Max Ernst “Grande tête” pendant, cast and hand wrought 23K gold, made by Pierre Hugo, signed, original wood presentation box and certificate, No. 16 out of the edition of 24, c. 1970’s
Pierre Sterlé Paris, “Hummingbird” brooch, carved natural ruby in zoisite mounted in 18K gold set with diamonds set in platinum, original suede box, signed, c. 1950’s
68 Original Pop-Art & Cobra Graphics
Limited edition of 2000 copies, Elephant Folio, 176 pages
Edited by Sam Francis (1923-1994)
Published by E.W. Kornfeld, Bern, Switzerland
Dimensions:
Book: H: 16 3/8” x W: 12”
Custom leather box: H: 18 1/16” x W: 13” x D: 2 7/16”
Custom silk slipcase” H: 19 1/8” x W: 13 7/8” x D: 3 3/16”
Artists that contributed original graphic work illustrating Walasse Ting’s poetry for this volume include: Pierre Alechinsky (5), Karel Appel (5), Enrico Baj (2), Alan Davie (3), Jim Dine (2), Sam Francis (6), Robert Indiana (2), Alfred Jensen (3), Asger Jorn (2), Allan Kaprow, Alfred Leslie (2), Roy Lichtenstein (2 + cover), Joan Mitchell, Claes Oldenburg (3), Mel Ramos (2), Robert Rauschenberg (2), James Rosenquist, Bram Van Velde, Andy Warhol, and Tom Wesselman (2).
Walasse Ting, born in Shanghai, is a self-taught painter, sculptor, graphic artist and poet. Leaving China in 1949 to travel, he reached Paris in 1953 and became acquainted with artists Karel Appel, Asger Jorn and Pierre Alechinsky, members of the avant-garde group known as COBRA. Since 1963, he has lived in New York.
“Ting wanted to publish the most international illustrated book, intended to illustrate his text, uniting tachisme, neo-dadaisme, pop art, and all other artistic movements. The idea was born from global experience, close contact with culture, pseudo-culture, primitive existential worries, urban erotic and eastern wisdom.. It was a Herculean task, for which only a Chinese would have been able to muster the perseverance” – E. W. Kornfeld.
Cartier Art Deco brooch, carved rock crystal with a fancy platinum mount set with diamonds, original leather box, signed c. 1925
Cartier Art Deco brooch, carved rock crystal with a fancy platinum mount set with two European and cushion cut diamonds (approx. 3 carats TW) further set with two European and cushion cut diamonds (approx. 1 carat TW) with diamond pave work filling out the surrounding floral motif, original leather box, signed and numbered, c. 1925
Hunt and Roskell in alliance with J. W. Benson 18k gold pomander / vinaigrette in the form of an apple, marked, original red leather box, c. 1897
Hunt and Roskell in alliance with J. W. Benson 18k gold pomander / vinaigrette in the form of an apple, Marked: 307049 (British Registration mark), J.W.B. makers mark and British gold hallmarks original red leather box, c. 1897
The Tale of the Golden Apple
It was the wedding of Peleus and Thetis (the parents of Achilles) that the Goddess Elis threw a golden apple into the assembled crowd. Upon the surface of the fruit was etched “To The Faires”. Three goddesses laid claim upon the apple; Aphrodite, Hera and Athena. It was decided by Zeus, king of the Gods, that Paris of Troy should mediate the dispute. After bathing in the spring of Mount Ida, the three presented themselves to Paris. It was decided that Aphrodite, the Goddess of love and beauty, had the superior claim and that the golden apple belonged to her.
Jules & Louis Wiese Etruscan Revival brooch set with a gem quality cabochon ruby (approx. 4.32 carats by calculation) and two natural pearls (7mm each) all in an elaborate 18k gold mount with intricate twisted scrolls and a gold wire wrapped border signed: Wiese (in Gothic-style signature mark), French diamond maker’s poincon, French Eagle’s head mark for 18k gold, original burgundy leather presentation box with fancy embossed gilt initials on the cover and a vanilla silk velvet and satin interior, c.1875
Bulgari, Carlo Luca della Quercia Illario (maker) Large flattened “Tubogas” necklace or double bracelet all in 18K gold signed: BULGARI, 750 (for 18K gold), Italian touchmark of a Star, no.2337, A1 (all in a rectangle), SB in a rectangle, 750, circle with a cross through it and a Q (Birmingham Assay and Import marks), original blue leather and suede signed presentation box, c.1970’s
Bulgari, Rome, “Pocket Tape Measure” lighter, 18k gold with a concentric ring detail on both the top and the underside, signed: BVLGARI, BB back to back in a hexagon maker’s mark, 750 (in a rectangle), Swiss made, G. 137, original signed blue leather box with a tan suede interior, c. 1970’s
Prof. Theodor Wende, Cubist Self-portrait, original charcoal drawing on paper c. 1927
PROF. THEODOR WENDE (1883-1968) Germany
Cubist self-portrait c. 1927
Original charcoal drawing on paper
Paper size H: 21” x W: 17”
Sight size H: 16 ½” x W: 12 ¾”
Framed H: 27” x W: 23 ¼”
Theodor Wende was born in 1883. Wende began his studies in 1905 at the Hanau design academy and the Berlin museum’s school of applied arts before becoming an independent gold- and silversmith in 1912.
Gorham Sterling “Exotic” Tea and Coffee Set in Original Presentation Chest 1880
GORHAM MFG. CO SILVERSMITHS Providence, RI
“Exotic” tea and coffee set in original Gorham presentation chest 1880
Sterling silver 5-piece service with “butler” finish, bright-cut chasing and repoussé surface in the Far Eastern exotic style with elephant trunk spouts and handle forms, tent-like splayed lids, interior gilding, engraved conjoined initials, bone spacers in the original deep teal velvet-covered presentation chest with hot pink silk- satin interior
Marks: Gorham marks, STERLING, 1560, “M” (date mark for 1880)
Lid of case interior stamped in gold: Gorham Mfg. Co., Sterling Silver, Union Square, NY
For related pieces and further information see: Gorham Silver 1831-1981, Charles H. Carpenter, Jr., Chapter 6, “Innovation and Fantasy”, p. 94-121 (New York: Dodd, Mead & Company, 1982); In Pursuit of Beauty: Americans and the Aesthetic Movement, Chapter 8,“Metalwork: An Eclectic Aesthetic” by David Hanks, p.253-294 (New York: The Metropolitan Museum of Art / Rizzoli, 1987); Silver in America, 1840-1940: A Century of Splendor, Charles L. Venable, Chapter 6, “Consumption and Design” p.123-204, (New York: Dallas Museum of Art, Harry N. Abrams, Inc., 1995).
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