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Los 162
This is a highly detailed trolly car in HO scale with yellow sides with red detail and black top. It is marked Downtown on the side with the number 14 on its corners. This item has its original box which measures 10"L x 3.5"W x 1.5"H. Issued: 20th centuryDimensions: 5.5"L x 1.25"W x 2.25"HManufacturer: Model Power MFG. Co. Country of Origin: United StatesCondition: Age related wear. As is, as found.
Los 144
Metal finish with colored embossed design and lettering. First fob front view: 4th National Watch Fob Show - Norwalk, Ohio. Lima 101.; reverse side: 4th National Watch Fob Show - Norwalk, Ohio, March 30-31, 1968. Second fob front view: 5th National Watch Fob Show - Norwalk, Ohio.; reverse side: International Watch Fob Association Inc. March 29 and 30, 1969. Third fob front side: 8th National Watch Fob Show - Norwalk, Ohio. Jaeger.; reverse side: International Watch Fob Association Inc. March 24,-25,26, 1972. Fifth fob front view: 10th National Watch Fob Show - Strongsville, Ohio. Model 28 - One Man And A Marion Can Move The Earth.; reverse side: International Watch Fob Association Inc. April 5, 6, 7, 1974. Approximate dimensions for the largest fob: 1.75"L x 2"H. Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.
Los 398
PIERRE PAULIN (FRENCH 1927-2009) FOR ARTIFORT 'GROOVY' LOUNGE CHAIR, DESIGNED 1973 model F-598, with Jack Lenor-Larsen fabric and metal frame 67.5cm high, 75cm wide (26 ½in high, 29 ½in wide) Private Collection, London. ‘I do not create. I invent, I arrange, I design.’ Pierra Paulin, interview with Maison & Design, 2008.
Los 293
FLAVIO POLI (ITALIAN 1900-1984) FOR SEGUSO VETRI D'ARTE SOMMERSO’ VASE, DESIGNED c.1961 glass 31.3cm high (12 ¼in high) Private Collection, London Literature:Heiremans, Marc, Seguso Vetri D'Arte: Glass Objects From Murano (1932-1973), Arnoldsche Art Publishers, Stuggart, p. 156, cat. no. 13178, for a similar example of this model. This model appears to be in the Rubino-Violetto colourway (transparent ruby covered with transparent violet) noted as one of the colour combinations for 1961.
Los 371
GAETANO PESCE (ITALIAN 1939-2024) 'O SOLE MIO', 1972/1991 aluminium hoop with steel fixings, resin 'sun' fitted to aluminium transport housing electronic and lighting, purported to be one of three prototypes 180cm diameter (70 ¾in diameter) Urban Architecture, New York, from whom acquired by Steve Allison, March 2004.The Steve Allison collection. On O Sole Mio Pesce wrote 'I made the model only, because the technology of that time was not able to develop such a complex project. It is a round rail with the sun moving - a superb piece because this is a lamp that works like the sun. The idea is that [with] a sensor switch on the light, the sun appears during the actual night, and when the day starts, the sun of the lamp disappears - it turns off…we did finally work with Meritalia to realize the round one, but they were not able to do it…But it is a fantastic object. I want to repeat that. The sun is something so powerful - it is always moving…and the lamp does the same thing. And it's a figurative object. This is also very very powerful.' (Quoted in Gaetano Pesce: The Complete Incoherence) Literature:Adamson, Glenn, Gaetano Pesce: The Complete Incoherence, The Monacelli Press, 2003, pp.144-5, an example illustrated.
Los 295
FLAVIO POLI (ITALIAN 1900-1984) FOR SEGUSO VETRI D'ARTE ‘SOMMERSO’ VASE, DESIGNED c.1960 glass 30.2cm high, 24.5cm wide (12in high, 9 5/8in wide) Private Collection, London. Literature:Heiremans, Marc, Seguso Vetri D'Arte: Glass Objects From Murano (1932-1973), Arnoldsche Art Publishers, Stuggart, p. 151, cat. no. 12755, for a similar example of this model. This model appears to be in the Rubino-Blu-Violetto (or viola cardinale) colourway (transparent ruby covered with transparent blue, the whole overlaid with transparent violet, or literally ‘cardinal red') noted as one of the colour combinations for 1960.
Los 248
HANS WEGNER (DANISH 1914-2007) FOR FRITZ HANSEN DINING SUITE model nos. FH4602 and FH4103, comprising dining table and four chairs, with manufacturer's stamp FH DENMARK to the table and one chair, oak and teak the chairs: 72.5cm high, 53cm wide, 46cm deep (28 ½in high, 20 7/8in wide, 18in deep); the table: 70cm high, 119cm diameter (27 5/8in high, 46 7/8in diameter) (5) Private Collection, London.
Los 397
ENZO MARI (ITALIAN 1932-2020) FOR DANESE MILANO GROUP OF FIVE PAPER WEIGHTS, DESIGNED 1950s including model 3018Q, synthetic resin four examples: 7cm high, 7cm wide, 7cm deep (2 ¾in high, 2 ¾in wide, 2 ¾in deep); the orange ball example: 6.5cm high, 6.5cm wide, 6.5cm deep (2 5/8in high, 2 5/8in wide, 2 5/8in deep) (5) Literature:Enzo Mari: L’arte del Design, Galleria Civica d’Arte Moderna e Contemporanea di Torino, exhibition catalogue, pp. 62 and 175 for examples from the series
Los 289
MAX INGRAND (FRENCH 1908-1969) FOR FONTANA ARTE CHANDELIER, DESIGNED c.1959 model no. 2088, clear and frosted glass and nickel plated brass 70cm diameter (27 ½in diameter) Private Collection, London. Literature:Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fig. 320 for an example of this model.
Los 257
SŌRI YANAGI (JAPANESE 1915-2021) FOR AKITO MOKKO, YUZAWA CITY, JAPAN MIRROR, c.1975 manufacturer's label (to reverse), beech wood and glass 49.3cm x 39.5cm (19 3/8in x 15 ½in) Literature:Forms Born of Sori Yanagi, Kanazawa City, Noto Publishing Department, 2003, pp. 93 and 140 for examples of this model.
Los 251
CHARLES EAMES (1907-1978) AND RAY EAMES (1912-1988) FOR VITRA LOUNGE CHAIR AND STOOL, DESIGNED 1958 model EA 115, the stool with applied manufacturer's labels, aluminium and upholstery the chair: 97cm high, 64.5cm wide, 63cm deep (38 ¼in high, 25 ½in wide, 24 ¾in deep); the stool: 39cm high, 55cm wide, 54.5cm deep (15 3/8in high, 21 5/8in wide, 21 ½in deep) (2) Vitra Ltd., London, where acquired by the present owner;Private Collection, London.
Los 259
JUNZO SAKAKURA (JAPANESE 1901-1969) & DAISAKU CHOH (JAPANESE 1921-2014) FOR IDÉE, JAPAN PAIR OF 'ZAISU' CHAIRS, c.2000 beech plywood and rattan 63cm high, 46cm wide, 66cm deep (24 ¾in high, 18 1/8in wide, 26in deep) (2) Literature:Urakawa, Ai (ed.), Long Masterpiece: 84 year old active designer, Rattles Co., Ltd., Tokyo, Japan, 2006, pp. 44 and 46 for examples of the design of this model;Japan Living Design, Eihachiro Baba, Tokyo, Japan, 1999/2002, pp. 106-9 for a similar example of this model.
Los 59
Attributed to Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico City, 1772).‘Casta painting. Black and Spanish produces mulatto’Oil on copper.52 x 48 cm. Morlete was one of the Novo-Hispanic painters who most often painted landscapes and, in fact, there are other examples by him of caste pictures painted in the open air. This characteristic, together with the great pictorial quality of the three figures depicted, and the model of the pedlar located near the family, (which is repeated in other of his artworks) and that Morlete is the only painter who mentions the word ‘produce’ in his titles instead of other terms to define mestizos (as we find in other paintings of his, for example in the painting entitled ‘Valle de Iztacalco, de yndia y español produce mestiza’ (Indians from the Valley of Iztacalco, and Spanish produce mestiza), which is in the Kaluz Museum) allows us to attribute this marvellous caste painting to the artist. This painting is a real rarity as it depicts the caste family scene in an outdoor landscape. Usually, these caste paintings were depicted in domestic settings, interiors of houses... and almost always with very repetitive models. In this case, we are presented with the Mexican Alameda Park, recognisable by its fountain, next to the Paseo Bucarelli. In the foreground are the protagonists, and around them, pedlars, couples strolling, a man on horseback, noblemen riding in a carriage, etc. In the lower margin we find the usual cartouche on which the painter originally entitled the work with the inscription ‘Negro y española produce mulata’ (‘Black and Spanish produces mulatto’), which one of its owners, who probably treasured it, covered with white paint and renamed it ‘Paseo de Bucarelli’, presumably in an attempt to conceal the obvious message of the work. The theme of caste painting was developed in 18th-century New Spain and was intended to show and classify the diversity that arose from the mixing of ethnicities. This was a complex task, as the Prado Museum reports in the catalogue published for the exhibition ‘Tornaviaje. Ibero-American Art in Spain’, as “natives of the West Indies, Spaniards and Europeans, African slaves and a small amount of Asian emigrants ... made up a stratified society, but with threads of communication between them”, a diverse society that gave rise to caste painting.Even so, the value of this pictorial genre does not lie exclusively in ‘the classificatory tendency of the 18th century’ or even to ‘European concepts of the exotic’, but studies such as Ilona Katzew's reveal the value of this genre for ‘the construction of its own differentiated image’ of New Spanish society. In fact, Katzew continues, caste painting ‘is a unique pictorial genre that has no equivalent in European art’, indeed, ‘it is fundamentally limited to the viceroyalty of New Spain’, although mixing of ethnicities took place in all the Spanish colonies. In this sense, the Director and Curator of Latin American Art at the Los Angeles County Museum of Art, concludes in her study that ‘caste painting is not a monolithic genre, but one that encloses multiple simultaneous meanings’ and that, furthermore, ‘it offers a clear example of how New Spain could be a generative centre and not just an area that remained on the periphery of artistic events’, as it has traditionally been considered.Reference bibliography:- Katzew, Ilona. (2004). "Casta Painting: Images of Race in Eighteenth-Century Mexico". Yale University Press.- Katzew, Ilona. (2004). "La pintura de castas: Representaciones raciales en el México del siglo XVIII". Turner Publicaciones S.L.- López Guzmán, Rafael (Ed.). (2021). "Tornaviaje. Arte iberoamericano en España." Museo Nacional del Prado. (pp. 165-181).
Los 6
Castillian School. Circa 1500."Saint Quiteria and Saint Barbara"Oil or tempera with gold background on panel. Fragment of an altarpiece, possibly belonging to a predella.37,5 x 40,5 cm.Even though we have not been able to recognise the master behind these two saints, his great artistic skill is evident. The faces of both saints are delightful and of unfathomable sweetness.An exceptional panel that shows the splendour of the Aragonese Renaissance, both in the colour palette, with those shimmering tones on the tunics, as well as in the physiognomy of the models and the flesh tones on their faces and hands in tempera and oil. It is also evident in the perfect gold ground-covered surface for the backdrop, decorated with plant motifs and pointillé, a decorative technique used on gold which consisted of engraving different drawings with small chisel strokes or pricks, thereby pushing down the smooth gilded surface or the stucco mass. There is no doubt as to which saints they are, as they are named on their limbs, Quiteria and Barbara.Quiteria was alive during the 2nd century A.D. The daughter of a pagan Roman governor, her mother gave her up for adoption, along with her eight siblings, to prevent her honesty from being questioned and to preserve her virginity. According to Christian doctrine, this adoption brought her closer to God. Always linked to prayer, as she appears reading a book of hours, she would eventually meet her parents. Tradition has it that her father, as soon as he learned of her profession of faith, had her head cut off.Barbara came from Nicomedia, on the Anatolian Peninsula, in the late 3rd and early 4th centuries AD. Highly intelligent, she was the daughter of Diocorus, a wealthy pagan man. Through her reading and studies she questioned her paganism, and because of her religious concerns, she was instructed in the catechism and converted to the Christian faith. Because of her physical beauty, she had no shortage of suitors, but she kept herself a virgin in order to consecrate herself to God. Her father had a tower built to keep her from the eyes of strangers. On one of her father's journeys, she herself ordered the workmen to build a third window (she only had two) to honour the Holy Trinity. She was tortured for her faith, but she did not die as she received help and care from heaven. As she refused to worship the pagan gods, her father finally cut off her head. After decapitating her, her father was struck by lightning and no trace of his body was left.In the panel, she is shown holding her most characteristic attribute, the tower in which she was imprisoned, at a reduced scale on her hand, as if it were a model. A moulding runs along it and frames it in the manner of the Gothic lines to strengthen a wall or window, in which verticality predominates over horizontality, underlining the mysticism of the figures it contains. This panel would clearly have formed part of the ‘flos sanctorum’ of the lower predellas or side sections of an altarpiece.Finally, it is interesting to note that marks of the gouge can still be seen on the back of the boards which are assembled horizontally and which form the panel, and the remains of rabbit glue dissolved in water as a grout can be seen, erasing imperfections and smoothing out the pine boards, the most advanced material used at that time for this type of work.
Los 68
Diego Quispe Tito (Cuzco, Peru, 1611 - 1681)"The Annunciation"Oil on canvas. It has lacks of painting.157 x 218,5 cm.Provenance: this lot is the couple of lot 81 from the auction, "Beauty and Devotion. Picasso between the Old and New World", 25th of April, 2024. A palace-house of an Andalusian marquisate, a Spanish noble family whose lineage dates back to the 12th century.Specifically, our painting was placed next to its partner, "The Holy Family in the workshop of Nazareth".It is obvious that these two pieces were a pair, because the model used to portray Mary is the same in both paintings, as well as the basket with clothes that we find centering the scene is the same in both paintings.As we read in the Real Academia de la Historia Quispe Tito "Member of a family of the Inca aristocracy, is considered among the main initiators of the Cuzco school for painting. He apparently came from the indigenous village of San Sebastián, which houses a significant part of his production. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church.These groups of canvasses summarise Quispe Tito's original maturity, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours.His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus among the Doctors of the Temple and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda of that city.In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of The Last Things or the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas for depicting the Last Judgement, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme, in the form of successive The Holy Family Returning from Egypt (National Museum of History), dated 1680, displays the virtuosity characteristic of his later works. Here the painter based himself on a widespread composition by Rubens, but Quispe Tito considerably reduced the proportion of the figures in relation to the background in order to place the scene of the sacred story within a vast idealised and fantastic landscape, thus heralding the emergence of one of the favourite genres of painting in Cuzco in the following century. At the same time he executed the well-known series of the zodiac, hung on the walls of the side naves of the Cathedral of Cuzco. Today only nine of the twelve signs exist, either because three of them were destroyed or because the artist died before completing the commission.It is a Christianised cycle, in which each of the zodiacal signs is identified with a parable of Christ or a Gospel story. In this case Quispe literally follows his Flemish graphic sources, while at the same time displaying a European-inspired pictorial craft, the high technical level of which is unsurpassed in the Cuzco context.In this way the artist, in the last stage of his life, seemed to adapt his work to the aesthetic preferences of a cultured, urban clientele, which may have attracted the attention of Bishop Mollinedo and his cathedral chapter.Bibliographic reference:- Wuffarden, Luis Eduardo. (n.d.). "Diego Quispe Tito". https://dbe.rah.es/biografias/54757/diego-quispe-tito
Los 174
A bronze model of a tiger and wolvesMeiji period (1868-1912), circa 1880-1890Naturalistically-modeled as a tiger in a struggle with a pair of wolves, finished in two shades of brown, signed in a rectangular reserve on the underside.Provenance: French private collectionHeight: 30cm, Length: 66cm, Width: 16cm€ 3 000 - € 5 000
Los 42
Statuette en porcelaine de Meissen (directorat de Marcolini) représentant Paillasse, circa 1774-1814A Marcolini Meissen figure of Pagliacco, circa 1774-1814Modelled by J.J. Kaendler, wearing a pointed pale-yellow hat, mask, gilt earrings, a white costume edged in green and with gilt buttons, white ruff collar and chamois shoes with gilt buckles, on a square base with moulded, gilt-edged floral scrollwork border, 18cm high, crossed swords (with incised cancellation mark), asterisk and II in underglaze-blue to rear edge of base, incised model number D 39. to rear edge of base (left hand restored)Footnotes:Literature: Siemen, Wilhelm (ed.), Von den Ursprüngen des europäischen Porzellans bis zum Art Déco, 2010, p. 102, cat. 61Exhibited:Selb and Hohenberg a.d. Eger, Porzellanikon - Staatliches Museum für Porzellan, Königstraum und Massenware. 300 Jahr europäisches Porzellan, 24 April to 2 November 2010;Hohenberg a.d. Eger, Porzellanikon - Staatliches Museum für Porzellan, 2018-2023For further information on this lot please visit Bonhams.com
Los 44
Statuette en porcelaine de Meissen (directorat de Marcolini) représentant Covielle, circa 1774-1814A Marcolini Meissen figure of Corviello, circa 1774-1814Modelled by J.J. Kaendler, wearing a grey hat, black and red mask, brown tunic and trousers with gilt stripes and buttons, a puce-lined yellow cape, yellow shoes, and a dagger at his waist to his left, on a square base with rockwork support moulded with floral scrollwork borders heightened in gilding, 17cm high, crossed swords mark, asterisk and indistinct numeral in underglaze-blue to rear edge of base, incised model number D 43 to rear edge of base (restored chips to brim of hat, left arm cleanly restuck at elbow)Footnotes:Provenance:Anon. sale, Sotheby's London, 15 May 1979, lot 75Literature:Siemen, Wilhelm (ed.), Von den Ursprüngen des europäischen Porzellans bis zum Art Déco, 2010, cat. no. 61, p. 102Exhibited:Selb and Hohenberg a.d. Eger, Porzellanikon - Staatliches Museum für Porzellan, Königstraum und Massenware. 300 Jahr europäisches Porzellan, 24 April to 2 November 2010;Hohenberg a.d. Eger, Porzellanikon - Staatliches Museum für Porzellan, 2018-2023For further information on this lot please visit Bonhams.com
Los 28
Groupe en porcelaine de Meissen répresentant Colombine et Pantalon, circa 1741A Meissen group of Columbine and Pantalone, circa 1741Modelled by J.J. Kaendler, Columbine holding a mask in her right hand and caressing Pantalone's beard with the left, wearing a gilt-edged, grey-lined turquoise cloak with red ribbon and bow, ruff collar, yellow bodice and a purple skirt with purple and gilt flower sprigs, Pantalone wearing a black skull cap, long black jacket, iron-red costume with yellow bows at the knees and yellow shoes, the base applied with leaves and flowers, 16cm high, (minor restoration)Footnotes:Provenance:The Property of Brigadier R.B.T. Daniell, D.S.O., sold at Sotheby's London, 15 May 1979, lot 97Originally modelled in 1736, Kaendler reworked this group for a second time creating a third version in 1741 as the moulds had again become worn and unusable. It is listed in his work records in July 1741: 'Ein Croppgen den Pataleon Vorstellet nebst seinen bey sich habenden Frauen Zimmer Völlig erneuert solches aufs Sauberste auspoussiret und aufs neue brauchbar gemacht Weiln die Forme Vorhero gäntzl. Ruiniret und unbrauchbar worden' [A group depicting Pantalone with a figure of a lady next to him completely renewed, cleaned up and made usable as new because the moulds were completely ruined and unusable]; and again the following month, when he records that the model was cut and prepared for moulding.The second version of this group of 1738 from the Merkle Collection was sold in these Rooms, 17 April 2024, lot 6.For further information on this lot please visit Bonhams.com
Los 3
Groupe en porcelaine de Meissen répresentant Columbine et Pantalone, circa 1738A Meissen group of Columbine and Pantalone, circa 1738Modelled by J.J. Kaendler, in the white, Columbine seated holding a mask in her right hand and stroking Pantalone's beard with the left, the base applied with leaves and flowers, 16.2cm high (some restoration)Footnotes:Provenance:The Property of a Gentleman, sold at Christie's London, 29 March 1976, lot 184;The Property of a Gentleman, sold at Christie's London, 5 October 1981, lot 187Kaendler reworked his model of 1736 two years later as the moulds had become unuseable. It is listed in his work records of August 1738: 'Dem Pantaleon Nebst seinem bey sich habenden Frauen Zimmer Verneuert und solches Groppgen zum abformen aufs Neue tüchtig gemacht, Weiln Vorige Forme nach öfftern gebrauch Wandelbar Worden.' [Pantalone alongside his figure of a woman renewed and well-made new for moulding, because the old forms had become unstable after much use]. The model was reworked again in 1741 (see lot 28).For further information on this lot please visit Bonhams.com
Los 300
Ysendyck (J.J. van) Documents classés de l’art dans les Pays-Bas du Xième au XVIIIième siècle, First-Third Series bound in 10 vol. (rearranged by subject), printed in red & black, 722 plates, with 16ff. text issued with plates of First Series and indices to the plates but without frontispieces to Second & Third Series, contemporary half calf, spines gilt, t.e.g, a little rubbed, Antwerp, 1880-[89] § Clemens, Mellins & Rosenthal. De Dom zu Magdeburg, Parts 1-4 only, no text, 24 lithographed plates & plans, water-stained (marginal to parts 1-3 but affecting plates of part 4), original printed wrappers, uncut, folded & creased, frayed at edges, Magdeburg, Creutz'sche, [?1830] § Hübsch (H.) Bauwerke, Atlas only, 12 engraved or lithographed double-page plates, light foxing, contemporary half roan, upper wrapper bound in (old ink stamp), joints split, Carlsruhe, 1838 § Muster-Plane zu ländlichen Bauwesen, Part I [all published], 15 lithographed plates, some spotting, original printed boards, spotted, spine worn, Stuttgart, [?1840s], all but the first worn; and 10 others, mostly German, folio & large folio; sold not subject to return (26)*** The first is a complete set of this substantial publication, providing excellent photographic illustrations of many of the most impressive late mediaeval, renaissance and 17th century buildings in Belgium and the Netherlands, together with similar illustrations of carved decoration, architectural sculpture, furniture, ironwork etc.The last item shows outline linear elevations, sections and ground plans of model designs for farm houses and their associated farm buildings.
Los 314
Tudor; A Modern Champagne Jacquard Glamour Day / Date Automatic Gent's Wristwatch, Model: 56003-68063, Serial No: J979632 (39mm), to integral bi-colour bracelet, in original box with International Guarantee card (G. Hewitt & Son Grimsby, dated 11th May 2018), booklets and Tudor red plastic price tag £2570.00.The wristwatch is currently running including date and time set from the crown but no guarantee on accuracy or timekeeping. The bracelet is stamped 68063A and SH06. There are some small scratches and chips at No. 5.
Los 1091
A collection of Chinese porcelain, glass, hardstones and other snuff bottles including a cloisonné example, also a hardstone model of a cat (qty).Condition Report: Crazing, scratches and chips throughout, the wooden peach and gord examples have splits, tigers eye example with cracks terminating from the top rim down to the base, the base has been broken off lacking stopper. The Green fruit stoppers cork is snapped. General wear throughout.
Los 1163
A Chinese hardstone model of an elder with carved deer and decoration to garments, height 36cm, and a Chinese green hardstone figure of an elder holding a ruyi (2)Condition Report: Green example with cipping to the clothing and edges, Socrates to the base, the red example with damage to one peg, heaves deep scratches to the base and underside of the feet, chip to the head dress, the stand looks to the missing a smaller figure.
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628707 Los(e)/Seite