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Los 86

Sir Terry Frost R.A (British b. 1915) Malaga Blue, Yellow And Orange, 1999 Mixed media Signed in pencil to the bottom right Framed and glazed  23 x 23 cm (9 x 9 in) Sir Terence Ernest Manitou Frost RA (13 October 1915 – 1 September 2003) was a British abstract artist, who worked in Newlyn, Cornwall. Frost was renowned for his use of the Cornish light, colour and shape to start a new art movement in England. He became a leading exponent of abstract art and a recognised figure of the British art establishment.  

Los 239

A contemporary circular tiered brass ceiling light, hung with faceted glass lustres. Diam.32cm

Los 32

A 9ct yellow and white gold fancy twist bracelet, light weight, approx weight 1.8 grams, 8 + 1/2 inches long,

Los 448

A Hardy salmon fly reel, ASP7000 ultra light, has some damage to the outer edge, comes with 2 lines, cortland 444 lines, floating 9WT

Los 838

Three circular glass light catchers including two featuring birds.

Los 342

1960s Ocelot Jacket with Cites certificate, made by Browns of Chester. This has two outer pockets, self lined collar, rear vent, lining with gold fleck floral occasional pattern. Closure by single furrier hook and eye, the buttons are for decoration only.  38 inch bust (s)(1)good condition, light wear

Los 91

Vintage Dolls House miniatures ; Fine detailed miniatures including hall lantern light ceramics crockery and decorative wall lates and ceiling rose,kitchen items , desk candle jardinières etc-all beautifully made and some old shop stock packet items 1980s era( selection all as shown)

Los 119

An extremely rare and impressive early 19th century year duration striking longcase clockHardeman & Son, BridgeThe remarkable case with shaped cresting mounted by three ball and spire finials on reeded uprights, the arched cresting supported on tapering reeded brass-mounted free-standing Corinthian columns over a broken arched trunk door with flame veneer and moulded edge flanked by matching quarter columns over a base with applied moulded panel, further set on a separate double-apron with moulded bracket. The 16inch one-piece silvered dial with month subsidiary in the arch framed by engraved foliage, the corners similarly decorated so as to frame the minute band and Roman chapters, signed across the centre with blued steel hands (the minute counterpoised). The extremely substantial movement with plates measuring 28cms x 23.5cms (11ins x 9.25ins) united by six very heavy knopped pillars; the going train of six wheels and high count pinions, terminating in an anchor escapement to a pendulum with light brass flat strip rod and light brass bob; the strike train with outside countwheel mounted on the backplate and striking every hour on the bell. The squar-section lead weights weighing 49kgs(108lbs) and 46kgs (101lbs). 2.72m (8ft 11ins) high. Footnotes:Samuel Hardeman was likely born in Kent, to Stephen and Sarah Hardeman, the former of whom was a musical instrument maker. He had one sibling, a brother named Stephen. It is not known where Samuel served his apprenticeship, but he appears to have spent all of his working life in Canterbury. At some point he married Ann, and they had two children, Edwin (Samuel) and William. Both Edwin and William would become horologists. The family seems to have been quite prosperous, as Samuel owned several properties in Canterbury, including, his shop with living quarters above. Whether this largess was gained through inheritance (his father leaving the entirety of his estate to Samuel and his brother, after Sarah's death) or horological renown is unknown. It also appears that Samuel was a grocer, and owned a shop in this capacity, though whether this was inherited or simply a side interest is not clear.On Samuel's death in 1843, he left instructions that all his stock in trade as a grocer was to be left to Ann. He also indicated that Ann, Edwin, and a John Paren were to have full use of the building he lived in, presumably for the continuation of business. It is quite interesting to note that William Hardeman, is emphatically banned from using the premises in any capacity, especially as a clock and watch maker. It seems there was a falling out between father and son at some point, possibly over a debt owed by William to Samuel of £80, which is detailed in Samuel's will. This might also explain why the business was referred to as 'Hardeman and Son' despite both sons being horologists.Edwin Samuel Hardeman was advertising as a watchmaker in 1847, working out of 2 St. George's Street. He married Sarah, and they had two children: Sarah and Charlotte Elizabeth. Edwin died relatively soon after his father, in 1857, of a sudden illness. He left instructions that all the property and stock, presumably much of the property that he inherited, should be sold and the money to go to his wife and grown children. No mention is made of his mother or brother.William Hardeman was advertising as a watch and clock maker in 1855, working out of Bridge, Canterbury. By 1882, a William Henry Hardeman was advertising, also as a clock and watchmaker, and also working out of Bridge. It is possible that this is the same William Hardeman who was Edwin's brother, but it is also possible that this was William's son. There is no mention of any horological William Hardeman after 1903. It is interesting to note that a Canterbury resident was interviewed in 1946 by the Antiquarian Horological Society, regarding 'Hardeman and Son'. The only horological Hardeman she knew in the area was 'elderly Billy Hardeman who was a watch and clock-maker and repairer in the village 50 years ago and whose family had been in business there for many years'.One, possibly two, other year-going clocks are known by Hardeman and Son, both made around 1810. Both are around 9 feet tall and use a similar train layout to the current clock. They require driving weights of around 44 kg per train. It is unknown if these year-going clocks were made for a specific purpose or were simply offered in different sizes.The Hardemans are known to have made and repaired turret clocks as well, including one such clock with rack striking and dead-beat escapement. Several longcase clocks are also known from all three horologists.Heimann, P. (2004) 'Long-Running Clocks', Horological Journal, Vol. 146 (11), pg. 402.British Horological Industry (1946) 'Canterbury Clockmaker', Horological Journal, Vol. 88 (12), pg. 563.Shenton, K. (1993) 'Southern Section: 3 April', Antiquarian Horology, Vol. 21 (1), pgs. 29-30.Bundock, M. (1987) 'Turret Clock Group: 2nd-4th July', Antiquarian Horology, Vol. 17 (2), pg. 160Probate of Stephen Hardeman (1810). The National Archives: Public Record Office. Catalogue reference: IR 26/300/106Will of Samuel Hardeman (1843). The National Archives: Public Record Office. Catalogue reference: PROB 11/1979/189Will of Edwin Samuel Hardeman (1857). The National Archives: Public Record Office. Catalogue reference: PROB 11/2253/265University of Leicester (2022) Historical Directories of England & Wales: Kent 1824-1918. Available at: https://specialcollections.le.ac.uk/digital/collection/p16445coll4/search/searchterm/Kent/field/place/mode/exact/conn/and/order/period/ad/asc/page/1This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Los 6

A rare mid-19th century French carriage clock with chaff cutter escapementPaul Garnier, Paris number 2976The early multi-piece case with facetted handle over a bevelled glazed inspection panel (the repeat button passing through the glass), moulded uprights and a plinth base, the solid rear door with hinged shutter opening to reveal the winding and setting squares. The Roman white enamel dial with minute track and numerals picked out in light and dark blue, the centre signed Paul Garnier Hger de la Marine Paris, above blued steel trefoil hands and a subsidiary Arabic alarm dial with blued steel setting hand. The three-spring barrel movement with Garnier's own chaff-cutter escapement with three-arm monometallic balance, and extremely delicate arbors throughout, rack striking the hours and half-hours on a bell. The back plate signed Paul Garnier Paris, and numbered on the backplate under the bell, the rear door, shutter and base also repeat numbered. Ticking, striking, sounding the alarm and repeating. Together with a double-ended winding key. 18cms (7ins) highFootnotes:Paul Garnier (né Jean-Paul) was born in 1801 in Épinal, France, moving first to Luxeuil to carry out a watchmaking apprenticeship, and then to Paris in 1820 to join Lépine's workshops, before finally establishing his own business in 1825. In the 1827 Exhibition he exhibited an astronomical clock and some mantel regulators, which won him a silver medal. He would win silver medals again at both the 1834 and 1839 Exhibitions, before winning a gold medal in 1844. Around this time, he seems to have written to the formidable Antide Janvier, asking for permission to use the title 'Elève de Janvier', as Garnier, at some point, attended the free Horological school Janvier established in 1802. Janvier readily assents to this request, and Garnier used the title on his carriage clocks until about 1835, and in his written correspondences until at least 1844. Around 1835, Garnier makes use of the title 'Horloger (or Her) du Roi', which in turn is supplanted by 'Her De La Marine' after the 1848 revolution and the deposition of the monarchy.From 1830 Garnier began to make affordable, semi-massed produced carriage clocks (pendules de voyage) and could be said to have established the Parisian carriage clock industry. He was able to do this by combining a basic, easily made design with his patented 1830 escapement. This escapement, alternatively called the 'chaff-cutter', 'Gautier', or 'chopper', could be machine made, drastically reducing the time and cost of making. It is a type of frictional rest escapement, comprising of pallets in the form of a single roller (a circle with about 4/9ths of its circumference cut off at an angle and the sides ground) made of either jewel or hardened steel, the latter being more common with repaired rollers. The escape wheel is in fact two separate wheels mounted on the same arbor a specific distance apart. The wheel teeth are bevelled along the edge that interacts with the roller.The combination of basic shape and cost saving escapement meant that pendules de voyage, having previously been economically unattainable to the vast majority of people, were reduced in cost to the price of a standard mantle clock.Despite being affordable, these clocks were not poorly made, exhibiting very fine diameter pivots (even by French clock standards) and usually having rack striking, which was a desirable feature, being much easier to set than count wheel striking. The clocks would also only strike the half hour and the hour, which saved on cost compared with the more common repeaters. In the early clocks, engine turned dials, one-piece cases, and barrel stopwork were all very common. With clocks made between 1830-1840, it was common to fit a coloured-paper covered block of wood into the base of the hollow casting.In addition to carriage clocks, in 1847 Garnier presented a novel master clock and slave clock system, and at least one chronometer has been assigned to him. He also pursed scientific instrument making, his obituary eventually being published in the Society for Civil Engineers bulletin in 1869.His son, also Paul Garnier, was born in 1834 and continued the business after his father's death. Additionally, he submitted drawings and models of his father's design for a free-sprung chronometer escapement to the Conservatoire National des Arts et Métiers and the Revue Chronométrique. Before his death in 1916, he donated his family's collection of watches and clocks (the former including examples from the 16th century) to the Musée des Arts et Métiers.R. A. E. (1890) 'A Few Words About M. Paul Garnier's Collection', The Horological Journal, Vol. 33 (3), pgs. 33-34.Arnott, P. (2011) 'Constant Force Chronometer No. 1 Attributed to Paul Garnier', Antiquarian Horology, Vol. 33 (1), pgs. 58-65.Weld C. R. (1868) 'Parliamentary Reports on the Paris Universal Exhibition, 1867', The Horological Journal, Vol. 11 (4), pgs. 43-50.British Horological Institute (1877) 'Entirely Detached Gravity Escapements', The Horological Journal, Vol. 20 (1), pgs. 4-6.Allix, C. (1993) 'Paul Garnier Revisited', Antiquarian Horology, Vol. 20 (5), pgs. 411-425.Boquillon, M. (1863) 'Horology at the International Exhibition, London, 1862', The Horological Journal, Vol. 5 (8), pgs. 90-93.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 7

A rare mid-19th century French carriage clock with jewelled chaff cutter escapement and hour repeatDent, Paris, numbered 2437The one-piece case surmounted by an elegantly turned handle on vase-shaped uprights over a large rectangular escapement observation window, three bevelled glazed panels and a solid rear door with hinged shutter to reveal the winding and hand-setting arbors, on a moulded base. The white enamel Roman dial with light blue minute ring framing the dark blue Roman numerals and blued steel trefoil hands, signed below VI Dent a Paris. The twin barrel movement with jewelled chaff cutter escapement, three arm gilt balance and extremely delicate arbors throughout. The frontplate numbered 2297, the backplate signed Dent a Paris and numbered 2437, the base repeat numbered. Ticking, striking, and repeating on a bell, together with a double-ended winding key. 16cms (6ins) highThis 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 99

A rare late 17th Century ebony table clock by a Knibb apprenticeJohn Drew, LondonThe case with elaborate foliate handle set within floral pommels on petal bases, the domed caddy set with four pierced foliate mounts and framed by berry-and-leaf finials to a moulded cornice over silk-backed cast brass sound frets to the front and sides, on a moulded base and squat bun feet, the front door with brass escutcheons. The 6inch square brass dial enclosed by winged cherubs head spandrels between foliate engraving, the silvered Arabic and Roman chapter ring with five-minute numerals outside the minute band and set with half-quarter marks, the Roman hours interrupted by elaborate half-hour markers, signed at the base Jno. Drew London, the deep blued steel hands reading against the finely matted centre. The twin gut fusee movement united by five knopped and finned pillars, knife-edge verge escapement and solid numbered outside countwheel strike on the bell, the backplate with single line border and symmetrical pattern of richly engraved floral scrolls framing the oval signature cartouche with male mask above the name John Drew Londini Fecit. Secured in the case via a pair of turnbuckles mounted to the rear of the dial. Ticking and striking with two case keys. 37cms (14.5ins) highFootnotes:John Drew was apprenticed to Joseph Knibb for eight years between September 1676 and September 1684, meaning Drew was likely born around 1662. Over the course of his career, he would train eight apprentices, though none appear to have gained their freedom. At some point in his career, likely early on, he was working out of a shop in Johnson Court, on Fleet Street. Lantern clocks and longcase clocks are known by him, including a couple of miniature lantern clocks, one with ting-tang striking. He displayed the same delicate minimalism in his work as was seen by Knibb, and it is easy to see the influence of his master in his work. In 1712 Drew was appointed Beadle of the Company, taking over from the deceased Richard George, an engraver who had held the position for over a decade. The official description of a Livery Beadle's duties was to attend every official Livery function, maintain the peace during meetings, look after robes, etc. Unofficially, at this time, the role was usually given as a source of income to members who had fallen on hard times. Many horologists and allied trades people would see their income disappear if they were to fall ill, their poverty continuing for the duration of their illness. Some trades had a higher-than-average tendency for this, for example, many engravers were known to have short careers due to sight loss; several years of very close, detailed work in pre-electric light conditions would cause them to become partially sighted. This may explain Richard George's long tenure as the Company Beadle.It is unknown why Drew became impoverished; in 1713 he began to receive charity payments from the Company in addition to his role as Beadle. He died around August of that year, though the Company would continue to support his now widow, until her death two years later. Interestingly, Christopher Gould succeeded Drew as the Company Beadle, though again, it is unknown if this was due to ill health on Gould's part. Atkins, C. E. (1931) The Company of Clockmakers: Register of Apprentices 1631-1931, London: The Clockmakers Company.Loomes, B. (2013) Collecting Antique Clocks John Drew - a really small miniature lantern clock. Available at: https://www.brianloomes.com/collecting/drew/index.html#fullThis 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 2031

19TH CENTURY ENGLISH SCHOOL ITALIANATE LANDSCAPE Possibly monogrammed lower leftOld Christies stencil versoOil on canvas67cm x 111cmthe painting is in very good condition, not relined. very light craquelure to small areas particularly lower right corner. may possibly benefit from a light clean but colours are strong and frame in good order. from a private collection in Yorkshire

Los 2076

GEORGE ALFRED FRIPP (1813-1896) CATTLE DRINKING Signed and dated 1871(?)Watercolour21.5cm x 34cmWith Christies, 22/5/1996, Lot 123 in very good condition, framed and glazed and not examined out of frame. Some very light yellowing to the paper in the sky.

Los 2150

J.F. BRANEGAN (19TH CENTURY) A PAIR OF VIEWS "SCHOONER OFF THE TEES" AND "SANDSEND FROM WHITBY" Signed and inscribedWatercolour25cm x 42cmQty: 2Dear John,There are spots of foxing on both picture and the paper has light staining, not examined out of frames but dont seem to have been moved or taken out in a good while. both mounts are stained with foxingBest

Los 104

DIEGO PASTOR (Fitero, Navarre, 1982)."Relajación", from the series "Estados de ánimo", 2020. Unique piece.In steel.Signed.Certificate attached.Measurements: 150 x 60 cm.A self-taught artist, Diego Pastor grew up in a family of blacksmiths, an aspect that explains why his career, from the beginning, is that of a creator with an interest in everything related to sculpture. His work is notable for his taste for materials, especially steel, which he endows with great lightness, as well as a gentleness unbefitting its unyielding nature. His language, strong and emphatic, results in dynamic, light and sensitive sculptures, capable of moving the viewer, even though each piece has as many readings as there are spectators. Pastor combines his facet as an artist with that of lamp designer in Falsa Escuadra, a project that exploits his facet as a craftsman to the full, as each piece is completely handmade in a unique way, from start to finish.

Los 215D

51 volumes The Writings in Prose and Verse of Rudyard Kipling New York Charles Scribner's Sons 1911 Plain Tales from the Hills (x2)Soldiers Three and Military Tales (I) (x2)Soldiers Three and Military Tales (II) (x2)In Black and White (x2)The Phantom Rickshaw (x2)Under the Deodars (x2)The Jungle Book (x2)The Second Jungle Book (x2)The Light that Failed (x2)The Naulahka (x2)VersesCaptains Courageous (x2)The Day's Work (I) (x2)The Day's Work (II) (x2)From Sea to Sea (I) (x2)From Sea to Sea (II) (x2)Early Verse (x2)Stalky & Co. (x2)Kim (x2)Just So Stories (x2)The Five Nations (x2)Traffics and Discoveries (x2)Puck of Pook's Hill (x2)Actions and Reactions (x2)Rewards and FairiesA Diversity of CreaturesThe Years Between and Poems from HistoryLetters of TravelDimensions: 8.5 in. (H) x 6 in. (W)

Los 439

To be sold without reserve A Collection of Thirty-four Books:  Albert Camus, The Myth of Sisyphus and Other Essays, 1960 Mordecai Richler, Cock-Sure, 1969 Sheila Gormely, Drugs and the Canadian Scene Georges Simeon, Three Beds In Manhattan, 1976 Tales for Males, 1945 Oliver Sacks, The Man who Mistook his Wife for a Hat, 1986 Guy de Maupassant, Bel-Ami and Other Stories, 1910 Irving Bacheller, The Master, 1909 Simon Raven, The Decline of the Gentleman, 1962 Akiyuki Nozaka, The Pornographers, 1968 E. Phillips Oppenheim, The Gallows of Chance, 1938 R. A. Fitzgerald, Wickets in The West or The Twelve in America, 1873 (first edition) Brian McFarlane, The Stanley Cup, 1971 George Lonn, Men and Mines Josephina Niggli, Step Down Elder Brother, 1947 The Vintage Book of Fathers, 1998 Josephus Daniels, The Wilson Era: Years of Peace 1910-1917, 1944 James Lincoln Collier, Louis Armstrong, An American Genius, 1983 Romain Rolland, Pierre et Luce Milan Kundera, The Unbearable Lightness of Being, 1984 In Search of Light, the Broadcasts of Edward R. Murrow Hermann Hesse, Demian, 1960 Violet Irwin, Wits and the Woman, 1919 Dornford Yate, As Berry and I were Saying, 1952 Marie Nightingale, Out of Old Nova Scotia Kitchens, 1971 Michael McDonnell, Great Moments in Sport: Golf, 1974 Robin Estridge, The Publican's Wife, 1948 Ivan Turgenev, A Sportsman's Sketches, 1906 Harriette Arnow, Hunter's Horn, 1949 An 1836 Almanack The Visitor or Monthly Instructor, 1839 Dornford Yate, As Berry and I were Saying, 1952 Charlotte Mary Yonge, The Heir of Redclyffe, 1855 Alfred de Vigny, Cinq-Mars ou une Conjuration Sous Louis XIII, 1876

Los 104

With a massive shape, it is magnificently painted in famille rose enamels. On the body between two bands, an upper one with floral motifs and a lower one of ruyi, it is painted with a continuous scene of children in a beautiful garden playing with double gourds from which clouds and characters emerge. The garden is composed of beautiful rocks, peach trees and pine trees on a stretch of water and a pagoda. On the neck, between a band of ruyi and one of stylised leaves, are intricate pink qilongs painted on a yellow background, as well as on the foot. On the sides are two beautiful red handles moulded in the shape of heads holding a ring in their mouths. In the centre of the light green base is the apocryphal square six-character sealing mark in iron red of the Qianlong Emperor.

Los 79

With an ovoid body, long narrow neck and flared rim, it is completely covered in a beautiful black glaze, except for the white interior and base, which fades to a light brown at the rim. Provenance: -Private Collection, Germany.

Los 101

Beautifully shaped with a broad belly and narrow neck, with four gilt handles, on the body it is decorated with children playing and on the neck with beautiful intricate qilongs; on the base with a light green background it bears the apocryphal six-character seal mark in iron red of the Jiaqing Emperor.

Los 124

Shaped with a raised foot, an ovoid body and a long, narrow neck and flared rim, it is completely covered with a light blue glaze; in the centre of the base it bears the apocryphal six-character mark in underglaze blue of the Kangxi Emperor.

Los 113

  * Only room or telephone bids are accepted for this lot. Rectangular in shape, it is extraordinarily painted on the orange-peel surface in light shades of green, blue, ochre and grisaille, typical of the Qianjiang style, where a sinuous river landscape is depicted beneath hills dotted with groves. At the top of the inscription is the signature of the artist Cheng Men (??) and the cyclic date gui wei (??) corresponding to 1883. Provenance: Private collection, Italy. Catalogue notes: Qianjiang literally means "pale umber" and originates from a genre of painting on paper that arose during the Yuan dynasty (1279-1368) in China and was aimed at the literati class. The term Qianjiang, as far as porcelain is concerned, refers to a style that emerged at the end of the 19th century, probably during the reign of Emperor Tongzhi (1861-1875), which interested many artists of the time, some even being part of the Imperial Kilns. This style of decoration on porcelain is closely related to the landscape paintings on paper and silk by master Huang Gongwang (1269-1354).  Cheng Men (1833-1908), considered to be one of the three Great Masters of Qianjiang on porcelain together with Jing Pinqing and Wang Shaowei, is assumed to have been the father of this particular style, of which he is certainly the pioneer and most important exponent. An expert in calligraphy and painting, he worked for the Jingdezheng Imperial Kilns and became extremely well-known throughout China during the reigns of Xienfeng and Tongzhi.  He was strongly influenced by the great masters from the Tang dynasty to the Qing dynasty.  His works are always characterised by light colours for the areas and dark ink for the outlines, following the styles of the famous artists Huang Gongwang and Mi Yuanzhang. His paintings covered a wide variety of themes, among which we particularly find landscapes, but also figures, flowers, fish, insects, birds and beasts. Compare this plaque with Cheng Men's works illustrated in the book 'Qianjiang Ware in the Late Qing Period', editor in chief Xu Jinfan and Cheng Bing, Shanghai 2011, pp. 106-147, in particular pl. 2, 5, 8, 9, 10, 15 (15-1, 15-2, 15-3). Compare also the landscape vase in the Muwentang Collection illustrated in "Chinese Porcelain of the Republic Period", Simon Kwan, Hong Kong 2008, p. 62, pl. 2. * Only room or telephone bids are accepted for this lot.

Los 71

Slender in shape, it is completely covered with a light ivory glaze.

Los 93

  * Only room or telephone bids are accepted for this lot. Beautifully shaped with a narrow neck in the centre and a broad shoulder that gradually narrows to the foot, it is finely painted on the body and neck with lotus flowers in famille rose shades, which stand out against the lime green background.  The large central flower is supported by tendrils of waving leaves held by bats with outstretched wings, beneath which appear the Two Golden Fishes and the Infinite Knot. Shou characters, peaches and Buddha's hands enrich the scene; a band of ruyi and classical greek encircles the shoulders and a band of petals tightens around the base. The inside of the vase is covered with a light turquoise glaze from below the gilded, iron-red rim; in the centre of the base, also turquoise, is the six-character seal mark in iron-red of the Jiaqing Emperor. Provenance: -Monique Mardellis, London - according to the label.                      -Private collection, Spain. Catalogue Notes: Haitangping is the Chinese term for this particular silhouette, meaning 'begonia-shaped'.  See the Jiaqing mark and period vase of the same form and similar decoration, but painted in gold on a coral red ground, see Christie's, live auction 2861; The Imperial Sale; 01 June 2011, Hong Kong; lot. 3654. The decoration on a lime green ground with famille rose enamels is typical of the Jiaqing period, in direct continuity with the imperial style prevalent during the previous Qianlong reign. This rare vase is rich of auspicious symbols such as Shou characters, peaches and Buddha's Hands, emblems of health, happiness and long life. The Two Golden Fishes and the Infinite Knot are two of the eight bajixiang, the eight auspicious symbols of Buddhism. For a Jiaqing mark and period piece, famille rose on a lime green ground, decorated with lotus flowers amidst auspicious characters and auspicious symbols, see the vase from the Qing Court Collection at the Palace Museum in Beijing illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p. 195, pl. 172. See also the vase, also from the Qing Court Collection, at the Palace Museum in Beijing illustrated in the same book on p. 196, pl. 173.  See also the two famille rose vases on a lime green ground in the collection of the National Palace Museum in Taipei, object number ??004090N0000000 and object number ??004091N0000000. See also the lime green and pink family wall vases with auspicious symbols also in the collection of the National Palace Museum in Taipei, object number ??000615N0000000, image code C1B000615N0000000PAB; object number ??000616N0000000 and object number ??000617N0000000. See also the vase sold by Christie's, live auction 3220; The Yiqingge Collection of Chinese Ceramics; 29 May 2013, Hong Kong; lot. 2026. For a marked example from the Qianlong period, in the Famille Rose style on a lime green ground, see the vase in the Palace Museum, Beijing illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p. 141, pl.123. * Only room or telephone bids are accepted for this lot.

Los 85

Ruby 'Moving Gemstone' Drop Earrings, with an unusual suspended setting for each 1.5ct, round cut, rich red ruby, causing them to gently shake with each movement, allowing extra light to be caught, flashing between the rubies and the haloes of natural zircons around them; the whole set in 14ct gold vermeil and silver lever back fittings

Los 77

A lavender-glazed oval brush washerYongzheng seal mark, but of later periodPossibly 19th-20th centuryOf oval shape, with a slightly averted rim and raised on four feetEntirely covered in a light-blue glazeWith a wooden fitted standProvenance:Property of Portuguese collector. Acquired before 1940.Lenght: 11,8 cm

Los 7

A 'Jun' sky-blue glazed dishSouthern Song Dynasty (1127-1279)Stoneware with thick sky-blue glaze, thinning to a light buff tone at the edgesPotted with rounded shallow sides and a wide everted rim The base bears three evenly-spaced spur marksProvenance:Property of Portuguese collector. Acquired before 1940.Diam.: 17,8 cm

Los 359

Giant GX 21 speed bike, shimano gear shifters, front light, medium frame

Los 56

Gas light lamp head - THIS LOT IS TO BE COLLECTED BY APPOINTMENT FROM DUGGLEBY STORAGE, GREAT HILL, EASTFIELD, SCARBOROUGH, YO11 3TXDimensions: Height: 70cm  Length/Width: 55cm  Depth/Diameter: 55cm

Los 204

A PAIR OF FRENCH ORMOLU AND GLASS MOUNTED SIX-LIGHT CANDELABRA LATE 19TH/EARLY 20TH CENTURY Each modelled as vase of lilies, glass flowerhead detailing each 68cm highCondition Report: In fairly good condition overall.Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The glass flowerheads with metal bolt fixings- several bolts loose or slipped through and 2 shades with chips. Surface possibly with some sort of varnish/lacquer covering- Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. The banjo catch working well.Overall in good condition and ready to useCondition Report Disclaimer

Los 276

AN EMPIRE REVIVAL GILT METAL AND EBONISED-LIGHT CHANDELIER CIRCA 1860 The eight scrolling arms supported on central open dished bowl form body with pierced gallery of open wreaths and putti riding horse drawn chariots approximately 61cm wide overall Condition Report: No sign that this has ever been wired for electricity- condition is generally good- some internal paint/finish loss to bowl, some firing/casting flaws to metalwork and with small signs of scuffing and wear to surface- the chains support the weight but are not completely tight- with small gaps developing to links.Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

Los 303

A PAIR OF FRENCH THREE LIGHT 'FRENCH HORN' WALL LIGHTS LATE 19TH CENTURY Each modelled as a ribbon tied set of three horns, the bells the light holders, gilded backplates stamped '3159'each 36cm high, 44cm wide, 31cm protuberanceCondition Report: There are some marks, scratches, knocks, and abrasions consistent with age and use. Formerly wired for electricity with traces of fitments remaining. Unpolished but almost certainly formerly gilded with small traces of gilding visible to crevices. The ribbons darker patination. Some rubbing and wear from use- no sconces.Please refer to additional images for visual references to condition which forms part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

Los 356

Y A VICTORIAN SATINWOOD AND POLYCHROME PAINTED CARLTON HOUSE DESKIN GEORGE III STYLE, SECOND HALF 19TH CENTURYThe leather inset lifting to a ratcheted slope103cm high, 132cm wide, 74cm deepCondition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Various old splits, chips and shrinkage cracks. Some small losses to veneers. The expected minor wear and losses to surface of painted elements. No key present but all drawers and doors are open. Painted scene to the top of the gallery with a light ring mark. One drawer with escutcheon lacking. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

Los 393

AN UPHOLSTERED SOFABY LENYGON & MORANT LTD, SECOND HALF 20TH CENTURYThe label to the underside titled 'LENYGON & MORANT LTD MAKERS OF HOWARD CHAIRS & SETTEES 48 SOUTH AUDLEY ST. LONDON W1'79cm high, 152cm wide, 97cm deep overallCondition Report: There are marks and scuffs consistent with age and use.Observations include: later upholstered in fabric woven with a pattern of vine leaves and flowers and appears to have had light use; there are additional loose cover sections to the arms and across the top section of the back; the brass casters have a bit of a squeak!; the frame is robust with just a small movement to the arms.Please see the additional photographs for a visual reference of condition.Condition Report Disclaimer

Los 263

Taxidermy: A Late Victorian European Common Buzzard (Buteo buteo), circa 1880-1900, a full mount adult perched upon a moss and lichen covered tree stump, amidst a natural setting of moss and grasses, mounted upon a circular dome base, (lacking dome).Some skin loss to the lower legs, bird in good condition considering age, some light fading to the feathers, structure good, lacking the dome. 26/09/22

Los 311

Taxidermy: White Blesbok (Damaliscus pygargus phillipsi), modern, South Africa, a high quality unusual light coloured shoulder mount with head turning to the right, 50cm from the wall, 95cm high

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Taxidermy: Indian Leopard Skin Rug (Panthera pardus fusca), circa 1900-1930, India, adult skin rug with snarling open-mouthed head mount, limbs outstretched, nose to tail 235cm, across the forelimbs 159cm, across the rear limbs 148cm, backed onto period black woven materialre-painted around mouth, nose, eyes, three historically repaired circular holes to shoulder areas, one historical patch repair to left shoulder 8cm by 4cm, original teeth remain although some damage to upper right fang and lower canine teeth - (i do not know if the original skull is within), all claws remain, tail complete, in need of light cleaning, restoration to nose area, all whiskers have been replaced with immatation whiskers, both ear lobes have had historical and recent repairs, 04/10/22

Los 46

Taxidermy: Black-Backed Jackal (Canis mesomelas), modern, South Africa, a high quality adult neck mount looking straight ahead, from the wall 29cm, height 37cmboth ear seams slightly open, in need of light repair, 23/11/22

Los 58

Taxidermy: Vaal Rhebok (Pelea capreolus), modern, South Africa, a high quality adult male shoulder mount with head turning slightly to the left, right horn 17.5cm, left horn 17cm, tip to tip 4.5cm, from the wall 35.5cm, height 61cmboth ear seams are open, in need of light repair, 23/11/22

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Taxidermy: Indian Sambar (Rusa unicolor unicolor), circa 1911-1937, India, by Peter Spicer & Sons, Taxidermy, Leamington, a large medal class adult stag with head turning slightly to the right, 6 points (3+3), right antler 37.5", left antler 34.5", widest span 104cm, from the wall 60.5cm, overall height 136cm, mounted upon a typical trade mark shaped shield, bearing impressed taxidermist's trade mark to verso, taken by Indian Civil Service, R.C. Hobart circa 1911-1937.Robert “Charles” Arthur Stanley Hobart was born in Naini Tai in the United Provinces on Wednesday, 27th July 1881 (at 6am!), the eldest son of Robert Thompson Hobart of the Bengal Civil Service and Janet Stanley from County Tyrone. He received a hindu baptism by being dipped into the River Ganges by one ankle as a baby and given the Indian name of the storm god Ananda. He had a brilliant academic career, first at Charterhouse School and then gaining a double first in Classics at Trinity College, going on to study at Heidelberg University in Germany. In 1905 he joined the Indian Civil Service and served in United Provinces as Assistant Commissioner and Collector, and finally as Divisional Commissioner from 1931 to 1937 when he was given the CIE. He then retired to Mayfield in Kent and died in 1955. My grandfather reportedly spoke 37 distinct Indian languages on top of Latin, Greek and German, and was highly admired and respected not only by the British administration with personal commendations from Lord Haig amongst others, but also by the Indian community. Robert Skelton, who was head of the Indian department of the V&A museum wrote to me that “Charles was a champion pig sticker, winning two Hoghunters’ Races in 1920 and broke his neck pigsticking (but survived!). Apparently years after his time in India in places where he served people would point out “this is where Hobart Sahib sat” and if he returned to a place, hundreds of people turned out to greet him.”some shrinkage splits to either side of the upper lips, nose has dried and cracked, in need of cleaning, some shrinkage around either eye socket, both ears have suffered some light damage and shrinkage around the tips, in need of sympathetic restoration, 03/10/22

Los 1

A large and impressive Silber and Fleming Dolls House, German circa 1880, the painted wood dolls house with paper brick effect façade with two large glazed bay windows to ground floor, and ten further glazed arched windows to first and top floor, all windows with original interior lace hangings, all with painted window bars and moulded sills. Steps leading to dark green front door with embossed metal knocker and letter box. Front opens in two wings to six rooms, four rooms with original tinplate fireplaces and wooden surrounds and mantels, hallway and two landing and staircase to all floors and hinged internal doors. Kitchen with papered marble floor, furniture includes large wooden dresser, wooden kitchen table, chair and tinplate stove, accessories include pewter cooking vessels, two glass decanters and more, three early Dolls House dolls (one lacks foot), ground floor Study with Waltershausen desk, piano and table, light wood table and chest of drawers, mirror and more, first floor Dining Room with good paper lithographed flower decorated suite comprising cupboard with shelves, sideboard with mirror, sofa, table and four chairs, together with a day bed, various ornaments and china head doll, Salon with a blue silk flower patterned suite of furniture, early wooden sideboard with painted marble top, Waltershausen sideboard with mirror and three child dolls, top floor Bedroom with single bed with blue silk, light wood bureau, table, four chairs and settee all upholstered in pink silk and tassels, various pictures and mirrors, gilt bird cage and more and two parian dolls, top floor Nursery with good set of paper lithographed furniture decorated with rose buds and angles, gilt Grandfather clock, soft metal cabinet with ornaments and piano, mother parian doll, baby and son together with tiny doll in walnut, Hallway and landing with two parian ladies and two children in wagon and gilt birdcage with wax bird, house on a later stand, 43 ½” (111cm) tall, not including stand, 33” (84cm) wide, 17” (43cm) deep, (condition: generally very good, balcony front possibly replaced, some minor paper loss to façade). Please note: For viewing, shipping and collection of this lot please contact Leigh Gotch at C&T Auctioneers direct.

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Extremely rare and important poured wax Lucy Peck all original portrait doll of a young Queen Victoria, English circa 1900, the well moulded tinted wax shoulder head with deep blue glass eyes, moulded lids and finely painted feathered brows, open mouth with tinted lips and showing upper row of teeth, moulded ears and inserted light brown hair with original side plaits held by blue and black ribbon rosettes and with black glass bead and ribbon headdress, sloped shoulders to cloth body with individually posed poured wax lower arms with well defined moulded hands, legs with moulded toes, wearing original magnificently detailed blue plaid pure silk of the shoulder dress with black velvet and lace detail, bustle to rear and matching jacket, underclothes and choker with original gold pendant incised VR (Victoria Regina), 29” (74cm) tall, body with stamp ‘ From Mrs Peck, The Doll’s House, 131 Regent Street’, (condition: excellent, museum quality). Lucy Peck who’s doll shop specialised in Royal portrait dolls including Queen Victoria as a young Lady, and are extremely rare to find, this example probably being one of the best to be offered for sale at auction.

Los 120

A Montanari poured wax shoulder head doll, English circa 1860, the nicely moulded head with inserted blue glass eyes, moulded lids and painted brows, painted smiling mouth and rouged cheeks, with inserted light brown shoulder length hair and on a cloth body with poured wax lower arms and legs, with faint stamp, wearing a white cotton dress with broderie- anglaise detail to bodice and underclothes, 25” (61cm) tall, (condition: good).

Los 126

Large poured wax shoulder head doll, circa 1860, with inserted blue glass eyes, painted brows and slightly smiling mouth, inserted light brown shoulder length hair and on a cloth body with wax lower arms and legs, wearing a white cotton broderie anglaise dress and woollen bonnet, 29” (74cm) tall, (condition: head has been professionally restored in places, arms and legs new).

Los 145

Rare and interesting early bisque head mystery Bebe doll for ‘AU NAIN BLEU’ of Paris, French circa 1880, beautiful pale bisque head with fixed light blue spiral paperweight glass eyes, finely painted lashes and brows, closed mouth with delicate painting to lips, pierced ears with red glass bead earrings, cork pate with blonde shoulder length wig, on a good wood and composition eight-ball jointed body with fixed wrists and rare white and gold ‘Au Nain Blue’ label to chest, wearing a white dress with lace velvet sash, underclothes, socks, brown leather shoes, bonnet and bag, indistinct incised marked to back of head, possibly J K or J H, 13” (33cm) tall, (condition: head perfect, body very good, one shoe with replaced sole).

Los 164

Etienne Denamur bisque head Bebe doll, French circa 1890, the pale bisque head with fixed light blue glass paper-weight eyes, feather brows, pierced ears with blue bead earrings, and closed mouth, blonde wig and on a fully jointed wood and composition body, wearing a cream satin dress with lace, bonnet, underclothes, socks and later shoes, 20” (51cm) tall, incised E8D, (condition: good, some repaint to hands).

Los 168

Early Leon Casimir Bru Jne bisque head Bebe doll, size 8, French circa 1885, exceptionally pale bisque head, fixed stunning light blue/grey glass paperweight eyes, shaded lids, finely painted lashes and feather brows, closed mouth with delicately shaded lips, pierced ears, original cork pate and sheepskin wig, swivel head to bisque shoulder plate with shaped bosoms, gusseted kid leather body with bisque lower arms with beautifully sculptured hands, wearing a pink cotton dress with lace detail, bonnet, underclothes, socks and brown leather shoes, incised Bru Jne, 8 to head and BRU JNE, No8 to shoulder plate, 24” (61cm) tall, (condition: professional restoration to back of head).

Los 183

Large Simon & Halbig 126 bisque head baby doll, German circa 1915, with weighted brown glass ‘flirty’ eyes, painted lashes and brows, open mouth with two upper teeth and tongue, short light brown wig, on a five piece composition baby body, wearing a long white cotton nightdress and bonnet, 22” (56cm) tall, (condition: good).

Los 200

Kammer & Reinhardt/S&H bisque head doll in original box, German circa 1910, the fine quality bisque head with weighted brown glass eyes, real lashes, open mouth with upper teeth, pierced ears and original light brown wig with pink ribbon, on a good fully jointed wood and composition body, wearing a cream silk dress with lace detail, cardigan, underclothes, bonnet, socks and shoes, in her original brown card box with label to lid, ‘ one and only darling’ doll 16” (41cm) tall, (condition: doll excellent, some very slight loss to lid)

Los 213

A Max Handwerck bisque head doll, German circa 1910, with weighted blue glass eyes, open mouth with upper teeth and original blonde wig, on a fully jointed wood and composition body, wearing white cotton dress, underclothes and light brown leather shoes and socks, 17 ¼” (44cm) tall, (condition: good, lacks one little finger).

Los 261

A charming Simon & Halbig/K&R Holy Communion bisque head doll, German circa 1905, with weighted brown glass eyes, painted features, open mouth with upper teeth, original light brown wig, on a composition five-piece body jointed at shoulders and hips with painted white socks and gold shoes, wearing original Holy Communion clothing decorated with metallic threads, sequins and beads, underclothes with original paper shop label, 9” (23cm) tall, (condition: excellent).

Los 266

Sasha Gotz No Nose Red head girl doll, Swiss 1965, with painted grey brown eyes, with single line eyelids and smaller lighter line above and eyebrows, light pink lips and nostrils, long red hair with fringe, swivel head on a five-piece body jointed at shoulders and hips, torso with single seam and belly button, wearing knitted blue and white dress, underclothes and red sandals, marked Sasha Serie to back of head and torso, 16” (41cm) tall, (condition: excellent).

Los 268

Sasha Gotz No Nose Blonde Schoolboy doll, Swiss 1966-67, with painted grey brown eyes, with single line eyelids and smaller lighter line above and eyebrows, light pink lips and nostrils, short blonde hair, swivel head on a five-piece body jointed at shoulders and hips, torso with single seam and belly button, wearing knitted brown jacket, white jumper and green corduroy dungarees, marked Sasha Serie to back of head and torso, 16” (41cm) tall, (condition: excellent).

Los 27

Collection of Dolls House furniture, German 1870-90, including Waltershausen settee, two chairs with mauve silk upholstery and gold decoration and marble top table, together with a gilt metal Grandfather clock with circular dial, weights and pendulum, sweet babies crib on rockers, red velvet settee and chair, wooden bed with green silk and paper embossed decoration, light wood wash stand and dressing table with mirror, small sofa and chair, clock 5 ½” (14cm) high, (13 items).

Los 298

Rare Sasha Trendon Ltd Red head girl doll in Dungarees, English 1969, painted light brown eyes with pin pupils, eyelashes, shading and thin line and eyebrows, pink lips, long red hair with plaits, swivel head on a five-piece body jointed at shoulders and hips, wearing original dungarees, shirt and brown sandals, 16” (41cm) tall, (condition: excellent).

Los 273

A 1970s design light teak sideboard, with six drawers to the centre flanked by a cupboard door either side, 77 cm high x 186 cm wideLocation:

Los 531

A machine woven Bokhara rug with two columns of six elephant gulls on a light brown ground, multi guard borders, tasselled ends, 198cm x 121cm Location:

Los 533

An Indian hand woven rug, central floral motif, all over floral designs on a white, terracotta and light blue ground, multi guard borders and tasselled ends 150cm x 120cm Location:

Los 334

A boxed vintage Mattel Bubble Cut Barbie Platinum doll, with painted blue eyes and light blue lips, wearing gold and white swimsuit, (condition: good, some staining around ears, lacks one earring and bandanna, box fair some tape to sides).

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