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Lot 255
Blackfoot multi signed concert programme, Rickey Medlocke, Jakson Spires, Greg T. Walker ad Charlie Hargrett. American Southern rock band. One signature smudged. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 114
An 1897 Victorian London silver topped jar by John Grinsall & Sons, small dent to top of silver collar, twinned with a 1903 Edwardian Sheffield silver condiment bottle by Walker & Hall, small chip to top of stopper & a London silver scent bottle monogrammed "F" to top of lid which has some light bumping, tallest 189mm
Lot 161
A George V silver pierced reticulated bon bon dish, with an armorial crest, atop three scroll feet, Johnson, Walker & Tolhurst, Birmingham 1912, diameter 11.8cm, together with a white metal bowl, silver-mounted glass scent bottle, and two posy vases, combined weight (sans scent bottle) 379g/12.18ozt gross approx
Lot 92
A George V silver porringer and cover, modelled after the Charles II style, the body decorated with acanthus leaves, C-scroll handles with foliate thumbpieces, atop a stepped and spreading circular form foot, the detachable cover decorated with a concentric band of foliate scrolls, applied with a fixed cast foliate-form finial, engraved "Timothy Raymond Walker / 1st November, 1955", Charles Stuart Harris, London 1911, height 13cm, weight 522g/16.78ozt approx
Lot 215
A George V silver inkstand, the base of shaped rectangular form, the border decorated with foliate capped Rococo scrolls, atop four bracket form feet, ensuite with a silver-mounted cuboid glass inkwell, Walker & Hall, Sheffield 1910, length (of base) 16cm, weight (sans glass)163g/5.24ozt approx
Lot 144
A George V silver strawberry set, comprising a two-handled sugar bowl and cream or milk jug, each of compressed globular form, decorated with a central band of Greek-Key, the loop handles each with a cast bifurcated foliate tendril terminal, Walker & Hall, Sheffield 1928, height 8cm, combined weight 442g/14.21ozt approx (2)
Lot 38
An Edwardian Hallmarked Silver Epergne Table Centrepiece, Walker & Hall, Sheffield 1907, the shaped circular pedestal dish with wide scroll pierced border, engraved "Presented to Joseph Robert Johnson Esq. J.P. C.C. by His Friends on His Elevation to the Chair of the Chesterfield Rural District Council 17th June 1908", with central flute vase, overall on shaped pedestal base with scroll pierced detail, overall height 42cm (overall weight 1500grams).
Lot 109
A Large Hallmarked Silver Cigarette Box, H.Bros, Birmingham 1976, of rectangular form allover engine turned, inscribed to the front "Presented to A.C. Walker in grateful appreciation of 40 years loyal service by the Directors of Lucas Industries 1976", the hinged lid with foliate border, ply lined with removable plush lining, raised on four pad feet, 20.5cm wide, boxed.
Lot 306
A Royal Crown Derby paperweight, Royal Antoinette Butterfly, modelled by Hilary Walker, gold stopper, 10cm high, printed mark in grey, boxed, Royal Crown Derby 'Imari Frog" silver stopper, a Royal Crown Derby "Badger" gold stopper together with a Royal Crown Derby "Chipmunk" gold stopper. (4)All in excellent condition with no damage.
Lot 996
EDWARDIAN INLAID MAHOGANY MANTEL CLOCK, WALKER & HALL Art Nouveau style, the dial with Arabic numerals, the mahogany case with boxwood and mother of pearl inlay, raised on a plinth on four brass ball feet22cm highThe case is in good overall condition, the movement is not currently working, appears to have been overwound.
Lot 23
A group of silver to include; a Victorian oval shaped silver twin handled sugar bowl with gadrooned body, hallmarked by Martin, Hall & Co, London, 1881, a George V silver circular shaped sugar bowl, with scrolled cast border and hallmarked by Walker & Hall, Sheffield, 1911, a Victorian silver pin tray, of flower like shape with ribbed edging, hallmarked by William Moon, Edinburgh, 1870, approx. 13.5cm diameter, and a broken piece of silver designed as a heart with scrolled and cherub detail, for weight only and broken / damaged. (4) Weight approx. 534.6 grams (17.16ozt) Further details: small sugar bowl dented and misshapen slightly; larger sugar bowl heavily tarnished and some scratches; pin tray with surface scratches and wear, all tarnished, piece on its own broken as mentioned etc.
Lot 12
Kathleen Emily Temple-Bird (British 1879 - 1962) Lake Louise, Alberta, Canada signed K.E. Temple-Bird (lower left) watercolour 20 x 26 cm, framed 46 x 52 cmand eight other Canadian landscapes, watercolours, (two framed) Qty: 9 Provenance: By family descentExhibited: 1931 - Walker Art Gallery 1936 - Forum Club 1953 - Ridley Art Club 1954 - The Forum Club 1954 - Artists Exhibition Bureau, 'Commonwealth Landscapes' Tour 1960 - The Forum ClubFootnote: In 1908 Kathleen Temple-Bird was appointed Head of Art at the Havergal College in Toronto for two years. Click the following link for further details on this lot - Canadian Landscape Briefing Notes.pdf. With thanks to the artist's family for providing theses notes.Biography:Kathleen Temple-Bird was an artist, teacher and believer in Women’s suffrage. Having been brought up in Ipswich, she trained at the Slade School of Art before travelling to France and Italy. She later travelled alone across Canada, becoming Head of Art at Havergal College, Toronto. She married in 1911 and settled in London, where she exhibited the majority of her paintings, but moved to St Ives for the duration of the Second World War. Further details on the artist are available at the following website - Kathleen Temple-Bird Artist
Lot 213
Golf 1995 Walker Cup Great Britain v USA vintage programme. Known as the year that one Eldrick Tiger Woods represented the USA. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 153
Tressa Grandma Prisbrey (1896-1988). Black and white photograph of Bottle Village in the Simi Valley of California. This photograph came out of the traveling exhibition "Naives and Visionaries" from the Walker Art Center in 1974-1975.Height: 40 in x width: 50 in x depth: 2 in.Condition: The photograph is in good condition in general. The surface is stable. Along the four margins, there is wear and losses. To the upper right corner, there is an area with losses that are colored black. To the upper left corner, there is an area that appears to be rubbed against. To the center of the left margin, there is a white spot that appears to be a minute loss to the surface. Wear to the frame; not inspected out of frame.
Lot 9
George Morrison (Grand Portage Anishinaabe, 1919-2000). Acrylic on canvas-laid board painting titled "On the Beach (Red Rock Variation: Lake Superior Landscape)," part of the horizon series, 1985. Signed, titled, and dated along the verso. Housed in an original frame custom built by Morrison.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 6 1/2 in x width: 16 in. Framed; height: 8 in x width: 18 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface appears stable. There are no major visible losses or signs of restoration. Housed within a wooden frame, not under glass or plexiglass. Light wear to the frame. Not inspected out of frame.
Lot 11
George Morrison (Grand Portage Anishinaabe, 1919-2000). Color lithograph on Japan paper titled "Surrealist Landscape," 1990-1996. Printed and published by Akasha Studio, Minneapolis. Pencil signed and dated along the lower right; titled along the lower left; numbered 10/43 along the lower center.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 19 3/4 in x width: 16 in. Framed; height: 28 in x width: 24 in x depth: 1 in.Condition: The colors are bold and bright. The sheet is slightly toned. There are no major visible tears, losses, or signs of restoration. Extremely light soiling and areas of foxing along the margins. There is a slight undulation to the sheet. Housed under a mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.
Lot 130
Minouk Lim (South Korea, b. 1968). Pastel on paper drawing titled "Serendipity" depicting an amorphous yellow form, 2011.Provenance: Walker Art Center: Avant Garden Benefit Auction 2022, Lot 16; Private Minnesota Collection.Unframed; height: 47 in x width: 31 1/4 in. Framed; height: 54 in x width: 38 in x depth: 2 in.Condition: The colors are bold and bright. There are no visible tears, losses, or restorations when viewed under UV light. There is a faint handling mark or crease along the lower left corner of the sheet. Slight undulation to the sheet. Floated in frame. Framed under glass; light wear to the frame including a minute accretion along the upper left. Not inspected out of frame.
Lot 10
George Morrison (Grand Portage Anishinaabe, 1919-2000). Ink and color pencil on paper drawing titled "Enigma, Water's Edge, Surrealist Landscape," 1986-1993. The original drawing, executed in Batchawana Bay, Ontario, on March 4, 1986 did not include color. It is part of the artist's "Automatic" series. The color was added later on November 16, 1993. This information, along with the title, is provided on labels affixed to the verso.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 4 in x width: 7 in. Framed; height: 11 in x width: 14 in x depth: 1 in.Condition: The colors are bold and bright. There are no visible tears, losses, or signs of restoration. Housed under a mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Lot 12
George Morrison (Grand Portage Anishinaabe, 1919-2000). Lithograph on paper depicting an intricately drawn landscape of undulating lines which meet at a horizon in the upper quarter of the sheet, 1976. Printed by Steven M. Andersen. Pencil signed and dated along the lower right; editioned Artists Proof 10/10 along the lower left.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 24 in x width: 23 1/4 in. Framed; height: 30 in x width: 29 1/4 in x depth: 1 in.Condition: There are no visible tears, losses, or restorations. Light undulation to the sheet. Housed under a non-acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Lot 67
Vale Press.- Marlowe (Christopher) & George Chapman. Hero and Leander, one of 220 copies, Caslon type, wood-engraved illustrations and decorative initials by Charles Ricketts and Charles Shannon, some light spotting, bookplates of Minnie Caroline Bell and Rainforth Armitage Walker, original decorated vellum, gilt, with 'Pearl and Thread' design by Ricketts, uncut, preserved in cloth chemise and slip-case (a little rubbed), [Watry A7], 8vo, [The Vale for Elkin Mathews and John Lane], 1894.*** Again, not strictly a Vale Press item, but it contains the Vale Press device at end and at foot of the spine.
Lot 693
Johnnie Walker Blue Label Blended Scotch Whisky, embodies exclusivity in a premium quality product. Impressive whiskey most famous in the world, is the leader of the Johnnie Walker family. Only one in 10,000 barrels, including some of the old “ghost” distilleries that ceased to exist long ago, is hand-selected to produce this exceptionally smooth whiskey.Alcohol content : 43% vol.Size : 700 mlSize: 28 cm.
Lot 427
A collection of 22 thimbles, 12 silver, the earliest London 1892, one with inscribed band ‘James Walker, the London jeweller’, the remainder Birmingham or Chester assay office, with one stamped ‘sterling’; and 10 electro-plated or yellow metal examples. (22) £60-£80 --- Condition Report Condition commensurate with moderate use, with some hallmarks a little rubbed. Weight of silver thimbles: 1.8 troy oz.
Lot 2583
Late Victorian silver mounted six piece dressing table set, comprising hand mirror, two hair brushes, two clothes brushes and a comb, all with embossed floral and scrolling decoration and engraved with monogram, hallmarked Walker & Hall, Sheffield 1900 & 1901, contained within a red tooled leather case with purple silk and velvet lined fitted case
Lot 2587
Pair of Edwardian silver open salts, of circular form embossed with floral and foliate decoration, upon a circular foot, hallmarked Henry Matthews, Chester 1903, with two silver spoons, together with a 1930s silver three piece cruet set, hallmarked Walker & Hall, Birmingham 1933, with two matching silver spoons, both contained within tooled leather fitted cases, Condition Report:Weighable silver approx 6.29 ozt (195.6 grams)
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