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Lot 931
*Joan Warburton (1920-1996) watercolour - Still Life of Succulents, initialled and dated '79, unframed, 36cm x 54cmBasically very good condition, a crease in the lower left corner but would be partly hidden by a mount. We would be able to post this in-house for a charge of £20 (it would be better not to roll it but pack it flat).
Lot 932
*Joan Warburton (1920-1996) collection of 20 works on paper, including still life sketches, interiors, botanical studies and others, with letter of provenance:'To the owner of this folder created at the suggestion of Reeman Dansie for their September 2024 auction. I confirm that these drawings, although not signed as they are from leaves of her many sketch pads, are the work of my mother, Joan Warburton. They were drawn in the nineteen seventies & eighties some whilst living in Chelsea and then later at my parents' house in Stoke-by- Nayland where they lived from 1970 until their deaths. My mother was a most disciplined painter, who would draw every day the objects & plants that surrounded her.I sign this as Liam, my somewhat unused first name, as I have always been known as Twig after a remark made to my mother by Kathleen Hale, who in turn was christened Moggie, by Lett (Arthur Lett-Haines, who ran the East Anglian School of Painting & drawing with his partner Cedric Morris) due to her success with her children’s books Orlando, the Marmalade Cat. Incidentally my mother was always known as Maudie after Lett noticing her at an upstairs window surveying the party below cried out “Come into the garden Maud” I hope you enjoy these sketches as much as my mother enjoyed drawing them. Liam P O’Malley
Lot 477
Rolling Stones Collection, twenty-four releases comprising of Big Hits (2), Out Of Our Heads, After-Math, Tattoo You (2), Rolling Stones, Their Satanic Majesties Request, Through the Past Darkly (2) (one di-cut sleeve), Still Life (2), Love You Live, Its Only Rock n' Roll, Rewind 1971 - 1984 (2), Black and Blue, varying conditions.
Lot 30
Landscape with figures - Ermogene Miraglia - Oil painting on cardboard, 20th century, Italian school, depicting landscape with figures. Dimensions inside the frame: 30x25 cm. Dimensions including the frame: 44x38 cm. Signed at the bottom right by Ermogene Miraglia. The artwork is in good condition with slight signs of age as shown in the attached photos. A self-taught painter, strongly influenced by the magic of French Impressionism and the painting styles of Antonio Mancini and Vincenzo Irolli, with whom he developed a sincere friendship, Ermogene Miraglia learned from them how to concentrate color in brushstrokes and palette knife strokes, as well as how to create light through combinations of color patches. His subjects are inspired by everyday life, the markets, and the squares of his city, to which he remained deeply attached. In his portraits of women and men, old and young, in landscapes, markets, and still lifes, his entire painting technique is clearly evident. The artist successfully participated in numerous exhibitions in Italy and abroad.
Lot 305
Street with a church and figures - Ermogene Miraglia - Oil painting on canvas applied to cardboard, 20th century, Italian school, depicting a street with a church and figures. Dimensions inside the frame: 30x25 cm. Dimensions including the frame: 44x38 cm. Signed at the bottom left by Ermogene Miraglia. The artwork is in good condition. A self-taught painter, strongly influenced by the magic of French Impressionism and the painting styles of Antonio Mancini and Vincenzo Irolli, with whom he developed a sincere friendship, Ermogene Miraglia learned from them how to concentrate color in brushstrokes and palette knife strokes, as well as how to create light through combinations of color patches. His subjects are inspired by everyday life, the markets, and the squares of his city, to which he remained deeply attached. In his portraits of women and men, old and young, in landscapes, markets, and still lifes, his entire painting technique is clearly evident. The artist successfully participated in numerous exhibitions in Italy and abroad.
Lot 64
Landscape with figures - Ermogene Miraglia - Oil painting on panel, 20th century, Italian school, depicting a landscape with figures. Dimensions inside the frame: 40x30 cm. Dimensions including the frame: 55x45 cm. Signed at the bottom right by Ermogene Miraglia. The work is in good condition. A self-taught painter, strongly influenced by the magic of French Impressionism and the art of Antonio Mancini and Vincenzo Irolli, with whom he shares a taste for thick and textured paint, Ermogene Miraglia formed a sincere friendship with Irolli. From him, he learned to concentrate color in brushstrokes and palette knife strokes, as well as to create light with color patches. His subjects are inspired by everyday life, the markets, and the squares of his city to which he remained deeply attached. In his portraits of women and men, the elderly and children, landscapes, markets, and still lifes, his entire painting technique is evident. The artist participated with notable success in various exhibitions in Italy and abroad.
Lot 270
Still life in an impressionist style - Rubens Capaldo (Parigi - 1908 - Napoli 1998) - Oil painting on panel, 20th century Italian school, depicting a still life in an impressionist style. Internal frame dimensions: 35x50 cm. Overall frame dimensions: 60x46 cm. Signed at the bottom center by Rubens Capaldo (Parigi - 1908 - Napoli 1998). Artwork in good condition.
Lot 41
Still Life - Rubens Capaldo (Parigi - 1908 - Napoli 1998) - Oil painting on canvas, 20th-century Italian school, depicting a Still Life. Dimensions within the frame: 40x50 cm. Dimensions including the frame: 50x60 cm. Signed at the bottom right by Rubens Capaldo (Parigi - 1908 - Napoli 1998). Artwork in good condition.
Lot 245
Still life - Giuseppe Ciavolino (1918 - 2011) - Oil painting on canvas, 20th-century Italian school, depicting still life. Dimensions within the frame: 40x30 cm. Dimensions including the frame: 48x38 cm. Signed at the bottom left by Giuseppe Ciavolino (1918 - 2011). Artwork in good condition.
Lot 156
Gaspar Peeter Verbruggen the Younger (Flemish, 1664-1730) Still life of flowers including roses, tulips, peonies and hyacinths in a garland upon a gilt bronze urn on a stone ledgesigned lower left 'Gaspar Pedro Verbruggen'oil on canvas73 x 112cmProvenance:Acquired circa 1947-48 by the grandmother of the present ownerThe present picture, a large and impressive autograph work in the oeuvre of Verbruggen the Younger, represents the development of a more decorative style in late 17th century Flemish still life painting, with its broad impasto brushwork indicating the influence of Italian artists such as Mario Nuzzi and Michele Pace del Campidoglio. Interestingly, Verbruggen has signed the work ‘Gaspar Pedro Verbruggen’, distinguishing him from his father of the same name, and was often known as ‘Gasparo Pedro Verbruggen’ – possibly both a nod to Italy and also Spain, given its strong links with Flanders.The painting is executed in oil on canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers are in good, stable condition overall with impasto present. There are areas of overpaint, mainly located in the background. The surface of the picture has an uneven varnish which is matte in many areas but with glossy patches which appear to be residues of an old varnish layer. The varnish is clear overall but the residues are darkened and are caught in the texture of the brushwork, this is evident on the lightest flowers.Framed 93.5 x 132cm
Lot 231
KING KONGOne Sheet (27" x 41"); Style A, Stone LithoVery Fine+ on Paper; Artwork by S. Barret McCormick and Bob Sisk RKO, 1933This is one of perhaps three known copies of the incredible poster. The last copy sold in auction was over twenty years ago. Incredibly desirable among collectors, this is a once-in-a-lifetime opportunity to acquire.This poster is an incredible find and extremely rare. It has two pinholes in each corner, slight wear at the top centerpoint of folds, and minor imperfections around the edges. The poster has been professionally mounted on very thin Japanese paper. The colors are still vibrant, with minor touch-ups on the "N" and "G" in "KING." The poster depicts the iconic scene of Kong on top of the Empire State Building, holding Fay Wray.A film of profound importance in the annals of moviemaking, RKO Studio knew they had a huge hit on their hands when Merian C. Cooper and Ernest B. Schoedsack turned in this legendary fantasy full of dinosaurs and adventure. Not only did they create a tragic version of the "Beauty and the Beast" narrative that has continued to captivate audiences for generations, but they did so by combining numerous technical innovations with awe-inspiring effects. Chief among these was the work of stop-motion animator Willis O'Brien, whose efforts on such projects as The Lost World brought him to the attention of Merian C. Cooper and Ernest B. Schoedsack. It was truly O'Brien's skilled treatment of Kong and Skull Island's dinosaurs that breathed life into the film, keeping audiences' suspension of disbelief in check and thus raising the status of the picture to a true classic.This lot will be auctioned on Thursday, September 12th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on September 13th.
Lot 424
THE WOLF MANOne Sheet (27" x 41")Very Fine on Linen Universal, 1941This poster depicting the classic tale of lycanthropy is exceptionally rare. Only two copies have been sold at auction in the past twenty years.And this is a first time offer from PropStore.This rare poster has been professionally preserved on linen. There was a minor paper loss at the very upper right border and a small V-shaped loss at the outer left border along the center horizontal fold. Touch-ups have been applied to the folds and the bottom two center points, and pinholes were present in each corner. The poster is vibrant in color and displays beautifully.Despite the absence of the legendary literary sources that other early Universal horror films enjoyed, screenwriter Curt Siodmak still crafted a compelling narrative, essentially establishing the modern werewolf lore. This includes the concept of werewolf transformation due to a bite, the notion of the silver bullet, and the influence of the moon. Makeup artist Jack Pierce once again brought to life one of the most iconic monsters in the Universal Horror collection. With its strong cast and the atmospheric cinematography by Joseph Valentine, The Wolf Man remains a seminal and influential work in the horror genre.This lot will be auctioned on Friday, September 13th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on September 12th.
Lot 94
DARK VICTORYSix Sheet (81" x 81")Fine on Linen Warner Bros., 1939This vibrant poster has been mounted on linen, with minor touch-ups to address fold line wear and tear typical of large paper items. The border has been restored due to significant wear, along with touch-ups to the dark background and other areas of the poster. A vertical tear running the length of the piece, just to the left of Davis's face, has been expertly repaired. The colors are vibrant, making this piece exceptional for display, poised to become the focal point of any premier collection.The story follows young wealthy socialite Judith Traherne (Bette Davis), who is diagnosed with an inoperable brain tumor. The disease will first take her sight and then her life, forcing her to decide how she will spend her limited time. Producer Hal Wallis secured the rights and cast Davis for the role of Judith. Davis, still reeling from the end of her relationships with William Wyler and Howard Hughes, as well as her impending divorce from Ham Nelson, found the filming demands overwhelming and asked Wallis for some time off after just a few days of filming. His response was unexpected: "I've seen the rushes - stay sick!" However, the film became one of Warner's biggest hits that year and Davis considered it her favorite.This lot will be auctioned on Thursday, September 12th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on September 13th.
Lot 312
PSYCHOBritish Quad (30" x 40"); Style BVery Fine on Linen Paramount British, 1960Collectors highly value the movie poster offered here, the humorous U.K. quad version. Hitchcock displays clever showmanship, warning that late entry to the theater is strictly prohibited and non-compliant patrons may be removed. We are thrilled to unveil this exceptional British quad for the first time, which is much rarer than the Janet Leigh version. It is considered one of the best advertisements for the film's original release from any country.This poster has been professionally linen-mounted and was previously folded with minimal fold wear. The only imperfection of note is a tiny hole, about a sixteenth of an inch in diameter, in the lower black field. The fluorescent orange color is still vibrant.Every element came together perfectly for this thrilling production: Alfred Hitchcock's tight direction, Bernard Hermann's haunting and memorable score, and an outstanding cast led by Janet Leigh (as Marion Crane) and Anthony Perkins. Perkins brought to life one of cinema's most frightening characters, the tormented Norman Bates.This lot will be auctioned on Thursday, September 12th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on September 13th.
Lot 60
BRIEF ENCOUNTERBritish Quad (30" x 40"); Country-of-OriginVery Fine on Linen Eagle Lion, 1945This is a very scarce poster that has been professionally linen-backed. It has undergone minor airbrushing around the edges and credits at the bottom. There is also sporadic airbrushing within the blue title field. Interestingly, this poster was printed on the back of an uncut set of two post-war Winston Churchill posters that said, "Vote United."David Lean directed Celia Johnson and Trevor Howard in this beautiful and sad story of a doomed love affair between a married doctor and a suburban housewife who have a chance meeting on a train platform in post-war London. Adapted by Noel Coward from his play "Still Life," "Brief Encounter" opened to widespread critical acclaim. The film received three Academy Award nominations for Best Director, Best Adapted Screenplay, and Best Actress (Johnson). Rachmaninoff's Piano Concerto No. 2 was used for the soundtrack to significant effect.This lot will be auctioned on Thursday, September 12th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on September 13th.
Lot 1107
AN ELIZABETH II COMMEMORATIVE SILVER CASED MINIATURE 'HUMP-BACK' CARRIAGE TIMEPIECECHARLES FRODSHAM, LONDON 1978The eight-day four pillar going barrel movement with Swiss gilt platform lever escapement regulated by spring monometallic balance, the 2.350 inch arched gilt brass dial with two banners inscribed Cha's Frodsham & Co., London, England to centre within applied silver Roman numeral chapter ring, with blued steel moon hands over inscription Elizabeth of Glamis flanked by a pair of rose blooms, the arched case with curb link carrying chain to the top over half-round mouldings bordering the glazed dial aperture and hinged rear door engraved with a banner inscribed SERIAL No. 212/800, on four conical feet, marks for London 1980 maker TC.8cm (3.125ins) high, 7cm (2.25ins) wide, 4.5cm (1.75ins) deep. Charles Frodsham was born in 1810 into a family of clockmakers with his grandfather, William originating from Cheshire before moving to London prior to 1781 where he was admitted to the Clockmaker's Company. His son, William James, had six sons, four of whom joined the firm of Parkinson and Frodsham in London; whilst Charles, the third born son set-up on his own at Barnes Place, Islington in 1834. He moved to 12 Finsbury Pavement in 1836 then to number 7 in 1838. On the death of the renowned chronometer maker John Roger Arnold in 1843 Charles Frodsham acquired the business and began trading as 'Arnold, Charles Frodsham' from 84 Strand, London. Unusually Frodsham was not admitted to the Clockmaker's Company until 1845 but went on to serve as master twice in 1855 and 1862; he was also a founder member of the British horological Institute in 1858.Charles Frodsham became one of the most eminent chronometer makers of his generation who served as a juror in the 1852 International Exhibition held at South Kensington where he also showed a month duration marine chronometer with experimental 'Duo-in-uno' balance springs and three different forms of compound balance. In 1854 he purchased the 'goodwill' of the late Benjamin Lewis Vulliamy's business which led to his appointment as Superintendent and Keeper of Her Majesty's clocks at Buckingham Palace. Charles Frodsham died of liver disease in January 1871 and was succeeded by his son, Harrison Mill Frodsham. The business became Charles Frodsham and Company and in 1884 and then was incorporated as a limited Company in 1893 before relocating to 115 New Bond Street, London two years later where they remained well into the Twentieth Century. The firm is still trading today (from 32 Bury Street, London) as specialist in chronometer, watch and clock makers. The present timepiece was produced as a part of a limited edition run of 800 examples to commemorate the life of Queen Elizabeth the Queen Mother. Condition Report: Movement is complete and in working condition however a gentle clean/service is advised. The dial appears free form visible faults other than some very light dust deposits (only visible on very close examination). Case is in fine original condition with no visible damage although it would benefit from a clean/polish. There is no winding key present. Condition Report Disclaimer
Lot 1239
A FINE REGENCY MINIATURE BRASS MOUNTED EBONISED TABLE/BRACKET CLOCK WITH TRIP-HOUR REPEATBARWISE, LONDON, CIRCA 1820The five columnar pillar twin chain fusee bell striking movement with anchor escapement regulated by disc-bob pendulum incorporating transverse pivoted beam rise/fall regulation to suspension and holdfast to the shouldered backplate, engraved Barwise, LONDON to centre, the 4 inch single sheet silvered brass Roman numeral break-arch dial also signed Barwise, LONDON to the centre, with blued steel spade hands beneath arch incorporating twin subsidiary STRIKE/SILENT and regulation dials, the case with hinged sculpted brass handle and rectangular plate capping the ogee shaped caddy superstructure over moulded brass collar and further outswept concave section merging with the break-arch profile top applied with the complex cornice mouldings, the opening front with brass fillet mouldings bordering the glazed dial aperture, the sides with conforming brass-edged arched windows and the rear matching the front, on cushion moulded skirt base and turned brass acorn-shaped feet.27.5cm (10.75ins) high with handle down, 15cm (6ins) wide, 11cm (4.25ins) deep. The life of John Barwise and his family are outlined by A.D. Stewart in his article Barwise & Sons: Watchmakers to the King, A brief history of family and firm published in the March 2014 issue of 'ANTIQUARIAN HOROLOGY' (Vol IIIV No. 1 pages 621-34). Stewart notes that John Barwise was born into a clockmaking family in Cockermouth, Cumberland in around 1756. By 1780 he had moved to London where he opened a watch retailing business. Ten years later he married Elizabeth Weston with his address being recorded as 29 St. Martin's Lane where he remained until his death in 1820. Of their eleven children two (possibly three) died in infancy and two, John II (born 1795) and Weston (born 1793), subsequently joined their father in the family business. In 1800, such was his success, John Barwise I purchased a second house in Dulwich.In 1805 John Barwise I was one of the fifteen watchmakers appointed by The Board of Longitude to adjudicate in the dispute between John Arnold and Thomas Earnshaw regarding 'the respective merits of their chronometers'. On the 14th February 1811 Barwise was the victim of five highwayman who relieved him of a 'gold watch, greatcoat, and a guinea-and-a-half in cash' whilst en-route from Camberwell to Dulwich. This unfortunate occurrence may well have tempered Barwise's enthusiasm for his house in Dulwich as records indicate it was rented out to tenants by 1813. In around 1816 his sons, John II (who had just turned 21) and Weston, joined him in partnership with the business then becoming 'Barwise & Sons'. Shortly afterwards (probably in 1820) the firm obtained the Royal Warrant as watchmakers to King George IV.John Barwise senior died in 1820; by this time he was a wealthy man leaving two properties and substantial investments to his widow and children. The business was continued by Weston and John II in partnership, however this only lasted six years as Weston died in 1826 leaving the business in the hands of John II alone. It was at this time that John II married and moved from the family home at St. Martin's Lane to nearby 42 Craven Street; and then in 1840 to a spacious residence called East Lodge, near Acton which at that time was in open countryside. At around the same time John Barwise II entered into an alliance with the highly inventive Scottish Clockmaker Alexander Bain who was in the process of developing the first electric timepiece. Barwise and Bain subsequently filed a patent (No. 8743) for an 'Electro-Magnetic Clock' which was granted in January 1841; an example of which was then subsequently exhibited at the Royal Polytechnic Institution shortly afterwards.In 1842 John Barwise II was approached by Pierre Frederic Ingold (1787-1878) to assist in the creation of a watch factory which, by employing newly invented machinery, would be able to mass produce high quality watches at a much smaller cost than the prevalent hand-built movements available at the time. Barwise, along with Thomas Earnshaw junior, subsequently became managing directors of the newly established 'British Watch and Clockmaking Company'. Unfortunately the venture failed, and Barwise was declared bankrupt in 1846. With this he lost his house, East Lodge near Acton, but still managed to keep the business afloat. After a few more years of struggling in the business John Barwise II retired leaving it in the hands of the Swiss watchmaker, Jules Rochat, who joined the firm in 1847. John Barwise II was recorded in the 1861 census as being a 'chronometer maker out of business' and presumably still resided at 7 Queen's Row, Camberwell until his death in 1869. The present timepiece is finely made and finished and of very pleasing small proportions with the design of the case following that of a series of miniature timepieces produced by Grimalde and Johnson, London. The movement of the current clock, however, is of much higher specification than those mostly seen by Grimalde and Johnson, which are generally only single fusee timepieces. Condition Report: Movement is in fine relatively clean working condition and appears very original with no visible evidence of alteration or notable replacements. If intending to put into long-term service however a precautionary gentle clean/lubrication is advised. The dial is in sound original condition, it is presentable with nice overall slightly mellow colouring but has some spots of oxidation and slight rubbing around the winding holes so may benefit from being re-silvered (depending on personal preference). The case is also in fine original condition with the only notable faults being that the putty holding in the front door glass is starting to come loose and drop out. The baseboard of the case is cut with a slot to allow for the pendulum swing - this is an original feature. Faults to the case are otherwise very much limited to very minor bumps, scuffs, shrinkage and edge wear commensurate with age and use.Clock is complete with pendulum, winder and a case key. Condition Report Disclaimer
Lot 359
Christopher Chamberlain, British 1918-1984 - Bottles and Chiffonier (with 'Still life study' on the reverse); oil on board, 61 x 45.7 cm (ARR) Provenance:the Estate of the Artist and thence by descent; Lyon & Turnbull, Edinburgh, 28th April 2023, lot 161; private collection Note: works by the artist are in Southampton City Art Gallery, the Guildhall Gallery, London and the Tate.
Lot 456
Sarah Armstrong-Jones, British b.1964 - South India Still Life; oil and gouache on paper, signed on the reverse (according to the label attached to the reverse of the frame), 9.5 x 18.8 cm (ARR) Provenance: with The Redfern Gallery, London (according to the label attached to the reverse of the frame); Mr Ken McReddie, purchased from the above on the 13th January 1997; private collection
Lot 367
Eliot Hodgkin, British 1905-1987 - One Pomegranate, 1954; tempera on board, signed and dated lower left 'Eliot Hodgkin 23 X 54', 10.3 x 14.1 cm (ARR) Provenance: with Hazlitt, Gooden & Fox Ltd., London (label attached to the reverse of the frame); private collection Exhibited: Leicester Galleries, London, 'Eliot Hodgkin Recent Tempera Paintings', February 1956, cat. no.1; Hazlitt, Gooden & Fox, London, 'Eliot Hodgkin Eighteen selected Still Life Studies from 1954 to 1957', 6th October-5th November 1993, cat. no.3 Note: Hazlitt, Gooden & Fox also held posthumous exhibitions of the artist's work in 1990, 'Eliot Hodgkin 1905 – 1987: Painter and Collector' and 1999, 'Eliot Hodgkin 1905-1987 Still-Life Paintings'. More recent exhibitions have included 'Brought to Life: Eliot Hodgkin Rediscovered' in 2019 at Waddesdon Manor. We are grateful to Mark Hodgkin, the artist's grandson, for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please contact him here.
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