534297 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534297 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
534297 Los(e)/Seite
Los 34
EUGÈNE EMMANUEL VIOLLET-LE-DUC (1814-79) AND FATHER ARTHUR MARTIN (1802-1856) FOR POUSSIELGUE-RUSAND (1824–89) PAIR OF FIVE-LIGHT CANDELABRA, CIRCA 1860 cast and gilt bronze Dimensions:39.5cm wide, 64.5cm high, 18cm deep Provenance:Provenance: Private collection, Belgium, until November 2022 Paul Shutler Note: Literature: Barker M. 'An appraisal of Viollet-le-Duc (1814-1879) and his influence' Decorative Art Society Journal No. 16, 1992 Note: Viollet-le-Duc, his business partner Jean-Baptiste Lassus (1807-1857) and Father Arthur Martin all supplied designs to Notre Dame during its 25-year post-revolution restoration from 1845. The design of the lower portion of these candelabra was initially found in a set of six ormolu pricket candlesticks made by Poussielgue-Rusand for Notre-Dame in 1862. Viollet-le-Duc's drawing for these is in the Heritage and Media Photographic Library at Cherenton-le-Pont, Paris. A set of six of the original pricket candlesticks designs was also used in the chapel of Saint Michael, Saint Raphael & Saint Gabriel at the Cathedral of Saint Julian of Le Mans, France. The pricket design was also exhibited by Poussielgue-Rusand at the 1867 Paris Exposition Universelle. The upper section of candle arms was designed by Father Arthur Martin, and it featured in Poussielgue-Rusand’s catalogues from 1853, initially as a wall-mounted candle arm. Father Arthur Martin was a talented draughtsman and collector of medieval art and materials. In the 1840s he and his fellow Jesuit Brother Charles Cahier (1807-1882) began interpreting and classifying the collection. Their work was then published by Placide Poussielgue-Rusand from 1847 onwards in the highly influential multi-volume publication on medieval art entitled 'Mélanges d’archéologie, d’histoire, et de littérature'. The upper portion of the candelabra can also be compared to the grilles designed by Viollet-le-Duc in 1865 for the Basilica of Saint-Denis, among other places. An engraving of these was published in the Gazette des Architectes et du Batiment, Vol. 3 1865 No. 9, p. 133. A pair of Viollet-le-Duc’s pricket-design candlesticks in lacquered bronze is in the collection of The Art Institute of Chicago and an elaborate casket designed by Father Martin is in the collection of Notre Dame. Viollet-le-Duc's writings on decoration and on the relationship between form and function in architecture had a fundamental influence on a whole new generation of architects, including all the major Art Nouveau artists. His writings also influenced John Ruskin, William Morris and the Arts and Crafts movement, and William Burges admitted in his late life "We all cribbed on Viollet-le-Duc even though no one could read French."
Los 355
ALBERT CHEURET (1884-1966) HANGING LAMP, CIRCA 1925 patinated bronze, alabaster, signed in the bronze ALBERT CHEURETDimensions:41cm diameter, 64cm highNote: Note: Albert Cheuret was born in 1884 in Paris. He studied sculpture with Jacques Perrin, a professor at the École des Beaux-Arts in Paris (fine arts school), and with Georges Lemaire. The artist began his career in 1907 and set up his studio at 11 Avenue Franco-Russe, near the Champ de Mars. Thereafter he exhibited at the Salon des Artistes Français, part of a milieu that included Auguste Rodin, Antoine Bourdelle, and Jean-Baptiste Carpeaux. After the First World War, Cheuret resumed his practice and secured several high-level commissions. His work is imbued with the clean lines of the Art Deco period and also bears the influence of images which began to appear after the discovery of Tutankhamun’s tomb in 1922, and the new language which it introduced into Western arts and crafts. At the Universal Exhibition in Paris in 1925, Albert Cheuret rented a stall along the Alexandre III bridge and presented his famous light fixtures in bronze and alabaster, his favourite materials.
Los 98
SIR EDWARD BURNE-JONES (1833-1898) FOR MORRIS & CO. 'ST. ANDREW' STAINED GLASS PANEL, 1909 stained, leaded and painted glassDimensions:176cm high, 44cm wide (frame 185cm x 50cm)Provenance:Provenance: The Chapel of Cheadle Royal Hospital, CheshireNote: Note: The contribution to the medium of stained glass by William Morris and his principal collaborator Edward Burne-Jones marked an epoch in its post-medieval development. By the 1890s, the reputation gained by Morris & Co. for their stained glass was such that a number of their patrons exclusively commissioned windows from the firm, to ensure the visual unity of their buildings. One such commission was from Cheadle Royal Hospital near Manchester, who in 1904 instructed Morris & Co. to glaze all of the windows of their new chapel. The glass was installed over four periods (1906, 1909, 1911, and finally in 1915), and this present example, depicting St Andrew, originally formed the left part of a three-light window, with St Matthew in the centre and St Peter on the right-hand side.This fine example of stained glass can be traced back to a drawing by Burne-Jones (BJ 514) that was first made for a window in St Mark’s Church, New Ferry, in 1876. It was then re-used at Holy Trinity, Sloane Street in London in 1894-95 and Albion Congregational Church in Ashton-under-Lyne in 1896 before it illuminated the chapel at Cheadle. The guiding principles that governed the manufacture of the Cheadle windows can be found in an article by Morris in 1890 in which he stressed the importance of clarity of design and colour, ‘The qualities needed in the design […] are beauty and character of outline […] Whatever key of colour may be chosen, [it] should always be clear, bright and emphatic.’
Los 356
ALBERT CHEURET (1884-1966) TABLE LAMP, CIRCA 1925 patinated bronze, alabaster, signed in the bronze ALBERT CHEURETDimensions:56.5cm highNote: Note: Albert Cheuret was born in 1884 in Paris. He studied sculpture with Jacques Perrin, a professor at the École des Beaux-Arts in Paris (fine arts school), and with Georges Lemaire. The artist began his career in 1907 and set up his studio at 11 Avenue Franco-Russe, near the Champ de Mars. Thereafter he exhibited at the Salon des Artistes Français, part of a milieu that included Auguste Rodin, Antoine Bourdelle, and Jean-Baptiste Carpeaux. After the First World War, Cheuret resumed his practice and secured several high-level commissions. His work is imbued with the clean lines of the Art Deco period and also bears the influence of images which began to appear after the discovery of Tutankhamun’s tomb in 1922, and the new language which it introduced into Western arts and crafts. At the Universal Exhibition in Paris in 1925, Albert Cheuret rented a stall along the Alexandre III bridge and presented his famous light fixtures in bronze and alabaster, his favourite materials.
Los 29
HALSEY RICARDO (1854-1928) (DESIGNER) THE BIRMINGHAM GUILD OF HANDICRAFT LTD (MAKER) PAIR OF DOUBLE WALL LIGHTS, CIRCA 1906-1907 24-carat gold-plated brass, gold foil enamel and original opalescent glass shades Dimensions:35.5cm wide, 30.5cm high, 19cm deep Provenance:Provenance: Supplied to Sir Ernest Debenham for Debenham House, 8 Addison Road, London, removed circa 1960 Phillips Auctioneers lots 148, 149, 150, 30th March 1993 Haslam & Whiteway, London one pair British Art Market 2014 Paul Shutler Note: Literature: The Architectural Review, An Essay in Colour Architecture, March 1907 Country Life, Madge Garland, 8 Addison Road, Kensington - The Town Houses of Halsey Ricardo - II, 20th November 1975Note: Sir Ernest Debenham (1865-1952) of the Debenham department store family, commissioned the architect and designer Halsey Ricardo to build him a house at 8 Addison Road in 1906. This house came to be known as Debenham House or, on occasion, The Peacock House. Halsey Ralph Ricardo established his architectural practice in 1878 but also worked in partnership with William De Morgan (1839-1917) designing ceramics. He advocated the use of architectural glazed tiles to resist the pollution of 19th century London. Debenham House is a striking example of this practice. Ricardo clad the external walls with glazed Burmantofts tiles in bands of peacock greens and blues. He fitted the four reception rooms, seventeen bedrooms and six bathrooms, all with De Morgan tiled fire surrounds (with no two alike) and with De Morgan pictorial panels throughout the building. In addition to this, he used various marbles and architectural elements clad with Doulton 'Carrara ware' tiles. Described as the last flourish of the Arts & Crafts movement, the house features plaster friezes by Ernest Gimson (1864-1919), stained glass by Edward Prior (1852-1932) and a mosaic designed by George Jack (1855-1931). Along with the exterior gates and railings, the interior door furniture, including the handles, finger plates, bell-pushes and light fittings were all designed and made under the supervision of Ricardo by the Birmingham Guild of Handicraft. It would have been inappropriate for Ricardo to use any other firm for this commission as Debenham's father-in-law was Birmingham MP William Kenrick (1831-1919), chief shareholder and director of the Birmingham Guild of Handicraft, and his brother-in-law was the Guild's managing director, Claude Napier-Clavering (1869-1938). These lights are one of the original three pairs designed specifically for the main hall, they feature butterflies circling a single rose before ivy leaves, a theme repeated throughout the building.
Los 1
ATTRIBUTED TO A.W.N. PUGIN (1812-1852) FOR JOHN HARDMAN & CO., BIRMINGHAM CHANDELIER, CIRCA 1850 engraved brass, with enamelled decoration, later hanging chains, bears repeating inscription to corona EGO SUM LUX MUNDI (I am the light of the world)Dimensions:corona 53cm diameter, with candle holders 58.5 cm diameter, 28cm high
Los 147
BIRMINGHAM GUILD OF HANDICRAFT ARTS & CRAFTS HANGING LIGHT, CIRCA 1910 brass, with three opalescent glass shadesDimensions:52cm diameter, 48cm highNote: Literature: Crawford A. (edit.) By Hammer and Hand: The Arts & Crafts Movement in Birmingham, Birmingham Museums 1984, p.101, pl.80 where a similar fitting is shown on the Birmingham Guild stand at the Midlands Counties Building Trades Exhibition of 1908.Birmingham Guild of Handicraft Electric Fittings, p.138, no.14
Los 306
AGATHON LÉONARD (1841-1923) FOR SUSSE FRÈRES, PARIS 'DANSEUSE À L’ÉCHARPE, GENOU LEVÉ' (DANCER WITH A SHAWL, RAISED KNEE), CIRCA 1901 bronze, with later gilt patina, signed in the bronze A LÉONARD / SCLP, with SUSSE FRÈRES EDITEURS PARIS pastille, and stamped: M/ GENOU LEV*(É)/ ELECTRICEEDimensions:60cm high, 39.5cm wide, 19cm deepNote: Literature: Alastair Duncan A. Art Nouveau and Art Deco Lighting, London, 1978, p.58, pl.20 Arwas V. Art Nouveau, The French Aesthetic, London, 2002, p.136Duncan A. Louis C. Tiffany: The Garden Museum Collection, Woodbridge, Suffolk, 2004, p.643Note: This elegant figure in an elaborately draped dress belongs to a series of dancers conceived by Agathon Léonard, the Jeu de l'Écharpe, which was first exhibited at the Société Nationale des Beaux Art in 1897 as a project for a theatre foyer. The dancers in elegant poses are characterised by their delicate gestures, loose dresses and wide sleeves. They rapidly became Léonard's most popular works and were produced in gilt bronze by the Susse foundry. The present bronze is a large-size Susse Frères cast of the 'Danseuse à L’Écharpe, Genou Levé', model no.12, created between 1897 and 1899, the Susse edition produced from 1901. The carefully chased surface of the bronze produces a shimmer effect of light on the gilded surface.
Los 1021
A collection of three mid to late 20th Century lamp stands. One brass with column features, raised on a plinth base, second being of marble construction with a twist column and the third being of a tapered clear resin column with curved glass base. Each with brass electrical light fittings. Largest measures 44.5cm (height).
Los 1052
A 20th century vintage 1940s Chinese chinoiserie standard floor lamp. Raised on rounded terraced base with a rounded column upright having light fitting atop. Finished in a painted green colourway with leaf decoration to column. Includes original floral lampshade. Measures approx 190cm x 59cm x 251cm.
Los 1015
A 19th century Victorian painted pine chest of drawers. The chest of drawers having chamfered edge to top and being raised over a bank of two over four drawers, each with metal gadrooned cover handles, raised over a block base. All being painted in a light sage colourway. Measures approx. 84cm x 93cm x 47cm
Los 489
18TH CENTURY ITALIAN SCHOOL "Maria Clementina Sobieska" portrait study, half length, oil on canvas, unsigned, 80 cm x 65 cm (Princess Maria Sobieska,1702-1735, was the grand-daughter of the King of Poland, John III Sobieski, and the wife of James Francis Edward Stewart, the Jacobean Pretender to the British throne, and mother of Charles Edward Stewart (Bonnie Prince Charlie) and Henry Benedict Stewart, before dying aged 32 on 18th January 1735, and buried in St Peter's Basilica, Rome), 80 cm x 64 cm CONDITION REPORTS Canvas has been relined. Painting has various repairs and some areas of repainting, including horizontal and vertical splits in central section of picture. Paintwork has quite extensive craquelure. Various areas of scuffing and flaking / missing paint including to her face. A large darker painted area to the left of her hair and neck. There is a grid-like / ridged effect to her face where the paint is worn away - possible the weave of the canvas showing through. Under UV light the repairs and repainting are apparent to the large vertical and horizontal splits to the centre which form two sides of a square, overpainting to the repaired area. There are also various other areas of touch-up paint to bottom centre, to folds to left of dress, and several small specks and small areas throughout, and an area of repair to the centre of her neck. A few small dots of touch up paint to her face, but the worn area to the right on her face where the canvas weave shows through, appears pale under UV light which would suggest that that area is worn rather than repainted. The larger darker area to the background to the left of her hair and neck shows up pale under UV light and appears of a similar pale milky colour to the rest of the background. There are some slightly darker areas throughout possibly where crazing and cracquelure have been stabilized and painting appears to have been revarnished. The frame has various chips, losses, regilding, cracks and some drilled holes.
Los 179
A Victorian green glass dump, the centre decorated with a vase of flowers 16 cm high together with two smaller dumps 9.5 cm high and 8 cm high CONDITION REPORTS Larger dump in over all good condition with no serious blemishes though with light surface scratching conducive with age and use. Base with more in the way of scratching - see images for further detail.Medium dump - basically sound though slightly more in the way of surface scratching - see images for further detail
Los 467
19TH CENTURY ENGLISH SCHOOL “Windmill with figures” a landscape unfolding in the background with sheep in the distance, oil on panel unsigned, 19 cm x 25.5 cm CONDITION REPORTS Condition overall good. Frame with wear and tear conducive with age. Missing two foliate spandrels at base of the front of the frame. Some damage and loss throughout. Panel in good condition. One old worm hole which clearly, at some point, was through to the painting at the front, and has been over-painted. Under UV light there is a good deal of repainting visible particularly to the sky area above the windmill and the remainder of the sky variously. Not so obvious to the base of the painting. See images for further detail.
Los 308
A George V silver mounted cylindrical glass conserve pot with star cut base, the arched swing handle acting as an opening mechanism for the circular lid (by Hukin & Heath, Birmingham 1927) Patent No. 5518, 9.3 cm high not including handle x 7.7 cm diameter and a hobnail cut glass dressing table jar with embossed silver lid (by Arthur Wilmore Pennington, Birmingham 1900) 7.8 cm diameter x 8 cm high, 0.75 oz CONDITION REPORTS Conserve jar: Some light denting and scratching to the rim particularly above the hallmark to the edge. Some light blemishes to the top which may or may not be polished out. The interior of the jar has some residue of previous contents which appears that it should clean out. Hobnail cut jar: Various light scratching to the surface of the glass and light denting and scratching in the main to the silver top though one edge with larger denting - see images for further detail
Los 172
A 19th Century Chinese Guang Xu famille verte vase with flared rim, the main body and neck decorated with four-toed dragons in various colourways, bears six-character mark to base 43.5 cm high CONDITION REPORTS Some losses to the enamel decoration, and firing faults though out. General wear and tear to include some light surface scratching etc conducive to age and use. See images for more details.
Los 497
CHARLES MARCH GERE (1869-1957) "Jungfrau", watercolour, monogrammed and dated 1926 lower left, 19 cm x 30 cm CONDITION REPORTS Condition overall appears good. Possibly light scratch mark top right in the sky showing up slightly darker in the image. No labels verso though we have not had it out of the mount. See images for further detail.
Los 570
A FRENCH GILT AND PATINATED BRONZE DOG TIMEPIECE19th Century Modelled as long haired poodle, standing on chequered plinth base, the timepiece with enamel dial, the movement signed ‘J. Cefsen (? ) A Paris’, with a key, 12cm wide; 10cm highProvenanceThe 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%A1zyCondition Report:Some wear to the patination on the poodle. Small scratches and knocks to the base including one at the front. General wear, marks and scratches consistent with age and use.We do not guarantee the working order of the timepiece. Small crack to the enamel dial at 8 oclock. Small crack to corresponding spot on the glass case door. Small gap in one glass side panel.
Los 583
FISHING TROPHY: A POLYCHROME PLASTER MODEL20th Century On painted board with label inscribed ‘CAUGHT BY BUNNY ELLIOT RIVER DEE ABOYNE 30.8.67 19 Ibs’, 117cm wide; 41cm highProvenance: Caught by Countess EsterhazyProvenanceThe 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 587
BERNARD LORJOU (FRENCH 1908-1986): TWO SIGNED ABSTRACT PRINTS ON PAPER (2)Modern Each portrait print signed in pencil lower right, with initials HC to the lower left, ‘XXVe ANNIVERSAIRE DU REGNE DE S.A.S LE PRINCE RAINIER III DU MONACO’ printed to the bottom of each, 53cm wideProvenanceThe 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 577
TWO VICTORIAN GILT-BRONZE NOVELTY INKWELLS IN THE FORM OF HARES (2)Circa 1880/90 The first modelled standing on its haunches with rifle, hinged at the back of the neck, 25cm high; the other modelled as a head with forelegs over a leaf clad dish or shallow tray, 11cm highProvenanceThe 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%A1zyCondition report: The first - possibly not an inkwell as too large, but probably should have a liner and a storage jar. The rifle is relatively loose and the strap to the rifle loose at one end. General rubbing to the gilding. A concealed hole, formerly cut out at the side of the base. See extra images. The second inkwell with a a liner and dished base. The cast detail and finishing is of a slightly higher quality. General rubbing and tarnishing as to be expected.
Los 571
A FRENCH CHARLES X PALAIS ROYALE ORMOLU MOUNTED EQUESTRIAN STATUETTE (2)Circa 1830 With an engine-milled ormolu mounted mother-of-pearl base, 9cm high; And a bronze patinated iron model of a bull, 14cm wide overallProvenanceThe 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 616
A PAIR OF LOUIS XVI STYLE GILTWOOD AND COMPOSITION TWIN-LIGHT WALL APPLIQUÉS (4)20th Century Ribbon-tied tassel backplates with berried laurel branches and floral wreaths, 53cm high; a pair of Italian silvered wood bobbin turned wall appliques, late 20th Century, 33cm highProvenance: The selected contents of Conderton Manor, near Tewkesbury.
Los 580
A GROUP OF TEN VARIOUS WOOL NEEDLEPOINT CUSHIONS INCLUDING TWO DEPICTING SEATED PUG DOGS (10)Second half 20th Century Including a rabbit, a parrot, a tiger and other floral arrangements, most velour backed, approx 36 x 37cm The tiger, strawberries, rabbit and leaf cushions were all certainly embroidered by Countess Bunny Esterhazy, possibly the others but the vendor cannot be 100% 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 1287
TWO LARGE CHINESE FAMILLE ROSE FIGURES OF STAR GODS (2)20th century Each standing, Shou holding a staff and Lu carrying a ruyi sceptre, the first with stamped mark, each approx. 47cm highVery minor glaze chips. Some wear to the gilding.Very minor wear to the enamelsProvenanceThe 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 576
A COLLECTION OF STAMP ALBUMS (QTY)Including stamp collections from Monaco, the United States, The Vatican and a Jubilee Commonwealth collection of First Day CoversProvenanceThe 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 585
A SET OF EIGHT IMPERIAL GLASS TORIL DE ORO DRINKING GLASSES (8)Modern Each tall cylindrical glass embellished with a gilt latticework design, with IG logo to the undeside, 14cm highProvenanceThe 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%A1zyCondition report: Overall in good condition. Very slight rubbing in areas, one with a very minor rubbing to the rim of the glass edge see extra images. Otherwise, inevitable minor scuffs and scratches commensurate with wear, use and age.
Los 572
AFTER EMMANUEL FREMIET (FRENCH 1824-1910): A MODEL OF TWO RACEHORSES AND JOCKEYS / CHEVAUX DE COURSE ET JOCKEYSLate 19th / Early 20th Century Inscribed to the cast ‘E. Fremiet’, patination rubbbed, 49cm wide; 47.5cm highJane Horswell, Bronze Sculpture of “Les Animaliers”, page 185. This detailed composition is considered one of Fremiet’s finest.ProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021)Formerly at Dollanstown Stud, owned by her mother Mrs. Etti Plesch, See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zyCondition report: The patinated surface is rubbed away overall. Wear and general exposure commensurate with age. One jockey is missing a crop. A white-ish residue in areas and recesses. Underside with a lacquer- see extra images. No apparent foundry mark identified.
Los 615
A GROUP OF BRASS AND COPPER, INCLUDING A PAIR OR EMBOSSED COPPER CLAD OAK BELLOWS, IN THE MANNER OF THE NEWLYN SCHOOL (8)19th Century The bellows, 110cm long; A pair of Victorian brass five light candelabra, 48cm high; two framed repousse copper frieze panels, depicting figures in a procession, the other sheep herders and boatmen, 44cm and 35cm wide, respectively; a brass alloy preserving cauldron and another embossed and lobed brass bucket (no handle); and another pair of bellows with brass nozzleProvenance: The selected contents of Conderton Manor, near Tewkesbury.
Los 675
A PAIR OF EMPIRE STYLE GILT-METAL TWIN-LIGHT WALL APPLIQUES AND ANOTHER PAIR (4)Modern Each with arrow shaped backplates and scroll arms terminating in herms, 42cm high; Together with another pair of Louis XVI style metal three light wall appliques, with swagged urn finial, 52cm high overall
Los 1319
THREE JAPANESE WOODBLOCK PRINTS (3)19th century Comprising; `Mountains of Chichibu, Musashi' by Hiroshige II from the series One Hundred Views of Famous Places in the Provinces; `Yoshino Mountain in Yamato Province' by Hiroshige; a print of an actor, each approx. 35cm by 25cm, mounted, framed and glazedMountains of Chichibu- some light discolouration. Minor creasing.Yoshino Mountain- Tear to top left hand corner. Some light discolouration. Some brown specking to the margins.Actor- large section of staining to top half.
Los 579
A PAIR OF SILVER-PLATED HORSES’ HEAD STIRRUP CUPS (6)7.5cm high; Together with a Continental bottle stopper, modelled with a pig, stamped 925; a novelty rabbit salt and pepper (unmarked); and a pill box modelled as a rabbit standing on a cushionProvenanceThe 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 1286
A CHINESE FAMILLE ROSE FIGURE OF A COCKERELLate 19th/20th century The brightly coloured bird modelled standing astride a pierced rockwork base, 25.5cm highSome small chips to the tips of the comb. Two shallow chips to the wattles. Minor glaze chip to the beak. Very minor wear to the enamelsProvenanceThe 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 586
A SWISS JAEGER-LECOULTRE ATMOS MANTEL CLOCKSerial number 523100 Calibre 528-6, the blue chapter ring with gilt Arabic numerals at 12, 3, 6 and 9, 22cm highProvenanceThe 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 Condition Report: There is no carrying case with this clock. The glass case requires a gentle clean with light scuffs and marks commensurate with age and exposure to the elements and handling. The clock is not maintaining time and presently not working. It is advised that the mechanism is thoroughly overhauled, cleaned and serviced by a qualified specialist. We are unable to guarantee its working order.
Loading...-
534297 Los(e)/Seite