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Los 452
An Edwardian light oak chest of drawers, having two short over three long graduated drawers with glass knob handles. W100, D53, H106cm. In overall good condition, showing only an area of loss to the front lower right (see picture) the locks have been removed from all drawers.Additional pictures added to the main listing
Los 223
John Kettley signed February Fire and Light Benham Millenium Collection 2000 Double PM Fire and Light Active Planet 01.02.2000 Edinburgh. Good condition. All autographs are genuine hand signed and 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 £10
Los 238
MID-CENTURY ERCOL 366 SIDEBOARD, blue label, solid elm, natural waxed finish, cupboards fitted with adjustable half shelves, right-hand cupboard fitted with cutlery tidy, 81h x 114w x 49cms dProvenance: private collection CardiffComments: light staining to top, slight blooming to apron wax finish
Los 9
GÜNTHER FÖRG (1952-2013)Untitled 2008 signed and dated 08oil and acrylic on canvas 120.5 by 160.2 cm. 47 7/16 by 63 1/16 in. Footnotes:This work is recorded in the archive of the Estate Günther Förg, Frankfurt under no. WVF.08.B.0087 We thank Mr. Michael Neff from the Estate of Günther Förg for the information he has kindly provided on this work.ProvenanceGalerie Elisabeth & Klaus Thoman, Innsbruck (För/M 080006)Galerie Lelong, ZürichMassimo De Carlo, MilanPrivate Collection, Los Angeles Acquired from the above by the present ownerExhibitedInnsbruck, Galerie Elisabeth & Klaus Thoman, GÜNTHER FÖRG - Die Trilogie der Tatzen, 2009Untitled from 2008 is a superbly luminous example from the internationally celebrated and highly coveted Tupfenbilder (Spot Paintings) series that Günther Förg created between 2005 and 2010. By displaying an abstract array of vibrant colour, ranging from deep greens to light pinks, applied with different densities, Förg created the harmonious and playful composition seen in the present work. The Tupfenbilder series was initially inspired by a photograph of Francis Bacon's studio, which, in an attempt to remove excess paint from his paintbrush, Bacon had covered wall to ceiling in scribbles of paint; a process that was very familiar to Förg. In this manner, Förg gives the viewer an insight into an artist's intimate practice of cleaning their brush, and makes the unseen seen in a daring reversal of an age old artistic practice; a true glimpse at an artist's 'behind the scenes'. This beautifully composed work carries with it a full range of intoxicatingly compelling characteristics. The spots of various colours, together formulate an ornamental melody of light. While Förg never created a formal pattern, the present work contains an underlying geometric characteristic to it, generating a strange balance of loose and whimsical colours with intricate patches of brushwork. Decisive, emotive, controlled, haphazard and temperamental, Förg's technique of applying tone to the plain canvas worked towards averting a recognisable pattern. The brushstroke itself becomes the focus of the work, or the leading role, expressing Förg's method of tackling the very limits of composition and colour. By applying paint on the canvas in a rhythmic fashion, as if painting a wall – up and down – yet with varying speed, pressure and even thickness of the paint, Förg created a musical symphony with elusive energy and simultaneous casual looseness. Art Historian Christian Malycha puts him into context as follows: 'Günther Förg pushed himself to the brink of discord—but only to preserve art in a precarious state of balance: Balance between the traditions of the past and the needs of the present. Balance between austere rationalism and ardent sensuality. Balance between rigor and wit. Balance between composition and turmoil. Balance between pure artistic means and societal representation. Balance between conceptualism and corporeality.' (Christian Malycha in: Hauser & Wirth, Günther Förg Tupfenbilder, hauserwirth.com, 2023)In order to release the energy of the brushstrokes and their respective colours onto the canvas, figuration had to be permanently removed, allowing for the purest form, energy and colour to appear. Often compared to Piet Mondrian, with his grids of vibrant colours, Mondrian used his abstraction to create clean and beautiful purity, by removing completely the link to figuration. Similarly, Förg strove solemnly for this pure representation of colour and gesture. As said by the artist himself, 'For me, abstract art today is what one sees and nothing more' (the artist in: Newport Beach, Günther Förg: Painting/Sculpture/Installation, California 1989, p. 6)Considered today as one of the most important artists in Germany's Post-War generation, Förg studied at the Academy of Fine Art in Munich, where his practice developed almost exclusively in grey and black monochrome. Throughout the five decades of his career, Förg's work spanned an extremely wide range of practices where he swiftly moved between mediums and series, constantly wrestling with the feeling of disillusionment with painting and his unbreakable ties to modernism. The initiation of his practice through a focus on monochromatic minimalism is a clear representation of the foundation for which Förg formulated his oeuvre. His early concentration on his Gitter (grid) paintings demonstrate the start of his lifelong dedication to conceptualism. Today, works by Günther Förg are held in collections worldwide such as the Hamburger Bahnhof in Berlin, the Kunstmuseum Bonn, the Museum of Modern Art in New York and the Museum Für Moderne Kunst in Frankfurt among others. Untitled from 2008 is a masterful composition and a whimsical paradigm of Günther Förg's oeuvre, with its lyrical brushstrokes and array of expressive colours, it serves as a true testament to Förg's artistic genius, captivating audiences globally.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 107
Asibi IdoTwo Beakers i)stamped 'A.I.'/ 'Abuja' in Arabic (base)glazed stoneware 10 x 8 x 8cm (3 15/16 x 3 1/8 x 3 1/8in).ii)stamped 'Abuja' in Arabic/ 'A.I.' (base)glazed stoneware 9.5 x 8 x 8cm (3 3/4 x 3 1/8 x 3 1/8in).Footnotes:ProvenanceA private collection.Wonderfully symptomatic of Asibi Ido's preference for smaller pottery works with a high level of decoration, the two small present beakers both display varying sgrafitto in differing compositions. Unique in her body of work as we know it, the present lots were easy fired with a slip glaze when completed, resulting in light matte colour. With a base of a light and high quality Body 44 clay with a dual use of both a black slip (the upper half of both works) and a white slip (the lower half of each work and the rim of each beaker), the present two works are fine displays of aesthetic adventurism practised by Ido.With each circle rhythmically incised in one of the beakers and the expressive scoring around the circumference of the other, there is a great sense here that Ido was thoroughly invested in the creation of these two works. They display her commitment to the craft and ambition in developing a modern Gwari pottery practise.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com
Los 121
Ibrahim El-Salahi (Sudan, born 1930)Untitled c.1964 signed 'Salahi' (lower right)ink on paper 24.5 x 21.7cm (9 5/8 x 8 9/16in).(framed)Footnotes:Provenance Collection of Mr and Mrs Oscar Edwards, Australia;A private collection.Ibrahim El-Salahi is perhaps Sudan's most celebrated living artist. A career spanning five decades, his work was brought to international attention when a major retrospective of his work was held at London's Tate Modern in 2013. The exhibition showcased the breadth of Salahi's oeuvre and explored his key themes: the legacy of colonialism, the creative influence of faith, and his own hybrid identity.Created at a time when El-Salahi was pronouncing himself as an artist, a concurrent stylistic theme can be seen in this work that emerged in the late 1950s and 60s. The inspiration of these figurative depictions can be concluded as stemming from different aspects of the artist's life. Intuitive in his artistic approach, El-Salahi's process in depicting these faces is a response to his inner self, isolated from the outside world. In his art human existence is linked to a world of dreams and mediations which bore a heavy and ever-present presence within his work. The dense imagery threatens to burst out from the confines of the page, the dynamic lines pulse with energy and life. As an older man, El-Salahi reflected on these early drawings:'It was almost like I had a fever and I had so many ideas coming through me and I had to put them through. So the picture plane was covered, with objects, with figures, with shapes, near and far, big and small, it was packed...there was no space - you cannot travel through it easily...' (El-Salahi, interview with Sarah Adams in April, 2002)Towards the top of the work emerges from the black ink, the word 'Lights' in Arabic. Mobilising text as an aesthetic tool, this word assists the nature of the present work given its black background for the fine illustrations to appear, creating a sense of light and dark. As calligraphy bore a strong position in many of the artist's most successful works, the present work can act as a striking example of El-Salahi's incorporation of his Sudanese heritage with his Western artistic training. The Oscar Edwards collection was significantly unusual given its location in Australia. Indeed Mr and Mrs Edwards typically collected non-Australian Art in the 1950s and 60s after selling their predominantly Australian art collection in the 1930s and 40s. This rejection of a parochialistic approach to collecting enabled the couple to enrich their collection, focussing their attention more towards smaller works by great artist's, finding them more aesthetically significant and appealing than a major work by a smaller artist. It was towards the end of the 1950s and early 60s that Ibrahim El-Salahi began to define his original style, a style that would harness his success. In 1962, El-Salahi received a UNESCO Fine Arts Fellowship to study abroad in the USA. In 1964 he would return to travel throughout the Americas and was exposed to influential members of the art world such as Alfred Baar Jr, director of the MOMA. By 1969, El-Salahi had acted as the chief Sudanese representative for the first World Festival of Black Arts in Dakar, was a member of the Committee at the UNESCO Paris headquarters for the study of Arab culture, participated in the Contemporary African Art exhibition at the Camden Arts Centre in London, and was a member of the Sudan Cultural delegation. Despite these monumental achievements, interestingly, the artist and activist noted of the Camden Arts Centre exhibition 'it was exciting, but also frustrating, because there was little response from the rest of the world, or even Africa itself.' (Ibrahim El-Salahi in Mark Hudson, 'Ibrahim El-Salahi: from Sudanese prison to Tate Modern show', The Guardian, (3 July 2013)). Therefore, given the provenance of the present work and indeed his far reach to international collectors, the present work is a colossal demonstration El-Salahi's global reception. BibliographyLena Fritsch, Ibrahim El-Salahi: A Sudanese Artist in Oxford (Oxford: Ashmolean Museum, 2018)For further information on this lot please visit Bonhams.com
Los 187
Ablade Glover (Ghanaian, born 1934)Town Aerial View Abstract signed and dated 'Glo/ 94' (lower right)oil on canvas 100.5 x 150.5cm (39 9/16 x 59 1/4in).(framed)Footnotes:Professor Glover's paintings shift between abstraction and detailed realism depending on the viewer's precise distance from the canvas.When viewed up close, the present work appears to be a constellation of random shapes. Take a step back however, and the inchoate array comes into focus. The abstract shapes transform into a townscape, captured under particular conditions of light and weather.The birds-eye view utilises Western perspectival techniques; the repeated squares of colour that represent the roofs of these Accra dwellings gradually shrink in size towards a horizon positioned beyond the top frame edge.The present lot demonstrates Glover's fascination with the restless dynamics of the urban environment and the opportunities it offers for human interaction and exchange. He locates the precise point where the random events of daily life are resolved into a harmonious order: each roof blends into the townscape and the flux of the present is revealed as an intense instance of eternity.BibliographyJ.Castellone, Contemporary Nigerian Art in Lagos Private Collections, (Ibadan, 2012), pp.14 & 89.For further information on this lot please visit Bonhams.com
Los 141
Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)Head signed and dated 'ADEBAYO GRILLO/ 1966' (verso), a label bears the inscription 'HEAD/ OIL ON BOARD/ Y. A. GRILLO/ LAGOS' (verso), further inscribed '16' (verso)oil on board90.5 x 60cm (35 5/8 x 23 5/8in).(framed)Footnotes:ProvenanceAcquired in Lagos in the 1960's;A private collection. Encapsulating the most dominant elements of arguably Yusuf Grillo's most successful works, Head presents us with an image of strength and emotion through palette, technique, and subject matter. The present work is a prominent painting in the artists oeuvre, an artist who equally dominated the post-colonial modern art movement in Nigeria and indeed set the philosophical tone for the future. With 'archenteric pictorial sensibility', as Chika Okeke-Agulu coins his approach, this was a concept that can be detected within this present work. (Chicka Okeke-Agulu, Yusuf Grillo, Painting. Lagos. Life., (Italy: Sikra Editore S.p.A., 2020), p. 15.)Philosophical manifestations of womanhood were a favoured thematic subject of Grillo's. The artist greatly admired women's wisdom and strength and saw them as the central pillars in society. Perhaps contributing to this outlook, Grillo's own cultural context provided him with this framework of appreciation. With demonstrations of honour bestowed onto women from the community in Yoruba celebrations such as the Gelede masquerade, older women are praised as metaphysically strong figures of society. The Gelede, as Art Historian Babatunde Lawal attests, is now only performed by men who do so under the influence of Lyalase, the highest ranking female in society to honour the aje, the 'powerful mothers of the night' (Babatunde Lawal, The Gẹ̀lẹ̀dé spectacle: Art, Gender, and Social Harmony in African Culture, (Seattle: University of Washington Press, 1996), p. 283). The mask constitutes of a gele (similarly worn by the subject of this painting), oja, and aro. Indeed, the female figure is widely celebrated in Yoruba culture in equal measure to Grillo's celebration of the conceptual relevance of women maintained in his work. An iconic element of the artist's oeuvre is his recurring blue palette. Perhaps underpinned by his formal artistic training at the Nigerian College of Arts, Science and Technology and then Cambridge university, Grillo embraced the impact of Western art into his own work innkeeping with the concept of 'Natural Synthesis'. It could be said that this use of a blue (and its derivatives) could have been informed by Pablo Picasso's blue period of the early 20th century. However, the colour blue also points to the adire dye commonly used in West Africa and Yoruba communities and supports the idea of the Yoruba influence in the artist's work. In working within this chromatic colour palette, light and depth of colour provide dimension to the work, enabling the painting itself, in technique and practise, to be at the forefront of the image. Grillo's exploration of this optical effect allows him to navigate an idea of the metaphysical world allowing both focus and detail amongst an algorithm of technique and palette. While the present work is indeed a display of Lagos life, it is additionally a masterful display of the artist's techniques and academic attribution. The relative anonymity of the subject, beyond being that of a woman, lays bare the quality of the work, open and philosophically conceptual in its subject. Sincere and indeed committed to his arguments of how one should paint, one may conclude that beyond contextual physical realities, the palette and form of the work is coherent in contributing to the metaphysical ideals Grillo synthesises his work upon. BibliographyChicka Okeke-Agulu, Yusuf Grillo, Painting. Lagos. Life., (Italy: Sikra Editore S.p.A., 2020)Babatunde Lawal, The Gẹ̀lẹ̀dé spectacle: Art, Gender, and Social Harmony in African Culture, (Seattle: University of Washington Press, 1996).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 126
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Yoruba Woman in Blue signed and dated 'BEN ENWONWU/1973' (lower right); numbered '31', '24', '47' (verso of original stretcher)oil on canvas81 x 53cm (31 7/8 x 20 7/8in).(framed)Footnotes:ProvenanceA private collection, Lagos;The collection of Andreas Vracas;By direct descent to the current owner;A private collection.ExhibitedLagos, US Embassy: United States Information Service, (April 14-20th 1973), no, 31. As a monumental work in the artist's oeuvre, Bonhams is thrilled to present Yoruba Woman in Blue by the exemplary African modernist artist, Ben Enwonwu. In subject to technique and composition, the present work can draw many parallels to some of the artist's most beautiful and successful works to sell at auction, namely the Tutu series. These parallels distinguish this iconic portrait as a work of art that should be held with the highest regard within the artist's highly distinguished career.Engaging the female subject and an exploration of femininity was a popular thematic practice for Enwonwu in the early 1970's that is also seen in the Tutu series whose subject has been precisely concluded as depicting Adetutu Ademiluyi. This is contextually significant for Enwonwu. Indeed, Enwonwu's Nigerian heritage remains ever present in works such as the present lot. The Igbo culture championed women in the community as pillars of society. Adorned in a Gele, possibly Adire dyed clothes, jewellery, and with the long neck that is synonymous with other depictions of women, it is indisputable that the subject of the present lot is a woman held in high esteem and regard. Enwonwu also believed in entering into a modern Nigerian aesthetic, incorporating his formal training in Western portraiture with his traditional Igbo philosophical tropes. He stated 'the tradition of African art has followed a line of non-representation [and] will change its course in accordance with the infiltration of western [sic] culture. Whatever the neo-African culture is today, art should express it and should employ all the native and acquired means that are possible.' (Enwonwu quoted in Ogbechie, 2008: p. 79). Leaving Nigeria for London in 1944 to pursue his artistic education, Enwonwu enrolled at the Slade School of Fine Art, before being admitted to Ruskin College at the University of Oxford upon the outbreak of the Second World War. During his time at university, Enwonwu wrote his intentions for his artistic style and career in August 1943:'I am keeping my art African – even if I stay in England for 60 years, I will still figure in my works, a plain blunt African. I believe very strongly in being myself and to be original and African.' In many ways, this work resonates with the pastel drawing by the artist; Portrait of a Yoruba lady sold by Bonhams in 2016. It could be concluded that, as both the drawing and present oil painting were completed in the same year of 1973, Portrait of a Yoruba lady was perhaps a preparatory drawing for this captivating painting. While slightly differing in the angle and adornments of the subject, both profiles present us with a Yoruba woman. Moreover, both portraits present an emphasis on the compositional technique that the artists employs, by which he illuminates the subjects from the left-hand side. Again, this element of the works strongly resonate with the paintings of the Tutu series.Resonating further with the Tutu series and due to the present work's exhibition records and numbers inscribed on the original pre-restorative stretcher (included with this lot), it is highly likely that this work preluded the Tutu series. In an exhibition record of April 1973, it could be concluded that, given these lot numbers, it is highly likely that this work was included. While two numbers on the stretcher, numbers 24 and 47, have a line drawn through them implying perhaps a mistaken numerical labelling, all three numbers insinuate works of a similar content to the present work. Decisively, number 31 remains uncrossed, thus concluding this title. Given the work's exhibition information and Yoruba Woman in Blue's visual similarities, it could furthermore be concluded, that the present work pre-empted the Tutu paintings, the first of which was painted in December 1973. Moreover, emphasising the striking qualities that Enwonwu incorporated in his works that carried through over the year. In sustaining elements of colour use, composition and light, we gain an understanding that the artist felt these elements held gravitas and importance within his portraits. However, the present work is not as contrasted in palette as the Tutu works, presenting itself more fluid in palette. The artist's use of teal blue, not only in the robes of the figure, but also as his base layer of the background before more yellow shades were applied, assists a glowing hue providing a mysticism to the work. This technique can also been seen in his work Isaiah the Driver(1968) completed some years before the present work. Interestingly, the yellow application on the background is rare within the artist's portraiture of women, where darker backgrounds seemed to be his preference with a Caravaggio essence, therefore contributing to the rarity of the present work.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester, NY: 2008)For further information on this lot please visit Bonhams.com
Los 104
Ladi Kwali (Nigerian, circa 1925-1984)Two Beakers i)stamped 'L.K' / 'Abuja' in Arabic (base)glazed stoneware13 x 8.5 x 8.5cm (5 1/8 x 3 3/8 x 3 3/8in).ii)stamped 'L.K' / 'Abuja' in Arabic (base)glazed stoneware13 x 9 x 9cm (5 1/8 x 3 9/16 x 3 9/16in).(2)Footnotes:Both on a light celadon green Body 44, the two works presented coordinate in Ladi Kwali's incorporation of a white slip towards the base of both beakers. The precision of the sgrafitto on both works emphasis the clarity with which Ladi Kwali incises her works. The definition of the sgraffito is emphasised by the clear contrast of colour between the Body 44, the slip, and glaze. As Kwali did not take to throwing her vessels, the present works are unusual in her oeuvre as they are a rare example of Kwali using a pottery wheel to complete her work. BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com
Los 918
COMPLETE LLADRO 'JAZZ BAND' SET, comprising of 'Jazz Duo', 05930, 'Jazz Bass', 05834, 'Jazz Sax', 05833, 'Jazz Horn', 05832, 'Jazz Clarinet', 'Jazz Drums', 05929, each in original boxes, bearing labelsQty: 6Upper section of drumstick held in drummer's right hand has been broken off and lost; this appears to be the only actual damage, otherwise some light general wear and dirt but no other issues to report
Los 721
PAIR OF RUSSIAN PORCELAIN LIDDED URNS IN THE MANNER OF SEVRES, 20TH CENTURY with gilt metal mounts, painted with reserves of flowers and birds within turquoise ground, on gilt metal concave square bases54cm highAdditional images available; some minor rubbing to gilt and decoration, some underglaze staining, some general light surface scratches including to mounts, discolouration/tarnish also to mounts, some slight misshaping of mints particularly rims, general manufacturing imperfections and slightly crude finish in places but no visible damages
Los 810A
MEISSEN CADDY, TEAPOT AND STAND, MID-LATE 19TH CENTURY each of shaped oval form, with painted reserves of perched birds within profuse gilt detailing and pink roses, the teapot and caddy decorated with flowers in relief, the stand with cross swords mark in blue the teapot 19.5cm long Qty: 3 There is a small chip to underside of saucer and a few cracks evident from underside. Tiny nibbles to rim. Also light colour and gilt losses. The caddy has gilt losses especially to rim of body. Nibbles to all rims. Damages to floral finial. Teapot also with damages to floral finial on lid, spout repaired, handle repaired, gilt losses. Please see additional images uploaded. Essentially each piece imperfect.
Los 764
PAIR OF 19TH CENTURY CIRCULAR CABINET PLATES, OF MINTON DESIGN the centre decorated with pairs of birds in blossom within pierced and turquoise beaded borders23cm diameterThe first good to fair, light wear as per age (inc. gilt rub), minor grazes to corners of plate. The second with more notable wear (incl. gilt rub), as well as network of crazing thoughout an minor firing imperfections.
Los 724a
WALNUT AND BURR WALNUT CIRCULAR BREAKFAST TABLE, EARLY 19TH CENTURY the cross-banded top with moulded rim, raised on tapered column to quadripartite base terminating in brass paw caps and castors135cm diameter In overall good condition. Appears stable, no major wobble. Some chips to the rim and many areas of stressing to the wood. Some surface scratches consistent with age, more visable when light is shined on it. Additional images now available.
Los 848
BUTTON BACK SOFA, 20TH CENTURY upholstered in mustard velour on turned and tapered supportsapprox 190cm longIn overall good condition. Someminor flaking to the turned supports. Fabric in overall good condition. Slight staining. Would benefit from a light dusting. Additional images now available.
Los 853
PERTHSHIRE CHRISTMAS PAPERWEIGHT, 1981 set with five festive canes within a white border to a green ground, signed cane to base, along with a Peter Holmes for Selkirk glass paperweight, signed, boxedthe perthsire weight 7cm diameterQty: 2Green paperweight with a tiny surface nick and some light scratches; the other also with some light surface scratches
Los 852
FINE VICTORIAN COROMANDEL TRAVELLING BOX, SILVER HALLMARKED FOR WILLIAM NEAL, LONDON 1869 the hinged cover with central circular plaque with presentation inscription, the underside fitted with mirror, the interior with engraved white metal mounts and fitted with a series of twelve silver capped faceted glass dressing table jars and five silver mounted manicure tools, all silver with engraved decoration and monogrammed, also fitted with two push buttons, the first for a single side drawer, the second for a front writing slope, the tooled leather slope with hinge opening to reveal a further series of recessesthe box 19cm high, 31cm wide, 21cm deepBox itself with wear to exterior, including some notable scratches to cover. Wear to skiver. Two silver capped scent bottles with splits, one jar with tight cap - won't unscrew, one jars cap doesn't sit flush, handles of scissors somewhat loose. Further minor dings to some silver caps. Wear to bottles commensurate with age and light use. Additional images now available.Hinges all appear to be intact. Additional images now available.
Los 735
ROYAL WORCESTER POT POURRI WITH COVER, ALONG WITH A VASE each painted with fruit, the vase by Kitty Blake, the pot pourri by Edward Townsend, each with printed marks in pucethe pot pourri 11cm highQty: 2Potpourri, condition generally good. Light wear including gilt rub.Vase, condition good to fair. Small 5mm scratch to body. Further minor scratches to glazed base. Typical wear.
Los 841
ART NOUVEAU TABLE LAMP, IN THE STYLE OF TIFFANY, 20TH CENTURY with simulated stained and leaded glass domed shade decorated with foliate designs, over a cast brass base, the tapered column with twin masks suspended with fruiting foliate swags, over a circular base to four claw and bun feet57cm highNo obvious damage, appears in good condition; light general wear and some rubbing to gilt; stands at a slight angle, more so from certain perspectives, and there has been some knocks and misshaping to both the circular base and the feet castings
Los 780
IN THE MANNER OF GEORGE OWEN FOR ROYAL WORCESTER, TWO RETICULATED CUPS AND SAUCERS the cups of double walled circular form, the outer wall pierced with honeycomb flanking panels with a snake and with a stork, in gilt, the piercing coloured in light blue with gold dots, the pink borders with zigzag designs of white and turquoise jewels, the handle of simulated bamboo form, the cups with printed mark in blue, the saucers in puce and with date letters for 1879 and 1889the saucers each 11cm diameterMost pieces in overall good condition. On cup though with significant damage. Cracked and reglued in many areas. Large areas of left over glue/residue. Small marks to both saucers. Kiln grit to one base and small firing imperfections to base. Some wear to the gilded rims. Very small uneven section to rim of least damaged cup. Both saucers ring quite well when tapped. Additional images now available.
Los 720
CARVED OAK SETTLE, EARLY 20TH CENTURY with carved foliate detail and swept arms, raised on turned baluster supports 107cm wide Additional dimensions - 100cm high, 53cm deep. The seat is split at a join, scuffing and some light water damage to polished surface. Otherwise very sturdy, no loose joints or other damage. Additional images show details.
Los 745
SET OF SIX BOHEMIAN BLUE FLASHED HOCK GLASSES AND SIX BOWLS, EARLY 20TH CENTURY with cut and faceted detail, the glasses on circular feetthe glasses 20cm highCondition generally good. Each piece rings true. Light age and use related wear, would benefit from light clean. Some manufacturing flaws. One glass has slight impact mark below bowl, this is minor and doesn't structurally compromise the piece, still rings true.
Los 743
BOHEMIAN RUBY FLASHED GLASS GOBLET AND COVER, LATE 19TH / EARLY 20TH CENTURY the curved cylindrical body wheel engraved with a scene depicting a stag and deer running through woodlands, over a knopped stem and scalloped circular base35cm highThe lid finial has a tiny loss to the very tip. Very light surface scratches.
Los 766
PAIR OF LATE 19TH CENTURY CIRCULAR CABINET PLATES, OF 'SEVRES' DESIGN the centre painted with exotic birds within a blue and gilt border, bear Sevres style marks to base23cm diameterQty: 2Both generally good. Ring true. The frist has a scratch to the border above the left hand side of the tree, also an area of dirt below reserve.Second has scuffs to left hand side of tree by the border, and further below. Apparent staining to central area - only seen when moved in light. Both subject to light wear including minor gilt rub.
Los 747
GILDED CAST METAL CHANDELIER, EARLY 20TH CENTURY decorated with trailing branches and leaves within lattice sectionsThere are numerous missing crystals and loose strands, some of which appear to loose in the box but we can't guarantee that all are present; this light itself is very heavily worn overall and very dirty, poor condition; the other foliage light is disassembled currently but believed complete, rubbing and tarnish throughout with rubbing to metal general wear
Los 779
GEORGE OWEN FOR ROYAL WORCESTER, A FINE RETICULATED TEAPOT WITH COVER of double walled globular form, the outer wall pierced with wide bands of honeycomb, the spout with pierced lozenge shaped panel, the lid with reticulation and double knop spear finial, the piercing coloured in light blue with gold dots, the pink borders with zigzag designs of white and turquoise jewels, the handle with a band of larger turquoise jewels, applied mark in relief and printed mark in puce, date letter for 1878 12.5cm high In 1859 English potter George Owen (1845-1912), at only age 13, started work with Royal Worcester, where he was employed as a china presser in the ornamental department. He was responsible for cutting holes in porcelain using a moulded outline to imitate Sevres and Chinese examples.The ambidextrous George Owen set about perfecting the technique so that the finished product was made up of much smaller piercings, finer than those found in either the Chinese or Sevres creations. Always experimenting, Owen’s technique and his multiple kiln visits risked months of work with the ever-present possibility of having to start over a constant shadow.The 1896 edition of the Pottery Gazette best summed up the process when it reported “the artist (Owen) tooled every one of these miniature apertures without having any tracery, or any other assistance whatever to guide him to regularity, except his eye and hand… if on the last day of his work his knife had slipped, and so made two ‘holes’ into one, the whole piece would have been ruined”.So secretive was Owen about his technique, he worked behind closed doors and hid his tools if anyone entered his workspace. Even his own son, who provided thin-walled vessels for Owen to perforate, was never allowed to watch. Before he started work, he would use a pair of compasses and callipers to carefully measure the distance around a vessel, marking where each incision should be made – and then create the hexagonal holes with a sharp, oiled knife, deftly swapping from hand to hand as he worked his way around the piece.To date, no one has managed to replicate the finesse of Owen’s work. Condition generally good. Very light age related wear including gilt rub. Two surface hairlines (approx. 3cm) to the base of the teapot, though these are just to the surface and do not appear within. Manufacture seam to the spout. Multiple additional images now available
Los 1776
CARTIER - A GOLD BROOCHOf symbolic form, in 9ct yellow gold, and with maker's mark J.C, weight 12.5 grams, measures approx 3.5 x 3.7cm. 'Tea for Three' was a noteable racehorseCONDITION REPORT Overall good condition, no notable damage. ProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zy
Los 1770
A GERMAN SILVER GILT FRAMED STRUT BACKED MIRROROf shaped rococo form, the top with an Armorial between foliate sides, raised on two scrolling feet, detailed Carl Weishaupt, the back fitted with a mahogany panel and strut, width 49.5cm x height 54cm Possibly with the arms of the Esterhazy family.ProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zy
Los 1778
A MIXTURE OF KENNETH LANE JEWELLERYThe brooch set with vary coloured pastes, a pair of faux pearl earrings, a faux pearl necklace and a larger bead necklace all signed Kenneth Lane, also with another pair of costume jewellery earrings.ProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zy
Los 1777
VAN CLEEF AND ARPELS - A RUBY AND DIAMOND PIG BROOCHIn the form of a pig, with a cabochon ruby and diamond set eye, with rope twist details, signed Van Cleef and Arpels, made in France, in 18ct rose gold, weight 18.1 grams, measures 3.5 x 3 cm.CONDITION REPORT Very good condition, no notable damage.ProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zy
Los 1765
A JOCKEY CLUB GOLD CUP AND COVERThe front with a horseshoe motif and detailed in blue enamel Jockey Club, detailed 585/000 Musy Torino, with a lapis lazuli finial to the detachable lid, height 27cm, gross weight 568 gramsCONDITION REPORT - Overall ok condition, no notable damage. ProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zy
Los 1825
A YELLOW AND WHITE DIAMOND THREE STONE RINGFeaturing a central old mine cut, fancy light yellow diamond (estimated weight 2.30 carats) flanked by a white old cut diamond on each side (estimated weight 1.91 carats total) , the central diamond is claw set in yellow gold and the rest in unmarked white metal, ring size M, weight 5.7 grams.CONDITION REPORT Overall very good condition, diamonds are well set and have no notable damage.Central diamond - fancy light yellow, Si clarity (an inclusion to the center of the table facet)Two white diamonds - G/H colour, Si clarity - Central old cut dimensions of 7.9mm x 7mm x 5.6mm- Each outer diamond estimated weight 0.86ct based ondimensions of 5.9 mm x 4mm - In my opinion the mount is modern.Please note thatBellmans does not guarantee the working order or accuracy of any clocks andwatches sold. ALL GEMSTONE AND DIAMOND WEIGHTS, COLOUR AND CLARITY HAVE BEEN ASSESSED MOUNTED AND OF OUR OPNION ONLY WITH THE EXCEPTION OF CERTIFICATED ITEMS.
Los 1741
AN AUDEMARS PIGUET BI-COLOUR ROYAL OAK WATCHThe signed grey waffle dial with gilt and luminous baton numerals, date aperture, gilt and luminous hands and center seconds, the caseback detailed Royal Oak Quartz No 1464, with a deployment buckle detailed Stainless steel, with a box, outer box and some papers.Condition ⁃ The watch comes with an Audemars Piguet leather caseand an outer card box but no papers. ⁃ In my opinion, the watch dates from the 1990s. ⁃ We are unable to open the case back to examine themovement. ⁃ The case measures 35mm wide, excluding the crown.⁃ The watch is not running.⁃ One screw missing from the case back cover.⁃ Light surface scratches and general wear throughout.⁃ Would benefit from a professional clean and overhaul.Please note thatBellmans does not guarantee the working order or accuracy of any clocks andwatches sold.
Los 1740
A PATEK PHILIPPE AQUANAUT WATCHPatek Philippe Geneve Aquanaut Watch, model 5968A - Engravings on inner rear workings as follows: PATEK PHILIPPE - GENEVE - SWISS - ADJUSTED TO HEAT COLD - ISOCHROMISM AND SIX POSITIONS - 7185608 - 28-520 - THIRTY-TWO JEWELS.Please Note: The Watch is Not supplied with an original box or paperwork.Please note thatBellmans does not guarantee the working order or accuracy of any clocks andwatches sold.Condition- The movement and chronograph function is currentlyworking.- There are light surface scratches to the case andbezel.- Dial in good condition- Strap and clasp in good condition- No box or paperwork- The watch is being sold as genuine and is part of abankrupt stock case.
Los 1774
A PAIR OF TEXTURED GOLD EARRINGSThe half hoop earrings each with a bark textured finish, with clip back fittings, in unmarked yellow gold, weight 20 grams, drop length approx 3cm.CONDITION REPORT Overall ok condition, general wear with age, for non piereced ears, one has a pink nail varnish mark on the back. ProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zy
Los 1767
A 9CT GOLD CORONATION CUP EPSOM TWIN HANDLED TROPHY CUPEngraved Nagami, The Coronation Cup, Epsom 4th June 1959, maker's mark Carrington & Co, London 1957, height 20cm, weight 485 gramsIMPORTANT NOTICE: Variable bidding increments may be available on this lot for live bidding onlyCONDITION REPORT - Overall ok condition, one dent to the front, minor scratches all over.ProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zy
Los 1705
A MOVADO ERMETO FOLDING PURSE WATCHThe signed square silvered dial with luminous Roman and baton hour markers, the caseback detailed Argent Dore 0,935 1214263, with a Movado Ermeto bakelite oval caseCondition Report.- Watch winds and runs- Overall in good condition with light age related wearPlease note thatBellmans does not guarantee the working order or accuracy of any clocks andwatches sold.
Los 1768
THE PRIX DE JOCKEY CLUB 1968 FRENCH SILVER TROPHY EWEROf mid-18th century inspired design, with a griffin head finial to the reeded handle, mark to the front above TAPALQUE, raised on an octagonal foot, detailed Puiforcat Paris, height 33cm, weight 2227 gramsProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zy
Los 1766
A 9CT GOLD 1980 DERBY STAKES EPSOM TWIN HANDLED TROPHY CUP AND COVEREngraved The Derby Stakes, Epsom 4th June 1980, maker's mark Carrington & Co, London 1959, the detachable cover having a foliate form finial, height 30cm, weight 843 grams Won by Etti Plesch, who entered the Guiness World Book of Records for being the first woman to win the Derby twice.IMPORTANT NOTICE: Variable bidding increments may be available on this lot for live bidding onlyCONDITION REPORT - Overall good condition, no notable damage. - In my opinion the trophy does not appear to be loaded.We cannot see directly into the base so cannot say for certain.ProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zy
Los 1719
A CARTIER ROADSTAR WATCHThe signed silvered dial with black Roman numerals and with date aperture, the caseback numbered 229875BB 2675, the bracelet with a folding clasp, with spare links and Cartier caseIt is a quartz movement.ProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zy
Los 1764
A 14CT GOLD 1961 DERBY STAKES TWIN HANDLED TROPHY CUP AND COVEREngraved 1961 The 182nd Derby Stakes Won by Psidium, with maker's mark for Garrard & Co, London 1959, 32.5 cm high, weight 875 grams. Won by Etti Plesch, who entered the Guinness World Book of Records for being the first woman to win the Derby twice.IMPORTANT NOTICE: Variable bidding increments may be available on this lot for live bidding onlyCONDITION REPORT - dented on the reverse, otherwise good condition.Lid also assayed the same. ProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zy
Los 1773
CARTIER - A RUBY AND DIAMOND CAT BROOCHThe cat brooch is set with two pear shaped ruby eyes and three round brilliant cut diamonds to the tail, signed Cartier and numbered 019177, in 18ct yellow gold, weight 18.6 grams, measures approx 4.3 x 3 cm.CONDITION REPORT Overall very good condition, no notable damage. ProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zyALL GEMSTONE AND DIAMOND WEIGHTS, COLOUR AND CLARITY HAVE BEEN ASSESSED MOUNTED AND OF OUR OPNION ONLY WITH THE EXCEPTION OF CERTIFICATED ITEMS.
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