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66969 Los(e)/Seite
Los 549
George III oak longcase clock, Thomas Barker, Framlingham, the pediment with three gilt metal finals above the arched glazed hood and long trunk door above a panel base, the white painted signed dial with Roman hours and Arabic quarter numbers and subsidiary seconds dial, twin train movement with anchor escapement striking on a bell, 203cm high
Los 550
George III mahogany longcase clock, Thomas Wilmhurst, Deal, the arched hood above the arched glazed door and long trunk door flanked by reeded canted corners and a panel base, the signed brass dial with moon phase, Roman hours and Arabic minutes, subsidiary seconds dial and date aperture, twin train movement with anchor escapement, with a single weigh and pendulum, 225cm high
Los 551
George III oak longcase clock, Bar Dammant, Colcestrie, with swan neck pediment above a glazed hood flanked by columns and a long trunk door with panel base, the signed brass dial with silvered chapter ring, date aperture and subsidiary seconds, together with two weights and pendulum, 202cm high
Los 169
An antique vintage early 20th Century 1909 large travel steamer trunk / travellers suitcase chest of deep rectangular form of good quality like a Louis Vuitton example. The trunk having faded brown leather panels with brass stud detailing throughout and white leather banding and metal locks and latches. The hinged lid opens to reveal a spacious linen lined interior. Marked 1909. Measures approx; 61cm x 108cm x 54cm.
Los 273
A large retro vintage early - mid 20th Century wicker and canvas steamer trunk luggage chest / basket having grey painted canvas with white band and notated ' EJP '. Wooden handles to side. Some parts may be additional / replacement but overall in good condition commensurate with age. The case measures approx; 47cm x 89cm x 59cm.
Los 6134
A bygone tin trunk containing ladies 1940's clothing including a brown faux fur coat, a Musquash fur coat, a light blue crepe dress with matching jacket, some fading and staining to underarms and dress, a mustard wool dress with a round neck fur trim and matching belt and two wool jackets including a vibrant Welsh woolens label reading Real Welsh Tapestry Eclipse Tailored dark green yellow and red pattern in the Welsh blanket style (6)
Los 164
Sechs Kieferlatten mit dem Gedicht "Alleine unter dem Mond trinken" des Tang-Dichters Li Bai (701-762). Aufschrift, datiert: 1987, sign.: Gu Gan und Siegel: Gu Gan. (6)"Einsamer Trunk unter dem MondUnter Blüten meine Kanne Wein -Allein schenk ich mir ein, kein Freund in der Nähe.Das Glas erhoben, lad' den Mond ich ein,Mein Schatten auch ist da, - wir sind zu dritt.Gewiss versteht der Mond nicht viel vom Trinken,Und was ich tue, tut der Schatten blind,Doch sollen sie mir heut Kumpane seinUnd ausgelassen unterm Frühlingswind.Ich singe und der Mond schwankt hin und her,Ich tanze und mein Schatten hüpft noch mehr.Wir sind uns Freunde, da wir nüchtern sind,Ein jeder geht für sich, wenn erst der Rausch beginnt.Nichts bleibt dem Herzen ewiglich verbunden,Als was im hohen Sternenlicht gefunden."Jeweils 240 x 9,55 cmProvenienzPrivatsammlung Dr. Ilse Lommel (1923-2017), Nordrhein-Westfalen, seither in Familienbesitz
Los 279
Darstellung der "Acht Unsterblichen im Weine", wie der Tang-zeitliche Dichter Du Fu (712-770) eine Gruppe von Poeten und Gelehrten nannte, die dem Wein zugetan waren. Tusche und Farben auf Seide. Gedichtaufschrift, drei Siegel (ungelesen). Mit Seidenstoffumrandung und unter Glas gerahmt.Die "Acht Unsterblichen im Weine" (Yinzhong baxian) ist ein Gedicht des Dichters Du Fu (712-770), der zu den bedeutendsten Dichtern der Tang-Dynastie zählt und Zeitgenosse des Dichters Li Bai (701-762) war. Sein Leben war von häufigen Ortswechseln, Rastlosigkeit, Krankheit, Verfolgung und Unterdrückung geprägt, vor allem die vom Militärgouverneur ausgelöste An-Lushan-Rebellion prägte sein Leben. Im Gegensatz zu den Gedichten Li Bais stellten seine Gedichte häufig einen politischen Protest dar. Er beschrieb soziale Ungerechtigkeit, Hungersnot und Chaos aus der Sicht einfacher Menschen. Er starb 770 heimat- und mittellos, der Legende nach auf einer Bootsreise.In seinem Gedicht beschreibt Du Fu die Trinkgewohnheiten der Literaten He Zhizhang , Li Jin , Li Shizhi , Cui Zongzhi , Su Jin, Li Bai, Zhang Xu und Jiao Sui:„Zhizhang torkelt auf seinem Pferd wie auf einem Boot; die Augen vom Rausch benebelt fällt er in den Brunnen und im Wasser in den Schlaf. [Der Prinz von] Ruyang [Li Jin] trinkt drei dou (30 Liter) ehe er sich an den Hof begibt, ihm läuft das Wasser im Mund zusammen, sobald ein Wagen mit Alkoholferment vorbeifährt, und bedauert, nicht nach Jiuquan (Wortspiel: der Weinquelle) berufen worden zu sein.Der Premierminister [Li Shizhi] gibt jeden Tag zehntausend Taler [für Wein] aus, er verschlingt ihn wie ein Wal die Flüsse aufsaugt, unersättlich nach dem Becher erfreut er sich am heiligen Trunk und wird Beixian (Vermeider der Würdigen) genannt. [Cui] Zongzhi, ist ein anmutiger junger Mann, unbeschwert und sorglos, wenn er seinen großen Weinbecher hebt und das Weiße seiner Augen gen blauen Himmel blickt, leuchtet und schwankt er wie ein Jadebaum im Wind. Su Jin war vor seinem gestickten Buddha lange Zeit ein Vegetarier, doch wenn er betrunken war, kehrte er immer wieder vom Buddhismus ab.Li Bai trinkt einen dou Wein (10 Liter) und schreibt dabei hundert Gedichte; in der Weinschenke in der Hauptsatdt Chang'an (dem heutigen Xi’an) schläft er (seinen Rausch) aus, als der Himmelssohn ihn herbeirief, bestieg er das Boot nicht, und bekannte: Ich bin "der Unsterbliche im Weine". Zhang Xu wurde nach drei Bechern zum Meister des Kursivstils; er nahm selbst vor Königen und Herzögen seine Kopfbedeckung ab und entblößte sein Haupt, er schwang das Haar und ließ es wie den Rauch der Wolken auf das Papier fallen. Jiao Sui ist erst nach fünf dou (50 Liter) Wein richtig wach; seine glänzende Rhetorik bringt dann alle in seinem Umfeld ins Erstaunen.“176 x 50 cm
Los 216
A late 19th century Meissen figural group of children gardeners standing upon pedestals a tree trunk and a stump, raised on a circular base with moulded pink ribbons above a band of oak leaves, blue crossed sword marks, 26.5cmCondition report: A firing crack visible on the underside. Two cancellation marks. Chip to the posy being held by the boy on the right, and a chip to his hat. The central boy has lost his right thumb, chips to leaves in his basket. The girl to the right is missing the shaft to her rake and 50% of the rake head is missing.
Los 220
A Sitzendorf figure of Madame Recamier, 20th century, reclining on a Regency day bed, 22.5cm, a 19th century Staffordshire figure of Queen Victoria, an early 19th century Walton style putti, a putti pulling a cornucopia, a Plaue porcelain cherubic table lamp on gilt metal base, 29cm excluding light fitting, a Dresden porcelain figural three branch candelabra, 32.5cm, a Sitzendorf recumbent sheep and 'The Parasol House' by CoalportQty: 8Condition report: Madame Recamier has some discolouration to the base but has no apparent major defectsThe small porcelain figure of Spring is damagedFigural candelabra has the right-hand branch repaired and the figures right hand is repairedStaffordshire figure of Queen Victoria has old repairs to both hands and cracks to the baseMetal mounted figural table lamp has some leafage missing from its trunk and the figure emblematic of Summer has a replacement legThe reproduction pastile cottage is OKThe Cherub towing a huge cornucopia figure seems OK
Los 261
A large exhibition quality Black Forest centrepiece, circa 1900, the woven effect bowl with fruiting vines, oak apples and leaves with game birds, upon a trunk form column with carved leaves, the base with a stag and doe on rocky ground with leaves and branches, the bowl with zinc liner, 71.5cm
Los 311
Joseph(?) Kern of Swansea a mid 19th century 8-day long case clock. The painted broken arch dial with raised chapter ring and calendar aperture and second hand at 12 o'clock. The ebony and satinwood strung mahogany case with a short trunk door. On a simple plinth base. 219 cm high.Condition report: Some old repairs to the case and a shrinkage crease to the plinth.The movement seems to have been recently cleaned and overhauled.
Los 313
David Sutherland of Leith, a late 18th century 8-day longcase clock chiming on a single bell, fitted with a broken arch painted dial marked out in Roman numerals with a secondary dial at 12 o'clock and calendar dial at 6 o'clock. Housed in an oak case with an arch-topped trunk door. 204 cm high x 52 cm wide x 26 cm deepFootnote: David Sutherland is recorded in Brian Loomes's Watchmakers & Clockmakers of the World book on page 751. He is listed as working between 1775-1805Condition report: Splits to the plinth door
Los 263
An early 19th century oak and mahogany cased thirty-hour longcase clock; the broken swan-neck pediment surmounted by an open-winged gilded eagle above a painted dial 29.7cm (11") signed 'Archer - Stow' and with date aperture, the painted dial with Roman numerals and spandrels decorated as stiff leaves and spiral scrolls, flanked by classical-style columns with gilt-metal capitals, the arched mahogany crossbanded trunk door above a lower shaped base (215cm high)
Los 281
A late 20th century longcase clock produced to commemorate the Prince and Princess of Wales' 1981 wedding: the mahogany hood, centrally carved with a fleur-de-lys above two reeded Classical-style columns with gilt-metal capitals, pulling forward to reveal the gilded mechanism striking on four gongs; the silvered chapter ring with Roman numerals and cornered by pierced fleur-de-lys spandrels, signed 'Smallcombe, England'; rectangular trunk door and with three heavy brassed weights and pendulum, raised on bracket stile feet (191cm high x 49.5cm widest at top)
Los 287
An early 19th century mahogany and boxwood-strung eight-day longcase clock; the broken swan-neck pediment centrally surmounted with an Adams-style urn above a twelve-inch painted broken arch dial with Roman numerals, subsidiary seconds hand, date aperture and signed 'JAS Hardy, Dorchester' within hand-decorated topographical-style spandrels flanked by reeded columns, rectangular trunk door with kite-shaped boxwood escutcheon, raised on plinth base, together with weights, winding key and pendulum (208cm high to tip of central finial)
Los 362
Adriaen van Stalbemt, 1580 Antwerpen – 1662 ebenda AKTÄON BELAUSCHT DIANA UND IHRE NYMPHENBEIM BADEN Öl auf Leinwand. Doubliert. 68 x 109,8 cm. Auf dem Baumstamm Reste eines Monogramms „Av(S)“. In vergoldetem getrepptem vegetabil verziertem Rahmen.Beigegeben ein Gutachten im Original von Dr. Klaus Ertz, Lingen, 2. April 2021, der die Entstehungszeit nach 1620 in Antwerpen festlegt. Eine dichte partiell verschattete, rechts jedoch sonnenbeschienene Baumlandschaft mit darunterliegendem offenem Gewässer und einem Grottensystem, das von weiter rückwärts liegenden Öffnungen seine Beleuchtung empfängt. Die Figurenstaffage lässt keinen Zweifel an dem Thema zu: Eine Gruppe von wohlgeformten Frauen, deren leichte Kleidung in ebenso leichten Farben mit der dominierenden Natur kontrastiert, ist locker angeordnet um Diana, deren Attribut die Mondsichel auf dem Haupt sie als solche ausweist. Noch hat Diana ihre Hand nicht vollends heruntergleiten lassen, mit der sie Aktäon soeben mit Wasser bespritzt hat, worauf er im Begriff ist, sich in einen Hirschen zu verwandeln, was bereits an dem Geweih, das aus seinem Kopfe wächst, ersichtlich ist.Anmerkung: Ähnliche Kompositionen des Künstlers sind zu finden in: Klaus Ertz, Christa Nitze-Ertz, Adriaen van Stalbemt, Kritischer Katalog der Gemälde, Zeichnungen und Druckgraphik, Lingen 2018, Kat. Nr. 207a - 212. Biografie:Adriaen van Stalbemt war ein flämischer Maler, Radierer und Zeichner. Nach seiner Lehre wurde er 1610 in die Sankt Lukasgilde Antwerpen aufgenommen und zum Meister ernannt. Das künstlerische Werk ist ganz der Tradition der älteren flämischen Schule verpflichtet. Einige seiner Sujets, wie Landschaften, können durchaus mit dem von Hendrik van Balen d.Ä. (1575-1632) verglichen werden. (1271571) (13)Adriaen van Stalbemt,1580 Antwerp – 1662 ibid.DIANA bathing with her nymphs AND ACTAEONOil on canvas. Relined.68 x 109.8 cm.Remains of a monogram “Av(S)” on tree trunk. Accompanied by an original expert’s report by Dr Klaus Ertz, Lingen, 2 April 2021 dating the painting to after 1620 in Antwerp. Examples of comparison:Similar compositions by the artist are illustrated in: Ertz / Nietz-Ertz, Adriaen van Stalbemt, Kritischer Katalog der Gemälde, Zeichnungen und Druckgraphik, Lingen 2018, cat. no. 207a - 212.
Los 99
Paar klassizistische Biskuitporzellanfiguren als KerzenhalterHöhe der Figuren mit den Tüllen: 53,5 cm. Gesamthöhe mit Holzsockeln: 85,5 cm. Sockelseitenlänge: 20 cm. Frankreich, wohl Sèvres, Epoche Louis XVI.Die Bronzen feuervergoldet. Die beiden Figuren als Gegenstücke gearbeitet: ein Jüngling nach rechts gewandt mit einem Putto zur Seite, an einem Baumstamm sowie junges Mädchen mit hochgebundenem lockigen Haar, ebenfalls begleitet von einem Putto an ihrer rechten Seite. Die beiden Figuren in Einheit mit einem kannelierten Säulenstumpf in Biskuitporzellan gearbeitet. Die beiden Gestalten tragen je eine schlanke Vase, aus der eine vergoldete Kerzentülle in Bronze hervorsteigt, über einem Akanthusblattbündel. Um den Sockel umziehender vergoldeter Bronzeprofilring. Die beiden Figuren auf zugehörigen quadratischen Holzsockeln in Mahagoniholz mit an drei Seiten, vertieft eingelegtem vergoldetem Bronzedekor: klassizistische Palmetten und Akanthusknospen im Rapport mit sichelförmigen Verbindungen. Die Figuren von hoher Qualität und in tadelloser Erhaltung. (1271812) (11)A pair of Neoclassical bisque porcelain figures as candelabras Height of figures with holders: 53.5 cm. Total height incl. wooden bases: 85.5 cm. Length of base sides: 20 cm.France, probably Sèvres, Louis XVI era.Fire-gilt bronzes. Both figures created as a matching pair: a young boy turned to the right with a putto by a tree trunk and a young girl, her curly hair tied up also accompanied by a putto to her right.
Los 24
The 1873 Ascot 'Gold Cup': a Victorian silver centrepiece candelabrumRobert Garrard, London 1873 Modelled as the moment Elizabeth Woodville met Edward IV and pleaded for the return of her family estates, the central oak trunk leading to the ten lights hidden amongst the foliage, on an ebonised wood base applied in silver lettering 'Won by Cremorne' and 'Ascot 1873'. The historical scene depicts the king on horseback facing the kneeling figure of Elizabeth Woodville embracing her son, their hands clasped together, with her other elder son standing closely behind her, behind the imposing central oak tree is the king's hunting companion on horseback with two hunting dogs, on a naturalistic woodland ground, height overall 110cm, height without plinth 93cm, length overall 76cm, weight 788oz.Footnotes:The current lot is one of the largest and finest examples of the Victorian craze for diorama racing trophies. They first became popular in the 1840s and were typically manufactured by the leading silversmiths at the time: Garrard and Hunt & Roskell, the former employing designers and modellers such as Edmund Cotterill and William F. Spencer. One commentator in 1850 was highly impressed by that year's Ascot trophies and reported:'In no branch of the Fine Arts have the artists of this country made greater progress than in the art of modelling statuettes, and more particularly in modelling groups in which horses and animals are introduced; and in nothing have the artisans employed in the higher branches of manufacture reached a higher reputation than in the manufacture of the designs of artists in the precious metals. It may, indeed, be called a national art, and a national manufacture, by which such beautiful and classic illustrations of ancient fables and historical events have been the means of decorating vases, cups, and such prizes...Elizabeth Woodville (1437-1492) had married John Grey, a Lancastrian knight who was later killed in the Second Battle of St Albans during the War of the Roses. The legend goes that she waited under an oak tree in Whittlewood Forest hoping to meet King Edward IV while he was out hunting. When he passed by Elizabeth threw herself at his feet and pleaded for the return of her late husband's estate which had been confiscated by the Yorkist forces. The king was so taken with her beauty that he attempted to persuade her to become his mistress. She replied, 'My liege, I know I am not good enough to be your queen, but I am far too good to become your mistress.' The king was so moved by the entreaty that he proposed marriage, the first king to have married one of his subjects since the Norman Conquest and was the first such consort to be crowned queen.The story appealed to the Victorians who saw it as a fine example of motherly devotion and marital purity, and it served as the subject in Ambrosini Jerome's 1838 painting 'Lady Jane Grey, pleading to Edward IV'.Cremorne (1869–1883) was one of the most successful colts of his generation, becoming the second of six horses to win both The Derby and the Grand Prix de Paris. His victories at Ascot in 1873 were to be his last, having developed a swollen hock shortly afterwards. In 1886 a poll ranked him as the 11th best racehorse of the 19th century.Cremorne was buried in the grounds of Rufford Abbey by his owner Captain Henry Savile, and his gravestone can still be seen today. The unusual act was done in gratitude: Savile had been heavily in debt and wagered his family estate on Cremorne winning the 1872 Derby. He was the second favourite in a field of 23, and after running neck and neck with Pell Mell through the final stages Cremorne prevailed by a head.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 270
A PAIR OF CONTINENTAL FIGURES OF A MAN AND WOMAN he is modelled standing holding flowers beside a tree trunk and his spade, she is modelled holding a garland of flowers, 20cm high, together with Naples figures of a mother and children (5) Condition Report: man - restored and has damage and losses including something on top of tree trunk. woman - chips and damage to flowers in garland and in pot beside her. Naples figures - child on her back is missing head, chips to edges and rims of hats. Little girl looks like she has been off base and re stuck.
Los 92
A rare 'Hearty Good Fellow' Toby Jug, circa 1800Standing contrapposto before a tree trunk, one branch forming the handle, holding a foaming jug in his right hand and a foaming glass in his raised left hand, dressed as a coachman in a tricorn hat, bright striped coat, ochre waistcoat and blue trousers, the brown-line base washed in green, 23cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoTrousers in place of breeches are a very rare feature on 'Hearty Good Fellow' Toby Jugs and characterise the earliest examples, see Vic Schuler, Collecting British Toby Jugs (Third Edition, 1999), p.33. The present jug shows remarkable similarities to 'Postillion' Toby Jugs, particularly in the treatment of the coat and modelling of the face. Compare to the 'Postillion' jug also from the James and Timmey Challenger Collection sold by Bonhams on 15 December 2020, lot 55.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
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66969 Los(e)/Seite