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Click here to subscribeColette Bouvard (French 1941-1996) "The Bell Tower, Venice" Signed, titled on gallery label verso, oil on canvas.52 x 36cm (framed 66.5 x 50.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, restored condition. The painting has been re-lined. The painting is ornately reframed but not glazed.
MIXED LOT OF COLLECTABLESincluding two Oxo tins, pair of vintage strap on roller skates, carved oak box, two brass dishes, two metal conical kitchen measuring jugs, cut glass table bell, crystal goblet, two glass conical measuring jugs, four rainbow decorated boxes, painted wood box, 1937 Coronation glass beaker, pierced Chinese metal box, child's pop gun and a musical compact
A Victorian bell pull With a woolwork strip leading to a blue cutglass handle with stamped gilt brass guard, full drop 175cmThe tapestry has a several runs along the edges and the silk backing is quite fractured. Wear to the gilt highlights of the glass finial. Damage to the end of the ornate brass hanger.
Twelve 19th century satirical etchings James Gillray (1757-1815) – Harmony before Matrimony; A Corner near the Bank; Polonius; Company shocked at a Lady getting up to Ring the Bell; Exaltation of Faro’s Daughters; A broad hint of not meaning to Dance; and Lady Godina’s Rout hand coloured etchings, published by H. Humphrey, Londontogether with: Miseries of London, by Thomas Rowlandson; A Welsh Corporation Meeting, by Pip See; Military Dandies or Heroes of 1818, published by S.W. Fores, London; and Byngo, by Richard Dighton, published by T. McLean, London 1820 (11)
BIBLE, [London: Robert Barker 1613, folio] 72 lines, double column in blackletter, Kalendar in red and black, both titles and final 2 leaves of Revelation supplied in facsimile, without the Speed map, otherwise complete with few repairs and generally close cropped with worming to outer edges and some margins, in 20th century full gilt tooled binding with vellum lettering piece by Bell Golding, with their ticket
Silver table bell, 833/000, with a bronze inner bell. Round table bell decorated with a lobed edge and decorated with Biedermeier engraving. The handle is made of C-volutes with acanthus leaves. MT.: unclear, last:W:1856. slightly out of shape, otherwise in good condition. 9.5x15.5cm. In good condition.
Full title: A large Dutch Delft blue and white 'Venus and Adonis' jardiniere, 1st half 18th C.Description:H.: 38 cm - Dia.: 30 cm Provenance: - A Dutch private collection.- Exhibited at TEFAF. This urn-shaped jardiniere or flower vase is sometimes referred to as 'Medici' vase. The Medici Vase is a monumental marble bell-shaped krater sculpted in Athens in the second half of the 1st century AD as a garden ornament for the Roman market. It is now in the Uffizi Gallery in Florence. Oak leaves are the primary ornament surrounding the central medallions, which hold two representations: Venus and Adonis with two dogs on one side, and a shell-shaped fountain with three putti on the other. The representation of Venus and Adonis goes back to the mythological story of Venus and Adonis as described by Ovid in his 'Metamorphoses'. Venus, the goddess of love, was in love with the beautiful Adonis, yet warns him to be careful when hunting: “... Come on, boy, be not reckless at the expense of my love, do not hunt animals that be armed! Your glory has been paid too dearly for me. Those charms of yours, that youth with which you dazzle me, there is no bristle hog, no lion, no animal that lets eye or heart be tamed by it.†To the great chagrin of Venus, Adonis is eventually killed by a wild boar while hunting. Pictured here, we see the moment Venus warns Adonis of the perils of the hunt, as Adonis breaks away from his resisting lover. In the depicting tradition, in 1554, Titian was one of the first to depict this moment in the history of Venus and Adonis.Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Full title: A pair of Chinese blue and white bell-shaped water pots, KangxiDescription:Dia.: 9 - H.: 8,5 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Kim Novak signed colour 10 x 8 inch photo to Sam. American retired film and television actress and painter. Her contributions to cinema have been honoured with two Golden Globe Awards, an Honorary Golden Bear, and a star on the Hollywood Walk of Fame. Novak began her career in 1954 after signing a contract with Columbia Pictures, and quickly became one of Hollywood's top box office stars, appearing in Picnic (1955), The Man with the Golden Arm (1955), and Pal Joey (1957). She gained prominence for her performance in Alfred Hitchcock's thriller Vertigo (1958), which is recognized as one of the greatest films ever made. Other notable films include Bell, Book and Candle (1958), Strangers When We Meet (1960), and Of Human Bondage (1964). Although still relatively young, Novak withdrew from acting by 1966 and has only sporadically worked in films since. She appeared in The Mirror Crack'd (1980) and had a regular role on the primetime series Falcon Crest (1986-1987). Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) Hans Feibusch (lots 40-65)IntroductionTo stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with fauve painter Emil Othon Friesz and cubist André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches and a range of civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another commercial gallery show until the late 1970s. Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lots 52-54), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting the Ascension above the altar at All Saints, Plumstead (lot 62); Angels with Children for the baptistry of Christ Church and St Stephen’s, Battersea (lot 60) and the Baptism of Christ for Old Saint George’s Baptist Church, Plymouth (lots 61). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, Feibusch evoked bomb-damaged London with a keen eye and in unnerving detail (lots 49 & 50); a natural colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 57 & 58); and he applied visual humour to his commercial designs (lot 55). But above all it is the manner in which he places the human form at the heart of his work with such innate fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference: The full details of the travelling exhibition abbreviated in lots 40-65 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)PORTRAIT OF LUTZ FEIBUSCHsigned and dated H Feibusch / 1917 lower rightred chalk41 x 31cm; 16 x 12 1/4in46.5 x 36.5cm; 18 1/4 x 14 1/4in (framed) Lutz Feibusch, the artist's brother, was tragically killed in an avalanche while skiing in 1929. ARR may apply
Royal Air Force 1940 Air Ministry Scramble Bell, good untouched as found example of a RAF fire station / scramble bell with small engraved crowned Air Ministry mark and date 1940. Complete with the cradle to the top. Complete with its clanger to the inside of the bell. Good uncleaned patina to the exterior. Please note due to the weight of this lot we are not able to offer in house post and packing, collection or specialist shipping required.
Royal Navy HMS Elfin Ships Bell, deeply struck with admiralty type broad arrow to one side and the other side ‘ELFIN’. Complete with the hanging mount to the top. Clanger fitting to the inside. Good untouched example with signs of Verdigris to the exterior and interior. HMS Elfin was a torpedo recovery vessel built for the Royal Navy. She was built by J. Samuel White & Company, East Cowes, Isle of Wight, was launched on 20 November 1933 and commissioned on 16 January 1934. In 1940 she was transferred to Blyth to become the depot ship for the 6th Submarine Flotilla, sharing her name with the submarine base there. She was replaced by the drifter Rotha in 1941 and transferred to the Clyde, being renamed HMS Nettle on 20 August 1941. Due to weight of the item, we would recommend personal collection. Specialist shipping required if personal collection is not possible.
French Napoleonic 1st Empire Naval Artillery Shako Plate, scarce stamped brass metal plate in the form of crowned Imperial eagle with shield having anchor and crossed cannons to the centre. Small drill holes to the top of the wings and lower section for fixing to a bell top pattern shako. Generally good condition.
WW2 Royal Air Force 1942 Scramble Bell Removed from RAF Stafford, good untouched example of a RAF fire station / scramble bell with large engraved crowned Air Ministry mark and date 1942. Complete with the cradle to the top. Complete with clanger to the inside of the bell. Good uncleaned patina to the exterior. Please note due to the weight of this lot we are not able to offer in house post and packing, collection or specialist shipping required.
AN IMPERIAL GILT-DECORATED 'TROMPE-L'OEIL' PORCELAIN VAJRA, CHINA, 18TH CENTURYThe four-pronged porcelain vajra is masterfully glazed in imitation of worn gilt-bronze and splashes of green to simulate malachite encrustations. The prongs extend out of dragon mouths and are flanked by lotus petals. The central band shows a robin's egg glaze with perfect porcelain copies of lapis lazuli and coral cabochon inlays. Provenance: From a Swedish private collection. Condition: Expected old wear, three prongs with small old repairs, some firing irregularities and minor glaze flakes, tiny nicks and losses.Weight: 130.5 g Dimensions: Length 16.4 cm The vajra, a symbol of indestructibility and power, is one of the primary ritual symbols in Tibetan Buddhism. Derived from Sanskrit and translating to both thunderbolt and diamond, the vajra consists of two sets of prongs from which lotus petals emanate, flanking a central sphere. Often used in combination with a bell, which represents feminine wisdom, the vajra symbolizes the masculine attribute of skillful means or compassion.Vajras are considered to be imbued with magic. The famous Manhattan-based Chinese art dealer Robert H. Ellsworth once owned a related bronze vajra and shared an interesting story: It was given to Mr. Ellsworth by a dear friend who, having learned that Mr. Ellsworth was ill, sent the vajra from his personal shrine to Mr. Ellsworth with instructions to sleep with it under his pillow. Two weeks later, Mr. Ellsworth called his friend to report he had made a full recovery. From that point on, the vajra remained on Mr. Ellsworth's bedroom headboard, resting at the feet of a seated yogi.Trompe l'oeil porcelain is a highly unique genre of Imperial porcelain objects made during the Qing dynasty. It refers to porcelain made in decorated imitation of other objects. These objects varied from archer's rings to imitation wood basins, from lacquer boxes to auspicious symbols like this imitation-bronze vajra. During a rare private viewing of Qing trompe l'oeil porcelain at the National Palace Museum, Chih-En Chen delved into the museum archeology behind ten pieces-these include the comparisons given here and more-with the hopes of finding where these objects were found in situ and whether this was inside or outside the Forbidden City. He discovered that many of the pieces were in fact in the Forbidden city and that they were assembled in only five places: the Jingrengong, the Yangxindian, the Yongshougong, the Shouangong, and the Ningshougong. Chen managed to discover a link between all these locations, namely that they were all associated with buildings intended for the women of the court living at the Forbidden City. The only exception to this is Nigshougong, the Qianlong emperor's retirement palace. Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 October 2013, lot 3031 Price: HKD 9,640,000 or approx. EUR 1,420,000 converted and adjusted for inflation at the time of writing Description: A rare trompe-l'oeil celadon reticulated vase, seal mark and period of Qianlong Expert remark: This trompe-l'oeil porcelain is made in imitation of nuts and dried fruits on a plate with a porcelain vase. Note the similar expert craftsmanship of the imitation nuts and fruits which are masterfully glazed.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 April 2007, lot 516 Price: HKD 5,360,000 or approx. EUR 950,000 converted and adjusted for inflation at the time of writing Description: An unusual pair of 'famille-rose' trompe-l'oeil wall vases, marks and period of Qianlong Expert remark: These two vases are made in the imitation brocade fabric and wood in form of a pipa instrument tucked inside a brocade bag tied at the neck. Note the similar glazing to imitation wood along the pipa's neck. 十八世紀御製仿真描金陶瓷金剛杵四股陶瓷金剛杵，巧妙模仿鎏金銅表面和綠松石鑲嵌物。四股從龍口伸出，兩側鑲有蓮瓣。中央飾帶上飾有爐鈞釉釉，並配有仿青金石和珊瑚的鑲嵌物。 來源：瑞典私人收藏 品相：磨損，小修，一些燒製不規則和輕微刻痕和缺損。 重量：130.5 克 尺寸：長16.4 厘米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，8 4月 2007年，lot 516 價格：HKD 5,360,000 EUR 950,000 （相當於今日） 描述：乾隆款及年代一對罕見粉彩仿真瓷壁瓶 專家評論：這兩個花瓶是仿錦織物和木材材質，形狀像琵琶，放在錦袋裡。請注意琵琶琴頸上與仿木材質。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A YELLOW-GLAZED BELL-SHAPED BOWL, JIAJING SIX CHARACTER MARK AND OF THE PERIODChina, 1521-1567. Thinly potted with a finely everted rim, the monochrome yellow bowl stands on a raised circular foot, the six-character mark within a double circle neatly painted in underglaze-blue to the base. The glaze is applied overall, including the inside, pooling slightly around the foot rim, and thinning nicely along the lip. The ware is tapering slowly from the base towards the lip, the latter being remarkably thin, almost like eggshell.Provenance: A Swedish private collector and member of the Oriental Ceramic Society. Another noted Swedish collector and OCS member, acquired from the above in the 1980s. Bukowskis, Stockholm, 6-7 December 2018, lot 778, sold for SEK 79,625 or c. 9,000 euro, converted and adjusted for inflation. A copy of the original invoice, confirming the dating above, is accompanying this lot. A private collector from Finland, acquired from the above.Condition: Good condition with minimal wear and firing irregularities. Glaze pooling along the foot with minor flaking, minor pitting, and a single hairline to the rim.Weight: 186.1 gDimensions: Height 8.6 cm, Diameter 12.3 cm Literature comparison:Compare a related yellow bowl with a six-character Jiajing mark, 8.2 cm high, dated to the period, in the British Museum, accession number Franks.40. Compare a similar pair of Jiajing six-character mark bowls published in the Oriental Ceramic Society exhibition Monochrome Porcelain of the Ming and Manchu Dynasties, London 1948, no. 169. Also compare one at the Metroplitan Museum, accession number 19.55.2.Auction result comparison: Type: Related Auction: Bonhams London, 14 May 2009, lot 45 Price: GBP 28,800 or approx. EUR 60,500 converted and adjusted for inflation at the time of writing Description: A yellow-glazed bowl, Jiajing six-character mark and of the period Expert remark: Note the identical shape and pooling of the glaze around the foot. Note the size (9.2 cm diameter). 嘉靖款及年代黃釉仰鐘形碗中國，1521-1567年。撇口，深弧壁，圈足。因器形反扣似銅鐘而名之。內外皆施黃釉，釉色勻亮，無紋飾。器底施白釉，青花雙圈“大明嘉靖年製"二行六字楷款。來源：瑞典私人收藏家、東方陶瓷學會會員；著名的瑞典收藏家和 OCS 成員，於二十世紀八十年代從上述人士處購得；斯德哥爾摩Bukowskis，2018年 12 月 6 日至 7 日，拍品 778，售價 79,625 瑞典克朗或 約9,000 歐元（根據通貨膨脹進行換算和調整）。隨附一份原始發票副本，確認上述日期；芬蘭私人收藏，購自上述拍賣。 品相：狀況良好，磨損，釉面沿著足部匯聚，有輕微剝落、輕微凹痕，邊緣有一條冲線。 重量：186.1 克 尺寸：高8.6 厘米，直徑 12.3 厘米 文獻比較： 比較一件相近的嘉靖款及年代黃地碗，高8.2 厘米，收藏於大英博物館，館藏編號Franks.40。比較一對相似的嘉靖款及年代碗，出版於東方陶瓷學會，展覽於《Monochrome Porcelain of the Ming and Manchu Dynasties》，倫敦 1948年，編號169。比較一件大都會藝術博物館的碗，館藏編號19.55.2。 拍賣結果比較： 形制：相近 拍賣：倫敦邦翰斯，2009年5月14日，lot 45 價格：GBP 28,800（相當於今日EUR 60,500） 描述：嘉靖款及年代黃地碗 專家評論：請注意相同的外型和釉面。請注意尺寸(9.2 厘米 直徑)。
Ashantee 1873-74, no clasp (E. Bell, Pte. R.M, H.M.S, Active, 73-74.) contact marks, slight edge digs, very fine £180-£220 --- Ezekiel Bell, a porter from Winterslow, Hampshire, and a member of the Royal Wiltshire Militia, attested into the Portsmouth Division of the Royal Marines on 18 November 1865. He served in H.M.S. Active during the Ashantee War of 1873-74, and was discharged on 21 November 1877, after 12 years’ service. Sold with copy service papers.
Books - Highways & Byways, Oxford and The Cotswolds, Leicestershire, Buckinghamshire, London, by F L Griggs; others, East Anglia, The Lake District and Normandy by Joseph Pennell; The Borders and Surrey by Hugh Thompson; Derbyshire, Wiltshire and Somerset by Nelly Erichsen. Pewter - A 19th century pewter coffee pot in G III style, 15 Chinese pewter tankards and measures; a treen and brass bell (32)
A Victorian cranberry glass bell, 29cm; a Bohemian glass ruby flashed and white enamel pedestal vase, 22.5cm, c.1880; a pair of Mary Gregory style cranberry glass jugs, applied in white enamel with a boy and girl in hilly landscapes, 14.5cm; a similar biscuit barrel and cover; a single cranberry glass epergne, EPNS scroll stand; other cranberry glass, sugar caster, jug, pair of glasses, vases; a later frosted glass jug; qty (23)
HALSEY RICARDO (1854-1928) (DESIGNER) THE BIRMINGHAM GUILD OF HANDICRAFT LTD (MAKER) PAIR OF DOUBLE WALL LIGHTS, CIRCA 1906-1907 24-carat gold-plated brass, gold foil enamel and original opalescent glass shades Dimensions:35.5cm wide, 30.5cm high, 19cm deep Provenance:Provenance: Supplied to Sir Ernest Debenham for Debenham House, 8 Addison Road, London, removed circa 1960 Phillips Auctioneers lots 148, 149, 150, 30th March 1993 Haslam & Whiteway, London one pair British Art Market 2014 Paul Shutler Note: Literature: The Architectural Review, An Essay in Colour Architecture, March 1907 Country Life, Madge Garland, 8 Addison Road, Kensington - The Town Houses of Halsey Ricardo - II, 20th November 1975Note: Sir Ernest Debenham (1865-1952) of the Debenham department store family, commissioned the architect and designer Halsey Ricardo to build him a house at 8 Addison Road in 1906. This house came to be known as Debenham House or, on occasion, The Peacock House. Halsey Ralph Ricardo established his architectural practice in 1878 but also worked in partnership with William De Morgan (1839-1917) designing ceramics. He advocated the use of architectural glazed tiles to resist the pollution of 19th century London. Debenham House is a striking example of this practice. Ricardo clad the external walls with glazed Burmantofts tiles in bands of peacock greens and blues. He fitted the four reception rooms, seventeen bedrooms and six bathrooms, all with De Morgan tiled fire surrounds (with no two alike) and with De Morgan pictorial panels throughout the building. In addition to this, he used various marbles and architectural elements clad with Doulton 'Carrara ware' tiles. Described as the last flourish of the Arts & Crafts movement, the house features plaster friezes by Ernest Gimson (1864-1919), stained glass by Edward Prior (1852-1932) and a mosaic designed by George Jack (1855-1931). Along with the exterior gates and railings, the interior door furniture, including the handles, finger plates, bell-pushes and light fittings were all designed and made under the supervision of Ricardo by the Birmingham Guild of Handicraft. It would have been inappropriate for Ricardo to use any other firm for this commission as Debenham's father-in-law was Birmingham MP William Kenrick (1831-1919), chief shareholder and director of the Birmingham Guild of Handicraft, and his brother-in-law was the Guild's managing director, Claude Napier-Clavering (1869-1938). These lights are one of the original three pairs designed specifically for the main hall, they feature butterflies circling a single rose before ivy leaves, a theme repeated throughout the building.
J.H. CHAMBERLAIN (1831-1883) GOTHIC REVIVAL LONGCASE CLOCK, CIRCA 1878 carved oak and walnut, inset with marquetry panels, and carved to the roundel with initials TR, the 14" silvered brass dial inscribed HURT & SON, BIRMINGHAM, with seconds dial and strike silent facility, the three-train movement with dead-beat escapement, quarter-chiming on a nest of eight bells and striking the hour on a subsidiary bellDimensions:61cm wide, 248.5cm high, 30cm deepNote: Note: This magnificent clock was designed by the architect, John Henry Chamberlain, and the case was probably made in the workshop of Samuel Barfield, a skilled woodcarver who frequently worked for Chamberlain. A related set of wall shelves and an entire room by Chamberlain, currently on display in the British Galleries at the Victoria and Albert Museum, were removed from The Grove, Harborne. The Grove, demolished in 1963, was one of a wide range of projects designed by Chamberlain and his partner William Martin (1828-1900) in and around Birmingham. Frequently designed in the Ruskinian Gothic style they pumping stations, libraries, schools, shops, churches and chapels as well as a number of private houses. His ideals chimed perfectly with Birmingham's ruling liberals at the time, who sought to transform industrial Birmingham into a cultural centre to rival the great European capitals. One of his finest achievements, the Municipal School of Art of 1885, still stands today in Margaret Street. Chamberlain was one of the earliest practical exponents of the ideas of architectural theorist, John Ruskin and was increasingly influenced by the early Arts and Crafts movement in his later works. His belief in the value of individual craftsmanship and patterns inspired by nature are evident in the profusely carved and inlaid case of the current lot.
WALTER CRANE (1845-1915) FOR PILKINGTON'S TILE AND POTTERY COMPANY RARE SET OF SIX 'FLORA'S TRAIN' TILES, CIRCA 1900-1902 relief moulded earthenware, painted and glazed, depicting cornflower, blue-bell, columbine, anemone, poppy and daffodil, moulded P versoDimensions:each 15.5cm squareNote: Note: See V&A Collection accession no. 309 to E-1903 for a similar set of tiles.
WILLIAM MORRIS INTEREST COLLECTION OF BOOKS comprising; Vallance, Aymer William Morris George Bell 1897; Marillier H.C. History of the Merton Abbey Tapestry Works, Constable & Co., 1927; Crow G.H. William Morris Designer, The Studio 1934; The Work of Walter Crane and The Work of William Morris, The Art Journal 1899; Atkins W. William Morris, Artist, Printer, and Man of Business, Saint Bride 1917-18; Cobden-Sanderson T.J. Ecce Mundus: Industrial ideals and the book beautiful, Hammersmith Publishing Co., 1902; Cunninghame Graham R.B. William Morris, Herbert Jenkins 1913; Morris W. The Earthly Paradise, Reeves & Turner 1890 (2 copies); Morris W. News from Nowhere, Reeves & Turner 1892; Morris W. Love is Enough, Reeves & Turner 1889; and Morris W. A Dream of John Ball, Reeves & Turner 1888, with bookplate of C.R. Ashbee, inscribed in pencil C.R. ASHBEE/ TOYNBEE HALL/ WHITECHAPEL/ 1888Note: Provenance: From the collection of Arthur Halcrow Verstage
A Victorian 19th century Welsh mahogany longcase clock with arched painted dial inscribed Meredith, Merthyr . Dial with Roman numerals and cathedral hands having a subsidiary second’s dial and twin winding hole, 8-day movement striking on a bell, the case with arched hood, rectangular door to waist Circa 1860 William Meredith was working at Merthyr Tydvil from 1852 to 1899; in his earlier years he also signed clocks from Tredegar. Measures 207cm tall.
A collection of hardstone, wood and metal ornaments to include a bronze Chinese style globe/crystal ball stand of small proportions, a Chinese pewter and gilded jue form wine pot with script inscribed top, lip and stamped script marks to the underside of the lip raised on grotesque mask scroll feet 10.2 cm long x 9.5 cm high together with a collection of various other decorative objects including white metal figure, a brass begging dog Vesta case, two small figures of sphinx, various other animal figures, fish bell etc
A FRENCH LOUIS XV STYLE GILT SPELTER MOUNTED ALABASTER MANTEL CLOCKLate 19th/early 20th Century The case surmounted by a female harvest figure surrounded by baskets of grapes, enamel dial to drum movement, count-wheel strike on bell, pendulum and winding key, 35cm wide; 33cm highProvenance: The selected contents of Conderton Manor, near Tewkesbury.
A SILVER BELL SHAPED INKWELL (4)London 1928 Maker’s mark rubbed, stamped with registration number, glass liner, 14cm high; together with a pen stamped sterling silver beneath the clip; a silver and blue agate mounted pill box; and a white metal chilli shaped pendantProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zy
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