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Lot 173
A post-Nasrid bone-inlaid taracea cabinet Spain, 16th/ 17th Centuryof rectangular form on four round bronze feet, the hinged front opening to reveal five drawers and two hinged doors, the drawers with iron hinged handles, inlaid in the intarsia technique with bone, stained bone and silver to the sides, fronts of drawers and inner and outer side of the front with repeat designs of eight-pointed stars 43 x 33 x 25 cm.Footnotes:The Nasrids developed a distinct aesthetic defined by elaborate geometric motifs which evolved from North African and Iberian sources. The micromosaic inlaid decoration on this cabinet is executed in a technique known in Spanish as taracea from the Arabic word tarsi or 'incrustation'. It was used in decoration throughout Spain and North Africa and was present in court commissions under the Almoravids and the Almohads, as well as the Nasrids.For further information on this lot please visit Bonhams.com
Lot 293
A BOXED LIMITED EDITION BESWICK WARE FIGURE GROUP FROM ALICE IN WONDERLAND SERIES, 'The Mad Hatter's Tea Party' LC1 no. 0365/1998, to commemorate the centenary of Lewis Carroll's death, commissioned by Lawleys by post, with certificate (Condition report:- all appears ok, box with written label on)
Lot 36
Shanti Dave (Indian, B. 1931)Untitled oil and encaustic on canvas175.2 x 261.6cm (69 x 103in).label on stretcher: Not to be taken from the Library.Footnotes:ProvenanceHaverford College, Haverford, Pennsylvania, USA (deaccessioned): acquired in the late 1990s-early 2000s.Born in Badpura, Gujarat in 1931, Dave completed his graduate and post-graduate studies at the Faculty of Fine Arts at the Maharajah Sayajirao University of Baroda under the tutelage of N.S Bendre. It was here that he co-founded the Baroda Group in 1957, alongside Bendre and other artists that included Bhupen Khakhar and Gulam Mohammed Sheikh. The group emphasised the importance of promoting contemporary art and incorporated elements from Rabindranath Tagore's school, Shantiniketan, the Barnes Foundation and Bauhaus. Upon graduation, Dave was initially employed as a commercial artist, making banners and signboards for films before moving on to making commissioned murals, for the offices of Air India in Delhi, London and New York. The present unusually large lot with its use of unconventional materials, such as encaustic is an example of the sort of murals that Dave is renowned for. The work illustrates a blend of western expressionism and Indian metaphysics and incorporates tantric elements and earthy obscurity. For a similar albeit smaller work sold in these rooms, see Bonhams, New York, Indian, Himalayan & Southeast Asian Art, 18th March 2013, lot 127.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 25
Syed Haider Raza (Indian, 1922-2016)Germination signed and dated '98 lower centre, signed and dated 1998 verso with titleacrylic on canvas120 x 120cm (47 1/4 x 47 1/4in).Footnotes:ProvenancePrivate French Collection: acquired directly from the artist. Private Dubai Collection: acquired by the vendor from Auctionata in 2013. Raza was a founding member of the Progressive Artists Group formed in Bombay, alongside M.F. Husain, F.N. Souza, K.H. Ara and H.A. Gade, in 1947. They advocated the rejection of the style pioneered by the Bengal school of Art, which married folk styles and Hindu imagery and instead focussed on synthesizing the influences from Indian art history along with the various styles that emerged in North America and Europe during the first half of the 20th Century that included Cubism, Expressionism and Post-Impressionism.By the 1970s Raza grew increasingly restless with his work and wanted to give it a new direction. It was during this period that he was captivated by the Tantric traditions, philosophy, and art of his homeland. The confluence of these influences led to the invention of the bindu or beej in his work which would be a key motif that would be repeated in the works he created thereafter. Beej, which means 'seed,' symbolises the bearer of life or the source of space, time and consciousness in Indian philosophy. This black dot or beej, became the epicentre of the canvas and gave birth to other geometric forms such as horizontal and vertical lines, squares and downward and upward triangles that signified the complementary forces of male (purush) and female (prakriti) energy for instance. His fascination with spirituality and nature were reflected through his symbolic shapes as well as the use of colour. Raza stated: 'There was a state of emptiness. I stopped painting for a while. I tried to look within instead of looking around. It was a complex and very difficult period when everything seemed dark and empty. But I continued. I followed my states, my intuitions. And from this blank space emerged a black point. The black point grew and grew and became a black circle. I stared. I found there was a horizontal line hardly perceptible and yes, there was a vertical line too. A certain electric charge came which engendered energy. The condition of the subway became clearer and slowly colours started appearing. White then yellow, blue and red. It was obvious that along with the initial black, this would form the colour spectrum' (G. Sen, Bindu: Space and Time in Raza's Vision 1997, p. 107)The present lot dating from 1998 incorporates all the geometric and aesthetic elements that defined his marked shift from expressionistic landscape to becoming a master of geometric abstraction. Black symbolises the black hole where everything ends and from where everything emerges. 'Forms emerge from darkness. Their presence is perceptible from obscurity. They become relevant if their energy is orientated, through vision, into form orchestration. For these certain prerequisites are indispensable.' (G. Sen, Bindu: Space and Time in Raza's Vision, 1997, p. 107)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 345
SIX PIECES OF ROYAL DOULTON BUNNYKINS EARTHENWARE TABLEWARES, DESIGNED BY BARBARA VERNON AND WALTER HAYWARD, comprising Cuddling Under A Mushroom HW4, two handled Don mug (Footballer HW13R), a Cricket Game LF12 oval baby plate (scratches and rubbed), a Wheelbarrow Race, style one HW22 lid for hot water plate (Cricketer HW22R and Drummer EC2), two See-Saw style one SF17 items on a baby plate and cereal bowl (both very rubbed/scratched) and a Winning Post LF106 large circular baby plate (6) (Condition report:- as mentioned, some rubbing and scratches)
Lot 100
An early to mid 20th Century post Deco oak dressing table having ledge back (no mirror) , the breakfront centre drawer flanked by triple drawers to each side, metal handles to each. Width approx 98cm, depth at narrowest point 44cm, a few marks and surface scratches to top but generally sound with no obvious signs of worm
Lot 532
* WILLIE RODGER RSA RGI (SCOTTISH 1930 - 2018),THE NEIGHBOUR'S CATwatercolour on paper, signed and titled label versoimage size 19cm x 14cm, overall size 30cm x 25cm Framed and under glass. Note: The Royal Scottish Academy website describes Willie Rodger as "one of the most significant artist-printmakers in recent Scottish art history". Born in Kirkintilloch in 1930, Rodger studied Graphics and Printmaking at Glasgow School of Art from 1948 to 1953. He received a rigorous education from a course that, at the time, only accepted the most skilled draughtsmen. By graduation Rodger had already sold two prints to the Victoria and Albert Museum, London, and went on to a career in advertising. However, he became disillusioned with the cut and thrust of the commercial world and an opportunity to change careers and return to Scotland came about with a teaching vacancy at Lenzie Academy, then as Principal Teacher of Art at Clydebank High School, a post he held until early retirement in 1987. He was elected to the Royal Scottish Academy in 1989 and awarded an honorary doctorate by the University of Stirling in 1999. In The Scottish Contemporary Art Auction of 28th February 2021 lot 562 "Reverie" by Willie Rodger established a new auction record for a print by the artist selling at £1200 (hammer).
Lot 560
* THOMAS SYMINGTON HALLIDAY MBE FRSA (SCOTTISH 1902 - 1998),SALMON LEAPINGa carved wood sculpture, signed36cm high.Note T.S Halliday was born in Thornhill near Dumfries. His father was a grain merchant and he grew up on a farm. After attending Ayr Academy, Halliday spent some years working as a marine engineer on the River Clyde in Glasgow before he enrolled at The Glasgow School of Art. Helped by the artist Norman Forrest, Halliday began his career as a sculptor in 1932 and would, in due course, produce figures of animals and birds in wood, bronze and terracotta. Halliday worked as the Art Master at Prestwick High School for several years and also taught at Ayr Academy. In 1941 he was appointed Principal of the art department at the High School of Dundee, a post he retained until he retired in 1965. During World War Two, Halliday painted ship building and naval camouflage operations on the Clyde. Two of these paintings were subsequently purchased by the War Artist's Advisory Committee and are now held by the Imperial War Museum in London. Later he was commissioned to paint a large mural of the Battle of Narvik for the Royal Naval Dockyard at Rosyth. In 1947 he co-edited, with the poet George Bruce, the magazine "Scottish Sculpture". For many years, Halliday lived at Wormit, Newport-on-Tay. There he carved the war memorial for the parish church and designed a coat of arms for the Town Council. Newport-on-Tay Town Council also commissioned him to produce a carving of a stag, which they presented to HM The Queen in 1958. He designed numerous stained glass windows including several for parish churches in and around Ayr and Dundee. He was a founding member of the Guild of Aviation Artists, was a member of the Royal Society of Marine Artists and was elected to the Society of Scottish Artists in 1943. In 1963 he exhibited works with the New Scottish Group alongside his great friend JD Fergusson. Halliday was also a regular exhibitor with both the Royal Scottish Academy and the Royal Glasgow Institute of the Fine Arts. He was awarded an MBE in 1963.
Lot 565
* JOHN NICHOLSON (SCOTTISH 1921 - 2004),M.V. "SEA PRINCESS"oil on canvas, signed and titledimage size 45cm x 60cm, overall size 54cm x 69cm Framed.Note: John Nicholson was only five when his love affair with ships began. John was fascinated by the workings of a paddle steamer on a day trip to the Isle of Man in 1925 and he was still enjoying sailing on the paddle steamer PS Waverley 78 years later. Drawing was also an interest from a very young age and family holidays on the Clyde in the 1930s provided the subject matter for many of his early paintings. John served in WWII and spent four years as a POW. In the early 1950s he began receiving commissions. Pen and ink drawings appeared in several shipping magazines and from 1984 until 1987, John was commissioned to paint all new vessels to the Cal/Mac fleet. His attention to detail in all his pictures often led to extended correspondence with those wanting a painting of a ship in a particular livery or location. His regular trips to the Isle of Man resulted in a commission from Captain Jack Ronan to paint three Steam Packet ships for him. In 1993 he was commissioned to do a set of paintings of The Isle of Man Steam Packet ships for postage stamps issued by the Isle of Man Post Office. John was a renowned marine artist and his works will remain as a permanent memorial to his abiding interest in all things to do with the sea and, for more than 25 years, he provided the PS Waverley with artwork for their postcards, posters, timetables and advertisements - and all completely free of charge. Early in 1990, the publishers Hart, Maclagan & Will were printing their first book in The Memories of the Clyde series, The Duchess of Fife. They were searching for a suitable front-cover illustration and contact was made with John Nicholson. In 1992 the second title, Steamers of the Clyde, featured all 24 illustrations painted by John Nicholson. In 1994, Liners of the Clyde was published. This book contained illustrations of 24 liners all painted by John with his own authoritative descriptions. He followed this with another work on the steamers of the Clyde and Western Isles with the words provided by himself, Robin Boyd and Iain Quinn. We have only offered two examples of John Nicholson's work in recent years. Both were smaller watercolours (rather than oil paintings) and prices achieved were £200 & £420
Lot 599
* MICHAEL SCOTT (SCOTTISH 1946 - 2006),ECHO & NARCISSUSoil on canvas, signed, titled label versoimage size 60cm x 60cm, overall size 81.5cm x 81.5cm Framed and under glass.Label verso: Carousel Gallery, Avon.Note: Born in Aberdeenshire in 1946, Michael Scott (Mike Scott) studied Political Science at Liverpool before doing a one year's teacher training course in Huddersfield. After moving to Glasgow, Scott took a full-time research post at Glasgow University followed by a lecturing post at the re-named Glasgow Caledonian University. By 1997 demand for his work had become so great that he had to resign his post at the University to paint full time. Awards Include The David Cargill Senior Award, Royal Glasgow Institute. Exhibitions Include 1988~John D Kelly Gallery, Glasgow: 1994~Roger Billcliffe Fine Art, Glasgow ~Contemporary Fine Art, Eton; 1995~Portland Gallery, London; 1997~Fosse Gallery, Stowe on Trent ~Contemporary Fine Art, Eton; 1998~Portland Gallery, London; 2001~Portland Gallery, London, 2004~Portland Gallery, London; 2010~A Memorial Exhibition, Roger Billcliffe, Glasgow. Collections Include Distillers plc, Robert Fleming Holdings Ltd, Spencer Stuart & Associates, Teachers Whisky, Whyte and Mackay and others. To mark the 10th anniversary of Michael Scott's death, The Roger Billcliffe Gallery staged an exhibition of his work 1st April - 30th April 2016.Condition report: Condition is very good overall, with no visible signs of restoration, damage, or known issues.
Lot 630
* DAWSON MURRAY ARE RSW RGI,TRIPTYCHmixed media on paper, signedimage size 27cm x 82cm, overall size 51cm x 102cm Mounted, framed and under glass.Note: Dawson Murray studied at Glasgow School of Art from 1961 - 66. After his post-diploma year a number of prestigious awards permitted him to spend two years in Italy where he studied under Giuseppe Santomaso in Venice. He then moved to Sicily where his painting reflected the heat and fertility of the northern coast. Returning to Scotland he spent 35 happy years involved in art education. A member of the Glasgow Group for 30 years, he was closely involved with the Richard Demarco Gallery in the 1980s. He now lives in North East Fife and is married to the painter Liz Murray. His passion for watercolour springs from the innate volatility of the medium, the constant vigilance required when painting wet-into-wet and the critical scrutiny necessary while watching paint dry. Dawson Murray's portfolio includes a 50ft high painting; a permanent feature in the Buchanan Galleries, Glasgow. After living with multiple sclerosis for 22 years he is now quadriplegic but is still able to create prints with the aid of an assistant, using his own version of the traditional sugar-lift technique, allowing him to “replicate the bleeding edges of areas of colour” that he so enjoyed in watercolour painting. Dawson Murray's work has won many awards, has been exhibited widely and is held in prestigious public, corporate and private collections.
Lot 759
* WILLIE RODGER RSA RGI (SCOTTISH 1930 - 2018),BLUE STOCKING SERIESwoodcut and linocut on paper, each signed, titled and numberedimage size 28cm x 22cm each, overall size framed together 51cm x 189cmMounted, framed and under glass.Note: The Royal Scottish Academy website describes Willie Rodger as "one of the most significant artist-printmakers in recent Scottish art history". Born in Kirkintilloch in 1930, Rodger studied Graphics and Printmaking at Glasgow School of Art from 1948 to 1953. He received a rigorous education from a course that, at the time, only accepted the most skilled draughtsmen. By graduation Rodger had already sold two prints to the Victoria and Albert Museum, London, and went on to a career in advertising. However, he became disillusioned with the cut and thrust of the commercial world and an opportunity to change careers and return to Scotland came about with a teaching vacancy at Lenzie Academy, then as Principal Teacher of Art at Clydebank High School, a post he held until early retirement in 1987. He was elected to the Royal Scottish Academy in 1989 and awarded an honorary doctorate by the University of Stirling in 1999. In The Scottish Contemporary Art Auction of 28th February 2021 lot 562 "Reverie" by Willie Rodger established a new auction record for a single print by the artist selling at £1200 (hammer).
Lot 530
1955 Sunbeam Talbot Super 90Reg. no. RCD 312Chassis no. A3502546/9HSOEngine no. A3502546/9HSOIntroduced in 1948, the 90 brought the Sunbeam-Talbot brand – part of the Rootes Group – up to date with the new fashions of the post-war period. Underneath, however, the car was conventional, and indeed carried over many components from the pre-war models. Nevertheless, it proved a good performer, with almost 80mph achievable from the early models. By 1955, the engine had been enlarged and the car was even more capable, with its 80bhp pushing it to over 90mph. Despite its large proportions, luxurious interior and rather stately stature, the 90 was also a successful motorsport competitor, with a crew including Stirling Moss finishing second on the 1952 Monte Carlo Rally, and an outright win in that same event in 1955. Formula 1 great Jim Clark got his first taste of motorsport in a 90, competing in driving tests and sprints in his native Scottish Borders.This 1955 example is in good mechanical condition and is said to run well. In fair cosmetic condition, it should prove a useable example of this luxurious but surprisingly sporting 1950s classic. It comes with a variety of bills and a V5C.
Lot 532
1936 Car Cruiser CaravanReg. no. n/zChassis no. n/aEngine no. n/aThe first commercial touring caravan emerged a year after WWI with the Eccles car-pulled caravan. Founded by Bill Riley and his son, Eccles Motor Transport essentially gave birth modern British caravanning. During the 1930s as travel became more accessible to everyday families, caravans became more affordable and therefore more popular with the middle classes. The early manufacturer Car Cruiser was also well ahead of its time in terms of streamlining and reducing the weight of the caravan. This example has had a great deal of money spent on making it both useable and aesthetically pleasing. We are told by the vendor that the roof has been refurbished, as has all of the upholstery inside. This lightweight yet spacious caravan would certainly grace the Goodwood Revival campsite, and tow easily behind your post vintage thoroughbred.
Lot 535
1950 Bentley Mk.VI SaloonReg. no. GOW 925Chassis no. B153GTEngine no. B76GFounded in 1919 by W O Bentley, the firm Bentley Motors itself needs little introduction to the old car world. From their Le Mans winning cars through to the 8-litre introduced in 1931, they gained a reputation of fast, reliable cars. The Great Depression of 1929 meant that demand for luxury cars throttled back and when in 1931 two mortgage repayments became due neither the firm or their backers were able to make the repayments, so Bentley Motors went into liquidation. Napier offered to buy Bentley with the purchase to be final in November 1931. Instead, British Central Equitable Trust made a winning sealed bid of £125,000. British Central Equitable Trust later proved to be a front for Rolls-Royce Ltd. Not even Bentley himself knew the identity of the purchaser until the deal was completed.The Mk.VI was introduced in 1946 and continued until 1952 and was the first post war luxury car from Bentley. It was the first car from Rolls-Royce with all steel coachwork and the first complete car assembled and finished at their factory. The Mk.VI was initially powered by a 4 1/4 litre straight 6 engine (4257 cc). Bentley refused to disclose a HP value for the car but a report by the Autocar magazine produced in 1950 reported that top gear provided flexibility down to 6 mph.The car offered for sale comes from a deceased estate. Apart from a V5c and an original Mk.VI handbook and operating instructions, not original to the car, all other paperwork has been mislaid although that is being searched for and will be forwarded to any purchaser if it should come to light. We are informed that the car did have a partial respray in recent years and was used extensively to tour the UK. Finished in a light grey with brown interior and sunroof for the days when it's prudent to open it, the car presents a majestic appearance.Observations on the car showed that the engine started ready and settled down to a smooth tick-over. The car pulls well in all gears and has this month been driven for approximately 10 miles with no problems. The bodywork needs some further improvement and repairs, in particular the bottom of the doors. The front wings and underneath appear solid. The rear wheel spat, and centre pillar light (not shown in the photos) are with the car.The brown leather interior is original and in serviceable condition. Inset into the back of the front seat are two pull-out picnic tables; all instruments are present, and the current milometer reading is 78973.
Lot 543
1953 MG YB SaloonReg. no. YMG 17Chassis no. YB1014Engine no. XPAG/SC/1790Introduced for the 1952 model year, the MG YB was an improved version of the YA, which was MG’s small saloon in the immediate post-war era – although it actually had pre-war origins. Compared to the YA, the YB had a completely new Lockheed twin leading shoe brake system, a more modern hypoid back axle, and smaller 15-inch wheels, which gave better road-holding. It also benefitted from an anti-roll bar and improved shock absorbers, the result being a car that was more modern to drive than its predecessor, even if on the surface the cars looked very similar. Power was still supplied by the same 1250cc XPAG engine, offering respectable performance for a car in its class. Just 1301 YBs were built before the type was replaced by the ZA Magnette in 1953.This 1953 YB was in the possession of the late owner for 12 years – other cars came and went in that time, but this was the one he loved and the only one he kept that long. In that time, it has been used sparingly, covering less than 200 gentle miles every year, mainly around rural lanes or going to occasional shows. The car’s first owner was Phyllis Calvert, who was one of the most prominent and popular film actresses in Britain in the 1940s and 50s; accompanying this vehicle are a signed photo and a note from her to the second owner. It also comes with some tax discs and some MOTs back to 1984. In good all-round condition and said to perform well, this rare MG also comes with a V5C.
Lot 18
Composed of textured openwork hexagonal links, interspersed with brilliant-cut diamond-set square plaques and cabochon rubies; together with a bracelet and pair of earrings en suite, post and clip fittings, signed M. Gerard, numbered, French assay and maker's marks AV for Andre VassortLengths: necklace 57.5cm, bracelet19.5cm, earrings 2.4cmFootnote: André Vassort set up his workshop, Atelier Vassort in December 1955. He quickly became one of the most recognised and sought after manufacturers of French jewellery, working for Van Cleef & Arpels, Boucheron and Mauboussin, amongst others. A particularly notable creation is the spectacular crown made for the coronation of Empress Farah of Iran on behalf of Van Cleef & Arpels.When Louis Gérard left Van Cleef & Arpels to start his own company M. Gérard in 1968, he chose to use his former employer’s workshop to create his jewellery. Over the next twenty years, Vassort would produce some spectacular jewels for Gérard whose pieces are often noted for their superb manufacture. The Atelier closed in the early 1990s but not before establishing itself as one of the most important manufacturers of French jewellery of the mid-late 20th Century.
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