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![Madge Gill (1882-1961)/Figural and Abstract Sketches/pen and ink on postcards, 14cm x 9cm [4]/Note: Madge Gill was an English](https://cdn.globalauctionplatform.com/5e33d124-8e38-426f-a16a-ac3800e00a93/3aadb4f3-b8a4-4340-94c9-ac4e00e99f92/468x382.jpg)
Lot 530
Madge Gill (1882-1961)/Figural and Abstract Sketches/pen and ink on postcards, 14cm x 9cm [4]/Note: Madge Gill was an English Outsider and mediumistic artist. Introduced to spiritualism by her aunt, Gill's artistic talents extended to drawing, writing, knitting and piano playing, under the influence of her spirit-guide 'Myrninerest'. Her principal medium became ink-drawing, executed on postcards, sheets of paper or card, and long rolls of untreated calico cloth. Her designs have an almost hallucinatory quality, often with the outline of women's faces floating in quasi-architectural spaces. CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Lot 1219
Hornby O Gauge Tank Wagons, a T3-based 'Colas' tanker in blue with crimped stays, G, black bands possibly retouched, together with five 'OAG'-base, National Benzole in mustard yellow with early filler cap, uncommonly G, cream 'Motor BP Spirit' with small drop-links, also G, and three red 'Shell' tankers, P-G (6)
Lot 1370
An early Mamod SR1a Steam Roller, unboxed, an interesting 'intermediate' version with reversing engine but with cast/polished aluminium rolls (as per the non-reversing SR1), complete with level plug, scuttle and spirit burner, double-length steering extension, spare drive bands and literature dated 1974, overall G, moderate use, a little paint loss to boiler and slight rusting to firebox
Lot 1372
An early Mamod TE1 Steam Traction Engine Late SP2 Engine and Wilesco Drilling Machine, all in original boxes, the TE1 with non-reversing engine and exhaust steam regulator, complete with level plug, scuttle and spirit burner, steering extension, spare drive bands, VG, very light use, box F-G, a late SP2 engine with solid fuel, burner tray and fittings, unused, VG-E, box VG, and a Wilesco M51 vertical drilling machine, E, unused (3)
Lot 1373
Three Live Steam Road Engines by Wilesco and Mamod, Wilesco 'Old Smoky' traction engine in blue/red with green chimney, rubber tyres fitted, with burner tray but missing oiler screw and whistle, a green/red road roller, with burner but missing safety valve and three gauge glass screws, and a boxed Mamod TE1a Traction engine with incomplete spirit burner (lacks wadding), whistle and safety valve, lacks water level plug, steering extension broken off and front axle mounting loose, so all three F, all generally sooty/grubby, Wilescos both with some heat damage to plastic control knobs, Mamod box F (3)
Lot 778
Spirit of America and Concorde Models, a boxed models comprising Scaleworks 1:43 scale SOA63C Craig Breedlove's 1963 Land Speed Car Spirit of America with display plinth and two 1:250 scale models of Concorde by Schabak, together with an unboxed Maisto 1:12 scale Jaguar XJ220, G-E, Boxes G, (4)
Lot 285
A box of assorted tools: 5 Sorby chisels2 chisel blades (Marple)3 chisels un-named1910 Blacksmith made chisel formeran oil stone in wooden case2 hand Bit and Brace drills2 calipers (engineers)a Victorian wooden carpet stretcher5 assorted white metal bearing scrapers17 gimletts from 3inch up to 19inch1 20inch round file with wooden handle3 barrel (wooden) augers4 adjustable scribes1 14inch metal and wood square1 wooden spirit level 8 inch1 wooden glue scraper 7.5inch1 Coopers ring driver metal1 adjustable 3 pairs of pliers
Lot 52
A MISCELLANEOUS SELECTION OF ITEMS, to include a small quantity of costume jewellery such as brooches, a glass butterfly pendant, yellow metal acorn pendant etc, a selection of wristwatches to include a lady's rolled gold Roamer, Spirit, Lorus, Limit etc together with a white metal plastic handled fork
![Artist: Wifredo Lam [imputee] (Cuban, 1902 - 1982). Title: "Sans titre". Medium: Oil on canvas. Date: Composed 1952. Dimensio](https://cdn.globalauctionplatform.com/4c0eecea-e48f-4cde-84cd-ac1d01601cab/4803d2a2-9f35-47ac-87e9-ac4e01844562/468x382.jpg)
Lot 1689
Artist: Wifredo Lam [imputee] (Cuban, 1902 - 1982). Title: "Sans titre". Medium: Oil on canvas. Date: Composed 1952. Dimensions: Overall size: 26 1/4 x 17 in. (667 x 432 mm).Lot Note(s): Signed and dated, center right; signed and dedicated, verso. Overall good to very good condition with no major issues noted (no holes, tears, repairs, flaking, stains, etc.); as found, unconserved, not relined; strong colors; could use a good cleaning; unframed; original stretcher with nails preserved. Comment(s): Lam, like many of the most renowned artists of the 20th century, combined radical modern styles with the "primitive" arts of the Americas. While Diego Rivera and Joaquin Torres-Garcia drew inspiration from Pre-Columbian art, Wifredo Lam was influenced by the Afro-Cubans of the time. Lam dramatically synthesized the Surrealist and Cubist strategies while incorporating the iconography and spirit of Afro-Cuban religion. Image copyright © The Estate of Wifredo Lam. [30068-15-3000]
Lot 450
Gr. Bronze nach Charles Sykes (Großbritannien, 1875 - 1950) "Spirit of Ecstasy", wohl 2. Hälfte 20. Jh. Hellbraun patiniert. Nach vorn gebeugt stehende Frauenfigur, d. v. langem, windbewegtem Gewand umfangenen Arme weit nach hinten gestreckt. Auf kl. Rd.sockel, seitl. bez. "Charles Sykes" sowie flachem, schw.-grauem Marmorsockel. Oberflächen partiell minim. ber. Ges.H 56,4 cm Nach d. Skulptur, d. Vorbild d. Kühlerfigur v. Rolls Royce wurde (1911).
Lot 855
A 19th century painted occasional table, possibly Italian, purchased from Portmeirion and believed to have been the table on which Noel Coward wrote 'Blithe Spirit', the circular top painted in green with white highlighted fruiting vine border raised upon eight curvilinear supports further supported by a carved leafy column terminating on three out swept cabriole legs with upturned feet, 61cm high X 74cm diameter Provenance; This table was formerly housed in Fountain Cottage at Portmeirion and sold by Director Michael Trevor Williams in the 1960's when the decision to modernise some of the village rooms. The original purchaser of this table was informed by Michael Trevor William that Noel Coward sat at this table and partly composed 'Blithe Spirit' during his stay at Fountain Cottage in 1941. This table has been privately owned since purchase and has recently been exhibited Portmeirion Village the 'Dome of Discovey (2019) exhibition. For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Lot 140
Sam Troughton signed 6x4 Robin Hood colour photo. Troughton is a Shakespearean actor who has worked with the Royal Shakespeare Company. He has starred in the horror films Spirit Trap and Alien vs. Predator, and several television productions including Sky One's Hex. He has appeared in the SAS-themed drama Ultimate Force. From October 2006 he appeared in the BBC Robin Hood series (2006-2009), in which he features as Robin's ex-manservant, Much. Troughton's grandfather, Patrick, starred in the first Robin Hood television series in 1953. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Lot 1858
GEORGE RUSSELL, "AE" (1867-1935) TWO GIRLS AND CHILD WADING Signed Æ in ligature lower left, oil on canvas 52 x 80.5m. Provenance: Mrs Annabel Huth Jackson, by whom purchased from the artist, March 1919; and thence by direct descent * Russell invariably signed his work with the unusual Æ monogram, shortened from the word Æon (simultaneously the mortal incarnation of the `Word of God` and the representation of the immortal self) and meaning `the lifelong quest of mankind`. This reflected his great interest in mysticism and the metaphysical philosophies, glimpses of which he addressed in a letter to the purchaser of this picture. In a letter to Mrs Annabel Huth Jackson, dated March 29th 1919 and acknowledging receipt of £31.10.0 for three pictures, Russell writes "Might I suggest that the two grey coloured pictures were intended to be framed in a kind of cream, almost white, flat frame as it by the white or pale cream that the local colour of the picture can best be thrown out and that they should have glass over them." With timid self-effacement, he added "I hope they will not prove too tiresome a possession." Subsequently, on about April 4th 1919, he wrote again to Mrs Huth Jackson about the recommended frame colour and size: ".. to be framed in pale cream enamel almost white in a flat frame about 3 1/2 inches and the pale colours will come out ever so much better than in the conventional gold frame. I think the picture of the two girls and child wading ought to have glass over it because it was painted on a very rough canvas which I got during the year when I could get no other in Dublin and dust lodges easily on the rough surface and is difficult to get out..". Russell added modestly, presumably in response to a request about meeting his patron, "I am afraid I would be a very disappointing person to meet, most literary men are as they are really nothing except at the moment a spirit blows through them and when it is silent they are just like everybody else and they put on airs and try to look inspired when they are not they are ridiculous." On a theosophical note, he observes that "All our superficial life is unreal, a mere mask through which now and then some reality deep within us speaks and our masks are not of much importance. I believe you and I have some kind of spiritual contact, while we live and after with all who are spiritually akin to us whether we see them or not...You say you know me. Probably you do. My intention as I write is that I could write almost anything to you but that you would know it all already. ...I believe you and I have some kind of spiritual contact, while we live and after with all who are spiritually akin to us whether we see them or not... I would rather believe in the inheritance of the spirit than have millions of physical forms made inanimate." ++ Good condition; needs a light clean
Lot 1882
ALFRED WALLIS (1855-1942) A WEST COUNTRY SCHOONER ON A SWELL Oil and pencil on card 19 x 29.5cm. Provenance: A gift from Wallis to the vendor's aunt, Maud Bennett (an artist), following an introduction by the artist Archibald Standish Hartrick (1864-1950). * A West Country schooner rises on an Atlantic swell in stormy weather. Because of the strong wind, the ship carries reduced sail, a vivid experience for any seaman. In this painting Wallis draws on memories laid down during his seagoing days. Sven Berlin tells us that Alfred Wallis went to sea at the age of nine, crossing the Bay of Biscay in a schooner, and that he spent the next 16 years working as an ordinary seaman. This was the class of vessel that he worked aboard, and as a member of the crew his duties included climbing the ratlines (rope ladders) in all weathers, day and night, to make sail adjustments. In this and many of his other paintings of sailing ships Wallis reminds us of his vivid experiences at sea. In Wallis's day sail trading ships were a common sight as they carried all manner of goods around the coast of Britain and Europe to the Mediterranean and across the Atlantic. These vessels were often crewed by just five men. It was hard and demanding work and people who knew Wallis at that time regarded him as a good seaman. Documentary evidence in the form of ships' crew agreements shows that in 1876 Wallis sailed in the Penzance registered schooner Pride of the West (see photo) from Penzance to Cadiz and from there crossed the Atlantic to St John's, Newfoundland and Nova Scotia. He returned on a Devon registered schooner, Belle Aventure, leaving St John's on 7th August and arriving in Teignmouth on 4th November 1876 and was paid £6.12s.4d This painting is full of life and energy and details include the furled sails on the foremast and the blocks and ropes that were used to secure the sails. A painting of a ship on a voyage is said to symbolise the journey of the human spirit from cradle to grave. I would add that for Wallis depicting a ship rising on a great swell may also reflect his struggle against adversity. Wallis started painting at the age of 70, painting on discarded materials, particularly cardboard, and house paint and pots of enamel that he bought from the local store. This painting is a wonderful example; the verso reveals a period advertisement for lampshade paint (see image). Alfred Wallis often gave paintings away to neighbours, some of whom did not value them, believing that they could do as well themselves if they only tried. Many paintings were thrown away or burned. Nor was his work valued by the thriving community of artists living in St Ives at the time. One commented that Wallis was a crazy old man wasting his time creating rubbish.
Lot 431
§ David Nash O.B.E. R.A. (British 1945-) Birch Bowl, 1993 signed and dated 'David Nash / Otoineppu 93', birch(122cm high (48in high))Footnote: Provenance: Annely Juda Fine Art, London; Christie's, London, 16 December 2009, lot 163; Private Collection, UK. Exhibited: Hokkaido, Asahikawa Museum of Art, David Nash , June - July 1994: this exhibition travelled to Nagoya City Art Museum, July - September 1994; Ashiya City Museum of Art and History, November - January 1995; Saitama, The Museum of Modern Art, April - May 1995; Kamakura, The Museum of Modern Art, May - June 1995; and Ibaraki, Tsukuba Museum of Art, June - July 1995. Literature: David Nash, David Nash Otoineppu , Spirit of Three Seasons, Sapporo, 1994, p. 80 (illustrated); Norbert Lynton (ed.), David Nash , Thames & Hudson, London, 2007, p.104 (illustrated). Birch Bowl was created by David Nash when he was in Otoineppu, Hokkaido, Japan in 1993. He made several works in Otoineppu and the theme of the six exhibitions there was ’Spirit of Three Seasons’. In his own words the artist describes the special nature of the Otoineppu village as a place 'where the crafts and arts are very much alive’. ‘The village is alive with the art of growing and carving wood...All these factors...created a very special environment in which we could realise this project through the seasons of Spring, Summer and Winter 1993-94.' (See D.Nash, David Nash Otoineppu Spirit of Three Seasons , Sapporo, 1994). In conversation with the art critic Richard Cork in 2010, he asked Nash what he hoped to achieve with his work: ‘It’s got to be accessible and welcome visitor’s into it. I start with people’s familiarity with wood, through doors, floors, tables and domestic items. Most people are aware of how trees change during the seasons. The material is embedded into our daily lives. Then I enter into the deep history of trees and their culture. But I try to touch the wood as little as possible. I’m not interested in over-carving, polishing and craft. I don’t mind splinters, and I want it to crack. Trees stand for me as a threshold into the huge world of the environment.’ (Royal Academy Magazine, Summer 2010)
Lot 7
Howard Hodgkin (1932-2017)For Edward 1984 debossed with the artist's initials and dated 1984acrylic and gouache on card laid on cardboard in found frame20 by 27.2 cm.7 7/8 by 10 11/16 in.Footnotes:A frontispiece cut from the exhibition catalogue Howard Hodgkin: Forty Paintings, 1973-1984, Whitechapel Gallery, London 1985, with a dedication written by the artist in pencil, 'For Edward Love from Howard 1985', was found inside the frame of the picture, which was discovered posthumously. This work will be included in the forthcoming catalogue raisonné being compiled by The Estate of Howard Hodgkin.ProvenancePrivate Collection, UKAcquired from the above by the present owner circa 1995A work that was only recently re-discovered and is completely fresh to market after having remained almost entirely unseen since the artist gifted the painting to its namesake in 1985, For Edward is a veritable lost treasure, which will be included in the forthcoming catalogue raisonné compiled by the artist's estate. It is amongst those rare paintings that embody the spirit of an artist at his zenith – negotiating scale, composition and colour with outstanding tact. With paintings residing in museums internationally, including the Museum of Modern Art, New York, the Museu de Arte Contemporanea de Sao Paulo, Brazil, and the Centro de Arte Moderna, Lisbon, this represents an opportunity to acquire a work of exceptional quality with unique provenance, by one of the most prominent and celebrated painters of the post-war period. Upon encountering Howard Hodgkin's paintings, the transcendent quality and extensive appeal of his style is palpable and evident. Mastering an orchestral sweep and dapple of the brush, Hodgkin's paintings are harmonic in their affect, and none quite so precisely composed as in the present work, For Edward, from 1984 – the same year Hodgkin stepped up to the international stage exhibiting in the British Pavilion at the Venice Biennale, before he would go on to win the Turner Prize in 1985. Hodgkin's virtuosic brushwork is exquisite and hypnotizing, and the present work is a truly compelling and succinct example of the artist's talent as it translates into his expressive mark. Emerging from the Bath Academy of Art at Corsham in 1954 under the pupilage of William Scott, Hodgkin was an influence unto himself. Early inspiration came in The New American Painting exhibition of Abstract Expressionist artists at the Tate Gallery in 1959, and the significance of Rothko's planes of colour is never far. Yet he shunned the flatness of American Modernism, pushing the painting out of its frame and creating abstract depths of field that translate as windows onto a vivid and luscious landscape. As his close friend, the acclaimed writer Julian Barnes once wrote: 'H.H.'s paintings are not narratives. Mostly, they are memories. But it is not a case of emotion recollected in tranquility. Rather, it is emotion recollected in intensity. In that sense his pictures are operatic' (Julian Barnes, Keeping an Eye Open, London: Jonathan Cape, 2015, 260). Produced in a hugely important year for Hodgkin, For Edward is exemplary of the later period of his career that the artist was entering in the mid-1980s. As hasty as the paintings appear, he was in fact renowned for the meticulous and slow nature of his work, with many paintings taking years to complete. In For Edward, the refined brushwork and teeming chromatic scales of green and orange are a delight to behold at such an elegant scale, and wonderfully speak to the Hodgkin's lifelong appreciation for Indian art and culture.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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54538 item(s)/page