- (3) PIECES OF WEST VIRGINIA STONEWARE
(3) PIECES OF WEST VIRGINIA STONEWARE WITHadvertising. Two-gallon GEO. Johnston Clarksburg West Virginia, 12" high by 7 3/4" diameter. John L Smith & Co 1407 Main and 1406 South St, Wheeling West Virginia, two-gallon jug. Shows approx. 7" crack. Approx 14 1/2" high by 8" diameter. A. Conrad Shinnston, West Virginia two-gallon crock. 12" high, approx. 8" diameter.
- HERMES KELLY GOLD-TONE PADLOCK LEATHER
HERMES KELLY GOLD-TONE PADLOCK LEATHER WRISTWATCH Vintage Hermes Kelly gold-tone plated padlock wristwatch with original Hermes red lizard leather strap bracelet, marked on lock: "HERMES / PARIS / SWISS MADE / HERMES / 851407 / Plaque G10M" with maker's mark, serial number# 851407, Quartz Swiss movement, Made in France. Padlock: 1.5" L x 0.81" W. Strap bracelet: 8.12" L x 0.50" W.
- YAMAHA UPRIGHT PIANO, 1970S Vintage
YAMAHA UPRIGHT PIANO, 1970S Vintage Yamaha upright piano, serial number 1407747, likely made in Hammamatsu for the Japanese market circa 1972-1973, with ebonized case and side-opening lid, marked "Yamaha" to underside of keyboard lid. 42" H x 57" W x 22" D.
- SILVER. CONTINENTAL SILVER MOUNTED BLUE
SILVER. CONTINENTAL SILVER MOUNTED BLUE ENAMEL Portrait Ewer. Continental silver mounted blue enamel ewer displaying male and female enamel decorate portraits with scrolling silver surrounds flanked by Northwind masks. Wonderful scrolling handle with lion's head. Apparently unmarked. Total approx. weight of the ewer is 1407.9 grams (gross). From a New Rochelle, NY estate. Dimensions: ewer measures approx. 15.5" high. Condition: Good, with light surface scratches and minor dings/dents. Enamel losses and wear.
- LIONELLO D’ESTE (1407-50), as Marquis
LIONELLO D’ESTE (1407-50), as Marquis of Ferrara (from 1441), Medal in old cast bronze, by Pisanello, Antonio Pisano (c.1395-1456). Obv: Portrait of Lionello d’Este wearing scale armour right, legend: LEONELLVS . MARCHIO . ESTENSIS . Rev: A mask of a triple faced child between two poleyns suspended from juniper branches, signed: OPVS . PISANI . PICTORIS .pierced otherwise only light wear on the highest points with dark and lighter patination, 67mm
- RARE ROYAL DOULTON FIGURE STUDY, THE
RARE ROYAL DOULTON FIGURE STUDY, THE WINNER HN1407Decorated, full color; marked, stamped Royal Doulton to bottom.
Design attributed to the famed French sculptor Gaston d'Illiers and reputedly modeled on the New Zealand-bred race horse named Royal Doulton in honor of the eponymous pottery, THE WINNER offers a lively and dynamically colored study of a horse and rider in full, brute stride. Extremely rare and very infrequently found on the market. Professional restoration present to base and original tail; metal jockey whip is replaced.
Artist: Gaston d'Illiers
Issued: 1930-1938
Dimensions: 7"H x 10"L x 4"D
Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Professional restoration to base, tail; missing whip
- DISNEY CLASSICS BAMBI FIELD MOUSE LITTLE
DISNEY CLASSICS BAMBI FIELD MOUSE LITTLE APRIL SHOWERVery rare Limited Edition 50th anniversary figurine.
Special anniversary edition produced with a shiny Austrian crystal dewdrop modeled sliding off the leaf, suspended above the mouse's outstretched paws. Stamped to base WALT DISNEY CLASSICS COLLECTION BAMBI 50TH ANNIVERSARY LITTLE APRIL SHOWER " DISNEY. Limited Edition number with a gold backstamp. Collectors box. Certificate of Authenticity.
Issued: 1992
Dimensions: 5.25"H x 5.5"W
Edition Number: 1407 Edition Size: 7500
Manufacturer: Walt Disney Classics Collection
Country of Origin: United States
- LLADRO PORCELAIN FIGURINE, SUMMER STOCK
LLADRO PORCELAIN FIGURINE, SUMMER STOCK 01001407An actress dressed as Queen Elizabeth prepares for her performance, putting on her stage makeup.
Part of the Norman Rockwell Series. Does not include the original box. Retired in 1984. #lladro
Artist: Salvador Debón
Issued: 1982
Dimensions: 9.75"H
Manufacturer: Lladro
Country of Origin: Spain
Condition: : Good
- 3PC SHELLEY ENGLAND DAINTY TEA SET TRIO,
3PC SHELLEY ENGLAND DAINTY TEA SET TRIO, HEAVENLY BLUEVintage bone china tea wares; Dainty shape. Blue flower and scroll pattern, blue scalloped rim.
Shelley England backstamp. 14075 stamped on base. Scalloped rim. Cup size - 2.5"H x 3.5" diameter (widest). Saucer size - 1"H x 5.5" diameter. Plate size - 0.75"H x 8" diameter. #cupandsaucer #Shelley
Issued: 1945-1966
Dimensions: 2.75"H
Manufacturer: Shelley Pottery
Country of Origin: England
Condition:
Some age related wear. Overall good condition.
- SUMMER STOCK 1001407 - LLADRO PORCELAIN
SUMMER STOCK 1001407 - LLADRO PORCELAIN FIGURINEGlossy finish; From the Norman Rockwell collection. Modeled as Elizabeth applying lipstick.
Limited edition number 760 of 5000 pieces. Lladro backstamp.
Artist: Salvador Debon
Issued: 1982 - 1984
Dimensions: 9.75"H
Manufacturer: Lladro
Country of Origin: Spain
Condition:
Good.
- SUMMER STOCK 1001407 - LLADRO PORCELAIN
SUMMER STOCK 1001407 - LLADRO PORCELAIN FIGURINEGlossy finish; Norman Rockwell by Lladro backstamp.
Artist: Salvador Deb�n
Issued: 1982-1984
Dimensions: 9.75"H
Edition Number: 907 Edition Size: 5000
Manufacturer: Lladro
Country of Origin: Spain
Condition:
Good
- ANRI WALT DISNEY FEEDING LAMB MINNIE
ANRI WALT DISNEY FEEDING LAMB MINNIE FIGURINEA carved wooden figure of Minnie Mouse in a blue dress and flower crown feeding a small lamb out of a jar. Anri backstamp. Walt Disney Company backstamp.
Dimensions: 2.5"L x 1.75"W x 3.75"H
Edition Number: 1407 Manufacturer: Anri
Country of Origin: Italy
Condition:
Age related wear.
- LLADRO "SUMMER THEATRE ACTRESS" #1407
LLADRO "SUMMER THEATRE ACTRESS" #1407 FIGURINEDESCRIPTION: A Lladro "Summer Theatre Actress" Model #1407 Porcelain figurine representing an actress dressed as Queen Elizabeth applying her stage makeup. This figurine model was designed by Salvador Debon in 1982 and was retired in 1991. It is marked on the bottom with the blue LLadro hallmark.
CIRCA: 20th Century.
ORIGIN: Spain.
DIMENSIONS: H: 9 3/4" W: 8 1/4".
Have a similar item to sell? Contact: Info@Akibaantiques.com.
CONDITION: Good condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission."
- 7PC SHELLEY BONE CHINA CREAMERSPatterns
7PC SHELLEY BONE CHINA CREAMERSPatterns included Wildflowers 13668, Idalium 11652, Oleanders, Heavenly Blue 14075, Floral 11564, Wild Anemone 14162 and pink and yellow floral design. Shelley backstamp. Largest piece: 5"L x 3"W x 4.25"H.
Manufacturer: Shelley
Country of Origin: England
Condition:
Age related wear.
- BRITTO CAKE STANDDESCRIPTION: Two-tier
BRITTO CAKE STANDDESCRIPTION: Two-tier Romero Britto cake stand with heart-shaped handle. Each tier is heart-shaped and designed with mostly warm colors. Underside of base is marked "BRITTO TM/© 2009 ROMERO BRITTO GIFTCRAFT - 14072 Microwave & Dishwasher Safe Made in China". CIRCA: 20th Century. ORIGIN: China DIMENSIONS: W: 10.25", H: 11" Have a similar item to sell? Contact: Info@Akibaantiques.com. CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission."
- WARREN MACKENZIE STUDIO POTTERY CUT-SIDED
WARREN MACKENZIE STUDIO POTTERY CUT-SIDED BOWLWarren MacKenzie (1924-2018). Cut-sided studio pottery ceramic bowl. Stoneware with an iridescent copper red glaze. Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota. Note: Lots 1-19 were purchased by a single collector from MacKenzie's showroom between 1989-2000 Dimensions: Height: 4 in x diameter: 6 in.
SKU: 01407
Condition:
Good condition, with no chips, cracks, or repairs.
- COLBY TRAPDOOR STERLING SILVER LIGHTER
COLBY TRAPDOOR STERLING SILVER LIGHTER W/ ORIGINAL BOXColby Lighter Corporation, United States. One sterling silver trapdoor lighter. With original velvet lined display case. Impressed logo "Colby" on the underlay. Patent #140735.
Condition:
Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
- 1904 ELGIN GRADE 280 POCKET WATCH &
1904 ELGIN GRADE 280 POCKET WATCH & GOLD CASEFor your consideration is this 1904 Elgin Grade 280 pocket watch set in a Brooklyn Watch Case Company 10k gold filled case. In 1864, the Elgin National Watch Company was established in Elgin, Illinois, as an American watch manufacturer. The business was renowned for its innovation and accuracy, using cutting-edge manufacturing processes to create dependable timepieces. Initially, Elgin concentrated on making pocket watches because they were in high demand. Elgin watches were created in a variety of looks and patterns to suit different tastes and preferences. Elgin increased its operations and started making wristwatches as the demand for them increased in the late 19th and early 20th centuries. Sadly, in 1968 the Elgin National Watch Company stopped making watches, and in 1969 it was formally dissolved. The serial number inscribed alongside the movement is numbered, "10126356" indicating it was made in 1904. The pocket watch is a grade 280, 17 ruby jewel, size 16s, model 9 and features a nickel movement finish, bridge plate with gilt inlays and a gold center wheel. This watch is railroad graded with a Class A grade. The pocket watch is set in a Brooklyn Watch Case Company case that is 10k gold filled with a 20 year guarantee with the stamped serial number reading, "7531407". The watch ticks but can not be wound. The pocket watch is in good overall condition with wear to the case from its age and use over the years but no signs of obvious damage are noted. The watch measures 2 1/8" in diameter and 2 5/8" in height. The weight of the watch is 100 grams.
- § ROBERT ADAMS (BRITISH 1917-1984)
MAQUETTE
§ ROBERT ADAMS (BRITISH 1917-1984)
MAQUETTE NO. 2 FOR TRIANGULATED STUDY NO. 1, 1960 steel wire painted grey on black base23.5cm high (including base), 13cm wide (9.25in high, 5.1in wide)Provenance: In Barns-Graham's notes about her collection she states she purchased a 'wire sculpture' by Robert Adams.Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 296.Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
- § ROBERT ADAMS (BRITISH 1917-1984)
PLATE,
§ ROBERT ADAMS (BRITISH 1917-1984)
PLATE, CIRCA 1952 signed 'ADAMS' (to reverse), painted earthenware25cm diameter (9.8in diameter)Provenance: In Barns-Graham's notes about her collection she states she purchased a plate by Robert Adams.Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humphries, London, 1992, cat no. 138c, illus. pg.38 with a paper design.Note: This is possibly from a set of 10 different designs, although Grieve only identifies three.Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
- § ROBERT ADAMS (BRITISH 1917-1984)
RECTANGULAR
§ ROBERT ADAMS (BRITISH 1917-1984)
RECTANGULAR BRONZE FORM NO.2., 1953 from an edition of 6, bronze15.5cm high, 10.2cm wide (6.1in high, 4in wide)Provenance: In Barns-Graham's notes she refers to owning two sculptures by Robert Adams, one ‘gold’ purchased and one given.Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 157.Note: This sculpture inspired Wilhelmina Barns-Grahams painting Ultramarine II, 2000 (Lynne Green, 2011, p.276).Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
- § ROBERT ADAMS (BRITISH 1917-1984)
SPHERE,
§ ROBERT ADAMS (BRITISH 1917-1984)
SPHERE, 1980 signed, numbered and dated 'ADAMS OO/ 1980' (to base), bronze9cm high, 7cm wide (3.5in high, 2.75in iwde)Provenance: In Barns-Graham's notes she refers to owning two sculptures by Robert Adams, one ‘gold’ purchased and one given.Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 680.Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
- FRENCH PAINTED VITRINE: French vitrine
FRENCH PAINTED VITRINE: French vitrine having a painted hunting lakeside country scene at lower portion. Door opens to reveal a 2-shelf interior. Metal mounted foliate at top sides of door. Glass has a foliate designed metal border. Raised on metal mounted cabriole legs and feet. Approx. 54'' h x 25.25'' l x 14075'' w.
CONDITION: Wear consistent with age and use.
- JOHN BRETT R.A. (BRITISH 1831-1902)
THE
JOHN BRETT R.A. (BRITISH 1831-1902)
THE PARTING HOUR Dated 20th July 1893, oil on canvas37cm x 76cm (14.5in x 30in)Provenance: Brett Studio Sale, Christie's 15 Feb 1902 (107);Bought by Earle 26 guineas;Frost & Reed, London;Neales of Nottingham Dec 2005 (713);Abbott & Holder Ltd, LondonLiterature: Christina Payne, John Brett. Yale UP 2010. Cat 1407 ill p.238Note: This work, unusually for the artist, seems to portray a purely imaginary subject. It formed the model for a larger version, measuring 42" x 84", with the same title (currently unlocated). This was exhibited at the Royal Academy in 1894 with the following explanatory note:"They had habitually lain in wait to throw stones at him, but when he set out to quit their inhospitable shore they were sorry."
- A SCHWINN HORNET BICYCLEA Schwinn Hornet
A SCHWINN HORNET BICYCLEA Schwinn Hornet bicycle, 1962 Serial number: E214075 With cantilevered tubular frame in Radiant red with ivory trim and with fender light, bell, and rear luggage carrier 40" H x 26.25" W x 71" D Dimensions: 40" H x 26.25" W x 71" D
- WINCHESTER MODEL 70 BOLT ACTION RIFLEWINCHESTER
WINCHESTER MODEL 70 BOLT ACTION RIFLEWINCHESTER MODEL 70 BOLT ACTION RIFLE, 300 magnum caliber, 26" barrel, blued finish, checkered walnut stock, internal box magazine, hinged floor plate, Zeiss 3-9x36 scope, padded brown leather sling, metal butt plate, serial #140755, manufactured 1950. Lot requires FFL or background check.
- APPLE THUNDERBOLT DISPLAY DESKTOP COMPUTER
APPLE THUNDERBOLT DISPLAY DESKTOP COMPUTER Model A1407.
- TEN BING AND GRONDAHL, ROYAL COPENHAGEN,
TEN BING AND GRONDAHL, ROYAL COPENHAGEN, AND ROYAL DOULTON PORCELAIN DOGS, INCLUDING: BING AND GRONDAHL GREYHOUND, NUMBERED "2079", 4" H. X 11 1/2" L.; THREE ROYAL COPENHAGEN DOGS, INCLUDING TWO DACHSHUND AND A POINTE...Ten Bing and Grondahl, Royal Copenhagen, and Royal Doulton porcelain dogs, including: Bing and Grondahl greyhound, numbered "2079", 4" h. x 11 1/2" l.; three Royal Copenhagen dogs, including two dachshund and a pointer puppy, numbers "3140", "1407", and "1311"; six Royal Doulton dogs, various species; all dogs have marks at base, wear consistent with age.
- LEICA III CAMERA IN CASE S/N 118558
LEICA III CAMERA IN CASE S/N 118558 Leica III chrome black dial, s/n 116558 (1933), in original leather case, excellent, with Summar f=5 1:2 s/n303081 lens, unused strap; PLUS Elmar f=3.5cm 1:3.5 lens s/n356248, in case; PLUS Hektor f=5cm 1:2.5 lens s/n 140797, with case; PLUS third empty lens case.
- RED SKELTON. "FREDDIE'S BIRTHDAY," GICLEE
RED SKELTON. "FREDDIE'S BIRTHDAY," GICLEE Giclee on canvas, ed. 1407/2000, signed and copyrighted, 18 x 14 in., framed.
- Eclectic jewelry grouping to include
Eclectic jewelry grouping to include Elsa Peretti for Tiffany and Co. sterling starfish cufflinks, Reed and Barton owl sterling pendant whistle, sterling pocket knife pendant, sterling Trifari crown brooch, design patent no. 140779, lackiing (2) faux pearls, losses to pearlization and bend to pin, turtle tie tack, NYE sterling screw back earrings, Beau sterling rose brooch, sterling screw back flower earrings, sterling arrowhead pendant with repair, sterling torah pendant with dent at back, sterling oak leaf screw back earrings, (2) sterling bracelets, Boy Scouts pin, Timex expedition indiglo dial wristwatch, an assortment of 20thc world coins, Coca Cola swatch watch, (3) enameled metal pair cases, (1) with nearly all enamel lost and (1) Etui de Poche 1881 Brevete leather watch case.
- ROMAN FRESCO OF A SWAN
1ST CENTURY A.
ROMAN FRESCO OF A SWAN
1ST CENTURY A. D. the swan holding in its beak one end of a foliate garland, with alternate pale and dark ochre leaves, atop a green, white and red Ionic column capital, on a red ground, with pale blue border separated by a thin white line, mounted in a wooden frame 47.5cm high, 76.5cm widePublished: Antiquities, Christie’s, London, 7th October 2010, Lot 147. Antiquities & Islamic Art, Hindman Auctions, Chicago, 16th June 2020, Lot 161.Provenance: Previously in the Private Collection of Jonathan P. Rosen, North America, 1974. Private Collection (inventory no. 14071), North America. Sold at: Antiquities & Islamic Art, Hindman Auctions, Chicago, 16th June 2020, Lot 161. Acquired from the above sale. ALR: S00202203. Accompanied by IADAA certificate, this item has been checked against the Interpol database
- LADIES' TAG HEUER "FORMULA 1" PROFESSIONAL
LADIES' TAG HEUER "FORMULA 1" PROFESSIONAL STAINLESS STEEL AND DIAMOND BEZEL SWISS QUARTZ WATCH 37 mm case, fits up to 7 ?" wrist Ladies' stainless steel Tag Heuer "Formula 1" Professional quartz watch, 200 meters water resistant tested, sapphire crystal, ref #WAC1214, # LB1407; black dial, Arabic numerals and hour marks, luminescent dots, luminescent hands; date aperture at 4:30; diamond bezel, set with 120 round brilliant cut diamonds, total estimated diamond weight 0.75 ct.
- 1966 Selmer Mark VI, made in France,
1966 Selmer Mark VI, made in France, brass alto saxophone, serial# M 140790, with original accessories/parts all in original felt-lined case.
Case: 10.5"h x 24.5"w x 7"d
Condition: One owner, excellent condition, not played recently.
- King's Pattern Sterling Teaspoons American
King's Pattern Sterling Teaspoons American an assembled group of forty-nine coin and sterling silver King's Pattern teaspoons twelve marked Ball Black & Co. twelve marked R.& W.W and four marked R & W. Wilson each for Robert and William Wilson six marked Sterling with hallmarks for Dominick & Haff ten marked Clark Coit and Cargill two marked E.D. Barnum & Co. one marked S.S. Culter & Co. / Lex. KY one marked F. Veiser and one marked G.H. / Sterling; lg. 5.75 in. silver wt. 45.23ozt (1407g). Property of Caswell and Sara Lane Condition: Minor dents.
- Beswick Grey Arab Foal 1407 and Grey
Beswick Grey Arab Foal 1407 and Grey Foal grazing 946 (2)