in formal training at the Westminter School of Art. These endeavours were financially supported by his family. After initial study in London Bevan moved to the Academie Julien in Paris where he studied alongside artists such as Pierre Bonnard and Maurice Denis. In 1890, Bevan headed south to the picturesque region of Brittany, where he became entrenched in the vibrant artistic community of Pont-Aven, alongside notable figures such as Paul Gauguin.In 1896, Bevan married Stanislawa de Karlowska, a fellow art student, and the couple settled in London. Stanislawa or better known as Stasia was originally from Poland and the couple would take long trips to visit her family and homeland. The summers of 1901, 1903 and 1904 were spent in Poland at Szeliwy family property, see Lot 323. The couple frequently ventured to the country, including the West Country and Sussex-places that held personal significance for Bevan. The present lot illustrates a small farm dwelling with a patchwork of fields beyond sprawling across the hills with two horses in the foreground. Inspired by the rhythm and serenity of everyday country life, Bevan found himself drawn to the motif of the horse. Bevan produced a series of paintings and lithographs centred around horse dealers and sellers at the Barbican and Tattersall, images of which were collected by Robert Kime including Lot 12 through to 17.Around the same period, during the summers of 1916-1919 Robert Bevan spent the majority of his time at a house called Lytchett's on Hart's Farm on Bolham Water in Devon. It is most likely that the present lot was produced during this period whilst staying at Lytchett's immersed in the rustic countryside, Bevan's body of work during this period is bold in colour and peaceful in nature. Anne Chard, the farmer's daughter recalled in an article for The Somerset County Gazette in 1978 and 1980 that 'some of us can remember, during childhood, meeting a solitary gentleman tramping miles by foot across the Blackdown Hills and Luppitt areas. He either carried a sketchbook and pencil or paints and easel tucked under his arm. He wore a bowler hat, light grey check suit with a watch-chain across his waistcoat. A bow tie and spats added to the elegance of his appearance.'During his time at Lytchett's, Bevan developed a deep fascination with close-up depictions of barns and dwellings. An exemplary work from this period, "The Chesnut Tree" (Hart's Farm), painted in 1916, now housed at the Ashmolean Museum in Oxford, illustrates Bevan's distinct artistic approach. Each work has been constructed in a similar manner, using the placement of the trees to build the layers of composition and create perspective. The dwelling fills the majority of the canvas made up of simple geometric shapes in subdued natural colours and in the foreground animals grazing carefree in the midst of nature. Condition Report: Not relined. No obvious significant condition issues, appears to be in good original condition. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
WILLIAM NICHOLSON (BRITISH 1872-1949) FELLS, AMBLESIDE Oil on panel Signed with monogram (lower left) 35 x 46cm (13¾ x 18 in.)Painted in 1942. Provenance: The Leicester Galleries, London Roland Browse & Delbanco, London, purchased in 1945 Private Collection, Dr. Gustav Delbanco Christie's, London, Property from the Estate of the late Dr. Gustav Delbanco, 27 November 1997, lot 97, where purchased by Robert KimeExhibited: London, Leicester Galleries, Paintings by Sir William Nicholson, 1943, No. 47 London, Roland Browse & Delbanco, Paintings by Sir William Nicholson, 1945, No. 22 London, Roland Browse & Delbanco, William Nicholson Centenary Exhibition, 27 April - 27 May 1972, No. 29 Aldeburgh, Aldeburgh Festival Exhibition, William Nicholson Centenary Exhibition, 2 - 19 June 1972, No. 29 London, Roland Browse & Delbanco, William Nicholson 1872-1949, 1990, no. 32Literature: Lillian Browse, William Nicholson, London, 1956, no. 465, pl. 36 (dated to c. 1935) Patricia Reed, William Nicholson, Catalogue Raisonne of the Oil Paintings, Modern Art Press, Yale University Press, 2011, p. 632, no. 861, illus. Captivated by the pristine charm of the British countryside and driven by an unwavering passion for landscape painting, William Nicholson crafted a remarkable body of work that echoes his deep-rooted connection to nature. His desire to be immersed within the countryside became reality when Nicholson and his wife Mabel Pryde purchased the old vicarage in Rottingdean, near Brighton. The series of works influenced by this location during the 1920s and mid-1930s was referred to as his 'downs period' where Nicholson focused his attention to the beauty and serenity of the hilly, chalk grasslands on the South Downs. This move towards landscape painting marked a departure from his exploration of still life and portraiture. Nicholson's renowned "downland series" stands as a testament to his ability to portray the changing seasons, moods, and colours of the rural landscapes with timeless artistry. "The Fells, Ambleside," painted around 1942 is from a slightly later date and yet it still captures the same essence of Nicholson's 'downland series' illustrating the rolling hills of Ambleside in Cumbria as he draws the viewer's eye deep into the landscape. The work is believed to have been painted in either May or June when Nicholson was invited to act as the external assessor for the Royal College of Art students, who now resided in Ambleside after being evacuated in 1940. The dry-stone walling curves through the landscape splitting the scene in two. The stone quarry and patchwork of hills on one side with a vast open landscape with sheep grazing on the other. Nicholson has used sgraffito technique to mark out the grass and the texture of the walls. A key figure in Nicholson's life was his dear friend and brother-in-law James Pryde, whose work is also featured in Robert Kime's collection (Lot x & x). As struggling artists in the 1890s, Pryde and Nicholson saw an opportunity to explore the poster market and its growing popularity. The pair joined together to create an artistic partnership they coined 'the Brothers Beggarstaff.' The pair experimented with collage, silhouettes and simplistic forms provided innovative and revolutionary ideas of marketing. Their work, proving too 'avant-garde', pushed them both back to their traditional artistic journeys. However, Nicholson saw an opportunity to experiment with print-making and went on to produce extremely popular series titled 'An Alphabet', 'An Almanac of Sports' and 'London Types' under the publisher William Heinemann. Condition Report: Light surface dirt throughout. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
ERIC RAVILIOUS (BRITISH 1903-1942) NEW YEAR SNOW Watercolour and pencil Signed (lower left) 46 x 56cm (18 x 22 in.)Painted in 1938. The present work was painted in Capel-y-Ffin, Breconshire. Provenance: Private Collection, Sir Duncan Oppenheim Sale, Christie's, London, The Collection of the Late Sir Duncan Oppenheim, 6 June 2003, lot 91, sold by order of the executors, where purchased by Robert Kime Exhibited: London, Arthur Tooth & Sons, Recent Watercolours by Eric Ravilious, 11 May-3 June 1939, no. 1 (18 guineas) Sheffield, Graves Art Gallery, Eric Ravilious, An Exhibition of Watercolours, Wood Engravings, Illustrations, Designs, 1958, no. 94, lent by Mr & Mrs D. Oppenheim London, Arts Council of Great Britain, Eric Ravilious Memorial Exhibition, 1948-9, no. 1 Colchester, The Minories, Eric Ravilious, 1972, no. 22; and touring London, Imperial War Museum, Eric Ravilious Centenary Exhibition, 2003, illus. in exhibition catalogue Literature: Freda Constable, The England of Eric Ravilious, Scolar Press, London, 1982, pl. 21 Helen Binyon, Eric Ravilious, Memoir of an Artist, Lutterworth Press, London, 1983, p.105, illus. Anne Ullmann et al, Eric Ravilious: Landscape, Letters and Design, Fleece Press, 2008, ill. p. 437 Alan Powers, Eric Ravilious, Imagined Realities, Imperial War Museum, Philip Wilson Publishers, 2012, pl. no. 46 illus James Russell, Ravilious in Pictures, A Travelling Artist, Mainstone Press, 2012, p.4, illus. Susie Hodge, Eric Ravilious, Masterpieces of Art, Flame Tree Illustrated, 2015, p. 54 illus This atmospheric watercolour depicts a picturesque valley in the Welsh borders and at the same time shows us a master at work.Early in 1938 Ravilious travelled to Capel-y-Ffin, a hamlet in the Honddu valley not far from the ruins of Llanthony Priory. Having concentrated on illustration and design for a couple of years he was at last free to paint watercolours, and to take his time doing so. He had booked a room in the hamlet's solitary farmhouse for two months, and looked forward to exploring a landscape that was wilder than his native Sussex.Steeped as he was in the English watercolour tradition, Ravilious was well aware that JMW Turner, John Sell Cotman and other luminaries had painted the valley before him, although those earlier Romantic artists had tended to focus on the ruined abbey. A more recent visitor was artist-poet David Jones, who stayed with Eric Gill and his entourage in Capel-y-Ffin in the 1920s. Ravilious admired the strong modern line and delicate palette of Jones's watercolours, which present subjects similar to this but in a very different style (see Lot 56 David Jones 'Spirit in an Orchard'In New Year Snow Ravilious presents a recognisable view south-east along the valley, towards the distinctive buttress of Loxidge Tump. He was no topographer, however, and here he has redirected the course of the river so that it bends across the composition, roughly mirroring the curve of hills against the sky. Water, land and clouds are painted with remarkable economy, with only the lightest of washes across the hilltops. Mostly the watercolour has been applied in single strokes, whether taut and wiry or roughly scuffed with a dry brush. White paper showing through suggests here the texture of grassland dusted with snow and there the shimmer of moving water, while simultaneously conveying a feeling of light-heartedness and freedom.In place of the ruins sought out by Turner's generation, we have the kind of man-made object that delighted Ravilious: a sheep feeder on wheels set centre stage and at a precarious angle. This positioning and the clarity of the draughtsmanship lend a slightly dreamlike quality to the scene. In May 1939 Ravilious held his third exhibition of watercolours at the prestigious London gallery of Arthur Tooth and Son, the show that cemented his reputation. In The Observer, Jan Gordon praised Ravilious's extraordinary technique, which made the most mundane object 'appear as something magic, almost mystic, distilled out of the ordinary everyday.' Ravilious chose twenty-seven watercolours for the exhibition; in the catalogue New Year Snow is No. 1.James Russell Art Historian, Author and Curator Condition Report: Examined out of glazed frame. The sheet is laid down to the backboard. There is a small loss to the sheet at the centre of the right edge, not visible when framed. There is a very small spot of what appears to be paper stuck to the lower left of the feeder, visible in the catalogue illustration. There is some discolouration and acid-staining to the extreme edges and a few spots of dirt along the upper edge. Staining to the back board verso. Otherwise, there are no obvious condition issues or any evidence of restoration or repair. Condition Report Disclaimer
A small mixed lot of ceramics comprising a large modern celadon crackle glazed vase containing a large faux floral arrangement, height 87cm, a sculpture incorporating a figurehead, stamped to the base 'Wami Art Jamaica Homer Brown '98', height 61cm, and a carved wooden painted sculpture of a swan (3).
Two cut glass perfume bottles, one Art Deco example with silver cap and rim and pink engine turned enamel lid, on bulb-shaped body with wheel-cut floral pattern, raised on four moulded feet, height 14cm, Albert Carter, Birmingham 1929, together with a modern red flashed glass bottle of bulbous shape, silver lid, The Original Perfume Bottle Co, Birmingham 2003, height 10.5cm (2).
Isamu KenmochiPair of 'Haco' occasional tables, model no. SM6003, designed for the National Kyoto Conference Centre, 1961Japanese elm-veneered plywood.Each: 45 x 60 x 60 cmManufactured by Tendo Mokko, Tendo, Yamagata Prefecture, Japan.Footnotes:LiteratureIsamu Kenmochi et. al., Japanese Modern: Retrospective Kenmochi Isamu, exh. cat., Akita Senshū Museum of Art, 2005, pp. 102, 195Tendo Classics, Tendo Mokko, pp. 3, 32, 38This lot is subject to the following lot symbols: TPTP 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
Arne JacobsenEarly 'Egg' armchair, model no. 3317, designed 1958, manufactured 1963Leather upholstery, aluminium, acrylic. 107 x 87 x 75 cm Manufactured by Fritz Hansen, Copenhagen, Denmark. Underside with manufacturer's label printed FH/MADE IN DENMARK/0663/BY FRITZHANSEN/FURNITUREMAKERS.Footnotes:ProvenanceHeal's, Tottenham Court Road, LondonAcquired from the above, mid-late 1960sThence by decent to the present ownerLiteratureErik Lassen, ed., The Arts of Denmark: Viking to Modern, exh. cat., The Metropolitan Museum of Art, New York, 1960, p. 125Poul Erik Tøjner and Kjeld Vindum, Arne Jacobsen, Arkitekt & Designer, Copenhagen, 1999, front cover, pp. 68-69Carsten Thau and Kjeld Vindum, Arne Jacobsen, Copenhagen, 2001, pp. 154, 158-59, 433-35, 438-39Charlotte and Peter Fiell, scandinavian design, Cologne, 2002, p. 301Arne Karlsen, Danish Furniture Design: in the 20th Century, Volume 2, Copenhagen, 2007, pp. 136-37Bonhams wishes to thank Ida Leisner, Curator & Researcher, Fritz Hansen, Allerød, Denmark for her assistance with the cataloguing of the present lot.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional 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
Isamu Kenmochi'Haco' coffee table, model no. SM6002, designed for the National Kyoto Conference Centre, 1961Beech plywood, Japanese elm-veneered plywood.45 x 120 x 60 cmManufactured by Tendō Mokkō, Tendō, Japan.Footnotes:LiteratureIsamu Kenmochi et. al., Japanese Modern: Retrospective Kenmochi Isamu, exh. cat., Akita Senshū Museum of Art, 2005, p. 195Tendo Classics, Tendo Mokko, pp. 3, 32, 38This lot is subject to the following lot symbols: TPTP 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
T.H. Robsjohn-Gibbings'Strap' sofa, model no. 1711, 1950sWalnut, fabric upholstery, original canvas webbing. 78 x 235 x 94 cmManufactured by Widdicomb Furniture Company, Grand Rapids, Michigan. Manufacturer's fabric label WIDDICOMB/designed by/T.H. ROBSJOHN-GIBBINGS.Footnotes:ProvenancePrivate collection, Poole Acquired from the above by the present ownerPrivate collection, United KingdomLiterature'L'Art Décoratif Américain et les Appels du Mexique, Robsjohn Gibbings', Art et Industrie, vol. XXVI, June 1953, p. 25Widdicomb, manufacturer's catalogue, Grand Rapids, 1950s, n.p.Interior Design, vol. 32, no. 5, May 1961, p. 129Charlotte and Peter Fiell, eds., Decorative Art 50s, Cologne, 2000, p. 126Daniella Ohad Smith, 'T. H. Robsjohn-Gibbings: Crafting a Modern Home for Postwar America', Journal of Interior Design, vol. 34, no. 1, 2008, p. 51This lot is subject to the following lot symbols: TPTP 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
Marcel BreuerLong chair, designed 1935-1936, produced 1960sLaminated beech plywood.Frame: 79.8 x 61.2 x 142 cmManufactured by John Alan Designs, London, United Kingdom. Footnotes:ProvenanceJohn Alan Designs, LondonAcquired from the above by the present owner, circa 1964LiteratureChristopher Wilk, Marcel Breuer Furniture and Interiors, exh. cat., Museum of Modern Art, New York, 1981, pp. 127, 145Jack Pritchard, View from a Long Chair: the memoirs of Jack Pritchard, London, 1984, front cover, pp. 90, 113, 120, 179Magdalena Droste, Manfred Ludewig and Bauhaus Archiv, Marcel Breuer Design, Germany, 1994, pp. 29, 132-133James Peto and Donna Loveday, eds., Modern Britain: 1929-1939, exh. cat., Design Museum, London, 1999, pp. 90, 92Hugh Aldersey-Williams, British Design, New York, 2010, p. 70Christopher Wilk, Plywood A Material Story, London, 2017, front coverThe present 'Isokon' long chair designed by Marcel Breuer was produced by John Alan Designs. Jack Pritchard licensed John Alan to produce the design during the 1960s as documented in the Pritchard Papers held in the University of East Anglia Archives. These examples were made with laminated beech plywood and the seat rests on a cross support, a later modification by Breuer to add strength.This lot is subject to the following lot symbols: TPTP 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
Gerald Abramovitz'Cantilever light, Mk II', model no. 914155, circa 1964Aluminium, anodised aluminium, painted steel.50.5 x 71 x 10 cmManufactured by Best and Lloyd Ltd., Birmingham, United Kingdom. Base with paper label printed Registered design no. 914155/cantilever light Mk II/best&lloyd.Footnotes:ProvenancePrivate collection, LondonThence by descent to the present owner Literature'Duke of Edinburgh's Prize for Elegant Design and the Design Centre Awards 1966', Design Journal, no. 209, May 1966, p. 41Kathryn B. Hiesinger and George Marcus, Design Since 1945, exh. cat., Philadelphia Museum of Art, 1983, p. 143The present model won the Design Centre Award in 1966 and is held in the collections of the Victoria and Albert Museum, London and the Museum of Modern Art, New York.For further information on this lot please visit Bonhams.com
Marcel BreuerEarly set of three nesting tables, designed 1936, produced circa 1936Laminated birch plywood.Largest: 37.5 x 61 x 46.5 cm Manufactured by Venesta, Estonia for Isokon Furniture Company Ltd., London, United Kingdom.Footnotes:LiteratureChristopher Wilk, Marcel Breuer Furniture and Interiors, exh. cat., Museum of Modern Art, New York, 1981, pp. 134, 145Jack Pritchard, View from a Long Chair: the memoirs of Jack Pritchard, London, 1984, p. 114Magdalena Droste, Manfred Ludewig and Bauhaus Archiv, Marcel Breuer Design, Berlin, 1994, pp. 132, 135-36James Peto and Donna Loveday, eds., Modern Britain: 1929-1939, exh. cat., Design Museum, London, 1999, p. 94This lot is subject to the following lot symbols: TPTP 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
A pair of Art Deco style elephant bookends, modern, each balancing a ball on its trunk, raised on a gold-flecked resin plinth, 17.5cm wide 9.5cm deep19.5cm highCondition ReportMinor nibbles to the edges of the resin bases, and one with a deeper surface scratch. Wear and minor marks to the patination of the elephants.
Deutsches Reich 1933 - 1945 - Kunst : Porträtbüste Adolf HitlerSchwarz patinierter Eisenguß. Plinthe abgebrochen. Mit neuzeitlichem Granitsockel. Obgleich unsigniert dürfte es sich bei dieser Skulptur um ein Werk des bekannten Bildhauers Ernst Seeger handeln. Der Kopf in mehrfacher Lebensgröße und in der Ausführung aus Eisen ungewöhnlich und selten. Hervorragend für eine nach wissenschaftlichen Grundsätzen aufgebaute museale Ausstellung zum Thema "Führerkult im 3. Reich" geeignet. Höhe: 50 cm.The Third German Reich 1933 - 1945 - Art in The Third Reich 1933 - 1945 : Portrait Bust of Adolf HitlerBlack patinated cast iron. Plinth broken off. With modern granite base.Although unsigned, this sculpture is probably the work of the well-known sculptor Ernst Seeger.The head in multiple life size and in iron execution unusual and rare.Excellently suited for a museum exhibition on the subject of the "Führer cult in the 3rd Reich".Height: 50 cm.
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