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Lot 130
ASTON MARTIN & THE NED: LUXURY WEEKEND IN LONDON Arrive in style with the loan of an Aston Martin Vantage which will be delivered to your door on Friday (UK only with a 100 mile daily limit) and collected from you on Monday morning. This special motoring experience, combining world-renowned design with Aston Martin’s superb performance and exquisite craftsmanship will make this a weekend truly memorable. This unique experience is made all the more remarkable with a 2 night stay for 2 at the exclusive 5* hotel and members club, The Ned in the heart of the City of London. A spectacular hotel, located in the former Midland Bank HQ, designed by Sir Edwin ‘Ned’ Lutyens, with many stunning architectural details in place. With a collection of restaurants serving high quality dishes from around the world and live music you will experience a wonderful weekend. With check in on Friday and check out on Sunday, you will enjoy 2 nights in one of The Ned’s Crash Pads, which are intimate, comfortable spaces, ideal for short stays, made with impromptu plans in mind. Donated by: One Management Luxury Concierge Services https://www.onemanagement.co.uk T&C’s Apply Date for this unique experience (subject to availability and not within a restricted period ) to be arranged direct by the final bidder with One Management Concierge Services. Aston Martin Vantage to be delivered on Friday at agreed time and collected the following Monday morning Must be over 25 years of age with a full driving license Daily limit of 100 miles per day 2 nights’ accommodation at The Ned – room only no food or drink Subject to related government guidelines Room reservation allocated on the best available Experience may not be re-auctioned or resold
Lot 33
Shaun Brosnan: Hands 3 sculpture by Shaun Brosnan MRSS A hand beaten sheet lead sculpture, created using a sheet of Georgian lead from 1826, the beautiful patina of this piece created by the English weather. A strong image about help, support and care; all qualities that are desperately needed in today’s world. Shaun Brosnan MRSS is a London based sculptor, creating hand beaten sheet lead, figurative work. He creates bas-relief and free-standing works of art by hand beating pieces of sheet lead with hammers and traditional wooden mallets. They range in size from domestic interior and garden pieces, to monumental site specific, architectural works. His creations are figurative and mainly focus on the human face and body. Brosnan has exhibited internationally and his works are on display in 2 public museums in England. The lead sheets are often from reclaimed sources, so have a beautiful inherent patina of age and history with a fragile quality. Brosnan uses this to full effect to create incredibly sensitive and tender sculptures that also express strength and a real strength of timelessness. This stunning artwork can be wall mounted to be displayed at its finest. Donated by: Shaun Brosnan MRSS http://www.shaunbrosnan.com T&C’s Apply Shipping can be arranged at cost to the final bidder
Lot 10
Ca. 200–300 AD. A grey chlorite-schist statue of Prince Siddhartha Gautama meditating beneath the Jambu tree. The figure is shown with the body held with a degree of relaxed strength, the head held up and the eyes closed in meditation. Between the brows is he urna and the nose is straight with small mouth and moustache above. The hair is neatly arranged and pulled to the back of the head. To the top of the head is turban with large fan shaped crest to the front and decorated with a small bust of the Buddha. To the black of the head is a large halo. Around the neck are three strands of necklaces, one falling diagonally over the chest with a series of amulet cases known as kavacha. The torso is bare apart from a loose fitting robe that hangs over the left shoulder and falls to the lap. The figure is seated on a low platform supported to either end by Greco-Bactrian columns. To the centre of the platform is a scene depicting Prince Siddartha breaking his fast and receiving an offering of rice from a young girl. To the other side are farmers ploughing with oxen., the two scenes divided by a tree. The sculpture represents Prince Siddartha, who would go on to become the Buddha, or “Enlightened One.” It combines the imagery of two scenes from the life of the Buddha, both taking place under a tree. As a young prince, Siddhartha, was taken into the fields to witness a plowing contest. He observed men sweating and exerting themselves as well as birds swooping down from the sky devouring insects. He soon became overwhelmed by these events, as they reflected the misery of human life and the inevitability of death. He left the contest and wandered until he found a wood apple (jambu) tree. He sat beneath this tree and entered into a trance. This event was a precursor to his subsequent meditation under the bodhi tree, which is symbolised by the young girl giving Siddartha a bowl of rice. After leaving his life of luxury at the palace, the prince joined a group of ascetics, but the future Buddha realised that punishing the body was not the way to find enlightenment and an end to suffering; nor was an indulgent life of pleasure that he experienced as a prince. Nearly at the point of death, the Buddha accepted an offering of food from a young peasant girl and thus broke with the extreme views of the ascetics. After recovering his health the Buddha realised that a middle way was required to find salvation, and so he set off to find a place to meditate and find the answers to the end of suffering. At a royal deer park at Sarnath, near the holy city of Varanasi on the Ganges, the Buddha sat beneath a Bidhi tree and meditated. After several years of mendicancy, meditation, and asceticism, he awakened to understand the mechanism which keeps people trapped in the cycle of rebirth. The Buddha then travelled throughout the Ganges plain teaching and building a religious community. The Buddha taught a middle way between sensual indulgence and the severe asceticism found in the Indian shrama?a movement. He taught a training of the mind that included ethical training, self-restraint, and meditative practices such as jhana (meditation) and mindfulness. The Buddha also critiqued the practices of Brahmin priests, such as animal sacrifice and the caste system. The figure can be distinguished from the enlightened images of the Buddha by the sumptuous robes and jewellery. The Buddha as an enlightened being is shown in the simple robes of a monk, no longer requiring the trappings of the material world. The Jambu/Bodhi tree behind the figure is beautifully rendered and forms a canopy protecting the prince whilst he meditates, and is reminiscent of the Naga serpent spreading its protective hood, that is depicted in images when he becomes the Buddha. The face of the prince shows calm resoluteness in his pursuit of the truth. Sometimes the fan shaped crest to the diadem has a lion decoration to it, but in this case it is the figure of the Buddha, a symbol of what the young prince will achieve in the near future. The piece shows the clear and crisp rendering of the robes, that recalls the styles of Hellenistic sculptures. Very often there are architectural elements that hint at the fusion of cultures that took place in the Gandhara region. In this case the columns display a fusion of Greek and Bactrian styles, whilst at other times they can be either purely Greek or Persian. The item was researched by Bret Gaunt. For a similar image see The Metropolitan Museum of Art, accession number 2005.314. For more information about Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection. Size: L:650mm / W:370mm ; 30k+g
Lot 229
Bouwen in het Derde Rijk by G. Troost (to build in the third reich) publisher Uitgeverig Westerland 1943, The Antiquities of Athens by Stuart and Revett, publisher George Bell & Sons 1898, The Seven Lamps of Architecture, publisher George Allan 1898, Architectural Rendering in Wash by H Van Buren Magonigle F.A.I.A publisher Charles Senbners & Sons 1921, A Handbook of Ornament by Mayer, publisher Batsford 1896, Wren The Incomparable by Martin S. Briggs 1st edition 1953 Publisher George Allen & Unwin Ltd, and more (11)
Lot 1424
AN ART DECO ONYX FOB, tapering pierced links with a central foliate engraved band terminating with a stepped black onyx plaque, with clip stamped '9CT', 10cm long; A NOVELTY DRUM PATTERN FOB, inset with sardonyx and foliate engraved base metal mount, 1.5cm long; A CIRCULAR FOB, inset with mother-of-pearl and turquoise to one side and hardstone to the other, above an architectural base metal mount; A TASSEL FOB; and A WATCH KEY. (5)CONDITION REPORTThe Art Deco example with acid testing stain to back of largest link, small nibbles noted to onyx, the clip is stamped '9CT' and in our opinion the clip and the links would test as gold. The other pieces in gilt base metal
Lot 1226
Art reference & architecture. Collection of books from the library of architectural historian Kerry Downes, including The Public Catalogue Foundation: Oil Paintings in Public Ownership, c.2006 (33 volumes), Grossman & Münz, Bruegel: The Paintings [and:] The Drawings, London: Phaidon Press, 1961, Domenico Fontana, Della trasportaqtione dell'obelisco Vaticano, 1590, Milan: Edizioni il polifilo, 1978 (folio, original boards, facsimile text and plates from the original edition), and various others similar (qty: 6 boxes)Kerry Downes (1930-2019) was a leading architectural historian whose works include Hawksmoor (1959), English Baroque Architecture (1966), Vanbrugh (1977), and Sir John Vanbrugh: A Biography (1987). The lot sold as seen and without reserve.
Lot 1227
Art reference & architecture. Collection of books from the library of architectural historian Kerry Downes, including Marcel Roethlisberger, Claude Lorrain: The Drawings, Berkeley: University of California Press, 1968 (2 volumes, 4to, original cloth), Donald Posner, Annibale Carracci: A Study in the Reform of Italian Painting around 1590, London: Phaidon, 1971 (2 volumes, 4to, original cloth), John Rupert Martin, The Farnese Gallery, Princeton, NJ: Princeton University Press, 1965, and numerous others (qty: 11 boxes)Kerry Downes (1930-2019) was a leading architectural historian whose works include Hawksmoor (1959), English Baroque Architecture (1966), Vanbrugh (1977), and Sir John Vanbrugh: A Biography (1987). The lot sold as seen and without reserve.
Lot 1228
Art reference & architecture. Collection of books from the library of architectural historian Kerry Downes, including Pierre Rosenberg & Louis-Antoine Prat, Nicolas Poussin 1594-1665: Catalogue raisonnée des dessins, Geneva: Georges Naef, 1994 (2 volumes, 4to, original cloth, slipcase), Maurice Craig, Dublin 1660-1860, London: Cresset Press, 1952 (8vo, original cloth), Rona Goffen, Titian's Women, New Haven, CT: Yale University Press, 1997 (4to, original boards), Carlo Pedretti, Leonardo: Architect, London: Thames and Hudson, 1986 (4to, original boards), and numerous others similar (qty: 11 boxes)Kerry Downes (1930-2019) was a leading architectural historian whose works include Hawksmoor (1959), English Baroque Architecture (1966), Vanbrugh (1977), and Sir John Vanbrugh: A Biography (1987). The lot sold as seen and without reserve.
Lot 374
A 19th Century mahogany side table / chest on stand in the Chinese Chippendale taste comprising of a two over one bank of drawers with ornate pierced brass architectural handles with later brass escutcheons. All raised on block legs with fret pierced carved corers. Measures approx; 81cm x 109cm x 51cm.
Lot 180
A matching pair of 19th Century Victorian mahogany chiffonier sideboard credenzas having tall serpentine edge gallery backs with armorial scroll carvings and sconce shelf. Twin drawers over twin cupboard bases with recessed panels and further scroll architectural scroll carvings flanked by carved Corinthian reeded columns with pineapples. Some loss / repair to the mouldings. Measures approx 156cm x 130cm x 54cm.
Lot 189
Architecture.- Vitruvius Pollio (Marcus) De architectura, edited by Francesco Lucio Durantino, second edition in Italian, numerous woodcuts in text, woodcut historiated and decorative initials, CC6 errata/colophon f. (here bound at end), lacking AA-CC5 (including title, replaced with an architectural engraving from another work with an ms. title inserted), closely trimmed at head, just touching the odd headline, spotting and staining, later endpapers, contemporary limp vellum, spine in compartments and with later ink title, [Adams V915; Berlin Kat. 1804; Cicognara 705; Fowler 398; EDIT 16 CNCE 32343, cf. Mortimer Italian, 545], small folio, [Venice], [Giovanni Antonio & Pietro Nicolini da Sabbio], 1524. sold not subject to return.
Lot 371
English, c.1880, signed to the rear of the massive 'A' shaped base 'ROSS LONDON', with two large architectural brass columns supporting the body of the microscope on large trunnions, with a large plano-concave mirror on a sliding collar, focusing substage with X-Y adjustment, large mechanical stage with X-Y control, monocular body with rack and pinion adjustment to internal drawer tube, with a few accessories, objective and eyepiece, in large original Mahogany cabinet
Lot 372
English, c.1880, signed to the rear of the cast brass foot 'ROSS LONDON 5280', on a large and heavy 'A' shaped base with two tall architectural supporting columns, microscope with mirror on swinging support with slide in/out mechanical substage, with fully mechanical stage with X-Y control and geared rotation, with silvered goniometer stage with X-Y vernier scales with monocular body tube and Ross double nosepiece, with large brass table bullseye condenser, all Ross objectives and cans, eyepieces and other accessories, all in the original French polished mahogany case, microscope height 47cm
Lot 376
A Large Beck No.1 Binocular Microscope Outfit,English, dated from the Beck records 1861 bought by Major Ward, signed to the foot in script 'Smith & Beck 6 Coleman St, London 2662, the microscope on a 'Y' shaped foot with tall upright architectural pillars supporting the limb on large conical trunnions, plano-concave mirror on triangular column, focusing substage collar, fully mechanical stage with X-Y control and engraved scale for rotation, body tube with inter-ocular adjustment, with two cases of accessories, the first case with five cased objectives by Smith & Beck, Leiberkuhns, two sets of binocular eyepieces, a set of dark wells, a parabolic condenser, an achromatic condenser, a polariser and analyser and other accessories, the second case with a large frog plate, Amici- type prism, a pair of eyepieces engraved 'KELNERS ORTHOSCOPIC, ROSS LONDON', a side reflector, a vertical illuminator, the main case holds a large table condenser and an internal monocular sleeve, all in the original French polished mahogany cabinet, cabinet height 49cm tall
Lot 162
The coiled striding dragon carved in high-relief coloured in turquoise, ochre and green glazes, on black-metal stands Length: 120cm Height: 40cm Combined weight: 46.3kg For a similar Ming Dynasty two-piece tile panel see Christie’s New York, Fine Chinese Ceramics and Works of Art, 14th September 2018, lot 1332, sold for $12,500 相似一例2018年9月14日售於紐約佳士得拍品號1332，售價12，500美金 Such tiles were used to decorate and ornament a wide variety of buildings from the Yuan Dynasty onwards. An excellent example is the Flying Rainbow pagoda, Hongtong (Shanxi), Guangshengsi, illustrated and discussed by Christoper Tadgell, The East, Buddhists, Hindus and the Sons of Heaven, Architecture in context II, London, 2008, p.633, pl.2.69a.Condition ReportOverall in good condition for an architectural fragment. Please be aware there are glaze losses and chips to high relief elements, in particular claws, dragon’s scales, tongue and teeth. Please see photos for further reference
Lot 13
Attributed to Baccio (Bartolommeo) Bandinelli (Italian, 1493-1560): A good mid-16th century Florentine carved white marble oval profile portrait relief of a gentlemanpossibly depicting the Duke Cosimo I de'Medici the sitter with curling hair and beard and elaborate scroll embroidered collar, 34cm high x 26cm wide overallFootnotes:Baccio or Bartolommeo Bandinelli, actually Bartolommeo Brandini (1493-1560) was a Renaissance Italian sculptor, draughtsman, and painter.Comparative literatureVolker Krahn in, Baccio Bandinelli, Scultore e Maestro (1493-1560), exh. cat, ed. Detlef Heikamp and Beatrice Paolozzi Strozzi, Museo Nazionale del Bargello, Florence, 2014, pp. 352-55, nos. 26-27 (the small bronze busts); compare for the large busts of Cosimo in marble and bronze, pp. 304, no 17 and p. 310, no.20); for a 'young' marble bust in New York, p, 582, no. XI; and for a chalk portrait of Cosimo in three-quarters view, pp.42-21, no 53.The imageThis intimately conceived portrait oval is of good quality and is possibly from the world of the great Medicean sculptor and bitter rival of Cellini, Baccio Bandinelli. The chips at the edge of the oval edge suggest it might have been roughly prised out of a tight frame or setting into a wall, perhaps on a Mannerist tomb or mantelpiece.The subject, wearing a contemporary lace-trimmed collar, resembles Cosimo I de' Medici, who was Bandinelli's employer as a court sculptor, though the profile of the nose varies slightly from other marble portraits and small bronze medals commemorating the Duke's reign and principal successes in public architectural and sculptural projects. Bandinelli's career and aspirationsBorn eighteen years after Michelangelo (1475-1564) who was his hero and the target of his emulation and seven years before Cellini (1500-1571) who conversely was his arch-rival, enemy and nemesis in terms of reputation, Bandinelli was a major sculptor of the High Renaissance in Florence and later in Rome. It was however his fate to be overshadowed by the 'divine' and 'terrifying' Michelangelo however hard he tried to match his achievements and to be blackguarded by the jealous Cellini in his autobiography. Bandinelli's and Cellini's professional rivalry and personal animosity famously deteriorated into schoolboy behaviour with the two making rude gestures and shouting insults at one another in the street much to the disapproval of the strait-laced Spanish grandee and Duchess, Eleonora da Toledo. To add to Bandinelli's misfortunes on the public relations front, Giorgio Vasari, painter, impresario of Medici commissions and latterly biographer of Florentine artists, also took against him, on account of his social pretensions and obsession with outdoing their joint hero, Michelangelo. In artistic terms this led him obsessively to produce self-portraits, emphasising his status as a Florentine aristocrat and a Knight of the Order of Santiago.The Identity of the sitterBandinelli's oeuvre in marble is to be found mainly in Florence and Rome, runing to some twenty commissions comprising many individual statues and reliefs (e.g. the 88 panels of the choir enclosure in Florence Cathedral, some of which are signed and dated 1555) as well as several portrait-busts or reliefs of Duke Cosimo made in rivalry with Cellini, and of the Duke and his wife on their tomb in SS, Annunziata, as well as other distinguished, affluent or noted Florentines.The depiction of the gentleman on the present oval for which no very distinguished provenance can be claimed at present closely resembles a similarly small portrait relief of Cosimo that seems to have been cut down into a neat rectangle of even smaller size - 22 x 17.5cm (Fig. 1). The two portraits share the same intense stare which seems to have been a specific feature of the sitters face with the eyes sometimes shown as exophthalmic, perhaps owing to an over-active thyroid. This comparable turned up in the posthumous sale of the distinguished collection of Giorgio Uzielli (1903-1984) after the death of his widow at Sotheby's New York on the 26 January 2012, lot 303. A decade or so later the same relief was subsequently re-offered at Christie's New York, on 22 April 2021 catalogued more positively by Eike Schmidt (Director of the Uffizi Gallery in Florence) and Janet Sisk as 'attributed' to Bandinelli, rather than to 'his workshop'. The unusually bulbous line of the upper forehead (with a shock of hair combed forward over it) rising above a distinct indentation is very close to the Uzielli image. As such if this is also a portrait of the Duke, it could be that the slightly aquiline ridge of the nose here is truer to the sitter in real life with the straighter and thus more flatteringly Grecian and 'ideal' line shown on most of his portrait depictions. Here the chin is strong and firm although perhaps a little less projecting than in the other portraits and the hair of the beard is less closely cropped and more curling.For further information on this lot please visit Bonhams.com
Lot 25
An Italian 17th century ebony and ivory table cabinetInlaid with an architectural disposition of tablets centred by classical figures including Mars and Minerva, the tablets variously engraved and decorated with elephants, stags, deer, horses, rustic figures, hunters, fruit and ribbon-tied martial and musical trophies, the figures set within rural landscapes with towns in the background, the pair of doors enclosing nine short ripple moulded drawers, with a central ripple moulded door inlaid with St Michael holding a violin together with a bow and arrows, enclosing five drawers and one secret drawer, on later sprial-fluted bun feet, 73cm wide x 35cm deep x 56cm high, (28 1/2in wide x 13 1/2in deep x 22in high)This lot is subject to the following lot symbols: TP Y ФTP Lot 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 569
Pictorialism. A small archive of photographs by Donald Brunt ARPS, c. 1920s/1930s, including a collection of 300+ prints, loose and mounted, various sizes, and a large group of his mostly 6 cm square negativesQty: (a carton)Footnote: Donald Brunt was a member of the Letchworth Camera Club in the 1920s and 1930s. Subjects include portraits, architectural details, rural views, etc.
Lot 40
A late 19th French Louis XVI style ormolu mounted Sevres style porcelain mantle clockthe rectangular dial painted with gilt Roman numerals and a floral wreath signed Simpson & Cie?, 8 day drum movement striking on a bell, stamped 288 4 8, the architectural case surmounted by an segmental pediment and two reclining putti with a tortoise, flanked by a pair of flaming urns on a canted breakfront plinth baseheight 37 cm.Condition: Pendulum present but no winding key. Movement untested. Rear dust cover absent. Ormolu dirty would benefit from a clean. Sight rubbing to ormolu on front of base.
Lot 3069
Two Victorian tortoiseshell card cases of rectangular form including an example with moulded architectural decoration, 8.5 x 6cm, (2).Additional InformationEach with ivory mounts so we are unable to post out of the UK, minor losses, lifting to tortoiseshell in parts, the hinges are slightly loose.
Lot 3578
THWAITES & REED; a large and impressive gilt metal rolling ball clock of architectural form with three applied chapter rings above the rolling ball mechanism, flanked by four Corinthian columns, raised on stepped plinth base, in mahogany and perspex case, height 48cm, width of the stand 47cm, complete with one ball, with a large collection of assorted ephemera, booklets and relevant information regarding the clock.
Lot 3
RINALDO PALUZZI (USA, 1927- Madrid, 2013)."Study for large painting".Acrylic on cardboard.Signed on the back.Measurements: 50 x 67 cm; 80 x 97 cm (frame).Painter and sculptor belonging to geometric abstraction and American-Spanish abstract art, trained at the Academy of Fine Arts in Rome.Artist interested in the field of geometry applied to art, Rinaldo Paluzzi settles in Spain in 1958 in order to train in the orbit of the constructive and geometry, compositions related to the Pythagorean and topped by a particular chromaticism. In them, he looks for the right space to establish his structures of architectural volumetry.His works are represented in collections such as the Indianapolis Museum of Art, the Smithsonian, the Juan March Foundation in Madrid, and the Norton Simon Museum in Pasadena, California.
Lot 82
WIM DELVOYE (Belgium, 1965). "Gandagas" 1988.Painting on butane canister.Signed and dated on the base.Measurements: 60 x 28 cm.In this piece, Wim Delvoye emulates the pottery of the red figures of Ancient Greece on a butane canister, carrying out one of his ironic games in which craftsmanship, kitsch and high culture recombine their roles.Wim Delvoye is a Belgian neo-conceptual artist known for his inventive and often shocking projects. Much of his work focuses on the body. As critic Robert Enright wrote in the art magazine Border Crossings, "Delvoye engages in a way of making art that reorients our understanding of how beauty can be created." Wim Delvoye has an eclectic oeuvre, exposing his interest in a range of subjects, from bodily function and scatology to the function of art in today's market economy, and numerous themes in between. He lives and works in Ghent (Belgium). He trained at the Royal Academy of Fine Arts (Ghent). Soon after, Delvoye began repainting on wallpaper, coloring existing patterns and challenging the value of free expression vibrating in the art world of the time. Delvoye considers himself a creator of concepts. After 1990, specialists led by Delvoye have executed most of his work. In 1992, Delvoye received international recognition with the presentation of his "Mosaic" at Documenta IX, a symmetrical display of tiles glazed with photographs of his own excrement. Documenta IX organizer Jan Hoet said, "Wim Delvoye's strength lies in his ability to engineer conflict by combining fine art and popular art, and playing seriousness against irony." Three of his best known projects are "Cloaca", "Art Farm" and a series of gothic works. Delvoye is perhaps best known for his digestive machine, Cloaca, which he presented at the Museum voor Hedendaagse Kunst in Antwerp, after eight years of consultation with experts in fields ranging from plumbing to gastroenterology. In a 2013 exhibition in New York, Delvoye showed intricate laser-cut works that combined architectural and figurative references with forms such as a Möbius strip or a Rorschach inkblot
Lot 245
Anglo-Dutch carved oak court cupboard, late 17th or 18th century, cornice drawer with lion mask corbels and running scrolls, three panelled doors to the upper section spaced by term pilasters, under a canopy supported by terms, the base with a single frieze drawer with lion masks and loose rings, two doors under with arcaded tracery and recessed architectural mouldings, spaced and flanked by terms, length 132cm, height 183cm, depth 69cm.
Lot 401
Ɵ LEES-MILNE, James. (1908 - 1997). Roman Mornings. Author's Presentation copy to Sacheverell and Georgia Sitwell. London: Alan Wingate, (1956). single volume, first edition, 8vo. (223 x 145mm), publisher's burgundy cloth, gilt lettering to spine, dustwrapper unclipped, illustration after Lynton Lamb, inscribed and dated by the author in black ink to front free e/p., 'To Sachie & Georgia, / with much affection from / Jim, 26.5.56', title in red and black, half-title, dedicated to Sacheverell, 'To Sacheverell Sitwell who looks at architecture with the eye of a poet', 13 plates, (including frontispiece). The author's fourth book.(George) James Henry Lees-Milne was a British architectural historian, novelist and biographer. His extensive diaries have been compared with that of Samuel Pepys and hailed as 'a treasure of contemporary English literature'. Lees-Milne was friends with many prominent intellectual and social figures of his day. In 1951 he married Alvilde, Viscountess Chaplin, a prominent gardening and landscape expert. Both were bisexual. Alvilde is reputed to have had lesbian affairs with Vita Sackville-West, and others.Provenance: The Library of Dame Edith Sitwell.(Qty. 1)
Lot 411
SACHEVERELL SITWELL. (1897 - 1988). Autograph Letter to a friend, for the Shell Paper, Brazil, Weston Hall, 1964. An autograph letter from Sacheverell Sitwell to a friend, Tazil, reminiscing about their time together in Brazil, described by Sacheverella, as a 'carioca summer', written in Sacheverell's neat hand to single sides of 5 numbered leaves, 155 lines, on Weston Hall, printed headed paper, dated 17 April, 1964; 'Dear Tazil, I promised I would write something for the Shell paper, and here it is . . .', Sacheverell thanks Tazil for the kindness shown to him and his wife Georgia from the first day he came to meet them for luncheon, until the last morning at the airport when they waved goodbye to Lucio. 'Some readers of this letter may be wondering why we came to Brazil, and the answer is I have wanted to to do so for over forty years since I first began writing . . . I even wrote most of a special number about old and new buildings in Brazil for the Architectural Review in 1945, before I had ever been there, this is not as difficult as it sounds, so long as one is sufficiently interested, and I am letting you into a trade secret . . . And now that I have been to Brazil, what do I think of it . . . ', Sacheverell comments on his disappointment of hearing the popular song of the day 'Tea for Two' being relayed everywhere they went, and how noisy the Copacabana was, . . . 'I admired very much the Museum of Modern Art . . . other churches in Rio did not quite come up to expectations . . .', He admits to his friend that he is not alone in wishing not to live there, . . .'Brazilia, a Pompeii . . . of the nineteen fifties,is an astonishing experience . . . the air is wonderful, as are the sunsets and sunrises, but not yet the shops, cinemas or general amenities.'; Sacheverell writes of their visit to Salvador, flying onto Dakar and how he wishes even more than ever that he had seen the Amazon, humming birds and parrots of Brazil, however, '. . . Time and money are always in short supply'. He ends the letter with warm thanks and greetings to all who were kind to them, particularly in Shell-Brazil during their too short stay in Rio. Sacheverell's youngest son Francis Sitwell (1935 - 2004), had spent ten years working for Shell, during which time he represented the company in East Africa.Provenance: The Sitwell Family Library, Weston Hall. Condition Report: the letter folded in half, light creasing and a few page corners turned over, a small hole to lower l.h. of page 4, and a clean edge tear, approx. 4cm to lower l.h edge of page 5, a few light marks o/w. clean; the text neatly written and esy to read.Condition Report Disclaimer
Lot 443
A WHITE AND GREEN PAINTED DOLL'S HOUSEMID 19TH CENTURYOf architectural form, the pedimented roof with suspended bell and twin chimneys above the frontage incorporating a pair of doors enclosing the first and ground floor rooms. and central hall-stairs-and landing, on bracket feet145cm high, 98cm wide, 50cm deep, together with a quantity of furniture and furnishingsCondition Report: HouseOverall there are marks, cracks, scratches, knocks and abrasions commensurate with age and use. The bell finial is missing a section. The white paint is later. There are splits including to the left front door, the backboards and the slatted roof section. Overall it is robust in form. The curtains and pelmets are missing from the windows with holes showing where they once were. The cracks to the backboards are visible to the interior of the rooms. The paper to the hallway and landing is curling and lifting. The paper to the blue room is scratched and torn. The paper to the pale pink room is bubbled. The paper to the red room has a velour pattern and has some ware, in particular to the front edges. The kitchen is painted in drab with markings of the later white paint. The floors of the rooms are red baize, blue mosquette and painted, all worn. ContentsSome of the items including a fire place, two wash stands and a stove possibly by Evans and Cartwright. DollsThere are five dolls including a baby in a cot, one lacking a head Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Lot 564
Ɵ AN ARCHITECTURAL DRAWING OF THE CHIEF SECRETARY'S LODGE, PHOENIX PARK, DUBLINPencil, ink and watercolourInscribed to the front 'Plan of the Chief Secretary's House in the Phoenix Park'42cm x 54cm, unframed; and a smaller plan of the second floor (2)Catalogue Note:Now known as the Deerfield Residence, the home of the American Ambassador to Dublin, the house was begun in 1774 as the residence for Sir John Blaquiere, 1st Baron Blaquiere, then Chief Secretary for Ireland and taken over to become the Chief Secretary's Dublin residence in the late 18th century. Extensive renovations to the house and property were made by the U.S. Government in 1952. In the 1970s, the grounds were christened the name Deerfield by the wife of a United States ambassador on account of the number of deer who roam in the open parkland around the mansion. Condition Report: Folded and some damage to the edges and general browning of the paperCondition Report Disclaimer
Lot 589
Timothy Oulton Crystalline Arris Coffee Table Inspired By The Arris An Architectural Term For A Sharp Edge Formed By The Intersection Of Two Surfaces Handcrafted In Sleek Glass Acrylic With Exceptional Clarity To Accentuate The Bold Symmetry And Clean Lines The Elegant A Frame Base Is Topped With A Sheet Of Glamorous Black Smoked Glass Reflecting Glints Of Light Like A Mysterious Moonlit Lake Under A Night Sky 152 X 91 X 43c
Lot 1855
A walnut cased fountain clock by the Hamburg American Clock Company, with crossed arrows mark to the brass single train movement, a second movement beneath for the fountain automaton with barleytwist glass rod and gilt brass mask spout and bowl, silvered Arabic dial, in an architectural case, the box base housing the fountain, 12 3/8in. (31.5cm.) high. * Condition: Movement does run but only briefly - looks dirty and oily so will need cleaning and possibly other work. Fountain automaton working. Case good overall but dirty. Back of case missing two securing screws. Dial good. With key.
Lot 1856
Two late 19th century miniature longcase mantel clocks, probably German, one with architectural style case with gilt metal eagle finial and gilt bas relief panels, brass open frame movement, 12¼in. (31cm.) high; the other with pokerwork faux-marquetry case and pocket watch movement, signed 'Perrin Geneve', 13in. (33cm.) high, both a/f. (2) * Condition: - Eagle finial clock: Lacks back to case. Eagle on modern card post fitting. A few inactive worm holes to case. Movement fully wound, does not run. Very dirty. - Pokerwork clock: Lacks top to hood. Some scratches and marks to polish on case. Lacks glass, minute hand and hand from seconds dial. Movement does wind and run.
Lot 314
British Car Factories from 1896, by Paul Collins & Michael Stratton. A 1st ed hardback (11 x 8½-inches) in dust jacket of this Complete Historical, Geographical, Architectural & Technological Survey, researched within the Ironbridge Institute, published by Veloce, 1993. The book catalogues 240 factories which produced 220 makes of car in 44 different British counties, towns and cities. 269 very well illustrated pages. The book includes correspondence between the authors and M.J.W-W. Rare in this condition. Also, fold-out motoring and tourists maps from various periods and other titles. (Qty)
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