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628707 Los(e)/Seite
Los 124
A gilt lacquered bronze model of GuanyinMing DynastySeated on a raised pierced rockwork stand with a bird and vase resting on raised rockwork plinths to either side, the figure wearing elaborate flowing robes and a high cowl, the gilt rubbed exposing the red lacquer. 19cm (7.1/2in) high.For further information on this lot please visit Bonhams.com
Los 317
A rare painted pottery model of a wild duck and a painted pottery model of a foxHan DynastyThe duck realistically modelled and painted in tones of cream and pinkish brown with the plumage delineated in fine black lines; together with a painted grey pottery model of a recumbent fox, lying curled around to the right, the head raised with alert expression, the body covered in an ochre pigment, the facial details picked out in white and orange.16.5cm and 19cm. long. (2).Footnotes:The Professor Conrad Harris Collection of Early Chinese Art, formed in the late 1990's to early 2000's.Provenance - The fox, Artcade Gallery, Brussels, 11 October 2001 (invoice).Oxford thermoluminescence test number C198k95 (28 April 1998) is consistent with the dating of this lot.The duck, Priestley & Ferraro, 21 January 2004 (invoice), label.Oxford thermoluminescence test number C104b94 (3 February 2004) is consistent with the dating of this lot.Compare with a pair of lacquered pottery ducks in the Metropolitan Museum, New York, accession no. 2015.500.7.8a,b.For further information on this lot please visit Bonhams.com
Los 447
A large wood and gilt-lacquer model of a theatre stageLate Qing DynastyFinely and elaborately carved with a wide balustraded platform supporting a large central pavilion flanked by a pair of smaller pavilions, each with delicately pierced walls and windows and sloping roofs, detailed with numerous operatic figures on stage, all between a pair of phoenix on gnarled trees. 150cm (59in) long. This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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 239
COLLECTION OF BOOKS & PRIVATE PRESS PUBLICATIONS .including Walter Crane, illustrator. The History of Reynard the Fox. London: David Nutt, 1897. 8vo; Moller, Muriel. Wood-carving designs, a portfolio of six sheets of facsimile drawings with a foreword by Walter Crane; Ashbee, C.R. Craftsmanship In Competitive Industry. Essex House Press, 1908, 8vo, original quarter cloth; Jameson (Anna). Legends of the Madonna, Unit Library Ltd. 1904; Walter Crane: 'The Decorative Illustration of Books. London, 1905; Eric Gill. The Law the lawyers. Concerning dragons. both St Dominics Press, Ditchling; Sculpture and the living model. Sheed & Ward; and Unemployment. Faber & Faber; In Praise of Bishop Valentine. London, Chiswick Press, 1893, octavo, one of 125 copies printed on hand-made paper, title in red and black, engraved frontispiece of a pair of lovers, original vellum jacket with silk ties; Golden Cockerel Press. A Tale of Rosamund Gray and Old Blind Margaret by Charles Lamb, 1928, port. frontis., orig. vellum backed boards, small 8vo (ltd. ed. 137/500); Keats. Odes. De La More Press; The Essays of Sir Roger De Coverley. The Bibelots. J. Potter Briscoe, Ed. vellum covers, limited edition 14/60, published by Gay and Bird, 1901; The book of Ruth, private press, orig. vellum backed boards; Gregynog Press. Bones (Thomas Gwynn) Elphin Lloyd Jones, printed in red, blue and black, illustrations, original boards, 4to, Privately Printed, 1929; Virgil an address to the boys of Sevenoaks School Sir Arthur Quiller-Couch. Cambridge University Press 1930;
Los 361
FRANCES MACDONALD MCNAIR (1873-1921) DESIGN FOR A COVER FOR 'DAS EIGENKLEID DER FRAU', 1903original cover design, pencil on brown tracing paper, laid on board, signed in pencil lower right FRANCES MCNAIR/ INV. DEL, inscribed ANNA MUTHESIUS and DAS EIGENKLEID(32cm x 25cm)Footnote: Provenance: Phillips, London, 17 November 1998, lot 287 Collection of Donald & Eleanor Taffner, New York Lyon & Turnbull, Edinburgh, The Taffner Collection, 7th September 2012, lot 64 Private Collection, London Literature: Burkhauser, Jude 'Glasgow Girls: Women in Art and Design 1880-1920', Edinburgh 1990, p. 54, fig. 53 for illustration of the printed book cover. Robertson, Pamela (Edit.) 'Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair', Hampshire 2006, p. 170, exhib. ref. G17; G18, cat. ill. 16 for an image of the printed cover. Note: A member of the ‘Glasgow Four’, Frances Macdonald McNair’s collaborations with her sister Margaret, Charles Rennie Mackintosh and Herbert McNair are celebrated as pivotal works in the development of the Art Nouveau aesthetic in Scotland. Equally, her individual output as an artist was radical and challenged the fanciful and idealised depictions of the female form that were prevalent in Victorian Art of the late nineteenth century. This important early work by Frances, an original cover design for 'Das Eigenkleid Der Frau’, epitomises the avant-garde movement and illustrates a bold feminist statement, depicting a fresh image of the emerging ‘New Woman’. Unlike some of her contemporaries, Frances’ early life was not one of hardship. Her father’s success as an engineer ensured the family was financially secure so that Margaret and Frances could enrol in Day Classes at the prestigious Glasgow School of Art in 1891, a privilege that, at the time, most young women did not enjoy. Indeed, the city of Glasgow in the 1890s was a highly prosperous one; quickly becoming one of the wealthiest cities in the United Kingdom, it was a model for innovative design and manufacturing processes within the shipbuilding and textile industries. In this vein, the School of Art’s main focus was to foster talented designers that would strengthen the city’s key trades in an age of rapid change and increasing industrialisation. Yet the School’s Director, Francis Newberry, equally valued the importance of nurturing individuality and actively encouraged students to explore their own interests in their work, creating unique avenues for artistic expression. Frances and Margaret immersed themselves in this stimulating and progressive environment and one in which women were able to pursue a career as an artist, as opposed to undertaking classes for merely recreational purposes. This unique approach to art and design was critical in Frances’ formative years as an artist. In her early work, we see a distinct departure from the academic tradition, in favour of experimentation with stylised human forms and decorative linear patterns. This is confidently executed in her design for the cover of 'Das Eigenkleid Der Frau’ (Women’s Own Dress). The design is steeped in lyrical symmetry as the eye traces around the abstracted curvilinear forms, dancing from figure to figure. Frances’ links to the ‘Glasgow Four’ and the Art Nouveau aesthetic are also apparent; from the idiosyncratic lettering to preoccupations with botanical forms, in particular stylised roses. The book itself, authored by Anna Muthesius, is considered a seminal text in the development of early twentieth-century women’s fashion. Muthesius and her husband Hermann, the architectural writer, became close friends with the ‘The Four’ after several trips to Glasgow and the Willow Tearooms. Anna believed women should have the freedom to choose their own clothes, styling and fabrics. Her book celebrates artistic dress and represents an outlet for radical expression for women, aligning itself well to Frances’ artistic representation of the female form. The dresses were usually made by their designers and the book includes plates showing the Macdonald sisters wearing such dresses along with similar examples designed by Jessie Newbery and worn by her daughters, Mary and Elsie. The turn of the century was characterised by great social and political upheaval. At the centre of this was the idea of the ‘New Woman’; a financially independent woman who was able to engage more actively as a member of society. More women attained an education and joined the workforce to earn a living for themselves; they were able to engage in more sporting activities such as cycling, and they could freely express themselves through fashion. Taking a closer look at the design, one is immediately drawn to the enchanting linearity of the figures, deviating from the constraints of traditional Victorian representations of women as objects of purity and beauty. Here, the figures are imbued with an almost mystical quality, as they appear floating in a newly imagined world of femininity. Each woman is depicted in an elaborate shoulder-less dress which accentuates their feminine features; a mass of flowing hair carries the eye down the image until it catches the scattering of roses and every intricate detail of clothing, so as not to miss a single thread. These women refuse to prescribe to a rigid Victorian society of the past. Instead, they represent a promise of change, towards greater independence and individuality. Frances’ work was heavily criticised at the time and much of it was destroyed by her husband following her death, yet she was a pivotal artist in the development of the Glasgow Style and Art Nouveau aesthetic in Scotland. 'Das Eigenkleid Der Frau’ is a stunning example of her early designs that are confrontational, unapologetic, and defiant in illustrating a refreshing image of the ‘New Woman’ in a post-Victorian avant-garde era.
Los 450
JOSEPH MARIA OLBRICH (1867-1908) FOR EDUARD HUECK, LÜDENSCHEID PEWTER HEXAGONAL PLATE, CIRCA 1902embellished small stylised motifs, , raised artists monogram, and maker's marks SILBERZINN/ 1820/ E. HUECK(29.5cm across at widest point )Footnote: Note: This model was exhibited at the Esposizione Internationale d'Arte Decorativa Moderna, Turin, 1902, the World's Fair, St. Louis, 1904; and the Exhibition of the Künstlerkolonie, Mathildenhöhe, Darmstadt, 1904
Los 535
Y § SOLANGE BERTRAND (1913-2011) 'ELÉGANTE AU LEVRIER', ART DECO BRONZE AND IVORY FIGURE, CIRCAmodelled as the figure of a lady with her Borzoi hound, signed on the base S. BERTRAND(29.5cm high)Footnote: Literature: Arwas, V. Art Deco, Academy Editions 1980, p.156 where an example of this model is illustrated Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Los 587
§ RICHARD PARKINSON (1927-1985) AND SUSAN PARKINSON (1925-2012) 'BEETLE' FRENCH BULL DOGmoulded porcelain, model no.19(16cm long (6.25in long))Footnote: Literature: Cashmore, Carol and Smith-Vincent, Tim Susan Parkinson and the Richard Parkinson Pottery, Private Press, p. 34 for a similar example.
Los 453
A 19th century Staffordshire pottery model of a zebra, a Victorian relief-moulded frog mug, a black basalt coffee pot with cover on stand, overall height 21cmCONDITION: Basalt jug cover repaired at flange of cover; very minor nick at pouring lip; otherwise dirty but structurally good.Zebra right ear amateurly re-built; front left ankle cracked.Frog mug dirty but good.
Los 1263
KAWAI (1985) A 5FT MODEL KG-1D BABY GRAND PIANO, in a gloss ebonised case, on square tapering legs, serial number 1605919, width 149cm x depth 152cm x height 99.5cm (original key), and a matching piano stool with sheet music (condition: very good condition for age, only very shallow surface marks, plays as should, no loose/dead keys and appears in tune)
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628707 Los(e)/Seite