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Lot 360
Gucci, a medium Guccissima Boston bag, crafted from the maker's GG embossed nude pink leather, with smooth leather trim, gold-tone hardware, rolled leather handles, top zip fastening, and one interior slip pocket, measuring 16 by 17 by 31cm- Overall very good condition- No obvious marks or wear to the bag exterior or interior lining- Without maker's dust bag- Condition reports are a guide only and clients are advised to view items before bidding- For enquiries about this lot please contact Sophie Higgs at sophie@kinghamsauctioneers.com
Lot 457
Salvatore Ferragamo, a leather handbag and matching purse, crafted from nude calfskin leather with polished gold-tone hardware, featuring a rear slip and zip pocket, single leather handle, flap closure and brown satin lining, together with a matching wristlet purse, measuring 14 by 24 by 34cm, with maker's dust bag- Overall very good condition - No obvious marks to the bag exterior or interior lining - Very slight wear to the base corners - Condition reports are a guide only and clients are advised to view items before bidding - For enquiries about this lot please contact Sophie Higgs at sophie@kinghamsauctioneers.com
Lot 306
Chanel, a nude Single Flap handbag, featuring polished silver-tone hardware, a rear patch pocket, double chain and interwoven leather shoulder straps, mademoiselle turn-lock fastening, and maker's logo fabric lined interior, measuring 7 by 13.5 by 25cm, with maker's product pamphlet and authenticity card- Overall good condition- Very minor discolouration and wear to the bag edges and corners- Interior lining is clean and unmarked- Serial number 10654171 (2005-2006)- Without maker's dust bag- Condition reports are a guide only and clients are advised to view items before bidding- For enquiries about this lot please contact Sophie Higgs at sophie@kinghamsauctioneers.com
Lot 535
After Rene Magritte (Belgian, 1898-1967) - La Magie Noire - an offset lithograph poster print. Depicting a surrealist nude female against a sea and skyscape, her top half fading to pale blue. Printed by the Musee Magritte Museum, Brussels 2019 after the 1945 oil on canvas Black Magic. Measures approx. 69cm x 51cm.
Lot 1376
Photographie - Erotica - Curiosa - - Irina Ionesco. Les Immortelles. Widmungsexemplar. Mit 93 s/w Phototafeln u. 10 photogr. Abb. im Text. Paris, Contrejour, 1991. 117 S., 1 Bl. 4°. OLwd. mit DTitel in ill. OUmschlag (dieser etw. gebräunt u. knickspurig). Erste Ausgabe. - Die Malerin Irina Ionesco wandte sich in den 60er Jahren der Fotografie, besonders der erotischen und der Aktfotografie zu. Besonderes Aufsehen erregten die Aktfotos ihrer jugendlichen Tochter Eva, von welchen hier einige abgebildet sind. - Exemplar mit hs., dat. u. sign. Widmung der Künstlerin im Vorsatz sowie auf beigelegter Karte. - Äußerst wohlerhaltenes Exemplar. Photography - Erotica - Curiosa - Dedication copy. With 93 b/w photo plates and 10 photogr. ill. in the text. Orig. cloth with title on cover in ill. wrapper (this one somewhat browned and creased). - First edition. - The painter Irina Ionesco devoted herself to photography in the 1960s, especially erotic and nude photography. The nude photographs of her teenage daughter Eva, some of which are illustrated in the book, attracted particular attention. - Copy with handwritten, dated and signed dedication by the artist in the flyleaf and enclosed. - Very well-preserved copy.
Lot 1305
Markus Lüpertz. Tagebuch. New York 1984. Mit aquarellierter Orig.-Tuschfederzeichnung von Lüpertz. Bern/Berlin, Gachnang & Springer, 1984. 58 S., 1 Bl. 22 x 14 cm. OBroschur (leicht knickspurig, etw. lichtrandig). Eines von nur 30 nummerierten Exemplaren der Vorzugsausgabe mit der Originalzeichnung. - Im Druckvermerk vom Künstler monogrammiert sowie die Zeichnung mit weiblicher Aktdarstellung zusätzlich nummeriert. - Papierbedingt im Blattrand zart gebräunt. Die Zeichnung technikbedingt etw. gewellt. Insgesamt sehr gut erhaltenes Exemplar, die aquarellierte Tuschezeichnung farbfrisch. With watercoloured original ink drawing by Lüpertz. Orig. paperback (slightly creased, somewhat light-margined). - 1 of only 30 copies of the special edition with the original drawing. - Monogrammed by the artist in the imprint. The drawing depiction a female nude aditionally numbered. - In the margins very delicately browned. The sheet of the drawing due to technique somewhat wavy. Altogether very well preserved, the drawing in bright colours.
Lot 290
Splendid depiction of a partially nude figure with her head lowered, her robe falling off her shoulders. The artist used a thick light pastel to render the sensual lines and warm blond washes for her cascading hair. housed in a gilded wood frame and light pink matting. Inscribed in pencil on lower left: Publisher's Proof, ed 100. Signature on lower right: E. Timmer (?). Sight size: 12"L x 18.20"H. Frame size: 19.80"L x 25.90 "H x 0.80"W. Issued: c. 1980'sEdition Number: Publisher's Proof of 100 Country of Origin: United StatesCondition: Age related wear.
Lot 30
Title: Tranquility. Serigraph print on paper by Postwar artist Itzchak Tarkay. Colorful print with rich saturated colors depicting a woman enjoying a peaceful moment with a nude painting in the background. Artist signature signed to lower right in white pencil or crayon; edition number written on lower left corner. Itzchak Tarkay, a WWII concentration camp survivor and graduate of the Bezalel Academy of Art and Design in Jerusalem, is an artist best known for his colorful post-impressionist style watercolor and acrylic paintings of women, socialites, and cafes. White canvas mat with gold trim; beveled wood frame with gold finish. Sight size: 29"W x 24"H; frame: 35.75"W x 30.75"H x 1.75"D. Artist: Itzchak TarkayEdition Number: 289 of 450 Condition: Age related wear.
Lot 75
Black and Gold serigraph in an Op Art style depicting "Cheyenne." Konopisos plays with the visual senses by representing a female as a nude laying back or as the profile of her face. This serigraph is housed in a black and gold solid frame with a dark brown linen matting. Signature in ink lower right: D. Konopisos. Numbered on lower left: 149/250. VII. Title on lower center: Cheyenne. Sight size: 18"L x 18"H. Frame size: 26.25"L x 26.25"H x 1.50"W. Artist: Dean KonopisosIssued: 1970Edition Number: 149 of 250 Country of Origin: United StatesCondition: Age related wear.
Lot 53
Roy Turner Durrant (British 1925-1998) "Seated Nude" Signed and dated '73, mixed media.33 x 20.5cm (framed 52.5 x 38cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There is a minor crease to the paper in the lower right-hand corner. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 25
James Lawrence Isherwood F.R.S.A., F.I.A.L. (British 1917-1989) "Automne Nude Couche" Signed, oil on board.24 x 35cm (framed 59.5 x 68cm)This painting is illustrated on page 106 of Isherwood (Anyone Can Paint - But Not Like Me!) by Stephen Eckersley, published 2009.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There are small flecks of paint loss in both of the left-hand corners. The painting is ornately reframed and glazed. The frame has some minor knocks and losses commensurate with age.
Lot 225
AFTER JEAN-MICHEL BASQUIAT (AMERICAN 1960 - 1988), AGONY OF THE FEET oil on canvasframedimage size 115cm x 147cm, overall size 123cm x 155cm Note 1: The original version of this painting is in the Israel Museum, Jerusalem.Note 2: Basquiat’s first canvases were on the walls and subway cars on which he sprayed graffiti as a young man. Using bold, painterly gestures, he created passionately intense images. In Agony of the Feet, the figure’s eyes, embedded in a masklike face, are piercing, and the anatomy is fragmentary and disjointed. The figure is adorned with a crown, another of the artist’s trademarks. Basquiat dedicated two of his pictures to Pablo Picasso, whom he admired. In this copy of the original, the reclining figure’s pose is reminiscent of that in Picasso’s Reclining Nude.
Lot 70
Weiblicher Akt in der Landschaft, Farbholzschnitt auf Papier, 16,5 cm x 11,5 cm Blattmaß, unleserlich bezeichnet, Blatt partiell verschmutzt, Stecknadellöcher an den BlatteckenOskar Fischer (1892 Karlsruhe - 1955 Berlin)Female nude in the landscape, colored woodcut on paper, 16,5 cm x 11,5 cm sheet size, illegibly inscribed, sheet partly soiled, pinholes at the corners of the sheet
Lot 8
Halbakt, Farblithografie auf Papier, 63 cm x 40 cm Passepartoutinnenmaß, signiert, 1997 datiert, Blatt gewellt, montiert, lichtrandig und vergilbt, partiell leicht stockfleckigStephan Balkenhol (1957 Fritzlar) (F)Semi-nude, colour lithograph on paper, 63 cm x 40 cm inside mount, signed, dated 1997, sheet wavy, mounted, light margins and yellowing, some light foxing
Lot 65
Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)Study of a nude standing woman leaning against a rock with a flaming staff in her left hand for Venus in Venus Epithalamia signed with initials 'EBJ' (lower left)coloured chalk on paper43.8 x 30cm (17 1/4 x 11 13/16in).Footnotes:ProvenancePrivate collection, USA.The present work was made circa 1869 during a transitional period in which the artist underwent a serious reappraisal of his work. Moving from a medieval bias into a period more influenced by the later Italian Renaissance, he emerged from the more restricted Pre-Raphaelite circles and the inhibitions of family under the influence of his affair with Maria Zambaco. These new elements indicated his growing maturity as man and artist.Made at the height of the passionate relationship, this drawing reflects the intensity that the artist felt. It is one of the most sensual drawings that he made and portrays Venus in a rocky alcove, which was transformed in the final painting into an interior with her standing beside an altar. The figure holds a bridal torch which was associated with Hymen, the God of Weddings, which is later explained in the painting Venus Epithalamia, where Venus is by an altar upon which a figure of Cupid stands. A bridal procession is in the background. An epithalmium was a poem composed on the event of a wedding. The model was one that Burne-Jones had used throughout the 'Cupid and Psyche' series of illustrations to William Morris's The Earthly Paradise. There she is represented as sweetly innocent, in contrast to the eroticism contained in the present drawing. In the subsequent painting Maria's head has been super-imposed upon the body of the model.It is interesting to note that in the background of the painting of Venus Epithalamia is a procession of maidens descending stairs. It would appear therefore to be a precursor of the huge painting The Golden Stairs, begun two years later. First entitled The King's Wedding, the idea of the later work would seem to have arisen from this project. It postulates a depth of meaning for the artist not initially apparent to the viewer. Usually The Golden Stairs is seen as an aesthetic work without such debate regarding the quality of innocence. When compared, the two paintings reveal the all too obvious absence of Maria in the later work and the inter-relation suggests more significance for the painting than initially is evident.The are grateful to William Waters for compiling this catalogue entry. The work is listed in the Burne-Jones catalogue raisonné, www.eb-j.org.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
Lot 90
Henry Scott Tuke, RA, RWS (British, 1858-1929)Expectant signed and dated 'H. S. TUKE. 1923' (lower left), inscribed with title and artist's name and address (on an old label attached to the reverse)oil on canvasboard 45.5 x 30.5cm (17 15/16 x 12in).Footnotes:ProvenancePurchased by the current owner's great uncle, Roland Turnell of Birmingham (1865-1946)Thence by descent.Private collection, UK.The present painting is an exciting discovery. It was probably begun in the summer of 1921, on Newporth beach, Falmouth, the home of Henry Scott Tuke. It features the artist's dog Chippy, a spaniel, along with a young male model wearing a pink shirt and white breeches and round brimmed hat. It is typical of Tuke's later confident impressionist style of painting in a lively fresh way using bold brushwork and creating a sense of movement by capturing the changing light.Chippy the dog appears in several paintings by Tuke of groups of bathers on the beach at that time including Comrades (1923, R1043) and Companions (1924, Auckland Art Gallery, New Zealand, R1125). The title of the painting, taken from a label on the reverse, relates to the endearing way the dog is looking up at the boy waiting expectantly for either play, a reward, or both. The boy appears to be holding something in his right hand between his thumb and forefinger.The model for the boy who has his eyes closed, which is unusual and rare for Tuke to paint, seems to relate to a photograph of Donald Rolph with Chippy the dog which is in the Tate archive dated circa 1921 (see fig. 1). Donald, who is also wearing a similar round brimmed hat as in the painting, is photographed with his eyes closed. The series of photographs in the Tate archive are of Rolph in the nude playing with Chippy on the beach in Falmouth. It is unusual to find a photograph relating to Tuke's posed models as he was always recorded as being a painter from life and didn't use photographs to paint from.Rolph (born 1905) was someone Tuke got to know through Stanley Towsey who was an English teacher at St. Paul's School where Rolph was a pupil. Towsey was acting as guardian to Rolph as both of his parents had died when he was young. Rolph and Towsey came to Falmouth in 1921 to stay with Tuke and were frequent visitors in the 1920s. Tuke used Rolph to model for the figure on the left in his Royal Academy painting of 1922 Lovers of the Sun and Tuke also painted Rolph's profile portrait as a Study for Lovers of The Sun (R1023a). Later in 1922 when visiting Stanley Towsey at Parkgate in Petersham, Richmond, Tuke also painted a portrait of Rolph in jacket and tie. It is clear from these paintings and other photographs of Rolph that his physical appearance changed in the five years that Tuke knew him. As with so many of Tuke's portraits of young men, he is trying to capture his model in those few elusive years of post-pubescent beauty when they transition from boys into men.This is possibly why the painting looks unfinished, as Tuke needed the model in front of him to get a true likeness. Tuke probably started this painting in the summer of 1921 when Rolph was sixteen, and maybe added to it in the summer 1922. Tuke then used the photograph to work on the painting later. It also could have been that Tuke could not find a model to pose for this particular picture and found painting from a photograph too difficult. Rolph went to study at Trinity College, Cambridge. We know from Tuke's diaries of 1925 that Tuke visited him at Cambridge but Rolph had by that time grown up. There is an intriguing sketch of a man in a blue and white strip on the back of the painting, probably painted by Tuke when he was watching a rugby match.The fact that Tuke signed and dated the painting 1923 is typical of his practice of dating a painting a year after he painted it for exhibition purposes although it is not clear when or where this painting was shown.A label on the reverse is from The Graves Art Gallery at 44 Cherry Street, Birmingham, which operated between 1895 and 1907. The painting was probably bought from elsewhere and the sticker was on an old backing board either recycled by Tuke or the dealer from another painting.References:Brian D. Price's notes on H.S.Tuke and his associates, (unpublished) notes 203 and 224, 'Interview with Rolph 1st October 1981'.Brian D Price (ed), The Registers of Henry Scott Tuke, Royal Cornwall Polytechnic Society, 1983.David Wainwright & Catherine Dinn, Henry Scott Tuke 1858–1929: Under Canvas, London, 1989.Catherine Wallace, Catching the Light: The Art and Life of Henry Scott Tuke, Atelier Books, 2008.We are grateful to Catherine Wallace for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Lot 433
Vkhutemas glazed tankardworkshop of Joseph Chaikov (1888-1979), 1926-1928 decorated with moulded relief with a sickle and a star on one side and male nude figure carrying a torch and a hammer on another, marked under with studio mark, 17cm highFootnotes:ProvenancePrivate collection, UKFor further information on this lot please visit Bonhams.com
Lot 326
A large late 19th/early 20th century Continental porcelain plaque depicting a classical slave market scenein the Orientalist tasteof rectangular form, the figures including a seated Roman collector and a eastern slave dealer holding the wrist of a nude female slave, the elaborate interior including a marble statue of a Furietti Centaur, the whole mounted within a later giltwood frame, the plaque 62cm x 42cm, the frame 76cm x 56cm For further information on this lot please visit Bonhams.com
Lot 112
A silver cigarette case with concealed erotic scene, Birmingham import marks, 1906, Marks & Cohen (Walter Henry Marks & Samuel Tobias Cohen), with plain curved cover and cabochon sapphire thumbpiece, enclosing a gilded interior with hinged panel enamelled with two nude women playing skittles, 9 x 8.5cm, gross weight approx. 6.4oz
Lot 538
Art Deco gilt spelter figural lamp, in the manner of Josef Lorenzl, the near-nude female holding a spherical cracked-frosted glass shade over her right shoulder, raised on a cylindrical onyx base, unsigned, overall 61cm high.Condition report:There is a small 3mm scar/ indent above the left eyebrow. Some light wear to the patina on the raised arm, but otherwise the patina is very good. The shade is good (intentionally cracked finish). There are some minor chippings and nibbles to the edges of the onyx base which she up a little brighter in colour than the onyx itself, but no significant chips. Would require rewiring and inspecting by an electrician prior to use.
Lot 139
MARBLE SCULPTURE. A good, Classical Revival nude female marble sculpture, standing against a drapery-hung pillar, with dolphin support at base. Unsigned. Height 75cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CANNOT SHIP THIS LOT due to fragility, size or weight. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk.
Lot 310
BISQUE NUDE. An early 20th century bisque nude with mohair wig & black stockings. Height 19cm (some finger & foot damage, stand possibly missing). Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
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50839 item(s)/page