We found 4745 price guide item(s) matching your search
There are 4745 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
Lot 285
PUNK/ POST-PUNK/ NEW WAVE - 7" RARITES PACK. A quality selection of 9 punky 7" singles. Artists/ titles include Long Tall Shorty - By Your Love (K17491, record Ex/ sleeve VG+), The Thought Police (EX263, side 1 Ex/ side 2 VG, small feelable mark on track 1. Sleeve Ex), Grinder - Wickford's So Boring (EAR 2, red vinyl), Executives/ Jonnie & The Lubes (RB/05/EP, with insert), Eric Gavin - Lucinda (EG1), X-Pupils - Montpellier News (SKREP 0001), Zorro - Arrods Don't Sell'em (BHEP1), Satan's Rats - In My Love For You (DJS 10819, prom) and Interface - Automaton (HIT 2358). Condition is generally VG+ to Ex+.
Lot 168
AN EXTREMELY FINE & RARE 18K SOLID GOLD, SOLID SILVER, LAPIS LAZULI, DIAMOND AND ENAMEL AUTOMATON "THE CONJUROR" DATED 1990, MADE BY BOUCHERON PARIS A lapis lazuli base with 18k solid gold mounts measuring 20.5cm by 19cm. The solid silver Magician, inlaid with lapis lazuli and diamond set stars.The solid silver table and chair in a dark red enamel with a mother of pearl checked board. Measures approx. 31.5cm tall.
Lot 556
A late 19th century French or Swiss musical, automaton and time piece, the white enamel dial housed in a watermill with rotating paddle wheel driven by the musical box movement, numbered 8620, also driving the three mask schooner that sailing on the water, single piece comb playing on a brass drum, the glass dome with mountain and lake scene, two handles for the music box and cord for winding, 34 x In need of further restoration, clock not working, two teeth broken from comb, music box works for a while but in need of a service/overhaul, ship has replacement sails, waterwheel does not turn smoothly
Lot 427
ARR John Maltby (1936-2020) A wall hanging automaton with rocking boat 'Albert' on the Atlantic Ocean, named buildings on the coast including 'A. Wallis...His House', 'Lighthouse Keeper', 'Coastguard' and 'Customs House', signed John Maltby, England verso, 33cm high x 25.5cm wideNeeds a bit of a clean but overall good condition
Lot 4640
Spindel-Taschenuhr mit Automat, deutsch, um 1800 Emailliertes Zifferblatt mit fein gemalter Schlachtszene und Erinnerungsinschrift "Bataille bei Arcola gewonnen von Bonaparte den 16 November 1795". In der lünettenförmigen Öffnung wechseln sich ein Reiter, ein Gespann und eine Soldatentruppe ab, das Schlüsselloch am Rande gechippt (leicht haarrissig, der Schlüssel fehlt). Das Werk mit Spindelhemmung funktionstüchtig. In Gehäuse aus Silber. Länge 8 cm, Durchmesser ca. 6 cm. A German verge pocket watch with automaton, circa 1800 A German verge pocket watch with automaton, circa 1800 Emailliertes Zifferblatt mit fein gemalter Schlachtszene und Erinnerungsinschrift "Bataille bei Arcola gewonnen von Bonaparte den 16 November 1795". In der lünettenförmigen Öffnung wechseln sich ein Reiter, ein Gespann und eine Soldatentruppe ab, das Schlüsselloch am Rande gechippt (leicht haarrissig, der Schlüssel fehlt). Das Werk mit Spindelhemmung funktionstüchtig. In Gehäuse aus Silber. Länge 8 cm, Durchmesser ca. 6 cm. Condition: II -
Lot 483
Automaton Antique Doll circa early 20th Century Bisque doll with fixed eyes. With key in working order with twisting head and moving arm. Lace overskirt. Moves on wheels. Complete with parasol. Height approx. 54cm Condition: Wear commensurate with age and use. Generally good. Under skirt showing some signs of wear.
Lot 723
A Georgian oak longcase clock, by T. Pilch of North Walsham, the dial break arch with a painted automaton of a blacksmith at his forge, square dial with chapter ring bearing Roman and Arabic numerals, subsidiary seconds dial, and date aperture, two train eight day movement with bell strike, in the hood with three brass finials, and brass capped pillars, with a plain trunk, raised on bracket feet, with pendulum, weights and key, 220cm high. On initial inspection the case and movement appear good. The dial, however, looks to have been extensively repainted, particularly the clock maker's details, chapter ring, and seconds dial, and may be a marriage with the case.
Lot 7704
Oostenrijk, vruchtenhouten pendule met automaton, J. Straub Wien, circa 1830; Uurwerk uitgevoerd met gaand- en slagwerk op bel. Geplaatst in architectonische vruchtenhouten kast met albasten zuilen, koperen appliques, spiegelachterwand en florale decoratie in het vloertje. Geheel bekroond door vaasornament. Wijzerplaat met koperen mechaniek van Amor die pijl smeed op aambeeld, omringd door email cijferring met Arabische cijfers. (cijferring beschadigd, bel los). h. 46 cm, b. 26 cm, d. 12 cm Christie's Amsterdam, European Noble and Private Collections, sale 2811, 24-25 June 2008, lot 24 [1] An Austrian gilt-brass mounted, walnut, fruitwood, albaster and pen-engraved automation mantel clock, J Straub, Wien, first quarter 19th century
Lot 675
A George III mahogany eight-day musical automaton table clock, Benjamin Ward, London, the silvered dial in polychrome floral surround above miniature selector dials for MINUET/AIRE/JIG and MARCH and STRIKE/SILENT above a painted automaton scene of figures and swans crossing a river, the movement with verge escapement playing on eight bells, striking on a ninth, the backplate engraved with Ho Ho bird, in breakarched, finely figured case surmounted by a tempietto with brass pillars, finials and pineapples, caryatid and rococo frets, on outset bracket feet, pendulum, 107cm h In good restored, retail condition. The movement is clean, runs smoothly, functions on Stike Silent and chimes. In addition to the strike bell there are eight graduated bells flanked by a total of nineteen hammers (8 plus 11). The repeat board also activates the tune and automaton. Please note in the interests of full disclosure that a staff member of Mellors & Kirk has an interest in this lot being a relative of the original purchaser, now deceased.
Lot 166
A CLOCKWORK AUTOMATON OF TWO DANCING GIRLS, marked 'American Mechanical Toy Co. NY' to underside of lid, c. late 19th/early 20th Century, two wooden dolls with jointed limbs on vertical rods connecting them to the clockwork mechanism, which is contained in a mahogany box with faded and worn pictorial transfer to front, in working order, dolls both complete but have some paint loss, wear and damaged/missing clothing, box complete but has some minor damage, marking and wear, with replacement Hornby key, height of dolls approx. 14cm, height of box & dolls together approx. 26cm, width of box approx. 16cm, depth of box approx. 9cm, with two boxed Pelham Jumpette Puppets Golly and Clown, both appear complete and in good condition with only very minor paint loss and wear, boxes but have minor damage, marking and wear. These items are listed on the basis that they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical content fosters greater understanding of our complex cultural history (3)
Lot 152
Rare tableau-horloge avec automates attribué à Xavier Tharin de la seconde moitié du XIXe siècleA rare automaton picture clock attributed to Xavier Tharin, second half 19th centuryDepicting an idealised painted landscape with a seashore town and the countryside to the background, presenting various mechanical novelties, including moving boats, a train, a windmill and a fountain, the circular enamelled clock dial framed within the right hand side tower house, the musical mechanical movement activates hourly, and within a foliate carved glazed frame, 107cm wide, 31cm deep, 85cm high (42in wide, 12in deep, 33in high)Footnotes:Xavier Tharin is recorded working in Paris, circa 1860.The celebrated Anatole France describes a very similar mechanical painting clock from his childhood in his book 'Le Livre de mon ami', published in 1855: '...the dining room is very peculiar because of a clock painting that represents a mountain by the sea with a church, under a blue sky. And when the hour strikes, a ship starts navigating on the waves, a locomotive with its carriages emerges out of a tunnel and a air balloon rises... It seems that the train, the ship and the balloon only departed every hour and that's a long time, an hour...'This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Lot 161
Curios. A collection of 19th century Victorian and 20th century Edwardian collectables. The lot comprising The Atlas Continuous Spray in orig. box, a small automaton music box, a US Eveready Electric Flashlight Serial No. 267625, a Swiss made travelling desk clock in green morocco case, The Wonderscope by A. H. Baird pord. Scientific Novelities Ltd., a pair of opera glasses in white metal & mother of pearl panelling complete with handle presented in recent velvet pouch, a Kodak film reel tin, a Pathe tin similar & another.Wonderscope box measures approx. 6cm x 21cm x 11cm.
Lot 819
Puppenautomat Tanzendes Paar. H 22 cm. Dame mit Brustkopf, blauen Glasaugen, blonder Mohairperücke und Kleid mit rotem Rock und Schürze. Herr mit Kurbelkopf, blauen Glasaugen, Mohairperücke, Tirolerhut und schwarzer Samthose. Altersspuren. 1 Hand und eventuell Beine ergänzt. Uhrwerk läuft, aber Figur bewegt sich nicht. Aufrufzeit 24. | Okt. 2024 | voraussichtlich 10:11 Uhr (CET) Dancing couple doll automaton. H 22 cm. Lady with crank head, blue glass eyes, blonde mohair wig and dress with red skirt and apron. Gentleman with crank head, blue glass eyes, mohair wig, Tyrolean hat and black velvet trousers. Signs of age. 1 hand and possibly legs replaced. Movement runs, but figure does not move. Call time 24 | Oct. 2024 | probably 10:11 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 507
A MUSICAL AUTOMATON PICTURE OF DANCING SAILORS BY GUSTAVE VICHY CIRCA 1890two polychrome metal sailors with articulates knees and hips, with painted background depicting a harbour, the case with handle, housing a musical key winding movement with key and stop/start. 35cm high, 40cm wideOn May 30, 1764, in Paris, King Louis XV (1710–1774) watched as a gold-plated mechanical duck sat on a podium. The duck proceeded to stand up, flap its wings, stretch out its long neck, and peck at some grain, much to the King's delight. For its grand finale, the duck sat down, settled itself, and then, with a loud quack, stood up once more and—miraculously—defecated onto a silver dish. Canard Digérateur automaton was a mechanical miracle.Voltaire (1694–1778) hailed Jacques de Vaucanson (1709–1782), the inventor of the Canard Digérateur, or Digesting Duck, as the modern Prometheus. While King Solomon is said to have had a throne guarded by mechanical beasts, the origins of automata can be traced back to ancient Greece. Hero (or Heron) of Alexandria, a Greek engineer and mathematician, wrote a treatise on making automata and designed several impressive devices. During the Middle Ages, automatons were used in clock towers to indicate the passing of time and to entertain the public. However, it was from the mid-18th century to the end of the Victorian era that the art of building automata truly flourished. These machines captivated audiences with their complexity and humour.The tradition of automata continued into the late 19th century, especially in Paris, with the expanding market pioneered by makers such as Roullet & Decamps (established in 1886), Léopold Lambert (founded in 1866), and Gustave Vichy (established in 1862).Gustave Vichy, born in 1839 in Paris, took over his family's mechanical toy business after his father went bankrupt. He improved the mechanisms by using metal parts and shifted focus to musical automata. In 1864, he married Maria Teresa Burger, who designed fashionable doll clothes. Vichy innovated in automata production and achieved recognition with awards, including a gold medal at the 1880 World Fair in Melbourne. His son Henry later renamed the firm G&H and integrated phonographs into their products.A similar example is illustrated in Jack Tar A Sailor’s Life: 1750-1910 Marine Art & Antiques, p.151. Condition Report: In good working condition - both mechanically and musicallyGood presentable conditionSome flaking to figures and spots of overpainting to the backgroundWith winding key and start/stopInscribed label versoCase sealed preventing easy access to movementSome minor flaking to outer gilt frameSee images
Lot 269
A Swiss gilt white metal and enamel cased singing bird automaton music box, by Charles Bruguier (1788 - 1862); of rectangular form, the hinged oval cover decorated with a Lake and Mountain landscape, the spandrels with flowers on a light blue ground; the front, back, sides and underside with foliate and floral engraving, to recessed lobed corners; a hinged compartment at the back housing the key; the pop-up cover with conforming enamel decoration to its underside, the coloured feathered bird rising amongst pierced gilt metal foliate filigree work; 4cm high, 9.5cm wide, 6cm deep With original purple velvet lined leather retail case.
Lot 507
A late 19th century automaton landscape depicting an oil painted rural scene of a church beside a river, the tower having a clock dial behind which is set a chain fusee timepiece watch movement with engraved balance cock to the verge escapement and signed Ambrose, London, No. 902, with a windmill on the banks of the river having sails moving via a pulley from the movement, with a gilt-wood frame, dimensions 48.5cm x 36cm.
Lot 19
A J. H. Animations automaton of a fisherman with composite hands and face, beard, yellow hat and coat, and a net, electronic function moving both arms and head, 33 1/2" tall (Est. plus 24% premium inc. VAT)Condition Report: Working order. Some wear to one hand. Generally good, but does show some minor age.
Lot 7186
Dixon of Hexham - 19th century oak and mahogany 30-hour longcase clock, with a flat top and break arch hood door beneath, trunk with canted corners and a pointed top door, on a rectangular plinth with a shaped base, painted dial with floral spandrels and a Father Time automaton to the arch, with Roman numerals, seconds and date dials and brass hands, dial pinned via a false plate to a chain driven countwheel striking movement, striking the hours on a bell. With pendulum and weight.Dimensions: Height: 210cm Length/Width: 48cm Depth/Diameter: 23cm
Lot 441
A 19th Century Mahogany Longcase Clock, by Samuel Adcock, the 12ins arched painted dial with Roman numerals, subsidiary seconds dial and date aperture, with see-saw automaton to arch, to the eight day two train movement striking on a bell, contained in case inlaid with cross bandings, with arched and moulded cresting and fluted columns to hood, arched trunk door, on plinth base with later shaped apron, 92ins highTrunk not including the plinth or hood back board - 40ins high x 14.5wide. Hood to top of finial mount 28ins height x 21ins wide
Lot 5
GERTRUDE HERMES (BRITISH 1901-1983) HAND AND BABY - 1929 Wood engraving, signed ‘GH’ in print, dated and inscribed ‘With love and best wishes from Blair, Gert, Judith & Simon' in ink to margin image size 11.5cm x 7.75cm (4.5in x 3in), unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
Lot 13
GERTRUDE HERMES (BRITISH 1901-1981) THREE WOOD ENGRAVINGS FOR 'THE NATURAL HISTORY OF SELBOURNE': HERON; FISH; STAG Wood engravings (3) each image 22cm x 14.5cm (8.75in x 5.75in), unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
Lot 18
WILLIAM MCCANCE (SCOTTISH 1894-1970) THREE WOOD ENGRAVINGS MOUNTED TOGETHER llustration to 'Clych Atgot' (a);Illustration to ‘Clych Atgot' (b);Memorial to Sir John Rhys, signed in print (3) image size 13cm x 9cm (5in x 3.5in); 4.25cm x 5.5cm (1.75in x 2.25in); 10.25cm x 8.5cm (4.25in x 3.25in), each unframed From the Estate of William McCance. Exhibited: Dundee City Art Gallery, William McCance Exhibition, cat.no.50 The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
Lot 20
WILLIAM MCCANCE (SCOTTISH 1894-1970) THREE DRAWINGS: SCRUBBING; WORKING; SLEEPING Pencil on paper (3) 30.5cm x 40.5cm (12in x 16in); 40.5cm x 30.5cm (16in x 12in); 32cm x 22cm (12.5in x 8.75in) From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
Lot 6
GERTRUDE HERMES (BRITISH 1901-1983) ADAM AND EVE - 1933 Wood engraving, 29/30, signed, dated, numbered and inscribed with title to margin the sheet 46cm x 28.75cm (18in x 11.25in), unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
Lot 17
GERTRUDE HERMES (BRITISH 1901-1983) SAN MARCELLO, ITALY - 1925 Wood engraving, 3/30, signed, dated and numbered in pencil to margin image size 19.5cm x 26cm (7.75in x 26in), unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
Lot 12
CLARE LEIGHTON (ENGLISH/ AMERICAN 1898-1989) LOADING, FROM THE LUMBER CAMP SERIES - 1931 Wood engraving, 89/100, signed, numbered, inscribed with title and dedicated ‘To Agnes Miller Parker, in great admiration of her’ in pencil to margin image size 22.5cm x 30cm (8.75in x 12in) From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
Lot 11
GERTRUDE HERMES (BRITISH 1901-1983) THREE CHRISTMAS CARDS The Dark Hour, Wood engraving, with printed message inside ‘All good wishes for Christmas and the New Year, from Dick and Naomi Mitchison. River Court, Hammersmith Mall, London, W.6’, and with poem The Dark Hour printed verso;Clasped Hands, Wood engraving, with printed message inside ‘Greetings and Good Heart for Christmas and The New Year. Gertrude Hermes. 65 Black Lion Lane, W.6’;Snowdrop, Wood engraving, with printed message inside ‘Greeting for Christmas and the New Year from Gertrude Hermes’ (3) image size 16.5cm x 13.5cm (6.5in x 5.25in); 8.5cm x 10cm (3.25in x 4in); 15cm x 11cm (6in x 4.25in), each unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
Lot 22
WILLIAM MCCANCE (SCOTTISH 1894-1970) THREE CAT SKETCHES Pencil sketch (3) each 17.5cm x 23cm (7in x 9in), unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
Loading...