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Preisdatenbank abonnierenGrundig - A retro vintage mid 20th Century walnut veneered radiogram / music system having 3D Sound and a Garrard record deck turntable model SP25 MKIII. All housed with a walnut veneered music cabinet with sliding doors to the front with Deco inspired handles and all raised on splayed tapering supports. Measures approx; 96cm x 121cm x 37cm.
Hago - Model 353 - A collection of four retro vintage industrial atomic space age sputnik three tier wine racks of tubular form with finials. Each in original box in as new condition. Boxes indicate colour via label. Buyers are advised to satisfy themselves before purchasing. Each rack holds 18 bottles of wine. Approx 55cm wide.
Geoffrey Baxter - Whitefriars - Model 9672 - A large size (33cm) original retro vintage 1960's British design studio art glass vase from the Textured range known as the Drunken Bricklayer vase, pattern No 9672 in Meadow Green, height 34cm. In good condition with no visible signs of major damage.
Porta Romana - Thread Model GLB32 - A matching pair of contemporary high end designer glass table lamp lights. Each of large bulbous tapering form finished in amber with applied clear glass thread wrapped around. Each having large shades atop. Damage to the thread in places. Each measures approx without shades; 51cm x 22cm diameter. Measures approx with shades; 76cm x 58cm diameter.
Hago - Model 101 - A collection of four retro vintage industrial atomic space age sputnik three tier letter racks of tubular form with finials. Each in original box in as new condition. Boxes indicate colour via label. Buyers are advised to satisfy themselves regarding condition before purchasing. Approx 40cm wide.
A large retro vintage 20th Century West German amphora twin handled vase of bulbous form having a waisted neck with shaped handles. Relfie decorated central panel to the body depicting figures with many holding vases, some musicians etc. Impressed marks to the the bottom with model number / size 225-46. Measures approx; 46cm x 31cm diameter.
Lucian Ercolani - Ercol - Model 376 - A matching pair of retro vintage 1960's blonde beech and elm ' Candlestick ' lattice backed spindle dining / desk side chairs with saddle seat and 'X' frame stretcher. Each raised on splayed supports united by a single stretcher. Each measures approx; 82cm x 42cm x 43cm.
Hago - Model 101 - A collection of four retro vintage industrial atomic space age sputnik three tier letter racks of tubular form with finials. Each in original box in as new condition. Boxes indicate colour via label. Buyers are advised to satisfy themselves regarding condition before purchasing. Approx 40cm wide.
Lucian Ercolani - Ercol - Model 376 - A matching pair of retro vintage 1960's blonde beech and elm ' Candlestick ' lattice backed spindle dining / desk side chairs with saddle seat and 'X' frame stretcher. Each raised on splayed supports united by a single stretcher. Each measures approx; 82cm x 42cm x 43cm.
Hago - Model 101 - A collection of four retro vintage industrial atomic space age sputnik three tier letter racks of tubular form with finials. Each in original box in as new condition. Boxes indicate colour via label. Buyers are advised to satisfy themselves regarding condition before purchasing. Approx 40cm wide.
Hago - Model 332 - A collection of five retro vintage industrial atomic space age sputnik scroll hat & coat racks of tubular form with finials. Each in original box in as new condition. Boxes indicate colour via label. Buyers are advised to satisfy themselves before purchasing. Approx 60cm wide.
Hago - Model 358 - A collection of four retro vintage industrial atomic space age sputnik three tier attache racks of tubular form with finials. Each in original box in as new condition. Boxes indicate colour via label. Buyers are advised to satisfy themselves before purchasing. Approx 28 cm wide.
Clock; France, Empire period, circa 1805.Mercury gilt bronze.Paris type movement.It has a pendulum and a missing key.Measures: 42 x 12 x 12 cm.Clock made in gilded bronze with mercury, or moulu, in the shape of a cup or amphora. It has a Paris type mechanism with round plates, small Ancora escapement and pendulum suspended by thread. It chimes the hours and half-hours over the bell by a counting wheel. The clock has a square base with relief decoration in the form of two swans flanking a palmette. At the top of the base, the base is crowned on the outside perimeter, giving rise to the body of the clock, which takes the shape of a cup. In the centre of the clock is a large white dial with black Roman numerals. Finally, the clock is crowned with four pinnacles at the corners and an upper gable. The upper part of the gable has an armillary dial that represents a reduced model of the cosmos, understood from the terrestrial perspective. During the Middle Ages and the Renaissance it was a widely used object. There are similar examples catalogued in 'la Mesure du Temps dans les collecions du Musée du Malmaison'.
Bracket type clock, George III, signed WILLIANS HUGHES. London, 1784.Mahogany case, with important gilt bronzes.Signed dial, gilt, with gilt brass spandrels, chiming cancellations.Three-train machine with chime of hours and quarters, on eight bells and hours on one.Measurements: 63 x 36 x 22 cm.Important English table clock, with the dial signed by the clockmaker Williams Hughes, accompanied by the legend "Hig Holborn London". It follows the bracket model, a type of transportable clock, with handles, which became popular in England in the 18th century.Architectural in structure, the front and back windows are arched, with their spandrels richly worked with gilded bronzes. Also noteworthy are the gilded bronze applications that reproduce the stipes with vegetal body and human bust on the flanks, as well as the openwork soffits with floral motifs, and the flamboyant trophy-like pinnacles that crown the corners. The feet are also made of bronze, and a bronze crest decorates the dome in the form of a slope with a curved profile. The dial has a silver-plated disc with the hours engraved in black with Roman numerals, while the minutes are marked in Arabic. The hands are baroque in style. It is accompanied by a second striking dial and a calendar window. The foliate work on the gilt brass spandrels is also noteworthy.
Bracket type clock, George II, signed ROBERT ROMLEY. London, 1740.Ebonised case, with bronze applications.Signed dial, gilt, with gilt bronze spandrels, with the possibility of an override chime.Machine: eight days winding, square plates, engraved and signed back, quarter strike on eight bells and hour strike on one bell. Measurements: 53 x 30.5 x 20.5 cm.English table clock, with the dial signed by the clockmaker Robert Romley. It follows the bracket model, a type of transportable clock, with handles, which became popular in England from the end of the 17th century. With an architectural structure, the front and back windows are arched, with their spandrels richly worked with gilt bronzes. Also noteworthy are the gilded bronze applications that reproduce the stipes with vegetal body and human bust on the flanks, as well as the openwork soffits with floral motifs on the tympanum, and the fruit pinnacles that crown the corners. The feet are also made of bronze. The dome takes the form of a slope with a curved profile. The dial has a silver-plated disc with the hours engraved in black with Roman numerals, while the minutes are marked in Arabic. The hands are baroque in style. It is accompanied by a second dial for chiming and a calendar window.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.
Napoleon III tournant clock. France, ca.1850.Marble case, alabaster figure, gilt bronze applications.Eight days winding machine, quarter chimes on two bells and hours on one.Calendar of the week and month on two porcelain dials.Measurements: 43 x 19.5 x 19.5 cm.French clock, tournant type, with the case in the form of a marble temple that houses a sculpture in alabaster representing a child with a dove, in neoclassical style. The pergola has a first floor with a gilded bronze openwork gallery, and the gilded bronze applications on the plinth, the capitals and the border of ovals around the base are also gilded bronze. Following the typical tournant model, the Roman numerals for the hours and Arabic numerals for the minutes are arranged on discs, which are in turn accompanied by two small white porcelain dials for the calendar. The dome is crowned by a beautiful gilt-bronze floral tulip.
Bracket type clock, George II, signed ROBERT HIGGS. London, first half s. LONDON, FIRST HALF OF THE 18TH CENTURY.Ebonised case, with gilt bronze applications.Signed dial, gilt, with gilt bronze spandrels.Selection dials with six melodies, sound annulment, quarter and hour chimes, with calendar.Three-train machine, with musical cylinder that activates thirteen bells and chime of hours and quarters on a bell.Measurements: 60 x 39 x 25 cm.Important English table clock, from the George II period, with the dial signed by the renowned watchmaker Robert Higgs. It follows the bracket model, a type of transportable clock, with handles, which became popular in England from the end of the 17th century. Architectural in structure, the front and back windows are arched, with their spandrels richly worked with gilded bronzes. Also noteworthy are the gilded bronze applications that reproduce the stipes with vegetal body and human bust on the flanks, as well as the openwork soffits with floral motifs, and the fruit pinnacles that crown the corners. The feet are also made of bronze, in the form of scrolls surrounded by foliage, and a bronze crest decorates the dome in the form of a slope with a curved profile. The dial has a silver-plated disc with the hours engraved in black with Roman numerals, while the minutes are marked in Arabic. The hands are baroque in style. It is accompanied by a second chime dial and a calendar window. Robert Higgs was a member of the Clockmakers Company from 1750 to 1769. Prior to that, he worked at Sweetings in London.English bracket clocks are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1760s, when the pendulum was applied to the clock, replacing the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.
FRANK AUERBACH (B. 1931)Portrait of Debbie Ratcliff III 1984 oil on canvas 66 by 66 cm. 26 by 26 in. This work was executed in 1984.Footnotes:Provenance Marlborough Fine Art Ltd., London (no. 35238.6)Acquired directly from the above by the present owner in 1984 ExhibitedVenice, XLII Biennale di Venezia, British Pavilion, Frank Auerbach: Paintings and Drawings 1977-1985, 1986, p. 50, no. 32, illustrated in colourHamburg, Kunstverein; Essen, Museum Folkwang, Frank Auerbach, 1986-1987, p. 72, no. 37, illustrated in colourMadrid, Museo Nacional Centro de Arte Reina Sofía, Frank Auerbach: Retrospectiva, 1954-1985, 1987, p. 68, no. 37, illustrated in colourLiteratureRobert Hughes, Frank Auerbach, London 1990, p. 208, no. 215, illustrated in black and whiteWilliam Feaver, Frank Auerbach, New York 2009, p. 294, no. 505, illustrated in colourFrank Auerbach's Portrait of Debbie Ratcliff III is a masterly and empathetic painting which formed the third of a trio of portraits of his model and muse Debbie Ratcliff that were first unveiled at the 42nd Venice Biennale in 1986, where Auerbach was awarded the Golden Lion, sharing the prestigious prize with Sigmar Polke. Hailed as one of the most influential painters of the 20th century, Frank Auerbach is celebrated for his expressionistic portraits and cityscapes characterised by his distinctive and gestural impasto technique. Auerbach was born in Berlin in 1931. Arriving in England as a Jewish refugee in 1939, he attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic, before culminating his final studies at the Royal College of Art. His first exhibition was held at London's Beaux Arts Gallery in 1956. Initially Auerbach was criticised for his thick application of paint, but found support from the critic David Sylvester, who identified the exhibition as one of the most exciting and impressive debut solo-shows by an English painter since Francis Bacon. By the early 1960s, Auerbach had established himself among the ranks of what would later become known as the School of London, a group that included Lucian Freud and Francis Bacon. Bacon shared much of Auerbach's sensibility: the two artists favoured painterly intuition over carefully studied precision, viewing painting as a means of pinning down human expression. However, despite his affiliation with the School of London artists and comparisons to Bacon, Auerbach also sought to engage in the explicit dialogue with the art historical canon, and cites numerous old and modern masters as influences, including Rembrandt, Rubens, Titian, Constable and Picasso. Auerbach would continue to exhibit regularly at the Beaux Arts Gallery until 1963, before joining Marlborough Gallery in 1965. Today his works are amongst the most internationally collected and desirable amongst all living artists. Beautifully positioned within the square canvas, Debbie Ratcliff sits composed and elegant, her angular shoulders asymmetrically filling the composition. Auerbach employs rich swathes of crimson, green hues, and vibrant yellows to build his portrait. There is a meditative, emotional quality to his paint; Auerbach's heavy impasto can take months to build up and scrape back, he paints slowly and methodically revealing an intense observation of his subject. He makes his mark with authority and finality, pushing abstraction to the limit while still capturing the essence of his sitters. Auerbach first met Ratcliff at the Slade School of Art in 1983. He was reportedly drawn to her strongly defined features and initially had her pose reclining on a bed. It was in the second sitting that Auerbach decided to seat her instead on a chair facing him; the pose would continue in all three of these portraits the artist created of her. Over the course of Ratcliff's sittings for him, the two would come to relax in one another's presence, enjoying conversations about art and literature. Auerbach is credited with making some of the most impressive, vibrant, and intuitive portraits of the post-war years. A true draftsman as well as a painter, his graphic works, his signature thick black lines and the concerted mark-making that he employs give his sitters a flickering quality of energy. His method requires an intimate knowledge, not only of his sitter's physiognomy, but also their temperament and personality and most of Auerbach's sitters posed for him every week, often over many years. Connections were important to Auerbach, who despite the physical immediacy of his brushwork, ultimately undertook long and studied contemplations of his subjects. He has attested to finding himself simply more engaged when he knows the people, as they get older and change, enjoying the process of recording this in paint. Auerbach's portraiture features a number of long-standing sitters, including, his wife Julia, Catherine Lampert, Gerda Boehm, Stella West, 'J.Y.M.' and as seen in this present work, Debbie Ratcliff. Auerbach's distortions in his portraits have been likened to Francis Bacon's figures. However, perhaps unlike Bacon, a warmth emanates from the former's portraits. In Portrait of Debbie Ratcliff III, Auerbach's muse is cast as an impression instead of a likeness. Painting only those whom the artist has formed an intimate bond with, the paintings teeter on incomprehensibility. Auerbach's prolonged engagement with Ratcliff throughout the course of her sittings nonetheless captures a spirit in its fleeting and mercurial beauty. The rapid and vivid strokes perceive an individuality, a humanity. Portrait of Debbie Ratcliff III is a painting of life in action. An individual in the throes of contemplative personal eminence. Frank Auerbach is widely recognised as one of the most inventive and influential painters of the Post-War period. In 1978, the artist was honoured with a retrospective at London's Hayward Gallery and in 2015, London's Tate Britain, in partnership with Kunstmuseum Bonn, mounted another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery and National Portrait Gallery in London; Museum of Modern Art and The Metropolitan Museum of Art, in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Rams, Dieter und Gugelot, Hans Stereoanlage, Model "Stereo-Phonosuper SK 61" , so genannter "Schneewittchensarg". Entwurf 1961 für Braun. Holz, weiß lackiertes Metall und Acryl. L. Gebrauchsspuren, intakt. 60er Jahre. 24x 58,5x 29 cm. Lit.: Jo Klatt & Günter Staeffler, Braun+Design Collection, Hamburg 1995, Abb. S. 25, 28.
A BOX CONTAINING WWII/POST WWII field equipment, namely a shoulder bag with lots of military handbooks, pamphlets etc, a 1974 dated British Webbing belt, possibly for ammo carry, WWI era binoculars in brown leather case 'Service model', a metal and brass powder flask, fold up large map of France & Flanders WWI and a boxed WWII 1942 dated WGP WA0275 meter
A COLLECTION OF WORLD WAR I CRESTED CHINA, manufactured by Arcadian, Shelley, Savoy, Willow Art, etc, comprising '311 model of a Bleriot Warplane' 'Edinburgh', 'Model of an aeroplane Rd No.607828' 'Harrogate', airship 'Coventry', an unmarked propellor 'Luton' and three other aeroplanes 'Woking', 'Bognor' and 'Ramsgate' with a moving propellor held in place with wire (7) (Condition report: Woking plane is missing the propellor, propellor on Ramsgate plane is loose and held in place with wire. gilding is worn on some pieces)
A COLLECTION OF WORD WAR I CRESTED CHINA, manufactured by Carlton, Swan, Willow, Victoria, Grafton, Goss, Shelley , Corona and others, including two E4 submarines, one with damaged periscope 'Atherstone school', the others 'Rhyl' and 'Arms of Norwich', 'German gun captured by British' 'Brighton, 'Model of a British machine gun' 'Blackpool', 'Model of new submarine' 'City of London', 'Model of cannon shell' 'Inverkeithing', 'model of a Mills hand grenade' 'Cleobury Mortimer', eight various boats / ships, bearing crests for 'Manchester', 'Kirkcudbright', 'Sheffield', 'Hythe' (chipped to base), 'Settle' 'Newark-upon-Trent', 'Blackpool' and 'City of Oxford'(21) (Condition report: some pieces have wear to the gilding, any specific damage has been mentioned within the description)
A COLLECTION OF WORLD WAR I CRESTED CHINA, manufactured by Victoria, Botolph, Grafton, Arcadian, Shelley, Carlton, Willow and others, including two model of a Motor Ambulance car given by Staffordshire China Operatives 'Redcar' and 'Scarborough', a Red Cross ambulance 'Tamworth', a charabanc 'Arms of Weymouth and Melcombe Regis', a two seater car 'City of London' and another 'City of Westminster', a model of an armoured car 'Luton', two motor cars both 'Matlock Bath', a model of a Red Cross van 'South Shields' and six other Red Cross ambulances (16) (Condition report: in good condition overall, some wear to the gilding)
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