David Hockney (English, b. 1937). Mixed media of oil pastel and paint on paper titled "Birthday Card for Grey Gallery" depicting three pairs of rollerskates whirling in a circle, 1980.Provenance: Grey Art Gallery, New York, "David's Evening on Wheels" benefit auction, April 29, 1980; Private Minnesota Collection.Lot Essay:David Hockney grew up in Yorkshire, England, and received his artistic training at the Bradford College of Art and the Royal College of Art, from which he graduated in 1962 after shaking things up by refusing to write a graduation essay, claiming that his art spoke for itself. This self-assured and cheeky attitude has stuck with Hockney throughout his career, helping him launch himself into early international success. Hockney has worked in a wide variety of styles and media throughout his career, including pop art, prints, drawings, paintings, and digital art. He is best known for his eye-popping acrylic pool paintings, done in celebration of his adopted home of Southern California. In addition to a wide-ranging and prolific artistic career, Hockney has also found success as a teacher and a theorist, and has published several well-received monographs."Celia Musing" and "Celia Elegant" are from Hockney’s 1979 portfolio in collaboration with Gemini G.E.L. in Los Angeles. This portfolio consists of portraits of several of Hockney’s friends, a recurring theme throughout his body of work. It also shows his tremendous versatility as a portraitist, with works in a variety of styles and moods. These two works depict Celia Birtwell, a prominent British textile designer and longtime friend and model of Hockney’s. With spare, almost careless lines, he presents a vivid impression of Celia, chic and cheerful, drifting through an elegant home. The tonality of the lines builds the sense of fleetingness in her poses; it seems that she has briefly paused to contemplate the orchid in front of her before moving on through her day.Sight; height: 29 1/2 in x width: 38 1/2 in. Framed; height: 30 1/4 in x width: 39 in.
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ROLEX SUBMARINER 'SINGLE RED' 1680 STAINLESS STEEL AUTOMATIC WRIST WATCH, model 1680, serial 4381441, the round ail with iconic single red 'SUBMARINER' text, lume hour markers, outer seconds track in white, bidirectional bezel with aluminium insert, 40mm case, on an Oyster bracelet with Fliplock clasp, lacking box and papersThe current vendor purchased this from Watches of Switzerland in the iconic Argyll Arcade in Glasgow in the 1970's.Since then, it has travelled all over the world, including and not limited to Europe, the Far East, on Safari in Kenya, on a humanitarian effort whilst helping aid workers in Ethiopia and more. This watch has been worn upon the wrist of the current vendor throughout their everyday life however it has also graced the slopes of Mount Kilimanjaro and several munros in Scotland and it has swam the depths of the deep sea whilst deep sea fishing and scuba diving in Mombasa and Acapulco. MOVEMENT: Ticking at present. WEAR: Well worn. DIAL: Fair condition as far as the eye can see. BEZEL: Scratched and nicked as shown in images. CRYSTAL/ACRYLIC: Scratches visible. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Worn and scratched. Moderately stretched.
RARE: ROLEX SUBMARINER JAMES BOND 'BIG CROWN FOUR LINER' 6538 AUTOMATIC WRIST WATCH, model 6538, dated 1958, the round black dial with rare 'four line' printing in silver and gold, lume plot hour markers, outer seconds track in gold, Mercedes hands with lume inserts, bidirectional bezel with black aluminium insert featuring red triangle and luminous pearl, 37.5mm case with iconic 'Big Crown', on a stainless steel riveted bracelet with foldover clasp, lacking box and papersMOVEMENT: Ticking at present. WEAR: Well worn. DIAL: Fair condition as far as the eye can see.BEZEL: Heavily worn as images show. CRYSTAL/ACRYLIC: Fair condition, some scratches visible. HANDS & MARKERS: Intact. Some loss of lume. CROWN: Intact. BRACELET/STRAP: Generally worn. There are scratches on either side of the case at the model and serial number however they do not obscure the numbers.
Schiffs-Diorama, Deutschland, um 1915.Holz, polychrom gefasst, Stoff, Gips, andere Materialien. Schiffsmodell mit Dreimast-Segelschoner "Anna", Segelschiff, Kutter "Tell" und einem Leuchtturm. Leicht verstaubt. Auf Holzplatte 64,5 x 30 x 34 cm. Kein Versand durch das Auktionshaus möglich. Ship model Wood, polychrome painted, other materials. Ship model with two sailboats, one cutter and a lighthouse
Pirol auf Stamm, Meissen, Mitte 20. Jh.Porzellan, in polychromen Aufglasurfarben staffiert. Modell J. J. Kaendler 1734. Schwertermarke, 2 Schleifstriche, Modell-Nr. "820x". H. 25,5 cm. Porcelain oriole, Meissen, polychrome painted. Model by J. J. Kaendler 1734. Executed mid 20th ct. Sword mark, 2 grinding strokes. H. 25,5 cm.
Gärtnerkind, Meissen, 2. H. 19. Jh.Knabe mit Spaten. Porzellan, in polychromen Aufglasurfarben staffiert. Modell J. J. Kaendler 1740. Minimaler Chip am kl. Finger der linken Hand, Daumen der rechten Hand min. best. Schwertermarke, ein Schleifstrich, Modell-Nr. "12" geritzt. H. 13 cm. Gardener, porcelain with polychrome paint, model by J. J. Kaendler 1740. Minor damage to two fingers. Sword mark, one grinding stroke. Meissen, 2nd half 19th ct. H. 13 cm.
Sinnende, Selb, Rosenthal, um 1945.Modell Rudolf Kaesbach 1936. Porzellan, Weiblicher Akt als Kniestück. Felssockel rücks. sign., Farbstempelmarke in Grün, Modell-Nr. "1604" blindgepr., H. 43 cm. Verzeichnis Niecol, Emmy (2001), Kat.Nr.3.0569. Female nude, porcelain, model by Rudolf Kaesbach (1936), stamp mark. Selb Rosenthal, ca. 1945. H. 43 cm.
Petrolino, Meissen, Mitte 20. Jh.Porzellan, in polychromen Aufglasurfarben staffiert. Modell Peter Reinicke 1744 (Serie "Komödianten"). Schwertermarke, Modell-Nr. "1600". H. 15 cm. Petrolino, porcelain, polychrom paint. Meissen. Model by Peter Reinicke 1744, executed mid 20th ct. Sword mark. H. 15 cm.
Vogel "Schlaumatz", Meissen, um 1955.Model Alexander Struck 1955. Böttgersteinzeug, eine Kralle best. und retuschiert. Schwertermarke blindgeprägt, 4 Schleifstriche, Modell-Nr. "86503" geritzt. H. 10,5 cm. Stoneware bird "Schlaumatz", model by Alexander Struck (1955), minor damage to one claw. Sword mark, 4 grinding strokes, model no. 86503 incised. H. 10,5 cm.
Putto mit Girlande, Meissen, 1850/60-1923Porzellan, polychrom staffiert, Goldstaffage. Entwurf nach Joachim Kändler (1766-1768), geritzte Modellnummer B49, Prägenummer 111, rote Pinselnummer 27. Schwertermarke. Blütengirlande min. bestoßen. H. 9 cm Quelle: Bergmann, Meissener Figuren, Band II, S. 115, Abb. 223. Putto with flowers Porcelain, polychrome painted, gold painted. After Joachim Kändler, carved model number B49, embossed number 111. Sword mark. Min. chipped at the flowers.
Großes historisches Schiffsmodell der Bark Fürst Bismarck, 20. Jh.Dreimast-Bark der kaiserl. deutschen Handelsflotte. Holz, reiche Ausstattung mit vielen Details, auf Präsentations-Ständer mit Bezeichnung, L. ca. 170 cm, H. ca. 111 cm. Nur Selbstabholung oder Abholung durch Spediteur. Large ship model of the bark Fürst Bismarck, 20th ct., wood, lots of detailes, l. ca. 170 cm, h. ca. 111 cm. Only self-collection or collection by carrier only.
Jugendstil-Silberbesteck, Deutschland, nach 1900.Besteck-Muster Nr. 25600, "Bremer Lilie", graviertes Monogramm "MH". Entw. Hugo Leven, 1900. Herst. Koch & Bergfeld, Bremen. 12 Gabeln, 12 Messer. Silber 800. Messerklingen erneuert. Gebrauchs-und Altersspuren. Reichs-und Feingehaltsmarke, Herstellermarke. L. Gabel 21,5 cm, L. Messer 24,5 cm, G. ohne Messer ca. 808 g. Art nouveau silver cutlery, model 25600 ("Bremer Lilie") by Hugo Leven (1900). Silver (800), traces of age and use, hallmarks. 12 forks, 12 knifes. Weight without knifes ca. 808 g.
Mops, Meissen, Ausführung 2. H. 20. Jh.Modell J. J. Kaendler 1741. Porzellan, in polychromen Aufglasurfarben staffiert. Schwertermarke, 2 Schleifstriche, Modell-Nr. "311". H. 18,5 cm. Porcelain pug dog, model by J. J. Kaendler 1741, executed 2nd half 20th ct. Sword mark, 2 grinding strokes. H. 18,5 cm.
Christofle Vendome, 62-piece silver-plated cutlery in a storage box. There are 10 pieces for each model (Large knives, small knives, large spoons, coffee spoons, large forks, and small forks). There are only 9 small knives and 11 large knives and spoons. The box was not made by Christofle. Dimensions: (L:30 x W:39 x H:25 cm)
Modèle en bronze doré représentant un cheval cabré Début XIXe siècleElément supérieur de hampe de drapeau de l’armée du royaume des Deux Siciles selon le modèle instauré par décret du 11 février 1811Reposant sur un socle en bois noirci postérieurH. 23.5 cm – H. totale 32 cm A gilt-bronze model of a rearing horseEarly 19th centuryFormer top of an army flagpole of the Kingdom of the Two Sicilies, according to the model established by decree of 11 February 1811.Resting on a later wood stand.
Pendule en bronze doré et ciselé d'époque EmpireLe mouvement de forme cylindrique est soutenu par des vestales d'après un modèle de Louis Simon Boizot, il est surmonté d'une draperie et de pampres de vigne. La base de forme rectangulaire à ressaut central en marbre rouge griotte finissant par des pieds patins. H. 61 cm - L. 31 cm - P. 18 cmAn Empire gilt and chased bronze clockThe cylindrical movement is supported by vestals based on a model by Louis Simon Boizot, and is surmounted by a drapery and vine branches. The base is rectangular with a central protrusion in griotte red marble ending in feet.For further information on this lot please visit Bonhams.com
Ensemble de platerie en argent 925 millièmes de style Louis XVModèle à contours rehaussé de feuillages; il comprend: Une paire de plats ovales L. 47 cmUne paire de plats ronds D. 33 cmUne paire de saucières L. 24 cmUn légumier couvert (prise détachée) L. 27 cmPoids total : 8372gSet of Louis XV style 925°/°° silver set of dishesContour model enhanced with foliage, comprising: A pair of oval dishesA pair of round dishes A pair of sauce boats A covered vegetable dish (handle detached)For further information on this lot please visit Bonhams.com
Important et inédit groupe blanc de Capodimonte représentant Tancrède et Clorinde, vers 1755Modélé par Giuseppe Gricci, Tancrède portant une armure et un long manteau, un casque et une épée à ses pieds, tenant la main droite de Clorinde qui est assise sur une base en rocaille, son bouclier ovale avec un masque de lion et un casque à plumes à ses pieds.H. 28,5 cm - L. 24,5 cm An important and previously unrecorded large Capodimonte white group of Tancred and Clorinda, circa 1755Modelled by Giuseppe Gricci, Tancred wearing armour and a long cloak, a helmet and sword at his feet, holding the right hand of Clorinda who is laid on rockwork base, her oval shield with a lion mask and a plumed helmet at her feet.Footnotes:Ce groupe important et inédit fait partie d'une série de grandes sculptures ambitieuses de Capodimonte basées sur le célèbre poème épique du poète italien le Tasse, 'La Gerusalemme liberata' ou La Jérusalem délivrée. Publié pour la première fois en 1581, ce poème raconte une version largement mythifiée de la première croisade, au cours de laquelle des chevaliers chrétiens, menés par Godefroy de Bouillon, affrontent des musulmans afin de prendre Jérusalem.Le personnage fictif de Clorinde est une femme guerrière de l'armée sarrasine. Elle est introduite pour la première fois dans le deuxième chant du poème, lorsqu'elle sauve Sophronie et Olinde, deux amoureux chrétiens de Jérusalem, et réapparaît sous le commandement du roi de Jérusalem, Aladin, pour aider à la défense de la ville. Tancrède la voit sur le champ de bataille et tombe amoureux d'elle, refusant ainsi de la combattre. Mais le sort s'acharne : lors d'une bataille nocturne au cours de laquelle elle met le feu à la tour de siège chrétienne, elle est tuée par Tancrède, qui ne la reconnaît pas dans son armure et dans l'obscurité.Une version en terre cuite légèrement plus grande du groupe de Tancrède et Clorinde se trouve au Los Angeles County Museum, où elle est décrite comme provenant probablement de Naples et datant d'environ 1750. Il est probable que cette terre cuite ait servi de bozetto pour le groupe final en porcelaine, et que les autres versions en terre cuite et leurs contreparties en porcelaine aient toutes été conçues par Giuseppe Gricci comme faisant partie d'un ensemble plus vaste.Une grande sculpture de Capodimonte représentant Godefroy sur la tombe de Dudone se trouve dans la collection de la National Gallery of Victoria, à Melbourne (D4-1991). Elle est probablement apparentée à la figure en terre cuite conservée au Museo Arqueológico Nacional de Madrid, Inv. 2016/134/1, et attribuée à Giuseppe Gricci.Olinde et Sophronie ont également été modelées par Giuseppe Gricci, et un exemplaire en porcelaine se trouve au Museo Palazzo Madama de Turin, tandis que son modèle en terre cuite se trouve dans une collection privée italienne, et les deux sont illustrés dans A. Carola-Perrotti, 'Le porcellane dei Borbone di Napoli, 1743-1806' (1986), cat.no. 154 et 155. Carola-Perrotti illustre également (op.cit. cat.no. 156) un modèle en terre cuite d'une collection privée représentant Herminie écrivant le nom de Tancrède dans un arbre.This large and previously unrecorded group is part of a series of ambitious large-scale Capodimonte sculptures based on the famous epic poem by the Italian poet Torquato Tasso, 'La Gerusalemme liberata' or Jerusalem Delivered. It was first published in 1581 and tells a largely mythified version of the First Crusade in which Christian knights, led by Godfrey of Bouillon, battle Muslims in order to take Jerusalem. The fictional character of Clorinda is a warrior woman of the Saracen army. She is first introduced in the second canto of the poem, when she rescues Sofronia and Olindo, two Christian lovers of Jerusalem, and the reappears under the command of the King of Jerusalem, Aladine, aiding that city's defences. Tancred sees her on the battlefield and falls in love with her, thus refusing to fight her. But fate strikes, when during a night battle in which she sets the Christian siege tower on fire, she is killed by Tancred, who does not recognise her in her armour and the darkness. A slightly larger terracotta version of the group of Tancred and Clorinda is in the Los Angeles County Museum, there catalogued as likely Naples and circa 1750. It it likely that this terracotta may have served as a bozetto for the final porcelain group, and that other terracotta versions and their resulting porcelain counterparts were all conceived by Giuseppe Gricci as part of a larger ensemble. A related large Capodimonte sculpture depicting depicting Godfrey at the tomb of Dudone is in the collection of the National Gallery of Victoria, Melbourne (D4-1991). It is related to the terracotta figure held in the Museo Arqueológico Nacional in Madrid, Inv. 2016/134/1, and there attributed to Giuseppe Gricci.Olinda and Sofronia were also modelled by Giuseppe Gricci, and a porcelain example is in the Museo Palazzo Madama in Turin, whilst its terracotta model is in a private Italian collection, and both are illustrated in A. Carola-Perrotti, 'Le porcellane dei Borbone di Napoli, 1743-1806'(1986), cat.no. 154 and 155. Carola-Perrotti also illustrates (op.cit. cat.no. 156) a terracotta model in a private collection depicting Erminia writing Tancred's name in a tree.For further information on this lot please visit Bonhams.com
Borek Sipek (1949-2016)Candélabre 'Simon' en métal argentéLe fût à trous en forme de deux cônes réunis par la pointe, d'où partent sept bras de lumière sinueux.Modèle créé en 1988Edition DriadeH. 41 cm'Simon' silver-plated metal candelabraThe shaft has holes in the shape of two cones with seven lights.Model created in 1988Driade editionFor further information on this lot please visit Bonhams.com
Commode de forme cintrée d'après le modèle de Jean-François Leleu de style Louis XVIEn placage de bois de rose marqueté en feuilles et amarante ouvrant à trois tiroirs dont deux sans traverse. Les montants à cannelures simulées et pieds fuselés et cannelés. Riche ornementation de bronzes dorés et ciselés. Serrure du tiroir supérieur signé 'Au vieux chêne' Ameublements 2o rue de la Liberté/9 Boulevard Carnot AlgerDessus de marbre veinéH. 90 cm - L. 130 cm - P. 60 cmA Louis XVI style curved commode after a model by Jean-François LeleuIn tulipwood veneer inlaid with leaves and amaranth, opening to three drawers; tapered and fluted legs. Richly decorated with gilded and chased bronzes.Upper drawer lock signed 'Au vieux chêne' Ameublements 2o rue de la Liberté/9 Boulevard Carnot Alger. Veined marble topFor further information on this lot please visit Bonhams.com
• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) THISTLEoil and pastel on canvas51 x 40.5cm; 20 x 16in(unframed)Painted in 1979, the year after the death of Henriette von Motesiczky, the artist's mother and favourite model. Schlenker notes the references to Henriette in the composition, observing that the principal flower is in fact a protea rather than a thistle and could be read as the artist's memory of her mother, while the two pipes are a direct reminder of Henriette who was a keen pipe smoker (Schlenker p. 439). LiteratureJill Lloyd, The Undiscovered Expressionist, A Life of Marie-Louise von Motesiczky, London, 2007, p. 197 Schlenker no. 261
• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) WOMAN IN PROFILEoil on canvas46 x 32cm; 18 x 12.5in(unframed)Painted in the late 1950s, Schlenker thinks it most likely that the model is Mexican, as Marie-Louise visited Mexico in spring 1956 where she was inspired by Diego Rivera and his depiction of calla lilies, a flower that the sitter carries, its yellow pistil prominently glowing lower left (Schlenker, p. 300). There is an unfinished portrait on the reverse of the canvas. Schlenker no. 161
• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) Hans Feibusch (lots 29-51)IntroductionTo stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. (Hans Feibusch) The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with Emil Othon Friesz and André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches, civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye and the commercial art world. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another gallery show until the late 1970s. Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lot 50), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting The Resurrection and Scenes from the Life of St Peter at St Peter's Church, Pickford Lane, Bexley Heath (lot 48) and Angels with Infants for the baptistry of Christ Church and St Stephen’s, Battersea (lot 49). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, whether sketching his surroundings (lot 29), or studying the model before him (lots 30 & 31), he captures the scene before him with a fine eye for detail. And as a colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 35 & 36). But above all it is the manner in which he places the human form at the heart of his work with such ease and fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference: The reference for the travelling exhibition abbreviated in lots 29-51 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96 29HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) VIEW FROM THE ARTIST'S STUDIOpencil on paper 16.4 x 33cm; 6 1/2 x 13in (unframed)There is a partial sketch of a seated female figure on the reverse.
A mixed lot to include Coalport limited edition aviation collectors plates, some mounted in frames, a Spine Targets wooden propeller, brass shell case, Artistic Bros model aircraft mounted on wooden wall plaques, pair of patinated metal wall plaques of African women's heads, ceramics and other items Location:
A Wurlitzer 'Super Star' juke box model 3600, third quarter 20th century, 132cm high, 101cm wide, 65cm deepProvenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.Please note, Rosebery's cannot guarantee the working order of this lot. It is currently in need of professional restoration to make it function.
A bronze model of Lord Byron, mid-19th century, modelled as a Classical figure, possibly Leander, holding a scroll in his right hand and leaning with his left hand on a support, the circular base inscribed in Greek ὴρόω θερισωγ (I reap the harvest), 47cm highFootnotes: Note: This portrayal of Byron in Classical robes could reference his success in swimming the tumultuous Hellespont strait in 1810, thereby emulating Leander's mythical feat. Byron celebrated his achievement in the poem 'Written after swimming from Sestos to Abydos' (10 May 1810). The unusual support in his left hand could allude to his club foot but also more likely refers to the inscription to the base, 'I reap the harvest', and is a form of plough breaking up the earth. Byron's narrative poem, Childe Harold's Pilgrimage, 1812-1818, includes the lines:‘The thorns which I have reap'd are of the tree I planted; they have torn me, and I bleed. I should have known what fruit would spring from such a seed’. (Canto IV, stanza 20)
After Michelangelo, a bronze model of The Young Slave, 20th century, 17cm highProvenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.Footnotes: Note: The present lot is after Michelangelo's original marble sculpture dateable to around 1525-30 and is part of the "unfinished" Prigioni, along with The Awakening Slave, Bearded Slave and Atlas Slave, intended for the tomb of Julius II.
After Giambologna, Italian, c.1529-1608, a bronze model of Venus, probably 18th century, on a later ebony cylindrical plinth, the bronze - 12.5cm high; 20.2cm high overallProvenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.Literature: C. Avery and A. Radcliffe, Giambologna 1529-1608, Sculptor to the Medici (exhibition catalogue), 1978, page 64, plate 5 for an illustration of a very similar model where the figure is adopting the same pose.Footnotes: Note: The present lot is one of several versions of Venus after her bath by Giambologna. It was designed to be viewed from every vantage point. This model of Venus also comes in a version with Cupid called 'Little Venus Bathing'.
An Italian marble model of Cupid, in the manner of Jean-Baptiste Carpeaux, late 19th Century, depicted drawing an arrow from his quiver, his legs entwined with roses, on waisted circular base, 126.3cm high; together with a reconstituted pedestal, 93cm high (2)Provenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.Condition Report: The sculpture is heavily weathered and with surface wear and pitting as well as lichen throughout. The weathering has caused a softening of definition overall consistent with exposure to the elements over a long period of time. There are old losses to edges, including to tips of both wings, his hair, his bow starting from the top of his left hand, the tip of his left index finger, and his large toe on his left foot is missing. There are newer chips and abrasions showing white, including two chips on his left wing, the hair on the left side of his head, a scratch to his left little finger, chips to edges of some of the flowers and leaves, a chip to the tip of his second toe on his right foot, and knocks to the edges of the base. There is a drilled hole to each side of the base.
A Regency cast-iron torchere, c.1820, surmounted by an associated brass oil lamp by Miller & Sons, stamped Miller & Son 179 Piccadilly, Patent No. 2560, the reeded shaft above triform lion paw feet and anthemion, adapted for electricity, 72cm high exc. fitmentIt is the buyer's responsibility to ensure that electrical items are professionally rewired for use.Footnotes: Note: Miller and Sons were manufacturers of oil lamps with offices at 179 Piccadilly, London founded prior to 1825. They were registered as “Spermaceti-refiners, Wax Chandlers, Oil-Merchants”.The model for the present lot was popularised as ‘Drawing Room Candelabra’ in Thomas Hope’s Household Furniture and Interior Decoration, 1807 (pl. 6). Similar antique examples from Pompei or Herculaneum are also illustrated in the catalogue of Neapolitan founder J. Chiurazzi & Fils.
A Victorian Nailsea type coloured glass model of two friggers, under a glass dome with later stained wood oval base, approx. 27.5cm high overallProvenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.Footnotes: Note: According to the Corning Museum of Glass, the English term 'frigger' refers to an object made by a glassworker on his own time. Most friggers were made from the molten glass that remained in the pot at the end of the day. Such glass was considered to be a worker’s perquisite. American glassworkers referred to friggers as “end-of-day” objects. They are also known as whimsies.Condition Report: The smaller frigger has a section of rigging missing to the central mast, and is detached from its glass base. The other frigger appears to be in good condition. The glass octagonal base rests loosely on the black-painted plinth, it has been crudely cut and has some sharp edges. The glass dome and base are in good condition, the dome with a roughly cut edge. Additional images are available - click here.
A Royal Copenhagen stoneware figure of a bear by Knud Kyhn, model no. 20206, modelled seated covered in a matt brown and mushroom glaze, a Royal Copenhagen stoneware stoat, model no. 21408 a large Copenhagen stoneware dish by Knud Kyhn decorated with a bird, and a stoneware footed bowl, printed and incised marks, 18.5cm. high (4)
A Morris & Co mahogany break front bookcase, model no.527, with simple carved border to the top rail, adjustable shelvesstamped mark183cm wide125cm high36cm deep LiteratureSpecimens of Furniture and Interior Decoration Morris & Company catalogue, page 10 for a line drawing of this dwarf bookcase design.
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629120 Los(e)/Seite