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ã MARCEL BROODTHAERS

ã MARCEL BROODTHAERS, BELGIAN (1924-1976), 'Petite forme de Moules' 1969, Mussel shells, and dyed resin. SEE NOTICE BELOW IMPORTANT NOTICE: This work is entitled 'Petite forme de Moules' 1969 in Maria Broodthaers' inventory of the artist's work as can be seen in the inventory photograph. We are indebted to her for pointing out the mistake in the original sale description. The pan on which the work sat when it belonged to Michael Compton (formerly illustrated in this sale catalogue) is a separate item. It was added by him to make the work easier to display but was never part of Marcel Broodthaers' original and has been removed from the lot. PROVENANCE: Gifted to Michael Compton by the artist's widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist's work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Similar examples were exhibited at the Tate Gallery Retrospective in 1980 which was curated by Michael Compton. These included 'Poêle De Moules', 1965; and 'Moules sauce blanche' 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, pp.130/131). Underside of Mussels with label stamped 'Broodthaers Estate' and numbered '40006' in red ink.This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson.MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints.Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of 'Mallarmé's 'Un Coup de Dés' where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems 'Pense-Bête' in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows:"I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. 'But it is art' he said 'and I will willingly exhibit all of it.' 'Agreed' I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in 'Grande casserole de moules', 1966; and 'Coupe avec coquilles d'oeufs', 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design.In 1980 Compton curated the exhibition 'Marcel Broodthaers' at Tate Gallery, London, the first retrospective after the artist's death in 1976. In 1989 Compton curated 'Marcel Broodthaers' at the Walker Art Center Minneapolis for which he received a Weisman award (L

  • GBRUnited Kingdom
  • 2014-06-27
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ã MARCEL BROODTHAERS

ã MARCEL BROODTHAERS, BELGIAN (1924-1976). 'Un Chateaubriand bien saignant pour deux' 1973. (A rare chateaubriand for two.) Painted impression on un-primed/back of canvas. Unsigned, framed and glazed.PROVENANCE: Gifted to Michael Compton by the artist's widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist's work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Similar works are included in 'Peintures' (Pictures), a 1973 work comprising nine canvases currently in the Tate collection. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson.MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints.Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of 'Mallarmé's 'Un Coup de Dés' where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems 'Pense-Bête' in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows:"I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. 'But it is art' he said 'and I will willingly exhibit all of it.' 'Agreed' I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in 'Grande casserole de moules', 1966; and 'Coupe avec coquilles d'oeufs', 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design.In 1980 Compton curated the exhibition 'Marcel Broodthaers' at Tate Gallery, London, the first retrospective after the artist's death in 1976. In 1989 Compton curated 'Marcel Broodthaers' at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013.EXHIBITED; LOANED TO MILTON kEYNES GALLERY 26TH JANUARY-30 MARCH 2008; MARCEL BROODTHAERS EXHIBITION (ill in Catalogue for the Exhibition p85.) 43.5036

  • GBRUnited Kingdom
  • 2014-06-27
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ROY LICHTENSTEIN

ROY LICHTENSTEIN, AMERICAN (1923-1997). Weisman Art Award 'Yellow Brushstroke', 1991. Cast bronze sculpture with patina and enamel paint. Incised with signature 'rf Lichtenstein' on the side of the base. Stamp numbered 11 on the bottom of the base (from initial lifetime casting of 19). Stamped with dedication, date and foundry mark 'F.R. WEISMAN ART AWARD, 1991, R.L. -89-2157. ROY LICHTENSTEIN & GEMINI G.E.L.' on the base. Only the initial 19 produced in the original lifetime casting were distributed as awards between 1991-1995 by the Frederick R. Weisman Art Foundation. PROVENANCE: This award was presented to Michael Compton CBE by the Frederick R. Weisman Art Foundation at an awards event held at the Los Angeles County Museum of Art on May 23 1991. The award was given to Mr. Compton for his work as curator of the 1989 'Marcel Broodthaers' exhibition at the Walker Art Center in Minneapolis (see lots 19 to 28 for works by the artist in this sale). Another sculpture award from the original lifetime casting was recently sold in New York at Phillips Evening & Day Editions auction on 28th April 2014 (lot 66).Frederick R.Weisman (1912-1994) was an entrepreneur, philanthropist, and art collector. Holding an uncompromising belief in the cultural value of art and an understanding of the importance of both the individual artist and the creative process.This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson.ROY LICHTENSTEIN (1923-1997) - BRUSHSTROKES'Brushstrokes series' is the name for several paintings produced from 1965 by Roy Lichtenstein and also refers to sculptural representations made in the 1980s and 1990s - mainly monumental vertical sculptures to be displayed out of doors in which he playfully used the gestural expressions of the brushstroke itself. The 'domestic' size of 'Yellow Brushstroke' is rare among the artist's oeuvre. For a similar example see the Lichtenstein painting 'Yellow Brushstroke' (1965), Kunsthaus Zürich (museum in Zürich, Switzerland). In 2001 "Brushstrokes: Four Decades" was held in New York City at the Mitchell-Innes and Nash Gallery."It [the Brushstroke] was the way of portraying this romantic and bravura symbol in its opposite style, classicism. The Brushstroke plays a big part in the history of art. Brushstroke almost means painting or art. I did isolate Brushstrokes in 1965 and used cartoon brushstrokes to depict subject matters in the 1980s. I also did Brushstroke sculptures in bronze and wood to make them more palpable. ... the Brushstroke, it is just an idea to start with, and painting it makes it more concrete, but when you do it in bronze sculpture, it becomes real and has weight and is absurd, contradictory and funny" ROY LICHTENSTEIN.(Mercurio, Gianni (2010). Roy Lichtenstein: Meditations On Art. SKIRA. p. 211). 8.7012.604.70

  • GBRUnited Kingdom
  • 2014-06-27
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A lifetime's collection of over 27

A lifetime's collection of over 27,000 45rpm vinyl singles and covers of chart music from the 1950's through to the late 20th century. The collection includes The Beatles, The Rolling Stones, Abba, The Sex Pistols, Pink Floyd, Michael Jackson & every other artist represented in the chart during this period on labels including CBS, Decca, HMV, RCA, Chess, Parlophone, Apple, Capitol, Epic, Pye, Phonogram, Warner Bros, MGM & many others. Covers have in many cases been removed and replaced with cardboard covers with the owners notes on year of release and chart position. The removed loose 7" single covers will also be sold with this lot, we understand that all covers are present although this has not been checked and is not guaranteed. There are four small boxes of these sleeves. The lot is largely alphabetically listed aside from a number of 'spares'. The lot is also sold with two 7 inch record carry cases (two 45 records deep), and a number of small record carry cases. The lot also contains two lists created by Mr. Sivyer. One is a book of 188 pages with handwritten notes, the other a typed list of some 36 pages. Both lists were compiled by Mr. Sivyer to catalogue his collection. Keith Sivyer began collecting in 1952. In the 1960's & 70's he worked as a DJ and his collection grew. After retiring he began collecting every single that appeared in the charts. Most of the singles that he collected were bought on the week of release from a record shop in Teddington called Earfriend. Later he bought LPs and CDs. Following his death earlier this year, the collection has been sent in for sale by his executors. We believe this to be one of the most complete and possibly unique collections of its type in the U.K. Keith Sivyer kept an excellent inventory of his collection and was able to immediately locate individual records if asked. His schedule is available to view for prospective purchasers. We and the vendors believe that this list is correct and complete but in view of the number of individual items in this lot we are not able to guarantee that it is a complete inventory. Purchasers must satisfy themselves by inspection during the public viewing between 18th and 21st May. In view of the number of individual items in this lot it is not practical to provide a condition report although it is thought that the condition is generally very good as the records are said to have been purchased new and often played only once or never. Viewing in person is strongly recommended. The collection is offered for sale in three separate lots of which this is the first. THIS LOT IS BEING SOLD WITHOUT RESERVE. All intending buyers must register for this sale in the normal way and will be required to place a deposit of £700 with the auctioneers to facilitate registration. This deposit will be refundable in full to prospective purchasers who are not successful with their bids. In view of the size of this lot it must be completely removed at the purchaser's expense as soon as possible after payment has been made and in any event no later than Wednesday 27th May. Failure to comply with this condition will result in the lot being removed to store at the buyer's expense and the costs of removal and storage will be met by the purchaser. Record fan collects every UK chart hit in history (as reported in the Daily Teleraph 3rd May) Keith Sivyer bought every new release from 1952 until February this year. Now his extraordinary collection is going under the hammer A stunning record collection containing every chart single made has been discovered crammed into the terraced house of its late owner. Single-minded Keith Sivyer bought every new release that entered the UK single charts since their inception in 1952 until his death in February aged 75. Every week, without fail, Keith visited his local record shop with a copy of Music Week and bought the latest songs that had entered the top 40 before going home and adding them to his archive. After his death his younger brother, Gerald, was left with the daunting task of finding a new home for the collection. He found approximately 27,000 7ins vinyl singles and 8,000 12ins singles neatly filed in alphabetical order on purpose built floor-to-ceiling shelves that covered the four walls of Keith's lounge. More than 10,000 CD singles from the 1980s to present day also filled up a spare bedroom of his modest home in Twickenham, south west London. There were dozens if not hundreds of CDs still in their cellophane wrappers from where he hadn't had the time to open and listen to them. Keith had safely stored the covers for most of the singles and replaced them with white sleeves on which he wrote the date the song was released and the chart position it achieved. We don't believe there is a single single missing, although it would take weeks to trawl through it all to make absolutely sure. The archive contains the good, the bad and the downright ugly that graced the shelves of record shops across Britain for over six decades. There is everything from Abba to ZZ Top, including all 39 Beatles singles and re-released singles, the 52 Rolling Stones' chart hits and the 72 songs released in the UK by Elvis. Iconic number ones include Abba's Waterloo, Bohemian Rhapsody by Queen, Relax by Frankie Goes to Hollywood, Bony M's Rivers of Babylon and Michael Jackson's Thriller. There are also the record-breaking singles that remained at number one the longest; I Believe by Frankie Lane in 1953, Bryan Adams' I Do It For You in 1991 and Love Is All Around by Wet, Wet, Wet in 1994. And there are also more dubious tracks of our time such as the Wurzels' Combine Harvester, the Birdie Song, Agadoo, Bombalurina, Clive Dunn and a Tribe of Toff's John Ketley is a Weatherman. Alastair McCrea, of Ewbanks Auctioneers of Woking, Surrey, was invited to Mr Sivyer's three bed house to value the collection. He said: "The front room was wall to wall covered with shelves with the seven inch singles on, the only space that wasn't taken up was where the window was. "It really was impressive to look at. "These days most people have their entire record collections stored on a small digital device in the living room that can been accessed remotely. "Apparently, Mr Sivyer was not that up on technology and terms like 'downloads' and 'back-up' would have been completely foreign to him. "It was a passion and an obsession for him. "We believe the collection to be one of the most complete and possibly unique in private hands in the country. We can't guarantee for sure it is absolutely complete because it would take months to go through every one but we think it is." Keith started his collection in 1954 and retrospectively bought all the singles that had entered the charts for the previous two years. He used to walk into Earfriend record shop in Twickenham every Thursday with the latest copy of Music Week and buy all the new release singles in the charts for that week. Record shop owner John Carroll got so used to Keith's custom he put the records aside for when he came in. As his collection grew Keith naturally became a mobile DJ although he worked for 37 years as an airside worker for British Airways at Heathrow. When he divorced from his wife in the mid 1970s he moved back in with his mother Louise along with his collection. His brother Gerald, a 68-year-old retired builder, said: "It became an obsession with him. He must have spent an absolute fortune by the end. "Most of the singles were bought in the week they were released from a record shop called Earfriend. "When the shop closed, he started buying them from Woolworths and then off the internet in recent years. "I had to reinforce the floor of the house at one point because of the weight of the boxes he kept some of the the records in. "He then took over the whole front room and started putting up these shelves. "He used to drive my mother mad. When I went to visit I would notice the collection was just growing and growing. It was crammed in like sardines. "He did tell me before he died that one day it would all be mine and I asked him what on earth I would do with it. "I would have loved to have kept them and if I had a big house I would have but I live in the first floor flat and it is just not practical."

  • GBRUnited Kingdom
  • 2015-05-21
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ã MARCEL BROODTHAERS

ã MARCEL BROODTHAERS, BELGIAN (1924-1976). 'Palette', 1973-4, coloured pencils on prepared canvas board. Signed M.B. PROVENANCE: Gifted to Michael Compton by the artist's widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist's work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Similar examples 'Palette P' 1974, and 'Le Motif' 1973 were exhibited at the Tate Gallery Retrospective in 1980 curated by Compton who was Head of Exhibitions there. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson.MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints.Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of 'Mallarmé's 'Un Coup de Dés' where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems 'Pense-Bête' in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows:"I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. 'But it is art' he said 'and I will willingly exhibit all of it.' 'Agreed' I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in 'Grande casserole de moules', 1966; and 'Coupe avec coquilles d'oeufs', 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design.In 1980 Compton curated the exhibition 'Marcel Broodthaers' at Tate Gallery, London, the first retrospective after the artist's death in 1976. In 1989 Compton curated 'Marcel Broodthaers' at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013.EXHIBITED; LOANED TO MILTON kEYNES GALLERY 26TH JANUARY-30 MARCH 2008; MARCEL BROODTHAERS EXHIBITION. (ILL P.81 IN THE CATALOGUE) 1410

  • GBRUnited Kingdom
  • 2014-06-27
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HRH Princess Louise (1848-1939) (daughter of Queen Victoria) Sketch book containing 74 water-colours

HRH Princess Louise (1848-1939) (daughter of Queen Victoria) Sketch book containing 74 water-colours, sketches and pencil drawings The sketch book starts with a preface as follows;"In nature's presence many a wretchProclaimed aloud his feelings gush;When silent I with hasty sketchWould paint her language with my brush:Thus something of the joy she gaveFor other days I tried to save;And make the scenes I gathered hereIf not to art to memory dear."It contains sketches made by the Princess as she and her new husband. the Marquis of Lorne (later Duke of Argyll) set off on their honeymoon to Italy. They left on 2nd April 1871 by train and the earliest sketch is dated 14th April. By following the dates one can obtain the detail of her itinerary through Italy. The first sketches are of Wurzberg which is close to where her sister Princess Alice who was married to Prince Louis of Hesse lived at Darmstadt. They are known to have met only briefly on that occasion. After the Honeymoon sketches, there are later sketches many in the Scottish highlands, the latest inscribed date being 1877. The detailed contents of the album mostly inscribed and with approximate sizes are as follows; 1 and 2.Two landscape drawings of Wurzburg one inscr. Apr 1871,4.5" X 7.5" 3. Water-colour sketch dated 14th April 1871 Botzein?, Alpine landscape, 4.5" x 7.5"4. Pen and ink gentleman in local dress inscr.. Verona April 15, 6.5" x 4.5"5. Pencil landscape S. Antonio, Padua, 7.5" x 4.5"6. Pencil drawing a lady in local dress Bologna April 17, 7.5" x 4.5"7. Pencil drawing Pontevecchio Florence 1871, 7.5" x 4.5"8.W/c Pisa 9.25" x 5.75"9. W/c Lake of Como looking towards Lecco, 5.75" x 9.25"10. W/c Lake Como, 5.75" x 9.25"11 and 12. Pencil "Como" and w/c "View from Cadenabbia" both 4.5" x 7.25"13. W/c Como, 7" x 10"14. Pencil, view from Villa Melzi of Bellagio, Como, 4.75 x 11"15. W/c, view of Lake from Villa Julia, 5" x 7"16. W/c,, Villa belonging to Victor Emmanuel and Villa belonging to Grand Duchess Maria of Russia from ? formerly residence of Lorenzo de Medici, Frisoli Florence 1871, 7" x 10"17. W/c, View of Carrara Mountain from Spezzia, May 1871, 7" x 10"18. Ink and wash, peasant with firewood, near Spezzia 1871, 7.5" x 4.5"19 W/c, View of \Phoenix Park from Vice-regal Lodge. Aug 6th 1871, (this was during a six day visit to Ireland with the Prince of Wales), 5.75" x 9.25"20. Pencil landscape Mentone, 6" x 9", (This w/c is out of sequence because they did not go to Mentone until after Christmas 1871, see below.)21. Pencil landscape, Inverary, Homecoming 1871, this was the occasion of the first visit and accompanying festivities held to celebrate the return of the Duke of Argyll's heir and his new bride. It shows the harbour and assembled boats, 4.75" x 7"22. Pencil landscape, Place Vendome, Paris, Dec31st 1871, 4.5" x 7"23. W/c, Mentone, Jan 1872, Coastal landscape,4.5" x 9.25"24. Pencil, peasant woman (pres. at Mentone),9" x 5.75"25. Pencil, Olive (tree) Mentone 1872, 9.25" x 5.75"26. W/c, Cannes from Villa Poralto, Feb 1872, 4.5" x 7.25"27. Pencil landscape, Roquebrum (nr. Mentone) Feb 17 1872, 4.75" x 7"28. W/c, landscape, Tunbridge Wells,July 1872, 4.75" x 7"29 and 30. W/cs, Galen, Mull 24th August and Gribbin Headland, Loch na Kiel Mull, both 3.5" x 6.75" The Summer of 1872 was spent in Scotland31 and 32. W/cs, Iona with Ross of Mull in the distance and Benmore from Bunessan, Mull, both 3.5" x 6.75"33. W/c landscape Loch Boa, Mull, Aug 23 1872, 4.75" x 10"34. Loch Boa and Glenmore, Mull, Aug 24 1872, 4.75" x 10"35. W/c Boig Headland, Mull from Bunessan. Aug 26 1872, 4.75" x 9.75"36. and 37. W/cs Macarioch House (M

  • GBRUnited Kingdom
  • 2012-03-21
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Rare and unusual George I clock by Richard Glynne

Rare and unusual George I clock by Richard Glynne, London, circa 1720-1725, a fruitwood cased table clock (probably previously ebonised), surmounted by a revolving celestial globe showing phases of the moon on brass S supports with a flower and foliage engraved front bracket above the inverted bell top. The brass 7.5" dial has a very rare trefoil shaped chapter ring (see below) with Roman numerals, and the spandrels are engraved with figures emblematic of the seasons. The centre of the dial has a matt finish. The arch has a subsidiary dial with twin rings one showing minutes and the other lunar dates for the phases of the moon with Arabic numerals (hands missing). On brass ball feet. There are glazed sides and doors enclosing the eight day single train fusee movement. The brass back plate is engraved with scrolling foliage and "Richard Glynne Londini fecit", 25.25" highThere are several unusual features in this clock1 The case is surmounted by a revolving moon phase globe driven by a vertical pillar and a series of cogs from the movement. Knowing the correct moon phase was important because trips on horseback or by coach were much less safe on a dark night and crops could be harvested by the light of the moon. This however is an unusual way of depicting phases of the moon.2 The trefoil shaped chapter ring is extremely rare although there are a few examples by Glynne's contemporary Richard Street (See below) On 28th May 1982 Sothebys sold a wall clock by Richard Street of Shoe Lane just off Fleet Street. (Lot five in the sale described as a "sale of nine English clocks"). The clock had previously been sold by them in 1953. The similarities of the two dials are striking not only because of the shape of the chapter ring which was described as pear shaped but because of the style of the engraving of the foliage and numerals and the matt finish to the centre of the dial. Street and Glynne worked close to one another; Street is recorded in Fleet Street until he is thought to have died in 1722 and Glynne was in Fleet Street from 1718-1729 when he retired.3 The single hour hand mechanism. The shape of the chapter ring means that there must be special arrangements for the single hour hand the shape of which again very closely resembles the hand in the Street clock. The whole of the inner dial revolves and the hand is fixed but has to follow the contours of the inner border of the chapter ring. This is achieved by a spring loading which seems to be the same in both clocks. Street was a distinguished but little known clockmaker whereas Glynne although also described as a clockmaker was much better known for his finely engraved scientific instruments. It is reasonable to suggest that the eccentric dial may well have provided by Street although it is conversely equally possible that the dials were made by Glynne and used by Street in his clocks! There may also have been a contribution from Glynne's business partner in the 1720s Anne Lea, whose father and mother Phillip and Anne Lea were noted map and globe sellers.(See below)HISTORICAL NOTESRICHARD GLYNNERichard Glynne (1681-1755), was apprenticed to Henry Wynne in 1696 in the Clockmakers' Company of which he became a freeman in 1705: he became Steward of the Company in 1725. He worked first at the sign of the Atlas and Hercules (1712-16) in Cheapside and subsequently (1718-29) opposite Salisbury Court in Fleet Street, London. On obtaining his freedom in 1705, he married Anne Lea, the daughter of the noted map and globe-sellers Philip and Anne Lea (see below). From at least 1712 he was working in association if not in formal partnership, with his mother-in-law, advertising a new pair of globes in 1712, and publishing and marketing maps. In parallel with this activity, he made and sold 'all sorts of Mathematical instruments, either for Land or Sea, according to the newest improvements' as he stated in an advertisement in 1726. There is another r

  • GBRUnited Kingdom
  • 2009-12-09
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Naval General Service medal awarded to Commander George Eyre...

Naval General Service medal awarded to Commander George Eyre Powell RN with three clasps Algiers, 6 Jan Boat Service 1813, and 1st and 18 Sept Boat service 1812 inscribed G E Powell Masters Mate. Algiers (1328 issued) for the Bombardment of Algiers 1816 He was on HMS Cordelia Boat Service 1813 HMS Bacchante (21 issued) Capture of five gun-brigs offOtranto Boat service 1812 HMS Bacchante (24 issued) Capture of two merchant vessels offRovigno, and a number of others, including the French xebecTisiphone, and two gun-boats. Historical Note; George Eyre Powell, 1790-1855 was born in County Kildare and joined the Navy in 1806. As a young man he had a period as a prisoner of Napoleon on the Continent escaping with two others and enduring many hardships and dangers during his escape. In January 1817 he joined HMS Heron under Captain Herbert Brown serving at St Helena and Cape Stations during which time he was involved with the prisoner Napoleon Bonaparte. He was also part of the escort for Queen Caroline of Naples (Napoleon's sister), who with her children was guaranteed safety by the British following the fall of Naples (See below lot 1001 for her gift given to him in thanks for the performance of his duties.) A copy of a memorandum of his services (Public record office ref ADM 9/49 193437) is included in this lot. (see fuller biography below with the main family archive)

  • GBRUnited Kingdom
  • 2016-12-01
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1949 Jaguar Mark V Coupé

1949 Jaguar Mark V Coupé, Reg No. NTN 164, Historic Vehicle, formerly owned and restored by Tony Tocock, ,mileage recorded approx 18000, 3485cc, MOT to 29/01/2015, Taxed to 30-04-2015. Chassis number is stated to be 621054 engine number T6534. Sold with original number plate first registered in Newcastle on Tyne in 1949.PROVENANCEThis vehicle is offered for sale by executors. There have been only two owners before the current vendor who purchased it in July 2012. The second was Tony Tocock well known mechanic and author of "A Mechanics dream" (published for Aston Martin Heritage Trust) who restored the vehicle. A copy of the book signed by the author, photographs before during and after restoration and the appropriate Jaguar service manual, and red leather soft top roofs are included.JAGUAR MARK V COUPE.Jaguar Cars was re-named in 1945 and commenced post-war production with a range of essentially pre-war designs. A considerable improvement on what had gone before, the MkV saloon's cruciform-braced chassis featured torsion bar independent front suspension, designed pre-war by the company's Chief Engineer William Heynes, and all-round hydraulic brakes. Jaguar's existing Standard-based, six-cylinder, overhead-valve engine was continued in both 2.5- and 3.5-litre forms in the MkV, whose bodywork likewise maintained the pre-war tradition, though with minor up-dating. Like its immediate predecessor, the MkV was available in saloon or drophead coupé versions and featured the kind of luxuriously appointed interior that had become a Jaguar hallmark.Few people had the chance to own the dropheads, because only 1,005 were built, of which just 28 used the smaller engine. In 1950, the stunning Mk V drophead was said to have sold for $3,850, which was nearly twice the price of a new Ford convertible. However, the Mk V had the kind of looks that would make people do almost anything just to own one! There are thought to be about 70 Mark V coupes in existence.RESTORATION BY TONY TOCOCK (Information taken from his book referred to above)Tony Tocock from whom the vendor acquired this vehicle was born in 1926. After the War in 1950 he became mechanic at Aston Martin his duties including the motor racing teams at Le Mans and Monza etc., lecturing all around the World, and maintenance of the Duke of Edinburgh's Lagonde Coupé. In 1963 Aston Martin left Feltham and Tony decided not to relocate and left the Company. After 4 years with Ford he became self-employed in 1967 but retired through ill health in 1979. In 1992 he saw an advertisement for this car, stripped and 98% complete. It was purchased for £1,750. (see pages 110-113 of "A Mechanic's Dream" for a more detailed account of the restoration, which was completed in 1996).(Sadly Tony Tocock died withn the last few weeks aged 87 following years of ill health.)

  • GBRUnited Kingdom
  • 2014-09-24
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ã Francis Bacon

ã Francis Bacon, 1909-1992, oil on canvas, part of a painting circa 1953/4, painted as a study for a Francis Bacon Pope portrait. The canvas shows what the yellow, white and black edge and leg of a chair, and some of the white Papal clothing, on a black and blue ground, bearing similarities to the Bacon painting "Study after Velázquez's Portrait of Pope Innocent X (1953)".On stretchers, the reverse showing a still life painted in 1958, inscribed verso, 'The Studio at Orchard Avenue' signed by Lewis Todd (1925-2006). Height 36", width 24" (additional 3" height and 4" width obscured where the canvas is nailed to stretchers).PROVENANCE: Part of a Francis Bacon work gifted by John Kesterton of the Heffer Gallery in Cambridge to the local artist Lewis Todd to allow him to use the reverse for his own paintings. This was done on the understanding that the canvases were to be cut up before use for his own work. Bacon always painted on the reverse of his canvases, the gift was made so that the impoverished young artist could made good use of them. Bequeathed direct by Todd to the present vendor. This work was inspected and authenticated by the Authentication Committee of the Francis Bacon Catalogue Raisonné in November 2012 A copy of the letter signed by Martin Harrison and confirming this attribution is sold with this work "..no doubt as to their authenticity." This and other authenticated pieces were included in The Bacon Estate sponsored PhD course at Northumbria University in which samples have been analysed. Preliminary results confirm that all pigments and binding medium used are typical of Francis Bacon works of the 1950s and 1960s. 362.40

  • GBRUnited Kingdom
  • 2013-03-20
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ã MARCEL BROODTHAERS

ã MARCEL BROODTHAERS, BELGIAN (1924-1976). a b c (Children's Cubes) 1974 a b c stencilled in black on a set on twelve childs play bricks in Dr. Pusscat on the Mouse B M Series box.PROVENANCE: Gifted to Michael Compton by the artist's widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist's work. This involved regular visits to Brussels to do research in the 1980s and 1990s.This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson.MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints.Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of 'Mallarmé's 'Un Coup de Dés' where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems 'Pense-Bête' in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows:"I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. 'But it is art' he said 'and I will willingly exhibit all of it.' 'Agreed' I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in 'Grande casserole de moules', 1966; and 'Coupe avec coquilles d'oeufs', 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design.In 1980 Compton curated the exhibition 'Marcel Broodthaers' at Tate Gallery, London, the first retrospective after the artist's death in 1976. In 1989 Compton curated 'Marcel Broodthaers' at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013.EXHIBITED; LOANED TO MILTON kEYNES GALLERY 26TH JANUARY-30 MARCH 2008; MARCEL BROODTHAERS EXHIBITION (ill p 83 in the catalogue) 275.50

  • GBRUnited Kingdom
  • 2014-06-27
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ã SIR TERRY FROST R.A.

ã SIR TERRY FROST R.A., BRITISH (1915-2003), untitled, unfinished oil and collage on hardboard, 1954-56.122 x 40 cm PROVENANCE: This work was begun when Frost was a Gregory Fellow at Leeds University and given to his friends Susan and Michael (who was Assistant to the Director, City Art Gallery and Temple Newsam House, Leeds from 1954-57). Frost told them the motifs were inspired by a visit to Malham Tarn; he had already produced a smaller sketch (also painted on hardboard) which they owned so he presented them with this version saying, "I don't know how to finish this so I'd like you to have it!" The work was probably painted in the studio provided by the University in Moor Road, Leeds as it belongs to the period when he was a Gregory Fellow and it bears a likeness to a group of works which Terry Frost related to his experience of the landscape of the Yorkshire Dales. Similar details can be found on 'Untitled Composition' 1954-56 (Tate ref: T05719). This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson.SIR TERRY FROST, R.A, 1915-2003: Born in 1915 in Warwickshire. An abstract painter known for his association with the St Ives School. Frost was captured during the 1941 invasion of Crete. While a prisoner of war he discovered his love for painting. Later in London Frost developed his signature style of circles and abstract shapes used to convey movement. Married in 1945 before moving to Newlyn in 1946, Frost worked as an assistant to Barbara Hepworth and played a crucial role in the St Ives School, a colony of mainly abstract artists, along with Ben Nicholson and Patrick Heron. He taught at Bath Academy of Art and in Leeds, before becoming Artist in Residence at the Department of Fine Art, Reading University in 1965, later the university's Professor of Painting. Made a Royal Academician in 1992 and knighted in 1998 Frost exhibited in London many times. A major retrospective 'Terry Frost: Six Decades', was held at the Royal Academy in 2000. 4816

  • GBRUnited Kingdom
  • 2014-06-27
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* Note that the price doesn’t correlate with today’s value, but only relates to the actual end price at the time of the purchase.