H&H Classics – Three Real Exotics Go Under The Hammer

H&H Classics – Three Real Exotics Go Under The Hammer

If you want a car that is really special and different there is just one man to go to the in the UK, Andy Saunders, who produced this extraordinary vehicle based on a Citroen chassis, now for sale with H&H Classics at their next Auction Online on December 4th.

Built in 1984 by Andy Saunders. This car was constructed entirely in steel and hand rolled. Welded to a steel frame and when first completed was finished in white pearl with base white graphics winning Best in show at the Devillbiss Show that year

It appeared at Goodwood Festival of Speed Concours in 2004 and was the subject of magazine feature after magazine feature and became a hit at motorshows all around Europe and Scandinavia. The base vehicle was a 1976 Citroen CX Pallas which received space age styling from inspiration taken from the wild prototype & custom vehicles of the late 70s and early 80s.

Indecision was given a ‘more modern’ twist when relaunched at Goodwood. It was painted satin silver and silver flake with detailing by Melliard. The interior stayed the same, Ox Blood with the white piped swivel seats and the heart shaped double bed in the rear.

Saunders’ work is universally appreciated and appeals to a broad audience. He has been invited to exhibit at Louis Vuitton Concours de Elegance, at The Hurlingham Club Chelsea, on more than one occasion. The Goodwood Style et Luxe Concours de Elegance, The New York Concours de Elegance in Central Park Manhattan and the Scwechzingham European Concours de Elegance. As well as fronting major motor shows across Europe, Korea and Australia and going on to having one of only 10 cars ever chosen to be displayed at the massive Hells Angels ‘Bulldog Bash’ motorcycle event.

Indecision was sold at the Earls Court Motorshow of 1987 and found a new home in the private collection of Noel Rosko who owned her up until Andy received an invite for the Style et Lux concourse at Goodwood Festival of Speed  in 2004.

After it was displayed at Goodwood it was bought by a private collector in London where it has been on private display for 16 years until last year when it was invited to a three month exhibition of Andy’s work entitled The Art of Kustom in the National Motor Museum at Beaulieu.

Andy Saunders grew up in Poole, on the South Coast of England, developing an early relationship with the building and customisation of cars. His journey to become one of the leading and most recognisable ‘Car Artists’ today has been achieved with commissions from the film industry, private collectors to leading vehicle manufacturers and recognition with 76 nominations for the Turner Prize.

Saunders is truly a major player on the scene today. Now the industry’s ‘go-to-guy’ for outlandish custom car projects, Saunders creations have included a car that was just 21 inches tall, a two-seater Mini and a Citroen 2CV inspired by Picasso.

The only Pontiac Fiero Finale ever produced now with updated specifications and 58,000 miles on the clock is estimated to sell for £12,000 to £14,000.

The car was first shown at the Geneva Motor Show as a prototype but never went into production. It is a RHD five-speed manual and has had extensive work done including a revised body styling, daytime running lights, a new carbon dash, new seats, kick plates, a new set of tyres and a complete respray.

It has a special registration plate and an MOT until September 2020.

Antony Clayton, the designer of this unique cars, says: “When I designed the FIERO FINALE for Candy Apple Cars, it was very well received at the Geneva Motor Show and body kits were available soon afterwards. In  2002 I bought a completed Fiero Finale, and in the last year have considerably up dated the design, as can be seen from the enclosed photographs.”

For more information about the auction please contact visit H&H Classics.

 

 

 

 

 

1976 Citroen Indecision

Registration No:6642 EL

Chassis No:05MC6017

Location:London

– Built in 1984 by Andy Saunders. This car was constructed entirely in steel and hand rolled. Welded to a steel frame and when first completed was finished in white pearl with base white graphics winning Best in show at the Devillbiss Show that year

– Appeared at Goodwood Festival of Speed Concours in 2004 and was the subject of magazine feature after magazine feature and became a hit at motorshows all around Europe and Scandanavia

– The base vehicle was a 1976 Citroen CX Pallas which received space age styling from inspiration taken from the wild prototype & custom vehicles of the late 70’s and early 80’s

– Current ownership since 2006 with documented history

Estimate: GBP£16,000 – GBP£20,000

 

Bonhams – Host Launch Of New Photographic Collection

Bonhams – Host Launch Of New Photographic Collection

“The Work By Adriaan Van Heerden Illuminates Our Contemporary Wasteland With Cold & Understated Ferocity” Says Oxford Don & Eminent Irish Poet Bernard O’donoghue

 

The Irish poet Bernard O’Donoghue, lecturer in medieval literature and modern poetry at Oxford University and biographer of Seamus Heaney, says that Adriaan van Heerden’s new photographic collection Unreal Cityilluminates our contemporary wasteland with cold and understated ferocity through the prism of T.S. Eliot’s great masterpiece, The Waste Land.

Eliot wrote The Waste Landin the immediate aftermath of the Great War, with civilization apparently in ruins. As we are approaching the centenary of the first publication of this monumental literary achievement, van Heerden suggests that one does not have to look far for evidence of our current wasteland. A decade of austerity has resulted in 130,000 unnecessary deaths and 320,000 homeless people living on our streets, as wealth inequality keeps growing and property becomes more and more unaffordable, especially in London. Property development has brought uneven benefits, with tens of thousands of poorer families displaced and struggling to cope as a result of welfare cuts.

 

 

 

Van Heerden’s interpretation of The Waste Landin bleak but beautiful photographs shows how wealth inequality, homelessness, the waste of young lives due to crime, spiritual vacuity, political and moral failure in our contemporary society are prefigured in Eliot’s great poem. Brexit has lifted the lid on these horrors and van Heerden’s Unreal Cityforces us to face up to them and challenges us to do something radical to solve them, by setting up a conversation between photographic imagery and poetic text in a way that has never been done before.

In Eliot’s poem London is the Unreal City, the background against which many of the characters have their entrances and exits. Van Heerden takes us into the heart of darkness of contemporary London, forcing us to experience the harsh everyday realities of its most vulnerable inhabitants.

O’Donoghue, who wrote an essay for Unreal City, says: “When Bertrand Russell read these lines in the final section of the poem –

 

Falling towers

Jerusalem Athens Alexandria

Vienna London

Unreal

 

he remembered that he once told Eliot of a nightmare in which he had a vision of London as an unreal city, its inhabitants like hallucinations, its bridges collapsing, its buildings passing into a mist. In some senses of course, as Adriaan van Heerden’s photographs richly illustrate, London is all too real, in its inequalities, materialism and the failure of its inhabitants to make meaningful contact with each other. Elsewhere Eliot said “Human kind / cannot bear very much reality”; van Heerden insists that we must acknowledge the intolerable discomforts and harshness of city reality which are not hallucinatory.”

According to O’Donoghue, van Heerden shows that we now live in the future of Eliot’s Waste Land, and that much of what is traumatic in our world is anticipated or described with great urgency in this prophetic document of nearly a century ago. Van Heerden’s pictures show how it is literally true, but more importantly they show the ways in which it is spiritually and figuratively true. For example, it would be easy to illustrate from the modern nightmare city literal representations of some of the most familiar lines of Eliot’s poem, such as the Dantesque passage from which he takes his title:

 

Unreal City,

Under the brown fog of a winter dawn,

A crowd flowed over London Bridge, so many,

I had not thought death had undone so many. (lines 60-63)

 

This might well have been illustrated by trudging, despondent lines of people, like in Fritz Lang’s Metropolis. But van Heerden’s chosen picture is much more imaginative: a street of seedy shopfronts with a single dark figure walking past.

Similarly, for line 17, “In the mountains, there you feel free” there is a picture of a tapering high-rise block of flats, an ironic image of unfree, prosaic aspiration: a subject which is returned to for line 343 of the poem: “There is not even solitude in the mountains.”

Many of these pictures illustrate the familiar modern paradox, noted by Elias Canetti and others: being lonely amid crowds.

This kind of creative mismatching is the hallmark of van Heerden’s style; the illustrations of other familiar lines from the poem manifest the same adjustments from the physically real to the abstract and vice versa. “A heap of broken images” (line 22) might invite an image of detritus; but van Heerden’s is a beautiful reflection of towers and clouds in the glass panes of the Gherkin.

His picture for “I will show you fear in a handful of dust” (line 30) shows furniture discarded in a leaf-strewn walkway: an unlikely but evocative symbol of transience. We are reminded of Dr Johnson’s critical statement, admired by Eliot, about the seventeenth-century Metaphysical poets: that by them “heterogeneous ideas are yoked by violence together.” Johnson did not like the habit; but it describes very well Eliot’s own practice and van Heerden’s response to it.

Van Heerden follows Eliot into the city’s real, named places, often its historic churches: Saint Mary Woolnoth, Magnus Martyr, All Hallows-by-the-Tower, St Pancras Old Church. The churches are in keeping with one of his recurrent themes: the failure of religion to fulfil a spiritual or socially healing role – in Eliot’s terms, “the dead tree gives no shelter.” There are other real places too: King William Street, the Lloyds Building, Carnaby Street, Madame Tussaud’s, Canary Wharf, the Blavatnik Building – linking to another primary theme in the book: the inequalities and brutalities of a materialist, mercenary society. Most urgently real are the bus-stop where Stephen Lawrence was mortally wounded, and the burnt Grenfell Tower.

Van Heerden describes his work with Eliot’s poem as “a conversation”; but progressively as you work through the pictures, you see that it is close to the contradictory essence of Eliot’s great poem. His project is a decidedly political one, motivated by outrage at injustice and inequality. Generally, Eliot is seen as apolitical – Old Possum who keeps out of sight – or even reactionary. But it is remarkable how well the salient lines of The Waste Landlend themselves to radical perspectives.

Great art, it has often been said, must not be depressing; we must not despair in the face of the futility and anarchy of our world. It has also been said that good art is always political; that is certainly true of van Heerden’s response to The Waste Land. The injustice, violence and materialism of the unreal city are squarely faced; but the city represented here is also recognisably real. Coleridge said of Charles Lamb that to him no sound was “dissonant that tells of life.” Eliot’s view of the world has sometimes been said to be disdainful or supercilious. Van Heerden shows that it also has within it a humanity to which these pictures give vivid, if harsh, reality.

Unreal Citywill be launched at Bonhams in London (the international fine art auction house) on Monday 2 December, 6-8 pm. The event will include a small exhibition of pictures from the collection, a drinks reception and a short speech by Bernard O’Donoghue. The event is sponsored by Denbies Wine Estate and supported by London South Bank University.

To attend this exciting event, please RSVP to Matthew Haley: +44 (0) 20 7393 3817 or email [email protected]. Places are strictly limited so early reservation is advised.

Press Enquiries:

Julian Roup, [email protected], 07970 563958

 

 

 

 

 

 

 

“Falling towers”

 

 

 

 

 

“In rats’ alley where the dead men lost their bones”

Freeman’s – Modern & Contemporary Sales Total $2.8m+

Freeman’s – Modern & Contemporary Sales Total $2.8m+

PHILADELPHIA, PA-Freeman’s Modern and Contemporary Art sale held on 29 October 2019, and The Collection of Robert J. Morrison sale held on 30 October 2019, were resounding successes. Sale totals combined reached over $2.8million.

The auctions featured many lots that spanned multiple media across several collecting genres including paintings, sculpture, works on paper, and prints and multiples.

 

MODERN & CONTEMPORARY ART

Among the significant highlights from the Modern and Contemporary Art auction were several works from the distinguished collection of Mr. and Mrs. Richard Oldenburg.  Distinguished collector and art world power broker, Richard Oldenburg’s interest in the arts helped him and his wife to build an impressive personal collection of international scope. The entire collection sold for $304,687, which more than doubled the presale low estimate total. Most notable was a pencil drawing by American artist Ellsworth Kelly entitled Lemon Branch [4](Lot 68), which achieved an auction record for a pencil work by the artist and sold for $181,250 tripling its presale low estimate of $60,000.

More noteworthy works sold in the Modern and Contemporary Art sale included an important work on paper by American artist Helen Frankenthaler, Red Hot,(Lot 52)which garnered $137,500; and another work on paper by Chinese/French artist Zao Wou Kifrom his Oracle Bones series, Untitled, (Lot 27)which brought an impressive $93,750.

Dunham Townend, Head of the Modern and Contemporary Art department states: “We were delighted to achieve strong results for important works on paper by blue chip artists and to set a record for a significant Ellsworth Kelly drawing from a notable collection.”

 

 

THE COLLECTION OF ROBERT J. MORRISON

Thesingle owner auction enjoyed a standing room only crowd and a 100% sell through rate, nearly doubling its presale estimate totals and affirming Freeman’s strong expertise in selling collections of this kind. A celebrated advertising executive as well as a passionate collector and philanthropist, Morrison amassed hundreds of cherished graphic works, ranging from vintage postcards and gallery announcements to rare prints and multiples.

The sale featured a number of highlights, including two works by American Pop Art icon Roy Lichtenstein,Sweet Dreams Baby!(Lot 26), which sold for $143,750on an estimate of $60,000-100,000; andCrying Girl, (Lot 6) which achieved $62,500against a presale estimate of $30,000-50,000. Another noteworthy work by Pop Art legend Andy Warhol was his color screenprint Flowers,(Lot 65), which sold for an impressive $65,625against its original estimate of $25,000-35,000. Other highlights included Robert Longo’s Rick(Lot 76), a screenprint which brought $35,000, over tripling its presale low estimate; and Rodeo by Ed Rucha (Lot 83), which achieved $21,250against a presale estimate of $6,000-10,000.

“Freeman’s was honored to present for sale Pop prints, multiples, graphics and books from the estate of Philadelphia collector and philanthropist, Robert J. Morrison today. The packed saleroom and high prices were a testament to Bob’s keen eye and generous spirit as both local bidders and those from great distances vied for works from his important and eclectic collection.” –Anne Henry, Vice President, Head of Sale.

 

Press Inquiries:

Madeline Hill, [email protected], +1 267.414.1201

Roseberys – Sparkle & Shine in to Christmas

Roseberys – Sparkle & Shine in to Christmas

LONDON: A pair of important diamond single stone rings and two pieces by trailblazing British designers will lead a varied sale of jewellery and watches at Roseberys London this autumn. The auction takes place on November 20 and contains jewellery from the 19th century to the present day, featuring famous names such as Cartier, Boucheron, Bulgari and Van Cleef & Arpels. Major brands in the world of high-end watches are also for sale and include timepieces by Audemars Piguet, Vacheron & Constantin, Rolex, Omega, and Jaeger-LeCoultre.

Mark Bowis, Head of Jewellery & Watches at Roseberys, comments: This autumn’s jewellery and watches sale at Roseberys comprises 324 lots with estimates ranging from £80 to £15,000.  Featured in the sale are a healthy collection of diamond and gem rings including diamond single stone rings, eternity rings and a varied choice of gem examples. The sale also offers a small collection of cufflinks of varying designs. Jewellery from famous names and jewel houses is represented and includes pieces by Cartier, Boucheron, Bulgari, Van Cleef & Arpels, Tiffany, Chanel H. Stern and Pomellato. The watch section includes names such as Cartier, Audemars Piguet, Vacheron & Constantin, Rolex, Jaeger-LeCoultre, Chopard, Omega and Piaget. The finale of the sale closes with two important diamond single stone rings.

The first of these enticing diamond single stone rings was made by the long-established firm of jewellers Boodles & Dunthorne. Described by jewellery specialist Mark Bowis as a “top of the food chain white diamond”, it weighs 2.22 carats and has a popular Asscher-cut giving it an ice appearance. Set in 18ct. white gold with baguette diamond three stone shoulders, this beautiful clean ring is estimated at £15,000-20,000[Lot 324]

Also estimated at £15,000-20,000 is an impressive pale yellow modified brilliant-cut diamond weighing 5.02 carats. Bowis describes it as a “very attractive stone with great presence” set in 18ct white gold with brilliant-cut diamond five stone shoulders. [Lot 318]

Pieces designed by the founders of modern jewellery in Britain during the 1960s and 1970s, such as Andrew Grima and John Donald (b.1928), is currently enjoying a renaissance with values on the rise. This wonderful rock crystal brooch, straight out of the school of abstract jewellery from this period, is by John Donald who is widely regarded as one of the most innovative jewellery designers to have emerged from post-war Britain. His iconic work, closely associated with London during the 1960s and 1970s, attracted many notable clients and patrons, including Princess Margaret and the Queen Mother. Donald earned a name as a pioneering artist-jeweller who championed creative expression and individuality through his revolutionary designs. Brooches played a particularly significant part in launching his career, as they provided him with maximum scope for expression. As a result, some of his most important ideas can be traced back through his brooch design. In this example the uniformity of the polished rods both mirror and contrast with the abstract clustering of the natural crystals. The design is an embodiment of ‘balanced irregularity’, a concept favoured by the designer who believed that “all stones, however valuable, however beautiful, must be subordinate to design.” Unusually it comes with an original maker’s case and carries hopes of £1,000-1,500[Lot 54]

Elsewhere in the sale is a flexible necklace by Tiffany & Co – a real statement and very much in today’s taste. A classic design from the famous American luxury jeweller, it has a triple-row swag design of interesting pod-shaped links and collar shape intervals. It carries hopes of £5,000-7,000[Lot 229]

Another fine designer piece is this 18ct gold and rock crystal bracelet by the celebrated British jeweller Stephen Webster (b.1959). Typical of Webster’s strong and bold designs, this £2,000-3,000 piece comes from the classic ‘Crystal Haze’ collection in 2007. Webster, who was inspired by the pioneering modern jeweller Andrew Grima and designed pieces for Princess Diana, Rihanna and Madonna, invented the ‘crystal haze’ process whereby thin layers of quartz crystals are faceted over precious stones, creating an illuminated hologram. [Lot 79]

Affordably pitched at £3,500-4,500 is this highly desirable cushion-shaped fancy light-yellow diamond single stone ring weighing 1.25 carats. The VSI diamond has a lovely natural light-yellow tone with no additional tints and is complemented by two rectangular diamond shoulders. [Lot 316]

A rare fancy greyish yellowish green diamond single stone ring weighing 0.90 carats with a brilliant-cut diamond surround is another attractive piece for sale. Green diamonds of any size do not commonly appear on the open market. This has hopes of £4,200-4,800[Lot 322]

An older ring on offer is this c.1840 ruby and diamond ring composed of two pear-shaped or stylised heart-shaped rubies with a diamond border and bow surmount. Sentimental jewellery of the 19th century is getting more difficult to obtain in good untouched condition, with this fine example estimated at £1,500-2,000[Lot 92]

For more information about the auction please contact Peigi Mackillop [email protected] +44 (0) 20 8761 2522.

 

 

 

 

 

 

 

A platinum and Asscher-cut diamond single stone ring, by Boodles

 

Estimate: GBP£15,000 – GBP£20,000

 
 

 

 
 

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