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Click here to subscribe19th century Welsh oak two-stage cupboard, the geometric moulded cornice above two blind panel fielded doors, the interior revealing three shelves, the projected moulded base above two further blind panel fielded doors with two fitted shelves, standing on bracket feet. 115 x 36 x 216cm approximately. (B.P. 21% + VAT) Flat back, not a corner cupboard. Good colour, wear and tear with age but good overall. No serious damage.
Late Victorian ornately carved oak buffet with carved mask head lion, foliate and griffin mounts above a moulded cornice with further mask head and foliate panels, the projecting base with two pull-out drawers with lion mask handles, flanked by grotesque mask head mounts, on baluster turned supports. Under tier with two fitted carved blind panel doors on ornately carved feet. 137 x 56 x 180cm approximately.(B.P. 21% + VAT)
LAURENCE STEPHEN LOWRY RBA RA (1887-1976); pencil signed print, 'Ferryboat', bears artists Fine Art Guild blind stamp lower left, published in 1972 by Venture Prints Ltd of Bristol, 33.5 x 42cm, framed and glazed. (D)Additional InformationThe print appears in good condition with strong colours. The frame with light scratches and scuffs. We are unable to remove the print from the frame. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
A collection of ten 19th century pot lids to include a View of Strasbourg, another of Dr Johnson and a third entitled 'Lowlife', with two pairs of champagne flutes, one pair modelled with a goat support (14).Additional InformationPot lid 'Lowlife' with crazing throughout, Dr Johnson with three chips to the flange and crazing throughout, pot lid with two figures beside a cave broken in two and glue repaired, pot lid Hide and Seek with a large chip to the flange and crazed, the smaller pot lid with the bear and cockerel with a blind chip to the upper edge and two chips to the flange, all others with crazing, flutes generally ok.
Ion (Jon) Ellis of Sherbourne: an ebonised and carved oak longcase clock, the 10in. (25cm) dial with silvered chapter ring, mask and scroll spandrels, matted centre, two train movement with anchor escapement and bell, the associated carved case with caddy top, blind fret frieze, square glazed and carved door flanked by columns, rectangular carved waist door and carved panel base on bracket feet, with weights and pendulum, 223cms high.
TRAVEL. - Charles Nicholas Sigisbert SONNINI. Voyage dans la Haute et Basse Egypte, fait par Ordre de Louis XVI. Basle: chez Henricy, 1799. 'Atlas' volume only, 4to (268 x 199mm.) Engraved portrait frontispiece, 2pp. 'Table', 38 engraved plates, 2 folding. (Lacking the map, 30 of the plates with damp-staining, mostly marginal, stamp to title-page.) Contemporary blind-stamped calf (some surface loss, minor rubbing). - And a further nine travel-related volumes (including, in its original boards, Austen Henry Layard's 'Nineveh and Its Remains', 2 vols., 1849, 8vo) (10).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
MORRIS, Francis Orpen. A Natural History of the Nests and Eggs of British Birds. London: Groombridge and Sons, 1864. 3 vols., 4to (251 x 153mm.) 225 lithographed colour plates with tissue-guards. (Toning, occasional spotting, heavier spotting in volume 2.) Original green blind-stamped and gilt cloth (paper label adhering to upper cover of volume 3) (3).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
NATTES, John Claude. Scotia Depicta: or, the Antiquities, Castles, Public Buildings, Noblemen and Gentlemen's Seats, Cities, Towns, and Picturesque Scenery of Scotland. London: H.R. Young, 1819. Large paper copy, folio (421 x 266mm.) 49 copper-engraved plates each with descriptive text leaf, engraved vignette to rear. (Light to moderate marginal spotting to most plates, seven plates to rear with marginal damp-staining, offsetting to text leaf.) Contemporary straight-grain morocco, gilt and blind-stamped rectangles to cover, elaborate gilt to spine, g.e. (upper cover nearly detached, heavily rubbed extremities).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
BIBLE, In English. The Bible Translated according to the Ebrew and Greeke, and Conferred with the best Translations in divers Languages. London: Robert Barker, 1608. 'Geneva' Bible. Black letter, double-column, OT title with wood-engraved border with heart-shaped centre, with Apocrypha, separate NT title dated 1608, with 'Booke of Common Prayer'. (J3 with burn mark, ink stain to P5, minor soiling to Dd3, numerous marginal paper repairs, lacking title to 'Booke of Common Prayer', brief family genealogy in manuscript to E8, front and rear blanks replaced.) [Bound with:] 'Two right profitable and fruitful Concordances'. London: Robert Barker, 1608. (Browning, minor soiling.) [Bound with:] 'Whole Booke of the Psalmes'. London: Company of the Stationers, 1608. (Lacking several leaves at rear, last leaf G6 laid-down, marginal paper repairs.) 4to (219 x 154mm.) Near contemporary blind-stamped calf, later bosses and clasps (rebacked). [Herbert 293.]Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
JONES, Owen (illuminator). The Song of Songs, Which is Solomon's. [London:] Longman & Co., 1849. 4to (201 x 134mm.) 32 chromolithographed pages illuminated by Owen Jones. (Toning, spotting to endpapers.) Original decorative blind-stamped calf, g.e. (light rubbing).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
An emerald and diamond-set gold pendant from the collection of Maharani Jindan Kaur (1817-63), wife of Maharajah Ranjit Singh (1780-1839) Punjab, probably Lahore, first half of the 19th Centuryof gold set with an emerald and rubies, of openwork form, consisting of a large central foliate motif set with an emerald surrounded by a band of small trefoils set with rubies, and a band of floral motifs set with rubies, ruby-set suspension loop to top fitted with two gold rings, further suspension loop to bottom flower, in fitted cloth covered case, the inside of the lid inscribed From the Collection of the Court of Lahore formed by HH The Maharajah Runjeet Singh & lastly worn by Her Highness The Late Maharanee Jeudan Kower 6.2 cm. max. (excluding upper two rings); 42.6 g.Footnotes:ProvenanceCollection of Maharani Jindan Kaur (1817-63), wife of Maharajah Ranjit Singh (1780-1839).Almost certainly sold by Frazer and Hawes from Garrards of Regent Street, London.Four pieces of jewellery from the Maharani in similar fitted cases have been sold at auction: Bonhams, Islamic and Indian Art, 30 March 2021, lot 123; Bonhams, Sikh Treasures and Arts of the Punjab, 23rd October 2018, lot200; Bonhams, Islamic and Indian Art, 24th April 2018, lot 300; and Christie's, Magnificent Mughal Jewels, London, 6th October 1999, lot 178.Between 1849 and 1850, when the British took control of the court in Lahore, they entered the Treasury, where they found the court jewels wrapped in cloth. The Treasury was fabled to be the greatest and largest treasure ever found. The most famous and well-known jewels were taken away as gifts for Queen Victoria, including the Koh-i Noor and the Timur Ruby. Confiscated treasures were sold by Messrs Lattie Bros. of Hay-on-Wye in the Diwan-i-Am of the Lahore Fort. The items were listed in seven printed catalogues and the sales took place over five successive days, the last one starting on 2nd December 1850. It is also known that some of the jewels were boxed in Bombay by Frazer and Hawes and were sent to London, where they were sold by Garrards. Judging by the age of the case, this would have been done after the Maharani's death.Maharani Jindan KaurMaharani Jindan Kaur was born in 1817 in Chahar, Sialkhot, Punjab. Of humble origins, she grew into a young lady of exquisite beauty and came to the attention of Maharajah Ranjit Singh at a young age. In 1835, she became Ranjit Singh's seventeenth wife and in 1838 bore him a son, Duleep. Duleep was his last child and just ten months later Ranjit Singh died. Jindan was the Maharajah's only surviving widow, rejecting the practice of 'Sati' or throwing herself on the funeral pyre with his other wives, choosing to bring up her young son instead.Ranjit Singh's empire stretched from the Indian Ocean to the Himalayas, with its southern boundary bordering British India. His court was fabled for its patronage of the arts and sciences, and for its riches. Immediately after his death, Ranjit Singh's golden empire began to crumble. His eldest son, Kharak Singh, took the throne but was murdered two years later; the reign of Sher Singh was similarly short-lived and he was assassinated in 1843 upon which the five year old Duleep was proclaimed Maharajah with his mother as Regent. As Jindan came to power, she was swiftly confronted by the British army in the hope of conquering one of the last independent states of Northern India.As Regent, Jindan became a thorn in the side of the East India Company: she waged two unsuccessful wars against the British, the First and Second Anglo-Sikh Wars of 1846-49, which brought about the annexation of the Punjab. In 1846 she was deposed and in February 1847 the British took possession of Lahore. The British continued to see her as a major threat and thus in August 1847, to halt her influence on the young king, Duleep was sent away from the palace and Jindan was incarcerated. In 1849 she escaped from captivity and fled to the Himalayas, where she found troubled sanctuary in Kathmandu, Nepal. Under pressure from the British officials at Kathmandu, the Nepalese imposed humiliating restrictions upon her; meanwhile, the British press began a campaign to blacken her name, calling her the 'Messalina of the Punjab'. Like Messalina, the wife of the Roman Emperor Claudius, Jindan was portrayed as a licentious seductress, who was powerful and influential and too rebellious to control. The young Maharajah, Duleep, was moved to Fategarh eventually to Britain in 1854, where he was adopted as a godson by Queen Victoria. He converted to Christianity and was brought up as a young English gentleman. In 1860, Duleep sought information about his mother and a report came back that: 'The Rani had much changed, was blind and lost much of her energy'. The Governor General agreed to a meeting based on this report of the Rani's condition, thinking that the last queen of the Punjab no longer posed a threat. When they met in 1861 Duleep found her almost blind and suffering from poor health. It was agreed that the Rani would travel to England: her private property and jewels, previously taken by the British authorities, would be restored to her on the basis that she left India. Upon their return to London, a change was noted in the Maharajah and he was heard to talk about his private property in the Punjab; information that only Jindan could have given to him. During this time, she reawakened her son's faith and royal heritage, sowing the seeds of discontent in his mind which would bring about his fall from grace in later life.On the 1st August 1863, Jindan died in her Kensington home in the country of her sworn enemy, just two and a half years after being reunited with her son and leaving him inconsolable.As a Sikh queen, cremation was the traditional practice, but one that was not allowed under English law. The Maharani's body was moved to the Dissenters Chapel at Kensal Green Cemetery until such time that it could be taken to India for the last rites. Her body remained at Kensal Green for nearly a year. At the time, Charles Dickens wrote: 'Down here... rests the Indian dancing woman whose strong will and bitter enmity towards England caused Lord Dalhousie to say of her, when in exile, that she was the only person our Government near feared'.In 1864, permission was granted to take the body to India and she was cremated at Bombay. In 1924, her ashes were later moved to Lahore and deposited at the samadh of Ranjit Singh.For further information on this lot please visit Bonhams.com
An Early 20th Century Mahogany Mirror Backed Sideboard,the back with shaped cornice and cluster colums to a single shelf on pierced square supports, and a shaped and bevelled mirror, to a polished top over 3 drawers with blind fret detail and cast brass handles, over 2 foliate carved cupboards flanking a further shelf and raised on claw feet.Width 198cm, Depth 68cm, Height 203cm
George Smith Furniture and Fabrics Deep buttoned stool with light oak stained timber legs and blind stitching upholstered Lelievre - Kenzo Maison 3585-01 Fuschia W650 x L650 x H430mm George Smith has become synonymous with beautifully bespoke crafted furniture one of the most experienced maker of exceptional upholstered furniture for prestigious projects throughout the world.
George Smith Furniture and Fabrics Deep buttoned stool with light oak stained timber legs and blind stitching upholstered Lelievre - Kenzo Maison 3585-01 Fuschia W650 x L650 x H430mm George Smith has become synonymous with beautifully bespoke crafted furniture one of the most experienced maker of exceptional upholstered furniture for prestigious projects throughout the world.
A VICTORIAN D. MCGREGOR & CO TWO DAY MARINE CHRONOMETER, NO 3731, the three tier coromandel and brass inlaid case with brass shield shaped blind cartouche bearing an ivorine plaque stamped 'D. MCGREGOR & CO MAKERS TO THE ADMIRALTY 3731', the chronometer with 4 inch silvered dial named 'D. McGREGOR & CO MAKERS TO THE ADMIRALTY LONDON, LIVERPOOL, GLASGOW, GREENOCK', Roman numerals, gold coloured hands, subsidiary seconds and UP DOWN WIND dial, plain back with covered winding hole, fusee movement numbered 3731, contained within a brass gimbal and the interior of the case fitted with the winding key, and the exterior with case key, flush fitting carry handles, width 18cm x depth 18cm x height 19cm (Condition report: the coromandel case has a small area of veneer loss to the front left top corner, the top also has ripples to the veneer, the brass inlay is lifting in a few places, velvet lining to inside of top section is threadbare in places, mechanism winds and balance wheel moves freely, not seen running)
A monumental Victorian silver Warwick cruetEdward, Edward Jnr., John & William Barnard, London 1838 The openwork handle with acanthus leaf ornament, the frame containing a large and small caster together with a blind caster, and two cut-glass bottles with silver mounts, the base with strap-work chasing, on four claw and ball feet with eagle head supports, one side with a foliate cartouche engraved with the arms of Darby and Grant for Francis Darby, the casters engraved with crests, height 39cm, weight without glass bottles 110.5oz.Footnotes:Property Of A Private CollectorProvenanceFrancis Derby (1783-1850).Christie's, New York, 5th October 1979, lot 191.Christie's, London, 8th July 1998, lot 152.Francis Derby, Esq., of Sunniside House, Colebrookdale, Shropshire, was the son of the engineer Abraham Derby (1750-1789) who made an important contribution to the Industrial Revolution. He is best known for the Iron Bridge over the River Severn: the first major bridge to be made of iron.For further information on this lot please visit Bonhams.com
SKETCHES of Portuguese life, manners, costume, and character / by A. P. D. G.- London: Geo. B. Whittaker, 1826.- XXV, [3], 364 p.: il.; 23 cm.- E., Rare title in the foreign bibliography on Portugal, whose author, who signs only with his initials, remains to this day unidentified. Of him it is known only that he served in the British army in Lisbon and accompanied the royal family in their retreat to Brazil. The 20 aquatints (plus an engraving with musical notation of a modinha, with foxing), hand-coloured, which illustrate the edition, mainly represent customs and scenes of daily life in Lisbon and Rio de Janeiro and present a caricature and satirical nature. Copy with the half-title missing, as in most known copies, a little cropped, with the detriment of the marks (of the plates) of some engravings, on the outer edge. Engravings sometimes with small stains on the same outer edge (fore edge); modinha print with foxing. Occasional small stains and slight offset (contact transfer) to the adjacent sheets, caused by the colour of the prints. Good contemporary binding, full in crushed morocco, made in the United Kingdom, with a beautiful gold ornamental border on the covers (vines and bunches of grapes) and finished with blind tooling decoration; roll on the squares and in the thickness of the covers; panels gold closed on the spine (with slightly weak joints). Duarte de Sousa, 3. Tooley, 453. Foulché-Delbosc, 255.
BRADFORD, Rev. William.- Sketches of the country, character, and costume, in Portugal and Spain, made during the campaign, and on the route of the British Army, in 1808 and 1809. / Engraved and coloured from the drawings by the Rev. William Bradford...- London: printed for John Booth, by William Savage, 1810.- [2], 38 f.: [1, 40] gravuras color.; 36 cm.- E., together with: -----.- Sketches of military costume in Spain and Portugal. Intended as a supplement to the Rev. Mr. Bradford's Sketches of country, character, and costume, in Portugal and Spain.- London: printed by William Savage, for John Booth, 1810.- [2], 8 p.: [13] gravuras coloridas; 36 cm.- E., The Reverend William Bradford (1780-1857) was a military chaplain and accompanied Wellington's forces in the Peninsular campaign against Napoleon's troops. His drawings were perfected and engraved by J. Clark to illustrate one of the most beautiful books on Portugal and Spain published in the 19th century. Variant of the 1809 edition, containing both parts in English. The first part (Sketches of the country...) is illustrated with a monochromatic frontispiece, copperplate print (etching and stipple) and 40 hand-coloured aquatints, representing, above all, popular costumes and views of localities. The second part (Sketches of military costume...), with its own title page, includes 13 aquatints, also hand-coloured, with Portuguese, French and Spanish military uniforms. The engravings exactly match the index (List of plates) that appears on the second sheet (after the main title page). Clean copy, slightly cropped (marbled edges). The plates have great freshness and the original cellophane separators. 19th century binding, full crushed sheepskin, with light wear, triple gold fillet and blind tooling roll, squared on the covers and golden roll on the squares, with new endpapers in plain wrought paper. Duarte de Sousa, 102 (for the 1809 edition). Tooley, 107.
REGRA DO | GLORIOSO PATRI- | ARCHA SAM BENTO, TIRADA DE | Latim em lingoaje Portuguesa, por industria do | muito R. P. F. Placido Villalobos Geral | nesta Congregação de Portugal.- Foi impressa em Lisboa: por Antonio Ribeiro, 1586.- [4], 49, [1] p.: il.; 19 cm.- E., First edition published in the same year as the Latin version. The translation was, in fact, carried out by Fr. João Pinto OSB, and by him dedicated to the General of the Order. It was reprinted in Coimbra, by Nicolau Carvalho, in 1632. It includes, on the title page, a small engraving of the saint repeated on the last folio above the printer's mark. On the verso, a composition of six xilographic plates, four of which were used in the princeps edition of “Os Lusíadas” (including the pediment with the pelican facing the viewer’s left). Copy a little cropped (washed?), with old manuscript ownership on the title page: [illegible] from the collegio of St. Joseph Discalced Carmelites. Last sheet with reconstructed margins; slight tidal stain on the lower outer corner of the first leaves. Overall, however, a clean, solid, and complete copy. Recent binding, full parchment, with full blind stamped on the covers (multiple ornamental borders and central diamond) and gold tooling on the spine. Inocêncio, VII, p. 60. Anselmo, 972. National Library (16th century), 79. Biblioteca de D. Manuel II, 54.
PRIMALEON | LIBRO QVE TRATA DE LOS VALE- | rosos y esforçados hechos en armas de Primaleon, hijo del Emperador | Palmeirin, y de su hermano Polendos: y de Don Duardos Principe de In- | glaterra, y de outros preciados caualleros dela Corte del. | Emperador Palmeirin...- En Lisboa: Impresso, en casa de Simon Lopez, Mercader de Libros, Año de 1598.- 226 f; 25 cm.- E., Second Portuguese edition (the first was also printed in Lisbon, in 1566), of the second part of the Palmeirins cycle, a novel of chivalry whose first part, “Palmeirim de Oliva” was originally published in Salamanca, in 1512. The work is attributed, although not consensually, to Francisco Vásquez, born in Ciudad Rodrigo. Copy with browning, excessively trimmed, with occasional damage to some claims and signatures. Title page with deep restorations on the outer and inner margins (reinforcement on the verso) and on the imprint without loss of support. Sheet 145 (T1) replaced with sheet 152 (T8). Some leaves slightly frail, especially on the inner margin. Full sheepskin recent binding with blind tooling on the covers and spine, surely from the workshop of master Império Graça, with an engraving of the title “PRIMALEON” and the date “1598” on the front cover.
A pair of possibly medieval carved walnut panels with gothic ornament including blind fretwork quatrefoil ornament, acanthus leaf decoration etc, each within a flowerhead moulded border, one carved with a banner inscribed 'Avrens', the other 'Rameav', each 15cm x 68.5cmCondition report: Signs of old woodworm, the boards they are mounted to possibly later, almost certainly part of a larger scene in a church or chapel
O Yemi, "Domestic Abuse", unframed oil on canvas, 76 x 122cm, c. 2017. Rose is one of the gifts often used as a romantic gesture of love and it naturally grows from the stems of thorns. In the early stages of relationship, couples often enjoy the aroma of roses and lovingly blind to the flaws and thorns of each other. As challenges arise the couple starts to focus on each other’s flaws and start to feel the prick of their thorns. Couples should not focus on their partners’ thorns but appreciate the fragrance of love emanating from them. UK delivery £45.
LOUISE HILL (BRITISH, B. 1968) Donated by Louise Hill 'Chinoiserie in Aquamarine & Powder Blues' Hand finished in gold ink Limited Edition of 100 Framed. 81cm high x 125cm wide. White frame Printed on to 350gsm Hahnemuhle German Etching Paper, this print is signed, numbered and stamped with a Louise Hill Design ‘blind embossing stamp’ on the front. Each print also includes a 'Certificate of Authenticity' sticker sealed with gold foil logo, embossed stamp, signature and edition number attached to the back of the frame. Louise Hill is a creative graphic designer and multimedia artist with a passion for her work. Having lived for many years in Shanghai, Hong Kong and now Singapore, her love for Asia shines through in her highly detailed, colourful and vibrant prints. You will find her either working at her computer or drawing board, or walking the streets with her camera on the lookout for vintage props and imagery, planning her next artwork. www.louise-hill-design.com/chinoiserie-in-powder-blues RRP $2,425.00 SGD 107 cm wide x 62 cm high (unframed) Condition: No obvious condition issues
UECKER Günther (1930 Wendorf bei Crivitz) "Spirale", Nägel in Spiralform angeordnet, Prägedruck auf Büttenpapier, mittig unten signiert, geknickte Doppelseite, zweite Seite mit blind gedrucktem Text "einsam das unbekannte teil gemeinsam das benannte ganze", zweite beschriftete Seite mit zwei kleinen braunen Flecken in der linken oberen Ecke, 39x26cm (pro Blatt), dazu die Mappe "Einsam Gemeinsam. Ode von Eugen Gomringer. Fünf Prägedrucke von Günther Uecker" Guido Hildebrandt Verlag Duisburg 1971, aus der das vorliegende Werk stammt, ohne weitere Drucke, die letzte Seite ist vom Autor signiert, nicht nummeriertes Exemplar außerhalb der Auflage von 100 Stück, im Schutzumschlag, 39x26,5cm *Uecker absolvierte zunächst eine Lehre als Anstreicher und Schreiner. Danach studierte er Malerei, zuerst in Wismar, dann an der Kunstakademie in Berlin-Weißensee. Anlässlich der Weltjugendfestspiele 1951 in Ost-Berlin nutzte er erstmals die Gelegenheit für Besuche Westberlins und kam in Kontakt mit abstrakter Kunst. 1953 verließ er die DDR und siedelte nach Westberlin über. Von 1955 bis 1957 studierte er an der Kunstakademie Düsseldorf bei Otto Pankok. 1956/1957 entstanden erstmals die für ihn typischen Nagelbilder: dreidimensionale, weiß bemalte Reliefs aus Nägeln, die durch die Ausrichtung der Nägel und die Wechselwirkung von Licht und Schatten ihre eigene Dynamik erhalten. 1961 wurde Uecker Mitglied in der Künstlergruppe ZERO. Er nahm an zahlreichen nationalen und internationalen Ausstellungen teil u.a. 1970 an der Biennale von Venedig. Seine Werke sind in privaten wie öffentlichen Sammlungen vertreten.*
UECKER Günther (1930 Wendorf bei Crivitz) "Ohne Titel" diagonal, in verschiedenen Winkeln nach rechts und links ausgerichtete Nägel, Prägedruck auf Büttenpapier, mittig unten signiert, geknickte Doppelseite, zweite Seite mit blind gedrucktem Text "das benannte ganze das unbekannte teil", 39x26cm (pro Blatt) *Uecker absolvierte zunächst eine Lehre als Anstreicher und Schreiner. Danach studierte er Malerei, zuerst in Wismar, dann an der Kunstakademie in Berlin-Weißensee. Anlässlich der Weltjugendfestspiele 1951 in Ost-Berlin nutzte er erstmals die Gelegenheit für Besuche Westberlins und kam in Kontakt mit abstrakter Kunst. 1953 verließ er die DDR und siedelte nach Westberlin über. Von 1955 bis 1957 studierte er an der Kunstakademie Düsseldorf bei Otto Pankok. 1956/1957 entstanden erstmals die für ihn typischen Nagelbilder: dreidimensionale, weiß bemalte Reliefs aus Nägeln, die durch die Ausrichtung der Nägel und die Wechselwirkung von Licht und Schatten ihre eigene Dynamik erhalten. 1961 wurde Uecker Mitglied in der Künstlergruppe ZERO. Er nahm an zahlreichen nationalen und internationalen Ausstellungen teil u.a. 1970 an der Biennale von Venedig. Seine Werke sind in privaten wie öffentlichen Sammlungen vertreten.*
UNGER William (1837 Hannover - 1932 Innsbruck) 59 Radierungen alter Meister, lose in 18 broschierten Mappen: "Die kaiserl. königl. Gemälde-Galerie in Wien. Radirungen von William Unger. Text von Carl von Lützow" Verlag: H.O. Miethke, Wien 1877-1885, 2°, Radierungen mit verschiedenen Abb.-Maßen, 68,3x58cm (Blatt), Mappen lädiert, tlw. stockfl., drei mit handschriftlicher Anmerkung zur Lieferungsnummer, Radierungen jeweils mit Druck-Signatur Ungers und blind geprägter Benummerung in der rechten unteren Bildecke, teils zusätzlich mit Bleistift benummert Bestand: 1877 aus Lieferung I. (in Mappe IV) Nr. 1 Holbein d.J. "Bildnis einer Frau"; 1878 Lieferung III. Nr. 10 Rubens "Helene Fourment", Nr. 11 Veronese "Chistus bei Jairus"; Lieferung V. Nr. 17 Snyder "Eberjagd", Nr. 18 Achtschellinck/Cocques "Rudolf von Habsburg und der Priester", Nr. 19 Van Dyck "Madonna mit dem seligen Hermann", Nr. 20 Correggio "Io und Jupiter"; Lieferung VI. Nr. 22 Murillo "Johannes der Täufer", Nr. 23 Carracci "Christus und die Samariterin"; Lieferung VII. Nr. 25 Dürer "Maximilian I.", Nr. 27 Rubens "Pietá"; 1879 Lieferung VIII. Nr. 29 "Altar des heiligen Ildefonso" (Mittelbild), Nr. 30 Desgleichen (Linker Flügel), Nr. 31 Desgleichen (Rechter Flügel, Nr. 32 Desgleichen (Aussenseite des Flügel); Lieferung IX. Nr. 33 Tizian "Madonna mit drei Heiligen", Nr. 35 Corregio "Ganymed", Van Dyck "Junger Feldherr"; Lieferung X. Rembrandt "Singender Jüngling", Nr. 38 Teniers d.J. "Das Innere eines Bauernhauses", Lieferung XI. Nr. 41 Bassano "Der barmherzige Samariter", Nr. 42 Jan Steen "Liederliches Leben", Nr. 44 Frans Hals "Junger Mann"; 1880 Lieferung XII. Nr. 45 Rubens "Der heilige Ambrosius und Kaiser Theodosius", Nr. 46 Christoph Amberger "Männliches Brustbild", Nr. 47 Veronese "Madonna mit weiblichen Heiligen", Nr. 48 Tintoretto "Der Doge Nicolò da Ponte"; Lieferung XIII. Nr. 49 Frans van Mieris "Die Seidenhändlerin", Nr. 50 Tizian "Die Ehebrecherin vor Christus", Nr. 51 Rembrandt "Porträt seiner Mutter", Nr. 52 Pieter Brueghel d.Ä. "Herbstlandschaft"; 1881 Lieferung XIV. Van Dyck "Samson bei Delila", Nr. 54 Velazquez "Infantin Margaretha Theresia", Nr. 55 Tizian "Kurfürst Johanna Friedrich von Sachsen", Nr. 56 Craesbecke "Wirtsstube"; Lieferung XV. Nr. 57 Mantegna "Der heilige Sebastian", Nr. 58 Van Dyck "Prinz Ruprecht von der Pfalz", Nr. 59 Tizian "Diana und Kallisto", Nr. 60 Jan van Eyck "Cardinal von Santa Croce"; Lieferung XVI. Nr. 61 Rubens "Die vier Welttheile", Nr. 62 Furini "Sigismonda", Nr. 63 Poussin "Landschaft", Nr. 64 Lotto "Porträt eines Mannes"; 1883 Lieferung XIX. Nr. 74 Tizian "Männliches Bildnis, der sogennanten Parma", Nr. 75 Van Dyck "Heilige Familie" (aus XVII./handschriftlich) Nr. 66 Van Dyck "Männliches Bildnis", Nr. 67 Gerard Dow "Der Arzt", Nr. 68 Rubens "Wunder des heil. Franz Xaver, Originalskizze"; 1885 Lieferung XXII. Nr. 85 Rogier van der Weyden "Tryptychon", Nr. 86 Antonius Mor "Weibliches Bildnis", Nr. 87 G.B. Crespi "Christus erscheint den Aposteln", Nr. 88 Tizian "Männliches Bildnis"; Lieferung XXIV. Nr. 93 Holbein d.J. "Männliches Bildnis", Nr. 94 Memling "Madonna", Nr. 95 Moretto "Die hl. Justina", Nr. 96 Palma Vecchio "Madonna mit Heiligen"; Lieferung XXV. (Mappe stark befleckt) Nr. 97 Dürer "Das Allerheiligenbild", Nr. 98 Parmegianino "Männliches Bildnis", Nr. 99 Lotto "Madonna mit Heiligen", Nr. 100 Van Dyck "Johann von Montfort" *Unger studierte an der Kunstakademie in Düsseldorf bei Joseph Keller. Ab 1866 war Unger Mitarbeiter der "Zeitschrift für bildende Kunst", wodurch seine Arbeiten breitere Bekanntheit erlangten. 1871 wurde er zum Professor ernannt und siedelte im Folgejahr nach Wien über, wo er Aufträge für die Gesellschaft für vervielfältigende Kunst übernahm. In den folgenden Jahren fertigte er unter anderem die Radierungen für das von Carl von Lützow mit Text versehene Werk "Die kaiserl. königl. Gemälde-Galerie in Wien" an. Er gilt als Meister der Reproduktionsgrafik. Neben den zahlreichen Reproduktionen von Gemälden alter Meister schuf er zudem radierte Porträts von Persönlichkeiten wie beispielsweise Kaiser Franz Joseph I. und Eduard Suess. Zu seinem Spätwerk zählen auch Zeichnungen und Aquarelle.*
Mid-18th century 30-hour oak longcase clock by Jeremiah Henderson of Scarborough, with a flat-topped pediment, dentil cornice and blind fret frieze, square hood door with pillars attached, trunk with a long wavy topped door and crossbanding on a rectangular plinth with applied skirting, 10� square brass dial with a matted centre and silvered chapter ring, Roman numerals with half hour lozenges and inner quarter-hour track, calendar aperture with silvered date ring behind, pierced steel hand and cherub face spandrels, dial pinned directly to a countwheel chain driven (rope converted) striking movement, striking the hours on a cast bell. With weight and pendulum.Jeremiah Henderson b1718 was the son of Robert Henderson b1678 the first recorded clockmaker working in Scarborough, Jeremiah worked with and succeeded his father c 1750.Dimensions: Height: 205cm Length/Width: 45cm Depth/Diameter: 23cm
18th century c1760 oak cased George III longcase clock by William Eastwood of Burnley, with a stepped caddy top on a projecting cornice and blind frieze, square glazed door flanked by two turned pillars with gesso capitals, trunk with conforming recessed pillars and a full length wavy topped door, on a square plinth with a raised panel and shaped skirting, 12� square brass dial, 11� chapter ring with Roman numerals and five-minute Arabic�s, �C� scroll and castle gateway pattern spandrels and original steel hands, engraved dial centre with the Latin motto �Memento Mori� (a reminder of the inevitability of death) and the initials �JD�, with a semi-circular date aperture and engraved date ring behind, conforming �penny-moon� with lunar date aperture, dial pinned directly to a rope driven 30-hour countwheel striking movement, striking the hours on a cast bell, with pendulum and weight. The movement backplate is engraved with the name of the maker of the clock and dated 1762, a rare and unusual feature seldom found on longcase clocks. William Eastwood is recorded as working in Burnley (Lancs) c.1750-c.1795Dimensions: Height: 220cm Length/Width: 50cm Depth/Diameter: 25cm
Jewett No. 2, 1898 Hersteller: Duplex Typewriter Co. Seltene amerikanische Unteranschlagmaschine mit doppelter Volltastatur, der Urahn der berühmten deutschen "Germania". Serien-Nr. 9534, gut erhaltener Zustand, Wagenzug schwergängig, benötigt Reinigung. - Interessantes Sammlungsstück! Start Price: EUR 350 Jewett No. 2 Typewriter, 1898 Duplex Typewriter Co. Serial no. 9534, rare American upstroke typewriter with double keyboard, blind writer, good condition, carriage movement stiff, in need of cleaning. The forerunner of the German "Germania", an interesting collector's item! Start Price: EUR 350
A 19th century small proportions chest on chest, with dentil cornice over Chinese Chippendale design blind fretwork frieze and sides, two in-line over three graduating full width drawers supported on a base section, having brushing slide over three f urther graduating full withdrawals, the whole supported on plain bracket feet, standing approx 182cm high x 80cm widest pointCondition report – Height to underneath of slide 80cm, height to top of slide 82cm, locks to each drawer (some may not be original) all original escutcheons and handles intact, damage / losses to Chinese frieze on the sides, at back end, scars to side surfaces top & bottom, some unevenness possibly revarnished but ‘gloopy’, various ‘dings’ and evidence of use / wear.
A GEORGE III MAHOGANY SECRETAIRE CHEST ON CHEST the dentil cornice above blind fretwork frieze, two short and three long drawers, flanked by fluted columns, the base with three long drawers and on bracket feet, 191cm high, 104cm wide and 52cm deep Condition Report:Secretaire is in a condition consummate with age and use with wear to drawer facings, front right bracket foot is detached from base and there is components of one of the handles are missing though most is present
A George III mahogany chest on chest, circa 1790, moulded and dentil cornice, Chinese blind fretwork frieze, two short over two long drawers to the upper section flanked by chamfered fluted pilasters, three long drawers below with brass drop handles, shaped bracket feet, height 165cm, width 115cm, depth 55cm
18th century oak 30 hour longcase clock, the moulded top hood with blind fret carved frieze over turned columns enclosing a brass dial with matted centre, date aperture and mask head spandrels, over a moulded trunk door with glazed panel on a plinth base with bracket feet, the twin train movement striking on a bell, dial 28 cm square, case 219 cm high
NO RESERVE Census.- Abstract of the Answers and Returns Made pursuant to an Act ... intituled "An Act for taking an Account of the Population of Great Britain, and the Increase or Diminution thereof.", folding table pasted to final pastedown, cracked upper hinge, ex-library with usual labels and ink-stamps, discreet blind-stamp to title, contemporary half-calf, rebacked with morocco, rubbed, bumping and small loss to corners and extremities, 1802; Census of England and Wales for the Year 1861, 3 vol., ex-library with usual labels and ink-stamps, near contemporary half-morocco, rubbed, bumping to corners and extremities, 1862; and others similar, folio, (48)
Dahl (Roald) Charlie and the Chocolate Factory, first edition, first issue with the six line colophon, fifth line reading "Paper manufactured by S. D. Warren and Co.", cut signature of the author laid down to half-title, illustrations by Joseph Schindelman, contemporary ink ownership inscription to front pastedown, original cloth, blind-stamped, dust-jacket, first state, with no ISBN number on lower panel, price clipped, light sunning to spine, light surface scuffing to upper panel, spine ends a little bumped and creased, overall excellent, 8vo, 1964.
Koudelka (Josef).- Photography.- Beranová (Libuse) Diskutujeme o morálce dneska, first edition, 13 photographic plates by Koudelka, of which 3 double-page, original white blind-stamped cloth, dust-jacket, some light discolouration to lower panel top edge, spine ends and corners a little bumped, oblong 4to, Prague, Nakladatelstvi Politické Literatury, 1965.⁂ First and only edition of this first work, a scarce photobook by the renowned Czech-French photographer Josef Koudelka (b.1938).
Sexual Health.- Stopes (Marie) Married Love, A New Contribution to the Solution of Sex Difficulties, first edition, 2 charts, ink-stamps to pastedown, ink ownership inscription to front free endpaper, occasional very light spotting and finger-soiling, some cracking at gutter, original blind-stamped cloth, small stain to lower cover, extremities lightly rubbed, spine a little sunned, A. C. Fifield, 4to, 1918.⁂ One of the first books to openly discuss birth control. Married Love was considered too controversial by a series of publishers between 1914 and 1918, accepted by Fifield & Co on the condition that the publication be funded by Humphrey Roe, Stopes' future second husband. It was an instant success, the first edition of 2000 copies selling out within two weeks.
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