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Lot 1
A Qing dynasty full length court robe, most probably Qianlong period, it is most unusual to have the two lower dragons looking downward at their respective pearls, as they usually look upward. The robe has a wide band of breaking waves with bats and flowers all the way to the base of the robe, embellished with Gold buttonsProvenance of this and the subsequent textile lots is best described by the late Vendors son, lots 1-17"Our mother arrived in Hong Kong in the early 1980s accompanying our father’s lifelong career in banking. She was a keen artist and soon discovered the fascinating world of Asian antiques in frequent visits to Hollywood Road. She was especially fascinated by the quality and detail of the antique Chinese textiles that she saw there and soon learnt about the meaning and symbolism captured within them. Whenever she could, our mother would bring home an antique whether it was a particularly exquisite piece of embroidery, a sleeve-band and even occasionally, when her budget allowed, a entire robe and her taste extended beyond only Chinese antiques. These were not investments for our mother but a passion and she loved nothing better than to bring her textiles out and explain to visitors, young and old, the different symbols. She never wanted to part with her beloved textiles but, following her passing almost ten years ago, my sister and I would now like to see them go to someone who appreciates their intrinsic beauty as much as our mother and can look after them."
Lot 420
A GEORGE III CHINOISERIE LONG CASE CLOCK, by Samuel Bryan, London, the case gilded, and lacquer decorated on a blue / black ground, the hood top with three gilded finials, door column flanked, the trunk door with a scene includes a horseman on figura tive base, fitted arched dial with cast spandrels, silvered chaptering with Roman numerals, secondary dial and date aperture, having an 8-day striking movement, inscribed Samuel Bryan, London, 232cm highCondition report: Not set working here, but saw it up and running at house, the vendor had spent a loot of money having it restored, general opinion good, looks good, the case not over restored but kept its authentic look of age.
Lot 176
signed with fly insignia (lower left), oil on canvas on board75cm x 94cm (29.5in x 37in)Exhibited: Windsor & Eton Fine Arts Co. Ltd, 1974;Bonhams, London, Modern British & Irish Art, 17 March 2010, Lot 13;Haynes Fine Art, Broadway. Footnote: '"Willie Murgatroyd", cried Miss Carter (who wore Pink) / "stop this minute" / George & I and the dogs Gyp & Barney, were at the back watching the Punch & Judy man. Willie & Annie Murgatroyd were there also, when all at once he lifted his spade and was about to whack the poor man when Miss Carter saw him. His mother rushed forward also, so I thought I had better get George back to mother and father before there was any trouble. They had stood at the back of the crowd to let Cousin Edward & Cousin Marion see the Punch & Judy show. Father held them up in turn. Mother, Aunt Charlotte & Aunt Frances were chatting when Aunt Frances noticed Bertie and Nellie Hope-Ainsworth standing near. "Look who's near you Jane", she said "Be careful what you say", for Nellie Hope Ainsworth listened to everyone's conversation and then passed it on to her mother who was enjoying the show. She was wearing her Parma Violet outfit. And the year was 1907 and it was late September at Blackpool. Helen Layfield Bradley 1971' (to label to reverse). When Helen Bradley’s grandchildren expressed curiosity about Edwardian-era life, she turned to her paintbrushes. Seeking to illustrate how much the world had changed, Bradley drew on her memories of her childhood in Oldham, painting scenes of townspeople going about their daily lives. Her grandchildren must have delighted at the unfamiliar Edwardian clothes, the stiff high-necked dresses, the suits and top hats. Yet Bradley’s paintings also touched on ideas that transcend the intervening decades: each is a celebration of family life and community, and is realised with a deep and earnest affection.The familial origins of Bradley’s artwork scarcely presupposed the phenomenal following she would garner in little more than five years. By the early 1970s, Bradley was an artist with an international reputation. Viewers delighted at the distinctive cast of characters that recur across her oeuvre, from the suited bank manager Mr. Taylor, to the now-famous Miss Carter, the family friend always clad in signature bubble-gum pink. The artist herself appears in many compositions as a child accompanied by her family and two pet dogs, Gyp and Barney. Bradley often drafted short narrative texts to accompany her paintings, further elucidating the memory she had felt compelled to paint.From 1965 until her death in 1979, Bradley’s fame increased, earning the artist an MBE and generating BBC and NBC documentaries about her life, and a Northern Ballet adaptation of her work. Yet, Bradley had only resumed a regular painting practice in the early 1960s. Her artistic talent was evident from an early age: at thirteen, she was awarded a scholarship to attend Oldham Art School. Later, when living in London, Bradley recalled being particularly taken with exhibitions of early Chinese painting and displays of Persian miniatures at the British Museum, perhaps an early indication of her predilection for art with the capacity to transport the viewer to another world. Also familiar is the approach to figures largely in-profile and rendered in vivid colour, as well as the strong narrative function. Unfortunately, with the outbreak of war Bradley's plans to pursue the arts were cut short. In 1926, she married the artist and textile designer John Bradley, and would not consistently paint again until her mid-sixties.It was a chance encounter with L.S. Lowry in the 1960s that encouraged Bradley to approach her painting as a personal document. Blackpool Sands with Punch and Judy Show likely dates to the early 1970s, and epitomises the artist’s ability to recall the past with playful tenderness, without succumbing to nostalgia. Bradley spent her childhood holidays in Blackpool where her grandparents lived, and they proved the most beloved and prolific of her childhood adventures. Brimming with the fun of the seaside - kite flying, donkey rides and Punch and Judy shows - Bradley’s works of Blackpool are perhaps her most iconic and charming works. They were generally painted on a larger scale than her other pictures, and this example is arguably one of the foremost examples of her Blackpool reminiscences. The composition evokes a leisurely family day at the beach punctuated by small moments of chaos: to the alarm of three onlooking children, a small boy brandishes a spade behind the Punch & Judy puppeteer, while Miss Carter rushes to intervene. Relishing in the poignancy of life’s quiet, incidental moments is quintessential Bradley.
Lot 309
series 3, number 96, titled and numbered on 'Unlimited Bath Widcome Manor' label (to underside), enameled aluminium, chrome-plated metal, plastic, glass and electric system220cm high, 23cm wide, 26cm deep (86.7in high, 9in wide, 10.25in deep)Footnote: “It’s only about revealing, in one way or another, the sensory vibrations or the interlacing potentials for energy that exist in the universe […] I think that’s the role of an artist” (Takis in an interview in G. Brett & M. Wellen (ed.s), Takis, Tate Modern, London and tour, exh. cat., 2019) Panayiotis Vassilakis, known as Takis, is considered one of the most important figures of international contemporary art. Despite having no formal training and not beginning to practice art until the age of twenty, Takis became one of the leading artists of the twentieth and twenty-first century, in particular for his development of kinetic art from the late 1950s. His early work in the 1940s was strongly influenced by Picasso and Giacometti – their exaggerated, caricatural figures were particularly interesting to the young artist. The 1950s saw Takis begin his instantly recognizable Signals series, one which he returns to throughout his career. It is said that his inspiration for this series arose while waiting for a train and becoming fascinated by the trackside signals, which provoked him to reject representational art and pursue sculpture that includes light and movement. These sculptures are imposing, otherworldly creations topped with metal shapes or flashing lights which sway in response to vibrations around them. This series would go on to include motors, bulbs, and fireworks and demonstrates his interest in researching movement and energies. His interest in the interlacing potentials for energy was so prolific that he was awarded a scholarship at the Massachusetts Institute of Technology in the Center of Advanced Visual Studies where he continued his studies into electromagnetic forces and the importance of energy binding us together. We are delighted to offer the important number 96 from Series 3 of the Signals series dating to 1968. This piece comprises two long enamelled aluminium poles standing over two metres high with flashing green, amber, and orange lights to the top. These long, flexible rods bend and move to create an almost musical harmony of colour and vibration. Takis’s legacy is clear from his extensive career: from his first one-man show in London in 1955 to his retrospective at Tate Modern in 2019, months before his death at the age of 93. Not only remembered for his important contribution as a visual artist, in 1969 he was also a co-founder of the Art Workers’ Coalition who fought for economic and political rights for artists in New York. Moreover in 1986 he founded the Takis Foundation in Athens, a foundation whose mission is to research and develop the arts and sciences, continuing his work and ensuring his legacy. The works of Panayiotis Vassilakis are important both in the development of a new aesthetic language exploring vibrations and light, and in their scientific exploration of energy. His work, and particularly his celebrated Signals series can be found in many important public collections such as Tate Modern in London, MoMA in New York, and in the UNESCO art collection in Paris.
![Lot to include a tool box containing a quantity of hand tools, spirit level, a cased Exakt precision saw and similar. [3]](https://cdn.globalauctionplatform.com/fea3bfe2-973c-4063-b76f-adc001063bd5/c9044cdc-e8a2-4ffa-999a-adc7011f446a/468x382.jpg)
Lot 17
partially impressed artist's seal and pottery seal, stoneware, incised Willow Tree design, tenmoku glaze36cm high, 17cm wide (14.1in high, 6.7in wide)Footnote: One day in fine weather I went round to the Penwith Society of Art and there I saw a large tall brown Bernard Leach pot and immediately decided I would buy it, went up to the curator (Kathy Watkins) and told her I would bring in the cheque tomorrow (£35).I walked down the gallery studying at Bernard's small porcelain pots and was joined by some Americans. We got talking and I so fired them with my enthusiasm I sold some there and then to the Americans. Returning to the curator to confirm I was coming in tomorrow. Kate Nicholson was standing beside her 'Too late' said the curator 'Too late' said Kate, ‘you should be quicker I have just bought it!’I was furious but kept control and left the gallery.Who should I meet coming up from Barnaloft about to cross the road but Bernard and his housekeeper, Trudi Scott, Bernard half blind waving his stick at me said 'And what is the matter with you?’ I told him the story and mentioned the artist, to my surprise Bernard roared and roared with laughter saying 'Typical, Typical!!’ meaning the Nicholson family getting into the front row. I stamped off.Some time later just before one of his trips to Japan, I think, Bernard walked in to my studio with a large pot and placed it on my shelf in the lower studio, walked to the window with his hands behind his back, meanwhile I was shrieking 'Bernard that is just like the pot I wanted' and Bernard replied (still standing with his back to me and facing the sea) 'Well you had better hurry up this time!’ adding 'Make the cheque to the Leach pottery' the price was less the commission of the Penwith (£23).I could not believe he had made it specially for me! But he had! Sometime later the Central Office of Information requested to photograph this pot, Bernard decided to be photographed holding the pot at my studio Barnaloft, so he came in and was photographed holding it and the Central Office of Information suggested another photograph was taken, this one to be taken of us together.
Lot 42
signed and inscribed 'Grey, Black, White' (to reverse), oil on board, with painting of a nude to reverse of canvas60cm x 22cm (23.6in x 8.5in)Exhibited: Royal West of England Academy, Bristol, St Ives: Movements in Art and Life, 14 March to 19 September 2020.Footnote: Literature: Published with title 'Walk Along the Quay, 1948 (first edition)' Tate Gallery (1985), St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate Gallery Productions, London, p. 30;Published with title 'Walk Along the Quay (black, white and grey), 1948) Lewis, David ed. (2000), The Incomplete Circle: Eric Atkinson, art and education, Scolar Press, London, p.44. Terry Frost arrived in Cornwall in 1946, staying in a caravan at Cabris Bay and then a house on Quay Street, St. Ives, before returning to London and the Camberwell School of Arts and Crafts in 1947. He re-visited Cornwall over the next few summers before settling in St Ives in 1950. Barbara Hepworth gave him a job as her assistant at this point, alongside fellow artists Denis Mitchell and John Wells, offering him a steady income and structured working week. It was around this period that Frost began his series of paintings of the quayside. David Lewis, art historian and Barns-Graham’s husband, commented:These “paintings were definitely beginnings for Frost. Boat shapes, masts, riggings, water, sky, rippling, all became free compositional elements of mass, lie, colour, texture and movement rocking to and fro ... because the boats are never still, never static, and so you’ve got this terrific sort of up and down motion, this leaning over that.” When Ben Nicholson first saw works from this series, he exclaimed ‘you’ve got on to something that can last you for the rest of your life’ and it remains true that these shapes were to recur in Frost’s work throughout his career, even as his choice of colour grew bolder and compositions more abstract.Grey, Black and White feels completely abstract at first glance but with further consideration, the overlapping elements emerge to reveal a quayside scene. Frost remains preoccupied with form and texture, restricting his colour palette to focus on depth and volume. The resulting composition is quintessentially mid-century and St. Ives, as well as a microcosm of Frost’s wider artistic considerations of the period.
Lot 48
Edmund Gosse's copy from the author.- Moréas (Jean) and Paul Adam. Le Thé chez Miranda, first edition, signed presentation copy from Moréas to Edmund Gosse, half-title, pencil sketches of Moréas and Verlaine signed 'Dauphin Meunier 31.3.93' bound in before title, half-title, sketches and preliminaries stained, occasional spotting or the odd small stain, lightly browned, bookplate of Gosse, later red half morocco, gilt spine in compartments, little rubbed, Paris, Tresse et Stock, 1886; and another, Moréas, 8vo (2)⁂ Rare first edition of this important symbolist novel, with Worldcat locating the BnF copy only (though there is a copy at the Taylor Institute, Oxford). Gosse met Moréas in Paris in 1893 during a week of absinthe drinking, presumably the occasion for the inscription here, and of the sketch by Dauphin Meunier of Moréas and Verlaine. He wrote to Heinemann on 6 April 'My week in Paris has been a great success, tho' quite unlike what I expected. We were mostly in the Latin Quarter, and I saw a great deal of the Symbolist poets. Mallarmé was ill, but all the rest, from Verlaine and Moréas downward, were on show, and they were extremely cordial to me'.
Lot 509
Stan Shaw; An Eleven Piece Pocket Knife, comprising six blades of differing profiles, also includes a saw, screwdriver, scissors, fleam and pick, with hallmarked silver bolsters (Sheffield 1992), mother of pearl scales, brass linings, work back full length of the knife, back and front, each blade numbered "10", 17.5cm long (closed length), contained in a fitted mahogany case.
Lot 508
Stan Shaw; A Five Piece Pocket Knife, comprising two blades, scissors, saw and spike, with hallmarked silver bolsters (Sheffield 1992), mother of pearl scales, brass linings, work back full length of the knife, back and front, tapering body, each blade numbered "002", 18cm long (closed length), contained in a fitted oak case.
Lot 123
Claude Francis BARRY (1883-1970)View of St Ives from Skidden Hill (Circa 1912)Oil on canvasSigned180 x 230cmIMPORTANT NOTICE - This painting is to be sold where it hangs, at the Treloyhan Manor Hotel, St Ives, if you would like to view the painting please contact the hotel to arrange an appointment, tel 01736 796240. It is the purchaser's responsibility to arrange for this large and important piece to be removed. Viewing is advised - if it is not possible to arrange a viewing then please see our additional images showing the location of the picture.Condition report: This huge and magnificent painting is in desperate need of a clean. Because of where it is hanging and the limited lighting it is hard to make a proper assessment, but we saw no sign of flaking and no tears. we did see that the canvas was bulging particularly to the lower right quadrant.
Lot 50
A rare and large Union Jack Naval flag and pennantcirca 1810Made from bunting (loosely woven coarse wool), together with an early 19th Century navy blue frock coat with non-regulation buttons, the flag 244cm by 503cm, the pennant 190.5cm. long (3)Footnotes:Provenance:Captain Hyde John Clarke, R.N. (1777-1857) and thence by descent through the Clarke familyBorn in Jamaica in 1777, Hyde John Clark was a naval officer who saw active service against the French during the Napoleonic Wars. He entered the Royal Navy on 29 June 1791 at the age of 14 as Captain's servant on the 74-gun ship, HMS Bedford. Promoted to Midshipman in 1793, he served in the West Indies and later, after 1797, in the coastal waters off France and the North Sea where as First-Lieutenant in 1806 he was involved in the capture of two French privateers, La Henrietta and La Bellone. Following a posting to Jamaica and the East Indies, Clarke was invalided in 1807. He subsequently joined HMS Temeraire on 23 August 1810 where he was promoted to Commander in October of that year, on Trafalgar Day, serving in the Mediterranean. After resigning his Commission shortly after 1810, he retired to his family estate in Shropshire becoming the principal luminary in the township of Hyde. Following promotion to Captain in 1840, Clarke died in Shropshire in 1857 (O'Byrne's Naval Biography, 1849). By family repute this flag and pennant were thought to have been flown at the Battle of Trafalgar but as Clarke was serving in the West Indies in 1805 it is more likely that they are from the Temeraire. As he appears to have left the Navy shortly after 1810 it is more plausible that he kept this flag and pennant as souvenirs.For further information on this lot please visit Bonhams.com
Lot 124
Lady Elizabeth Butler (British, 1846-1933)Dawn of Waterloo The 'Reveille' in the bivouac of the Scots Greys on the morning of the battlesigned with initials and dated '18 EB 95' (lower left)oil on canvas127 x 196cm Footnotes:To be sold on behalf of a charitable institution.Provenance:The artist.By descent from Lady Butler to her daughter, Eileen, Viscountess Gormanston.To Eileen's daughter, Ismay, wife of Lord Ninian Crichton-Stuart.To their son, Major M.D.D. Crichton-Stuart, Palace of Falkland, Fife.Thence by descent.Property of the Falkland Stewardship Trust.Literature:Paul Isherwood & Jenny Spencer-Smith, Lady Butler, Battle Artist, exhibition catalogue, 1987, cat. no. 60, illustrated p. 108.Exhibited:Aldershot, Club House, 1895.London, Royal Academy, 1895, no. 853.London, National Army Museum, Lady Butler, Battle Artist, May–September 1987, travelling to Durham Light Infantry Museum and Arts Centre and Leeds City Art Gallery, October 1987-February 1988.Elizabeth Southerden Thompson, later Lady Butler, is arguably the greatest British military painter of the nineteenth-century. She was born in Switzerland and from the age of sixteen trained at the South Kensington Schools in London and in Florence at the Accademia di Belle Arti. As is evident in her sketchbooks, Butler had expressed an interest in military subjects from early in her training and, at the age of nineteen, even visited the site of the Battle of Waterloo. However, it was upon viewing the work of Jean Louis Meissonier whilst visiting Paris in 1870 that she was truly inspired by military subjects, and these became her sole focus. Butler's significant private commission of 1874, The Roll Call, signifies her break as a professional artist, as the work achieved critical praise and popular success when exhibited at the Royal Academy in the same year. Impressed, Queen Victoria would go on to purchase the painting and it is still held in the Royal Collection. The Roll Call, along with most other paintings produced by her in the ensuing years, would focus on the Crimean Wars.Marriage in 1877 to Colonel William Butler would bring a great deal of fresh subjects for the artist to capture, as she was able to travel widely through the British Empire with her new husband. Significant oils relating to colonial warfare were produced during this time, perhaps most notably The Remnants of an Army: Jellalabad, January 13th, 1842 and The Defence of Rorke's Drift, January 22nd, 1879. However, her husband, having recently been honoured with a knighthood and promoted to Brigadier General, was injured at Wadi Halfa in 1886. This prompted a return to permanent residence in the UK. Butler began work on the present picture in the summer of 1893 at her home in Delgany, County Wicklow. Her aim was to create as great a sense of realism as possible. As such, in her words, '...not a thing [was] painted in the studio', and instead she relied on the warm summer evenings to prepare twilight studies. Given the rural location of the family home, Butler explains where her models came from: 'I pressed many people into my service as models, and I think I got their fine Irish faces very true to nature. I even caught an Irish Dragoon home on leave in the village, whose splendid profile I saw at once would be very telling.' It is understood that this model is the central figure in the composition's foreground.In November 1893, William Butler took command of 2nd Infantry Brigade at Aldershot where the painting was continued – the old court martial hut having been fitted with skylights was repurposed as a studio. Butler made good use of the Brigade's soldiers and her sketches produced during this time show some of the focal figures slumbering and awakening. It is here that the painting was completed and in March 1895 it went on display at the Club House, Aldershot, before being exhibited at the Royal Academy in the same year.The painting shows young troopers of the 2nd Royal North British Dragoons - Scots Greys - awakening on the morning of 18th June 1815. Later that day they were to take part in the heroic charge of the Union Brigade. A charge which, at first successful, ended in terrible losses to the British. The work can therefore be seen as a commemorative piece which alludes to the ultimate sacrifice a soldier can make. Perhaps Butler's most famous painting, Scotland For Ever!, depicting the charge itself, now hangs in Leeds City Art Gallery (see fig.1).The present work represents an artist matured in their craft. It captures the stoic virtue with which Elizabeth Butler's soldiers are so often imbued, but there is a sensitivity to this work unlike others by her. In Butler's own words, it was 'never painted for the glory of war, but to portray its pathos and heroism'.This lot is subject to the following lot symbols: TPTP Lot 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
Lot 219
Mint never hinged collection written-up on pages in 7 binders, from the half-tonne estate, a solid run from 1940s to 1999, though the collector saw fit to fix the mounts upside-down so a handful of stamps have fallen out. Includes (all MNH) 1948 silver wedding £1, 1951 high values set to £1 brown, etc. Later values to £10 Britannia and with 1st class booklets and blocks. Face value at least £300.
Lot 184
B23 Signed First Edition Hardback Book Tales of My Time by Raymond Baxter in collaboration with Tony Dron. Raymond Frederic Baxter OBE (1922 2006) was a Spitfire pilot who saw combat with the RAF during World War Two and then became famous as an English television presenter commentator and writer. He is best known for being the first presenter of the BBC Television science programme Tomorrow's World continuing for 12 years from 1965 to 1977. He also provided radio commentary at the coronation of Queen Elizabeth II the funerals of King George VI Winston Churchill and Lord Mountbatten of Burma and the first flight of Concorde. He was the instigator of the Dunkirk Little Ships Organisation. This interesting and entertaining first edition hardback book with a dust jacket is in very and is signed by Raymond Baxter and the journalist / racing driver Tony Dron approx 24 cm x 16 cm. Good condition Est.
Lot 1658
Boxed Bosch handheld jig saw and a box of various tool fittings etc. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133Condition Report: All electrical items in this lot have been PAT tested for safety and have passed. This does not confirm that the item is in full working order.
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