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Lot 354
An eight-day miniature bracket clock with push repeat and verge escapement and bob pendulum, coming on a single bell. In a formerly ebonized pearwood ogee topped case with brass bail handle and finials. Unmarked as to maker or origin but probably 19th century Czech / Austrian 22 cm high x 11.5 cm wide x 9.5 cm deep.Condition report: The clock winds and runs and repeats when the mechanism is activated.I think the case has formerly been ebonized
Lot 10
Collection Of Microscope Slide Preparation Equipment, to include; a small vacuum pump with bell jar; a brass slide walming table on folding legs; a wooden box of blank microscope slide labels; a brass hand microtome; two simple bench microtomes; a slide ringing table stamped Stanley, London, a lot
Lot 113
A Mid 18th Century Ebonised Bracket Clock, Bearing Signature of Gulielmus Short, mid to late 18th century The five pillar twin fusee movement striking the hours, with verge escapement regulated by small lenticular bib pendulum, fine foliate scroll engraved backplate, the 8 inch brass break-arch dial with silvered chapter ring engraved Sam Stevens, London, enclosing a matted centre with false bob, calendar aperture, with moon phase to top with lunar month engraved 1-29 with a ½ day marked, the ebonised inverted bell top case with moulded glazed door and pierced sound frets to the sides on square pad feet, case height 50cm AF With later custom-made wall bracket.
Lot 398
A collection of African gold weights, to include Akan weights, gold weight boxes, three Lobi bronze chameleon rings, two oil lamp/ashtrays, a recumbant cow box, a cast bell metal sacred cow, two Indian copper hand printing blocks a Thai silver coloured metal box in the form of two ducks, silver metal spoons and square tapering phials, Qty
Lot 268
Derek Bell (b.1941) is a British racing driver. In sports car racing, he won the Le Mans 24 hours five times, the Daytona 24 three times and the World Sports Car Championship twice. He also raced in Formula One for the Ferrari, Wheatcroft, McLaren, Surtees and Tecno teams. A signed colour photograph approximately 5.5 inches x 4 inches and is supplied with the original Race Art Certificate of Authenticity. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 9
Barry Flanagan (1941-2009)Harebell on Portland stone piers 1983 incised with the artist's monogram, stamped with the foundry mark AA and numbered 4/5bronze and stone289.5 by 246.3 by 172.7 cm.114 by 97 by 68 in.This work was executed in 1983, and is from an edition of five numbered versions and three artist's casts.Footnotes:ProvenanceWaddington Galleries, LondonPrivate Collection, UKSelling exhibition: Sotheby's, Windermere, Sotheby's at Isleworth: Monumental, 2005Acquired directly from the above by the present ownerExhibitedLondon, Waddington Galleries, Groups VII, 1984, the present example exhibitedStockholm, Moderna Museet, Dialog, 1985Brussels, Galerie Xavier Hufkens, Barry Flanagan, 1999London, Waddington Galleries, Memorial Exhibition, 2009London, Waddington Galleries, Barry Flanagan: Works 1966-2008, 2010London, Waddington Galleries, Two Pataphysicians, 2014Denver, Denver Botanic Gardens, Stories in Sculpture: Selections from the Walker Art Center Collection, 2016New York, Kasmin Sculpture Garden, Barry Flanagan, 2020-2021Yerevan, Armenia, Cafesjian Center for the Arts, 2005-2020, the present example on permanent displayWalker Art Center, Minneapolis, Minneapolis Sculpture Garden, 1986- present, another example on permanent displayLiteratureMartin Friedman and Marc Treib, Minneapolis Sculpture Garden, 1988, Minneapolis 1988Marjory Jacobson, Art for work: the new Renaissance in corporate collecting, Boston 1993Donald M Reynolds, Masters of American sculpture: the figurative tradition from the American renaissance to the millennium, New York 1993 Rudi Fuchs and Heinz Tesar, The ESSL Collection: the first view, Cologne 1999Jerold S Kayden, Privately Owned Public Space: the New York City Experience, Marblehead 2000Francis Morrone, James Iska, The Architectural Guidebook to New York City, Utah 2002Chin-Tao Wu, Privatising Culture: Corporate Art Intervention Since The 1980s, London 2003Alan Windsor, British Sculptors of the 20th Century, Evanston 2003Barry Flanagan, Barry Flanagan, London 2003 Anne Civardi, Sculpture: Three Dimensions in Art, London 2005Juncosa, Enrique (ed.), Barry Flanagan: Sculpture 1965-2005, Dublin 2006Gottfried Knapp, Prof Karlheinz Essl, Passion for ART 35th Anniversary of Essl Collection, Vienna 2007Jo Melvin, Barry Flanagan: Works 1966-2008, London 2010 Deirdre Holding, Armenia with Nagorno Karabagh, Chalfont Saint Peter 2011Preston, Clare, Jo Melvin, Teresa Gleadowe, Mel Gooding and Bruce McLean, Barry Flanagan, London 2017Jo Melvin, The Hare is Metaphor, New York 2018Leaping forward with a dynamic, lithe energy that is almost acrobatic, Harebell on Portland stone piers captures Barry Flanagan's most iconic subject, the bronze hare. Executed in the early 1980s, the work comes from a seminal decade that would become a definitive period in the artist's oeuvre. His characterful hares have become established as popular landmarks in cities and landscapes worldwide and are included in institutional collections including the Museum of Modern Art in New York, the National Gallery of Art in Washington D.C., and the Tate Gallery in London, among others. This present work is from an edition of five, the most prominent of which is in the Minneapolis Sculpture Park on permanent display where it is widely visited and admired. 1979 marked Flanagan's departure from his post-minimalist works of the 1960s and 1970s where he used 'soft' materials such as hessian, sand and rope and rediscovered bronze casting in a figurative form. Flanagan began to produce a variety of bronze animals, but the hare emerged as his most recognisable subject. Flanagan grew up in Wales where hunters described to him the dynamism and physicality of hares and how their determination was unparalleled as they bounded through the wilderness. However, it was Flanagan's recollection of seeing a hare majestically leaping through the Sussex Downs and upon reading 'The Leaping Hare' by George Ewart Evans and David Thomson, that first inspired him to explore the motif. His earliest work Leaping Hare was exhibited at Waddington Galleries in 1980; it was the debut of what would lay the foundation for his future artistic practice, and two years later, in 1982, he represented Britain at the Venice Biennale. Flanagan was fascinated by the hare's anthropomorphic potential - its ability to amplify a range of expressive characteristics and convey meaning beyond what he felt possible in the human form. 'I use the hare as a vehicle to entertain. I abstract from the human figure, choosing the hare to behave as a human occasionally.' (The artist in: Enrique Juncosa, Barry Flanagan Sculpture 1965-2005, exh. Cat, Irish Museum of Modern Art, Dublin, 2006). Harebell on Portland stone piers conceived in 1983, exudes playfulness and bountiful energy. Flanagan was fascinated by the fluidity of the hare's anatomy. The hare, who actually delightfully spins on its axle, is depicted mid leap with its out-stretched limbs fully flexed, its ears pull behind him emphasising the velocity of movement, offering an exceptional sense of drama. The hare appears weightless, defying gravity, as it glides over the bell providing a comical contrast to the weightiness of the medium. The solidity of the bell provides further contrast emphasising a force of gravity, whilst also being a symbol of steadfast solidarity. Upon leaving St Martin's School of Art in 1966 Flanagan had established himself as a leading figure of the avant-garde. He was fascinated by the movement of 'Pataphysics, a theory defined as a 'science of imaginary solutions'. The ideologies represented an escape from reality that challenged academic seriousness and these principles had a profound influence on the Dada and Surrealist movements. An early member of this movement was Joan Miró, who in 1925 produced Landscape (The Hare). Miró depicts a hare in a vibrant imagined landscape adding a spiralled form and crescent shaped object. The hare challenges the viewer with its fixated eyes characterising its bold spirit. Miró, much like Flanagan, was said to have been inspired by seeing a hare dart across a field. It is considered that Flanagan used the motif of the hare as a metaphor for his own elusive, wild character and in response to the ideologies of 'Pataphysics as a tool against strict avant-garde academicism and the over-intellectualised view of art from that period. The present work was acquired by the prominent American collector and philanthropist Gerard L. Cafesjian. Born in 1925 in Brooklyn to Armenian immigrant parents, Mr. Cafesjian became a highly successful editor at West Publishing - a firm specialising in legal materials - and spearheaded the launch of the annual 'Art and the Law' exhibition, for which he received the prestigious Business in the Arts Award. Mr. Cafesjian's passion for collecting began with a childhood fascination with geology and gemstones, which later branched into fine art. Over the years, he patroned and developed personal relationships with world-renowned sculptors and ultimately assembled an impressive collection of both lapidary and fine works of art.Harebell on Portland stone piers is a seamless example of Barry ... This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP 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.For further information on this lot please visit Bonhams.com
Lot 1108
A Dewar's Scotch Whisky bottle with a Town Crier in Court Attire. Before the days of cheap printing and news-sheets and newspapers making news available to all, the town crier was the means of spreading information. He first rang his bell to attract and crowd and cried, "Oyez! Oyez!", which is a Norman French word meaning "Hear, Ye!" #towncrier #Dewars Artist: Charles NokeIssued: 1909Dimensions: 10.5"HManufacturer: Royal DoultonCountry of Origin: EnglandProvenance: David Bearman Collection
Lot 41
A 19th century French Sevres style porcelain mounted gilt metal mantle clock stamped P.H. Mourey, with porcelain panels signed to reverse, bell striking movement, no. 4598, with a pair of painted vases also stamped P.H. Mourey, all raised gilt wood stands, each with a glass dome on wood base, clock with dome and base 45cmH without dome or base 32cmH Note: NO IN HOUSE PACKING AVAILBALE ON THIS LOT
Lot 601
A large George III silver bell shaped goblet, bright-cut and wrigglework engraved with a band of scrolling vine, the inscription of local hunting interest, Quorn Hunt, Presented by J Coupland, First Prize, "Gauntlet", domed foot with further wrigglework, gilt interior, 21cm high, John McDonald, Edinburgh 1809, 12.75oz
Lot 882
A George III Scottish mahogany longcase clock, 33cm arched brass dial inscribed James Park, Kilmalcolm, Roman and Arabic numerals, subsidiary seconds dial, date aperture, twin winding holes, 8 day movement striking on a bell, the case with break-arch dentil cornice, brass capped reeded Doric columns, satinwood crossbanded serpentine arched rectangular door to waist flanked by reeded quarter columns, bracket feet, 233cm high, later quarter 18th century
Lot 928
A large 19th century French porcelain mounted gilt mantel clock, 9cm convex enamel dial inscribed with Roman and subsidiary Arabic numerals, twin winding holes, eight-day movement striking on a bell, the case crested by an oval bust-length portrait of Molière, crowned with laurels by a pair of putto, one holding a mask emblematic of drama, the frieze with mounts painted in the manner of Sevres with putti, on a bleu celeste ground, 52cm wide, flanked as a garniture by a pair of similar two-light candelabra, 26cm high, c.1870 (3)
Lot 930
A 19th century French bronze mounted white marble mantel clock, 9cm circular enamel dial inscribed Ellis, Paris, Roman numerals, eight-day movement striking on a bell, the case surmounted by a figure of a young lady of the pastoral idyll, she sits, caressing a letter from her sweetheart, 37cm high, c.1880
Lot 931
A 19th century French gilt-metal and porcelain mounted mantel clock, 6.5cm circular enamel dial inscribed Le Roy & Fils, Palais Royal, Paris, Roman and subsidiary Arabic numerals, twin-winding holes, 14-day movement striking on a bell, the case cast with Diana the huntress and a hound, 39cm wide, c.1870
Lot 933
A 19th century French porcelain mounted ormolu mantel clock, 9.5cm circular enamel dial inscribed with Roman numerals, the eight-day movement by Jean Baptiste Delettrez, striking on a bell, the case crested by an urn and cast with borders of acanthus, the mounts painted in the manner of Sevres with putti and ornithological vignettes on a rose Pompadour ground, beaded knop feet, 36cm high, c.1870
Lot 968
A fine French Hepplewhite Revival mahogany three-piece drawing room suite, in the manner of Gillows of Lancaster, comprising a sofa and a pair of tub chairs, each curved cresting rail carved with a stylised egg-and-dart border terminating in acanthus scroll handrests, stuffed-over upholstery, squab cushions, gadrooned apron, squat cabriole forelegs carved to the knees with acanthus and bell husks, ball and claw forefeet, the sofa 83cm high, 178cm wide, the seat 68cm deep, the chairs 82.5cm high, 84cm wide, the seat 61cm deep, early 20th century (3)
Lot 1071
A French Hepplewhite Revival mahogany library club chair, in the Irish taste, cupid's bow cresting rail carved with eagle masks, the outswept handrests conforming, stuffed-over upholstery, cabriole forelegs carved to the knees with acanthus and bell husks, pad feet, 90cm high, 79cm wide, the seat 58cm deep
Lot 108
A Chelsea artichoke-moulded bell-shaped cup and lobed stand, well-painted in polychrome enamels with flowers, scattered foliage and a winged insect, loop handle, iron red borders, the cup 7cm high, the stand 12.5cm wide, Red Anchor and stilt marks, c.1752; a Chelsea shaped circular plate, of Warren Hastings type, the centre painted with flowers, a butterfly, and a winged insect in polychrome enamels, the outswept border painted with Picturesque vignettes and outlined in gilt, flanked by diaper panels and leafy C-scrolls moulded in relief, gilt line rim, 24cm wide, Red Anchor and stilt marks, c. 1755
Lot 1111
A Sheraton Revival satinwood and marquetry triple wardrobe, outswept cornice above a central mirrored door flanked by bowed doors, each inlaid with trailing bell husks, scrolling acanthus and an oval batwing patera, above two blind drawers, the base with three deep drawers, brass ring handles, the locks stamped Hobbs & Co, London, bracket feet, 216.5cm high, 231cm wide, 75cm deep, c.1900
Lot 1167
A William IV oak longcase clock, 29.5cm arched painted dial inscribed T&J Hallam Nottingham, the arch painted with a lion, the spandrels with flowering cornucopia and vases, date aperture, 30 hour movement striking on a bell, the case with swan neck pediment, brass capped Doric columns, lancet arched door to waist, skirted base, bracket feet, 206cm high, c.1835
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123896 item(s)/page