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396323 Los(e)/Seite
Los 361
A French perfume caddy, late 19th century, the brass inlaid caddy decorated in a faux champlevé enamel pattern, the hinged cover with central brass cartouche engraved 'Anna', the fitted interior with three matching scent bottles, each with gilt foliate highlights to the shoulders and stoppers, 9.5cm H x 14.5cm W x 9.5cm D (at fault), with a George III decanter engraved 'RUM' to a central foliate and trellis cartouche, lacking stopper, 19.5cm high (2)
Los 42
An Arts & Crafts silver and enamel part condiment set by George Lawrence Connell, London 1903, comprising wet mustard and open salt of compressed circular form with green enamelled stylized lily decoration, each 5.7cm wide, together with a matching pepperette and two spoons by William Hutton & Sons, London, 1902-1903, gross weight of set (excluding glass liner) 5.65ozt (5) (at fault) For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Los 507
A Staffordshire botanical dessert service, 19th century, comprising a tall comport, a low comport, and six dessert plates, each piece hand decorated with a different polychrome enamel floral spray within a shaped gilt rim and geometric border (8) For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Los 517
A Sitzendorf porcelain figural mantel clock, 19th century, the rococo shaped clock case extensively encrusted with floral bouquets and four putti, enclosing an enamel face with blue roman numeral dial, 36cm high, with a similarly decorated vase and cover, 30cm high (2) (at fault) For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Los 52
An Art Deco silver enamelled powder pot by Goldsmiths & Silversmiths Company Ltd, London 1934, of circular form with marbled green enamel decoration, with gilt interior and mirror inset to lid, 14cm wide, together with a late Victorian silver topped glass inkwell by Hukin & Heath, London 1900, 9.5cm high (2) For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Los 531
A Crown Devon Art Deco vase, circa 1930s, of bulbous form, decorated in pattern 2073 with gilt and enamel stylised trees against a cobalt blue ground, printed maker's mark and painted pattern number to base, 13cm high For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Los 537
A Staffordshire pearlware cow in the manner of Obadiah Sherratt, early 19th century, modelled being bitten on the left rear hoof by a snake, with flowering bocage behind, set to a moulded naturalistic base decorated with polychrome enamel inverted swags, 19.5cm high (at fault) For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Los 84
A set of six silver gilt and enamel teaspoons, Jacob Tostrup, the handles with vari-coloured engine turned enamelled decoration, each 10cm long, together with a set of six white metal bean handled coffee spoons, each 10.5cm long (12) For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Los 119
A Victorian silver pair case 'Speed the Plough' pocket watch, the round white enamel dial painted with a rural scene, 'GEORGE MUSSON' to inside chapter ring and outer seconds track, set to a plain polished silver case, 48mm diameter, marks to case 'GT', Birmingham (date letter worn), movement marked 'Richard Champion Liverpool 8422', set to a plain polished silver outer case (at fault), together with a Victorian silver open face pocket watch, 52mm diameter (at fault), and a white metal tiger's eye set watch chain with attached tiger's eye fob, 29cm long (3)
Los 124
A vintage 9ct gold lady's wristwatch, the round silvered dial with engine turned decoration and Arabic numerals, green enamel and gold floral decoration to outer chapter ring, set to round 9ct yellow gold dial, 25mm diameter, manual wind 15 jewels movement, hallmarked for City Watch Case Co Ltd, London 1929, set to a gold plated expanding strap, weight 20.3gms
Los 127
A Victorian Swiss silver Chronograph pocket and stop watch, the round white enamel dial with Roman numerals to inside chapter ring and centre sweep seconds hand to outer chapter ring, set to a plain polished exterior case, 54mm diameter, manual key wind movement, together with a gold plated pocket watch, the round white enamel dial with Roman numerals and subsidiary seconds dial, set to a plain polished exterior case, 50mm wide, manual wind Waltham movement (2) For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Los 139
A George III silver pair case pocket watch, the white enamel dial with Arabic numerals, set to a plain polished silver case, 48mm diameter, key wind fusee movement with grotesque mask engraved to balance cock, marks to inside case for William Ryley, Birmingham 1818, complete in a white metal outer case, gross weight 141.3gms
Los 144
A gent's vintage 9ct gold half hunter wristwatch by Russells Ltd, the round white enamel dial with Roman numerals with outer seconds track and subsidiary seconds dial to six'o'clock, set to a 9ct gold plain polished half-hunter case, 32mm diameter, import marks to case for Glasgow 1926, manual hand wind movement, set to a brown leather strap with buckle fastening For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Los 146
A vintage wristwatch, the white enamel dial with gold toned Arabic numerals and outer seconds track, set to a gold plated cushion case, 26mm x 24mm, manual wind movement, stamped 'ROLEX' to inside case, set to a black leather strap with buckle fastening For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Los 204
A selection of vintage and modern costume jewellery, to include a rutilated quartz silver mounted pendant, 9.5cm long, a Mexican silver and enamel fringe necklace, 40cm long, a cultured pearl set silver dress ring, size O, a turquoise set medallion on a red beaded chain, a paste set mesh belt, and a three-row cultured pearl necklace (6)
Los 225
A blue enamelled yellow metal bangle, the oval form tapering bangle with blue enamel and engraved floral decoration to front section, with hinge and pin fastening, 6.9cm x 6.5cm (yellow metal unmarked), together with an early 20th century yellow metal bangle, of scrolling openwork form with beaded decoration to front section, applied pad stamped '9CT', 6.4cm x 5.9cm (2)
Los 232
An Edwardian aquamarine and pearl set bar brooch, comprising a central round mixed cut aquamarine and two small seed pearls set to a pierced border surround, with hinged pin and loop fastening and attached safety chain to reverse, stamped '9CT', 54mm long, together with an amethyst and seed pearl 9ct gold example, 60mm long, a 9ct gold paste set example, 65mm long, a 15ct gold seed pearl set horseshoe stick pin, 55mm long, a 9ct gold enamel set square pendant, 10mm x 10mm, and a gilt petal travelling cheroot (6)
Los 311
A Bilston enamel circular patch box, 18th century, the hinged cover with motto 'Let groveling minds for gold contend...' set to a cobalt blue body, 4cm diameter, with a cushion form Bilston enamel patch box, the hinged cover and body decorated decorated with bucolic scenes, 6.5cm wide, a compressed baluster Bilston enamel patch pot, the hinged cover decorated with a coat of arms, 4.5cm diameter, and a porcelain trinket box, possibly Edme Samson, numbered '3/887' to base, 5cm diameter (4)
Los 315
A early 20th century Chinese Peking glass enamelled box and cover, the rectangular casket with hinged cover, brass mounted with polychrome enamel decoration, four character mark to understand, 7.5cm H x 10cm W x 9cm D For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Los 326
A cast metal goblet, 19th century, decorated with a relief moulded scrolling frieze depicting a classical Greek scene, set to a polished slate plinth, Sotheby's label to the interior, 17cm high, with two Russian gilt metal and enamel beakers, early 20th century, each decorated with relief moulded and enamelled scrolls and set with an image of an historic landmark, each 6cm high, and a Victorian Letters Patent dated 1868 to John Garrett Tongue in respect of a new fire detection invention (4)
Los 1858
GEORGE RUSSELL, "AE" (1867-1935) TWO GIRLS AND CHILD WADING Signed Æ in ligature lower left, oil on canvas 52 x 80.5m. Provenance: Mrs Annabel Huth Jackson, by whom purchased from the artist, March 1919; and thence by direct descent * Russell invariably signed his work with the unusual Æ monogram, shortened from the word Æon (simultaneously the mortal incarnation of the `Word of God` and the representation of the immortal self) and meaning `the lifelong quest of mankind`. This reflected his great interest in mysticism and the metaphysical philosophies, glimpses of which he addressed in a letter to the purchaser of this picture. In a letter to Mrs Annabel Huth Jackson, dated March 29th 1919 and acknowledging receipt of £31.10.0 for three pictures, Russell writes "Might I suggest that the two grey coloured pictures were intended to be framed in a kind of cream, almost white, flat frame as it by the white or pale cream that the local colour of the picture can best be thrown out and that they should have glass over them." With timid self-effacement, he added "I hope they will not prove too tiresome a possession." Subsequently, on about April 4th 1919, he wrote again to Mrs Huth Jackson about the recommended frame colour and size: ".. to be framed in pale cream enamel almost white in a flat frame about 3 1/2 inches and the pale colours will come out ever so much better than in the conventional gold frame. I think the picture of the two girls and child wading ought to have glass over it because it was painted on a very rough canvas which I got during the year when I could get no other in Dublin and dust lodges easily on the rough surface and is difficult to get out..". Russell added modestly, presumably in response to a request about meeting his patron, "I am afraid I would be a very disappointing person to meet, most literary men are as they are really nothing except at the moment a spirit blows through them and when it is silent they are just like everybody else and they put on airs and try to look inspired when they are not they are ridiculous." On a theosophical note, he observes that "All our superficial life is unreal, a mere mask through which now and then some reality deep within us speaks and our masks are not of much importance. I believe you and I have some kind of spiritual contact, while we live and after with all who are spiritually akin to us whether we see them or not...You say you know me. Probably you do. My intention as I write is that I could write almost anything to you but that you would know it all already. ...I believe you and I have some kind of spiritual contact, while we live and after with all who are spiritually akin to us whether we see them or not... I would rather believe in the inheritance of the spirit than have millions of physical forms made inanimate." ++ Good condition; needs a light clean
Los 1882
ALFRED WALLIS (1855-1942) A WEST COUNTRY SCHOONER ON A SWELL Oil and pencil on card 19 x 29.5cm. Provenance: A gift from Wallis to the vendor's aunt, Maud Bennett (an artist), following an introduction by the artist Archibald Standish Hartrick (1864-1950). * A West Country schooner rises on an Atlantic swell in stormy weather. Because of the strong wind, the ship carries reduced sail, a vivid experience for any seaman. In this painting Wallis draws on memories laid down during his seagoing days. Sven Berlin tells us that Alfred Wallis went to sea at the age of nine, crossing the Bay of Biscay in a schooner, and that he spent the next 16 years working as an ordinary seaman. This was the class of vessel that he worked aboard, and as a member of the crew his duties included climbing the ratlines (rope ladders) in all weathers, day and night, to make sail adjustments. In this and many of his other paintings of sailing ships Wallis reminds us of his vivid experiences at sea. In Wallis's day sail trading ships were a common sight as they carried all manner of goods around the coast of Britain and Europe to the Mediterranean and across the Atlantic. These vessels were often crewed by just five men. It was hard and demanding work and people who knew Wallis at that time regarded him as a good seaman. Documentary evidence in the form of ships' crew agreements shows that in 1876 Wallis sailed in the Penzance registered schooner Pride of the West (see photo) from Penzance to Cadiz and from there crossed the Atlantic to St John's, Newfoundland and Nova Scotia. He returned on a Devon registered schooner, Belle Aventure, leaving St John's on 7th August and arriving in Teignmouth on 4th November 1876 and was paid £6.12s.4d This painting is full of life and energy and details include the furled sails on the foremast and the blocks and ropes that were used to secure the sails. A painting of a ship on a voyage is said to symbolise the journey of the human spirit from cradle to grave. I would add that for Wallis depicting a ship rising on a great swell may also reflect his struggle against adversity. Wallis started painting at the age of 70, painting on discarded materials, particularly cardboard, and house paint and pots of enamel that he bought from the local store. This painting is a wonderful example; the verso reveals a period advertisement for lampshade paint (see image). Alfred Wallis often gave paintings away to neighbours, some of whom did not value them, believing that they could do as well themselves if they only tried. Many paintings were thrown away or burned. Nor was his work valued by the thriving community of artists living in St Ives at the time. One commented that Wallis was a crazy old man wasting his time creating rubbish.
Los 3165
Musical picture clock with alarm, the 3.25" white enamel dial with central brass alarm dial, set into a memorial stone inscribed Lord Biron..., 1809 within a lakeland mountainous landscape with two gentlemen alighting by the memorial stone from a rowing boat, 10" x 14", within an ebonised cushion frame (chain and two weights)
Los 3502
Attractive re-gilded small French ormolu and bronzed mantel clock timepiece with platform escapement, the 2" white enamel dial inset into a pillar flanked by a standing classical female figure playing a lyre to one side and with a concert harp to the other, upon a rectangular base applied with musical instruments, 7.5" high
Los 182
Four silver items, including an Edward VII silver caster, by Herbert Edward Barker & Frank Ernest Barker, Chester, 1909, baluster and on spreading foot, 19.5cm high, a George V silver-jug, by Sydney and Co., London, 1910, 10.5cm high, a Victorian silver goblet, by Robert Hennell, London, probably 1858, repaired, 11cm high and a Chinese silver and enamel canister, enamel damaged, 5.3cm diameter, gross weight 17oz 3dwt (4)
Los 250
A collection of silver spoons, comprising three cased sets of six silver coffee spoons, a set of twelve silver coffee spoons and a set of six Norwegian silver-gilt and enamel coffee spoons, by David Anderson, each in fitted case together with a cased set of silver and composition fish servers and two pairs of silver plate sugar-tongs (qty)
Los 256
A collection of silver and silver plate, the silver comprising a four-piece dressing table service, by Albert Carter, Birmingham, 1940 with enamel decoration, comprising, two hair brushes, a clothes brush and a hand mirror; a Victorian silver and mother of pearl fruit knife, Sheffield, 1869 and silver cigarette-case, oblong and with engine-turned decoration, the silver plate comprising a five piece tea service, by Mappin and Webb, each pieced with fluting (qty)
Los 31
Giosetta Fioroni (Italian, born 1932)Occhi negli occhiali 1969 signed and dated '69; titled on the reverseenamel and graphite on paper75.8 by 56.2 cm. 29 13/16 by 22 1/8 in.Footnotes:We are grateful to the Studio Fioroni, Rome, for having confirmed the authenticity of this work.ProvenanceCollection of the artist, RomeSale: Bonhams, London, Vision 21, 30 June 2010, Lot 231Acquired directly from the above by the present ownerThis 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
Los 32
Mario Schifano (Italian, 1934-1998)Particolare di Paesaggio 1963 signed, titled and dated 63enamel, pastel and graphite on paper66.8 by 96.8 cm.26 5/16 by 38 1/8 in.Footnotes:This work is registered in the Archivio Mario Schifano, Rome, under no. 04227200222, and is accompanied by a photo-certificate of authenticity.ProvenanceBrandolini d'Adda Collection, RomeThence by descent to the present ownerThis 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
Los 18
Christo (American, Bulgaria 1935-2020)Store Front (Project) 1964 signed, titled and dated 64; signed, titled, dated 1964 and inscribed 1 Lampe 25w on the reverseenamel, pencil, charcoal, plywood, electric light, metal wire and plexiglas mounted on wood60 by 85 by 10 cm.23 5/8 by 33 7/16 by 3 15/16 in.Footnotes:This work is registered in the Christo & Jeanne-Claude archive.ProvenancePrivate Collection, Europe (acquired directly from the artist)Sale: Dorotheum, Vienna, Contemporary Art, 25 November 2009, Lot 3Acquired directly from the above by the present ownerOn the same day in June 1935, Christo and Jeanne-Claude were born into very different worlds – Christo Valdimirov Javacheff in Bulgaria and Jeanne-Claude Guillebon in French Morocco. Meeting in Paris in 1958, their personal and professional lives would be forever intertwined, eventually becoming the most important artist-duo of the second half of the 20th century. Their unique vision would bring their wrapped works and large-scale installations to cities and landscapes across the globe, including a final work to be presented in Paris in September 2021, L'Arc de Triomphe, Wrapped, posthumously in accordance with the artists' wishes. It is however in the artists' earlier Store Fronts and Store Front Projects where we can really begin to see this initial scaling-up of their unique aesthetic. A series of works that were initiated after their move to New York City in 1964, the present work Store Front (Project) from the same year is a delicate and thoughtful example of his preparatory works from this landmark series.After fleeing communist Bulgaria via Czechoslovakia and Vienna, Christo made his way to the French capital, where his quintessential style of wrapping cans, bottles and everyday domestic items was immediately established. In Paris, Christo gravitated towards the Nouveau Réalisme movement, joining the ranks of Yves Klein, Martial Raysse and Niki de Saint Phalle however soon after his marriage to Jeanne-Claude and the birth of their son, the young family decide to emigrate to New York. Initially installing themselves at the Chelsea Hotel, renown home-from-home for many artists, they would eventually move to a loft in downtown Manhattan, gifting the Chelsea Hotel owner with one of his Store Front Projects as collateral for the bill. To-scale shop façades created from wood and painted in a variety of colours, each Store Front was preceded by detailed architectural maquette-like sketches, typical of Christo's lifelong working process. The present work is a rare and intricate example of these preparatory works, with every detail of the eventual Store Front replicated: from the precise to scale measurements to the metal grill on the windows and the internal lights illuminating the colourful interior. Born from the Show Cases Christo was already creating from found medicine cabinets in Paris in 1963, the Store Fronts should be understood as their scaling-up. Similar to the evolution of the early Wrapped Cans or Packages, which would eventually evolve into projects such as The Pont Neuf Wrapped (1979), the Store Fronts recall the imposing architecture of New York City. 'The result was enigmatic, architectonically elusive, evocative: Store Fronts were of great beauty, possessed of quiet melancholy and a sense of loneliness that recalled the work of American painter Edward Hopper or the boxes of Joseph Cornell. The pervasive sense of mystery [leaving] the observer wondering what was behind the façades' (Jacob Baal-Teshuva, Christo and Jeanne-Claude, New York 2001, p. 27). If the Show Cases are understood as the precursor to the Store Fronts, the Store Fronts are understood by the artist as precursors to the Valley Curtains in Colorado (1972) and the Running Fence in California (1976). It is in the Store Fronts that the concept of internal and external space is initially explored, 'the store fronts radiate a kind of suspense, as if the blocked windows or the closed door might admit one if you only knew the hours of opening. However, our perceptual and physical links are arrested as the invitation stays unfulfilled. What Christo [and Jeanne-Claude have] done is to turn physical space into psychological response, as the façade becomes a wall, absolutely cancelling the inside... [They] cancel the internal space that we anticipate and define space as what is between us and the glass. The spectator's investigative, voyeuristic impulse is converted into an experience of himself, as an object in space' (Lawrence Alloway, Christo, New York 1969, p. VII). The Store Fronts act as a vehicle for our conceptual understanding of space in direct relation to our surroundings. Diverging from the work of the Minimalists, Christo's approach to space is specifically architectural, addressing our every-day interactions to the world around us and how we manipulate and manoeuvre within that space daily. Like the wrapping of the Pont Neuf or the Valley Curtain, the Store Fronts force the viewer to renegotiate their relationship to that space both physically and psychologically. The familiarity of these buildings and spaces is ruptured by the artist's intervention forcing us to confront our own physicality.While as much technical drawings as they are works of art in their own right, the preparatory works represent a lasting testament to the fleeting nature of their monumental culminations. The present work is a rare example within the Store Front Projects in its inclusion of internal light-fittings, its internal illumination bringing the potential of this project to life. The precise architectural nature of the Store Front Projects is evidence of Christo and Jeanne-Claude's unique vision as sculptors but also as visionaries who have made the world's cities and landscape their canvas. Christo's work has been celebrated in the world's most important museums with his Store Fronts and Store Front Projects found in some prominent collections including the Museum of Modern Art, New York, the Hirsshorn Museum, Washington D.C., the Kaiser Wilhelm Museum, Krefeld, Germany and the Museum of Contemporary Art, Los Angeles. His work can also be found in the collections of the Art Institute of Chicago, the Tate Modern, London and the Centre Pompidou, Paris, where the artist's work is currently being exhibited in a landmark retrospective, where an entire room has been dedicated to the extraordinary Store Fronts and Store Front Projects.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
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396323 Los(e)/Seite