Min WARDMAN (1951-2024) Abstract With Leaf Motif Oil on canvas, studio stamp verso, 38.5cm x 12cmMin Wardman (1951-2024) Artist - Feminist - Gardener Min was born in Yorkshire in 1951, her mother an artist, father a civil engineer. After a comprehensive education she was awarded an opportunity to study art in Birmingham, followed by postgraduate studies in both History of Art and Painting in London. After graduating, Min found the London party scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing a Community College and it is here that Min worked, developing Textile and Print-making courses across Bideford College, promoting modern ideas of Art and Art Education. After being promoted to Head of Department, teaching painting, ceramics, textiles and design, Min realised she wasn't having enough time to create her own work, so went part-time. Min studied art all her life and motifs were often found within her work. Landscape is a near constant: there are stone monuments, myths and legends, birds and plants and others which pass in and out of her work. Favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverence and female artists, such as Barbara Hepworth, Rose Hilton, Wilhelmina Barns-Graham, Frida Kahlo and Tracey Emin were admired for their ability to keep working despite the patriarchy. Min was very private about her art, never exhibiting, rarely signing her work, allowing people into her studio or even talking about it. For her, art was her expressing her thoughts and not for the public to analyse or judge. On the wall of her studio were two unattributed quotes: 'Painting down to the bones of the matter', and 'Make slow paintings with mystery'. When Min died in 2024, she requested no announcement, funeral or obituary, - 'throw my body out in the orchard for the dogs...'
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Min WARDMAN (1951-2024) Poetry Oil on canvas, studio stamp verso, 25cm x 25cm, 28.5cm x 28.5cm framed.Min Wardman (1951-2024) Artist - Feminist - Gardener Min was born in Yorkshire in 1951, her mother an artist, father a civil engineer. After a comprehensive education she was awarded an opportunity to study art in Birmingham, followed by postgraduate studies in both History of Art and Painting in London. After graduating, Min found the London party scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing a Community College and it is here that Min worked, developing Textile and Print-making courses across Bideford College, promoting modern ideas of Art and Art Education. After being promoted to Head of Department, teaching painting, ceramics, textiles and design, Min realised she wasn't having enough time to create her own work, so went part-time. Min studied art all her life and motifs were often found within her work. Landscape is a near constant: there are stone monuments, myths and legends, birds and plants and others which pass in and out of her work. Favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverence and female artists, such as Barbara Hepworth, Rose Hilton, Wilhelmina Barns-Graham, Frida Kahlo and Tracey Emin were admired for their ability to keep working despite the patriarchy. Min was very private about her art, never exhibiting, rarely signing her work, allowing people into her studio or even talking about it. For her, art was her expressing her thoughts and not for the public to analyse or judge. On the wall of her studio were two unattributed quotes: 'Painting down to the bones of the matter', and 'Make slow paintings with mystery'. When Min died in 2024, she requested no announcement, funeral or obituary, - 'throw my body out in the orchard for the dogs...'
Min WARDMAN (1951-2024) Untitled Two mixed media collages framed as one, studio stamp verso, each 15cm x 21cm, 51cm x 40cm framed.Min Wardman (1951-2024) Artist - Feminist - Gardener Min was born in Yorkshire in 1951, her mother an artist, father a civil engineer. After a comprehensive education she was awarded an opportunity to study art in Birmingham, followed by postgraduate studies in both History of Art and Painting in London. After graduating, Min found the London party scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing a Community College and it is here that Min worked, developing Textile and Print-making courses across Bideford College, promoting modern ideas of Art and Art Education. After being promoted to Head of Department, teaching painting, ceramics, textiles and design, Min realised she wasn't having enough time to create her own work, so went part-time. Min studied art all her life and motifs were often found within her work. Landscape is a near constant: there are stone monuments, myths and legends, birds and plants and others which pass in and out of her work. Favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverence and female artists, such as Barbara Hepworth, Rose Hilton, Wilhelmina Barns-Graham, Frida Kahlo and Tracey Emin were admired for their ability to keep working despite the patriarchy. Min was very private about her art, never exhibiting, rarely signing her work, allowing people into her studio or even talking about it. For her, art was her expressing her thoughts and not for the public to analyse or judge. On the wall of her studio were two unattributed quotes: 'Painting down to the bones of the matter', and 'Make slow paintings with mystery'. When Min died in 2024, she requested no announcement, funeral or obituary, - 'throw my body out in the orchard for the dogs...'
Wade (Charles Paget, 1883-1956) Six studies of farmhouses in rural France, pencil and black chalk, six sheets between approx. 90 x 65 mm (3 1/2 x 2 1/2 in) and 100 x 140 mm (5 1/2 x 3 1/4 in), presented in one mount, minor surface dirt and light browning, framed, [early 20th century]Provenance:The Wade Collection, from Wade's library, Temple Fortune, North London;Ben Weinreb, London Collection of John and Eileen Harris*** Charles Paget Wade was an English architect, artist-craftsman and poet of Afro-Caribbean descent; today he is perhaps best remembered for the eclectic collection he amassed during his life, a collection which can be seen at Snowshill Manor, his former home in the village of Snowshill, Gloucestershire, which he gave to the National Trust in 1951. In 1919, after service in France during World War I, Wade purchased the estate at Snowshill, which he restored – first the manor house, then the gardens – over the next four years. Having started collecting at the age of 7, Wade eventually built up a collection of more than 22,000 items of furniture, clothing, paintings, and many other pieces which reflected his interest in colour, design and good craftsmanship. He housed the collection in the manor house at Snowshill, choosing to live in a small cottage in the garden. He continued to add to his collection over the years. The objects he collected included musical instruments, clocks, bicycles, and 26 sets of samurai armour.During his lifetime, Wade gained some renown for his creation of a miniature 18th century Cornish fishing village, which he named Wolf's Cove. Wade rendered its houses, harbour, fishing boats and gear, and inhabitants, in 1:10 to 1:12 scale, from wood, straw, plaster, textiles and other materials. Over time, he expanded Wolf's Cove such that it attracted hundreds of visitors a year, including Virginia Woolf, Queen Mary, and the poet John Betjeman. [Wikipedia]
ARNE JACOBSEN "Stehlampe AJ" Hersteller: Louis Poulsen, 70er./80er. Jahre, H: ca. 130 Alters-und Gebrauchsspuren.Die AJ Stehleuchte ist ein Entwurf für das Radisson SAS Royal Hotel in Kopenhagen, das 1960 eingeweiht wurde. Arne Jacobsen schuf nicht nur das Gebäude, er entwarf auch die gesamte Inneneinrichtung, unter anderem Möbel, Besteck, Textilien und Leuchten und schuf damit eines der ersten Design-Hotels der Welt.| ARNE JACOBSEN "Floor lamp AJ"Manufacturer: Louis Poulsen, 70s/80s. Years, H: approx. 130 Signs of age and use.The AJ floor lamp was designed for the Radisson SAS Royal Hotel in Copenhagen, which was inaugurated in 1960. Arne Jacobsen not only created the building, he also designed the entire interior, including furniture, cutlery, textiles and lighting, thus creating one of the first design hotels in the world.
Assorted Early 20th Century Eastern Textiles, Embroidery and Lace comprising a red, black, white striped wool blanket 150cm by 190cm,cream linen panel comprising two panels stitched as one, silk embroidered in red, blue, green and black in a variety of stitches with fringed ends 86cm by 195cm,cream linen hand towel embroidered with red and blue floral and other designs, text and appliqué trims 41cm by 160cm,linen shaped panel embroidered with pale blue silk with lace insertions and trims and a similar trim,other linen etc,(one box)Property of the Late Robert Bogdan, Aberdeenshire
Collection of Lace Trimmings and Textiles, comprising two lace mounted parlour hats and a lace bed cap,embroidered lace flounce, bonnet veil, three pairs and various single engageantes,lace collars and cuffs, modesty panels, handkerchieves,length of black wool embroidered in gilt metal with doves holding olive branch and floral motifs and yellow silk fringing 35cm by 270cm, and a black silk grosgrain shoulder cape with bead and lace trms,(one box)
Assorted Chinese and Eastern Textiles, comprising embroidered silk sleeve bands and panels, Chinese paper scroll depicting a seated scholar with a yellow background,small painted silk panel,1 volume Sword and Blossom Poems from the Japanese, illustrated,straw work face screen appliqué with woven coloured straw blossom flower heads,two similar woven straw bags with geometric decoration and a plain example 41cm by 23cm, and a smaller example,(one box)Property of the Late Robert Bogdan, Aberdeenshire
Early 20th Century Canadian Old Maid's Puzzle Pattern Patchwork Quilt, made in Sunderland, Canada comprising spotted stone cotton patches on a white background, hand quilted, cream to the reverse, with original sale label bought from Ann Davey Antique Textiles or Rural Canada, 190cm by 225cm,and an Indigo Blue Bear Paw Pattern Bed Cover, stylish design worked on a white cotton ground, trimmed with navy spotted cotton, cream to the reverse, 195cm by 220cm,(2)Blue Quilt - condition shows mainly wear, no marks or repairs, colours slightly faded.Cream Patched Quilt - lots of rubbing and wear overall, loose threads fraying to the edges, some patched repairs, brown spotting and marks.
Early 20th Century Indian and Ottoman Textiles, comprising two linen hand towels with decorated silk and silver floral embroidery (one mounted onto a panel),a similar style embroidery mounted onto a plum velvet bag, a white cotton bonnet finely embroidered with a blue trellis design, a cream linen panel embroidered in red, navy and yellow silk to the ends, blanket stitch style edging 86cm by 125cm,a red cotton panel embroidered with cream silk flowering trees to the ends and decorative motifs in cream and blue to the edges, and 'H' shaped embroidery to the centre 135cm by 215cm,(one box)Property of the Late Robert Bogdan, Aberdeenshire
19th Century Baby Bonnets comprising three similar embroidered cotton bonnets, another embroidered with flower heads on a gauze ground, Maltese lace cap, cream net example with embroidery and two others,Textiles comprising a white cotton muslin panel with embroidered decoration, another with floral cartouches, cream wool blanket with scalloped hem etc,(one box)The Late Robert Bogdan, Barra Castle, Aberdeen
Assorted Textiles of Various Dates, comprising a floral printed cotton panel with decorative flowerheads and feathers 130cm by 185cm, Indian printed cotton wall hanging depicting the Tree of LIfe in red and mauve palette 180cm by 265cm, two Sanderson Fabrics brocade samples in pink and yellow and a similar floral sample, various lengths of glazed and unglazed printed cotton remnants including Bouvard by Sanderson another with a lute, black and white striped canvas remnant etc, (one box) Property of the Late Robert Bogdan, Aberdeenshire
Eastern Textiles comprising an ochre yellow silk shawl with woven paisley and vine leaf design trim 150cm square,a black wool shawl embroidered in cream silk 150cm square,red wool bonnet with decorative embroidery in cream and red, gilt metal and silk embroidered tea cosy,black silk Chinese collar, and a black wool book mark embroidered with cream floral sprigs and cream silk ribbon attachments,(one box)
Eastern Costume and Textiles, comprising a black wool waistcoat with gilt metal embroidery, pair of cream velvet low heeled shoes with gilt metal embroidery,yellow and cream woven and embroidered shawl,orange wool scarf machine woven with paisley motifs, silk woven shawl,wool embroidered small panel of Isnik design mounted onto a board,two lengths of floral wool embroidery trims,(one box)Property of the Late Robert Bogdan, Aberdeenshire
18th Century and Later Textiles and Embroideries, comprising a length of cream silk floral brocade dress fabric, approx 53cm by 130cm, embroidered on cream silk depicting a bird on a branch, two short pale pink silk trims woven with silk and metallic embroidery, applique with gilt metal sequins and glass stones, pair of black velvet braces silk embroidered with floral motifs, petit point floral trim, brocade belt, pair of child's white kid leather gloves, cotton lace trims, and three Italian basket weave cloche hats, with original labels, (one box) Property of the Late Robert Bogdan, Aberdeenshire
A Large Quantity of Modern Dolls House Figures all fully dressed, including figures from the nativity, others in Victorian dress, some by Anne- Marie Beglana and Gill Bennette, a miniature Victorian pram by Stan Taylor, peddler doll, three felt mice under a glass dome, dolls house textiles etc (2 boxes)
Assorted Costume and Accessories comprising a Liberty wool two-piece, a Liberty jacket with waist tie, assorted modern waistcoats in Crewel Work woven and Liberty silks, a floral chiffon long-sleeved maxi dress and various handbags including Chelsea Textiles Design, Arcadia, Abaco and Offsprey etc and two modern quilts(two boxes)
IN MANNER OF HOWARD & SONS AN UPHOLSTERED ARMCHAIR; FIRST QUARTER 20TH CENTURY In later William Morris 'birds' fabric; with metal casters to the two front legs. 95cm high, 72cm wide, 79cm deep Provenance: Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent Literature: Linda Parry, William Morris Textiles, George Weidenfeld & Nicolson Ltd, London, 1983, p.152 for the 'birds' fabric design.
IN MANNER OF HOWARD & SONS AN UPHOLSTERED ARMCHAIR; FIRST QUARTER 20TH CENTURY In later William Morris 'birds' woven fabric, with cabriole legs 88cm high, 81cm wide, 73cm deep Provenance: Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent Literature: Linda Parry, William Morris Textiles, George Weidenfeld & Nicolson Ltd, London, 1983, p.152 for the 'birds' fabric design.
WILLIAM MORRIS (ENGLISH, 1834-1896) PAIR OF 'BIRDS' CURTAINS; DESIGNED IN 1878; 20TH CENTURY Woven woollen double cloth. Each curtain; 222cm drop, 362cm wide (approximately) Provenance: Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent Literature: Linda Parry, William Morris Textiles, George Weidenfeld & Nicolson Ltd, London, 1983, p.152 Condition Report: In very good condition. Clean and with a dense quality to the fabric, no detected blemishes, damages or repaired patches. Lined - some discolouration to the lining from sun exposure. Must be late 20th century (perhaps even early 21st century) and well cared for by previous owner.Condition Report Disclaimer
PHILIP WEBB (1831-1915) FOR MORRIS & CO. 'SUNFLOWER' TABLE; CIRCA 1880 Mahogany; scalloped edged circular top raised on slightly curved legs with leaf carving and linked by stretchers centred with a carved sunflower Stamped to underside 'MORRIS & CO./ OXFORD ST /1861' 68cm high, 76cm diameter Provenance: Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent Literature: John Andrews, Arts and Crafts Furniture, Antiques Collectors Club, 2005, pl. 52 Jeremy Cooper, Victorian and Edwardian Furniture and Interiors, Thames and Hudson, 1987, pl. 450 In Cooper's publication the table design can be seen in the foreground of a period illustration of the drawing room of Standen House, which was furnished by Webb for the Beale family, in 1894.Philip Webb's 'Sunflower table' is a quintessential example of Arts and Crafts furniture that deeply reflects the design principles and craftsmanship championed by Morris & Co. during the late 19th century. Webb, one of the founding figures of the Arts and Crafts movement was a close collaborator of William Morris.Emerging in the mid-19th century, the movement was a response to the rapid development of industrialisation that prioritised mechanisation over craftsmanship. It wanted to reunite art with labour, celebrating the skill of the artisan and the integrity of natural materials. Morris & Co., established in 1861, became a cornerstone of this movement, producing everything from furniture and textiles to wallpaper and stained glass, all reflecting the company's commitment to a revived aesthetic and social responsibility.Webb's role in the company was pivotal. While Morris provided the ideological foundation for the firm, Webb was often the architect of the movement's design ethos, translating its principles into physical forms. Known for his sensitivity to both materials and function, Webb's designs are characterised by simplicity, an appreciation for traditional craftsmanship, and motifs drawn from nature. This table's subtle botanical influences are a fitting illustration of his approach.The sunflower motif at the centre of the table is a typical Arts and Crafts emblem which embodies the movement's fascination with organic forms. The use of rich mahogany and the scalloped edged circular top exemplify the movement's rejection of Victorian opulence in favour of a more honest, nature-inspired aesthetic.Webb's most profound legacy is most famously represented by the Red House in Bexleyheath, designed in 1859 by Morris. The house became a model for the Arts and Crafts movement, with its attention to craftsmanship and design serving as a living manifesto for the values Webb and Morris espoused. While smaller in scale, the 'Sunflower' table is imbued with the same design philosophies of form, function and artisanship, making it a significant artefact of both Webb's career and the broader Arts and Crafts movement. Condition Report: Various indicators of age - with minor nicks, dints, marks and scratches to the surface, in line with age and use. Particularly around the tables scalloped edge. More particular marks to the top include three longer dark scratches and a cluster of dark indents. Two of the stretchers come out where it attaches at the leg, but also go back in cleanly. Two of the screws on the underside have been re-attached, off centre of the original hole; perhaps a restoration/re-secure happened at some point. Overall the table presents really well. Condition Report Disclaimer
HERMES Paris, Edition Spéciale pour l'exposition 'Le Cas du Sac' au MAD. Sac fourre-tout PM en polyuréthane et bandes de soie.Par Luisa Cevese pour Hermès.Réalisé à partir des chutes d'une vingtaine de carrés. Collage artistique original. Etiquette de l'exposition.N.B.: Exposition au Musée de Arts Décoratifs 'LE CAS DU SAC' du 7 octobre 2004 au 20 février 2005. 'Le cas du sac' est une exposition conçue et réalisée par le musée de la Mode et du Textile et la Maison Hermès.Condition d'état: B. 22 x 19,5 x 17 cm.Footnotes:Special Edition for the exhibition 'Le Cas du Sac' at the MAD by Luisa Cevese for Hermès. Tote bag PM in polyurethane and silk bands. Made from the falls of about twenty squares. Original artistic collage. Exhibition label.N.B.: Exhibition at the Museum of Decorative Arts in Paris 'LE CAS DU SAC' from 7 October 2004 to 20 February 2005. ' The case of the bag' is an exhibition designed and produced by the Museum of Fashion and Textiles and the Maison Hermès.Condition grade: B.For further information on this lot please visit Bonhams.com
Dame Elisabeth Frink R.A. (British, 1930-1993)Lying Down Buffalo signed and numbered 'Frink/3/10' (on the underside)bronze with a green/brown patina50.8 cm. (20 in.) wideConceived in 1988Footnotes:ProvenanceHongkong Land, 1989, from whom acquired directly by the present ownerPrivate Collection, U.K.ExhibitedHong Kong, The Rotunda, Exchange Square, Elisabeth Frink: Sculpture and Drawings, organised by the Hong Kong Festival, 31 January-31 March 1989, unnumbered (another cast)London, Fischer Fine Art, Elisabeth Frink: Recent Sculpture and Drawings, 5 October-9 November 1989, cat.no.12 (as Water Buffalo I, another cast)Dorchester, Dorset County Museum, Elisabeth Frink: Man and the Animal World, 28 June-23 August 1997, cat.no.73 (another cast)LiteratureEdward Lucie-Smith, Elisabeth Frink: Sculpture Since 1984 and Drawings, Art Books International, London, 1994, pp.36, 187, cat.no.SC38 (ill.b&w, another cast)Annette Downing, Elisabeth Frink: Sculptures, Graphic Works, Textiles, Salisbury Festival and Wiltshire County Council Publication, Salisbury, 1997, p.71, cat.no.73Annette Ratuszniak, Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Lund Humphries in association with the Frink Estate and Beaux Arts, London, 2013, p.178, cat.no.FCR367 (col.ill., another cast)In 1986, Hongkong Land commissioned Dame Elisabeth Frink to make two sculptures for the Exchange Square Plaza in Hong Kong, Lying Down Buffalo and Standing Buffalo. The present work is a maquette of the commissioned piece.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
An early 20th century silk and gilt embroidery Cloche hat, possibly French, circa 1920s the gilt floral embroidery with Phoenix bird on a brown cotton ground with cotton lining, together with a collection of bead work sections, a bead work belt, two pairs of white kid gloves , a Victorian silk panel and other textiles.
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