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Lot 672
Two Bow figures, c.1760-65, one of a girl vintner, seated with a basket of grapes on her lap, the other a standing putto, possibly emblematic of Spring, standing with a floral sash and a basket of flowers, each raised on a footed base, some damages, 16cm max. (2)Provenance: the John Buckingham Collection.
Lot 673
A Bow figure of a flower girl, c.1755, standing with a basket of flowers over her left arm, holding the hem of her patterned overskirt in her left hand, raised on a pad base applied with flowers and leaves, minor repairs, 14.5cm.Provenance: the John Buckingham Collection.This figure is unusual in having the basket over her left arm rather than her right, which is more typical.
Lot 674
A Bow figure of a hurdy-gurdy player, c.1765-70, winding the handle of a colourful box before him, a large wooden box strapped to his back, raised on a tall pierced base applied with flowers and leaves, red anchor and dagger mark, restoration to the base, 16.3cm.Provenance: the John Buckingham Collection.
Lot 675
A large pair of Bow figures of a shepherd and his companion, c.1760, he with bagpipes tucked under his left arm, a recumbent dog and grazing sheep beside him, his companion with an apron full of flowers, a lamb recumbent at her side, raised on scroll bases with puce detailing, a small amount of restoration, 26.5cm. (2)Provenance: the John Buckingham Collection.
Lot 676
A matched set of four Bow figures of the Rustic Seasons, c.1760-65, each modelled as a seated pastoral figure, Spring with baskets of flowers, Summer with sheaves of corn, Autumn sitting on a basket of grapes, Winter huddled over a flaming brazier, all raised on scrolled footed bases, some good restoration, 16.5cm max. (4)Provenance: the John Buckingham Collection.
Lot 678
A rare Bow figure of Flora, c.1765, reclining on a rocky stump and holding a garland of flowers aloft, her legs stretched out before her, raised on a tall, scrolled footed base picked out in blue, puce and gilt, some good restoration to her right arm and the stump, 25.5cm.Provenance: the John Buckingham Collection.
Lot 679
A Bow figure of Charity, c.1752-55, by the Muses modeller, modelled as a Classical maiden wearing a flowered dress and holding an infant in her left arm, a larger putto kneeling beside her with hands raised in supplication, some restoration, 28.8cm.Provenance: the John Buckingham Collection. Formerly the Yarborough Collection.Exhibited: Albert Amor, 1999.
Lot 704
A Derby figure of Time clipping the wings of Cupid, c.1760-65, the bearded figure grappling with the struggling putto, the base modelled with various attributes including a skull, an hourglass, a quiver, a globe and a bow, and a Derby figure of Justice, holding a pair of scales and a sword, her eyes closed, some damages and repairs, 30.2cm max. (2)Provenance: the John Buckingham Collection.
Lot 738
A rare Bow figure of a lady, c.1758, after a Meissen model by Peter Reinicke, wearing a layered crinoline dress with a gilt locket or pocket watch suspended from her waist, holding a partially folded fan in her right hand, raised on a low scroll base with puce pencilling, minor chipping, 16cm.Cf. Len and Yvonne Adams, Meissen Portrait Figures, P.115 for the original Meissen figure and her companion, the Marquis.
Lot 739
A large pair of Bow figures of a piper and his companion, c.1762-65, he standing with a dog and a sheep by his feet, she with an apron full of flowers and a lamb recumbent beside her, each brightly enamelled and raised on a tall scrolled base highlighted in blue, puce and gilt, some restoration, 27.2cm. (2)
Lot 773
A rare Lowestoft blue and white wall pocket, c.1760, of moulded cornucopia form, unusually painted with a man riding a donkey beneath a fringed palm tree, with blue highlights to the moulding, a long crack, 22.5cm.Cf. Christopher Spencer, Early Lowestoft, p.80, fig.92 for an identical example from the Godden Collection, sold at Bonhams on 30th June 2010, lot 123.Cornucopia wall pockets of this type appear to have been copied directly from Bow. Waster fragments were found at the Lowestoft factory site during 20th century excavations.
Lot 798
A Bow teabowl and saucer, c.1755, the teabowl of flared shape, painted in famille rose enamels with flowering peony issuing from rocks beneath a tall fringed tree, the rim with a panelled trellis border on a green ground, 11.6cm. (2)Provenance: the David Stopher Collection.Cf. Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain: The Collection formed by Geoffrey Freeman, p 37, fig 30.
Lot 800
A large and early Bow mug, c.1753-55, the bell-shaped body painted with a spray of pink peony and other flowering branches issuing from holey rockwork, the rim with stylized flower mons between bands of black trellis on a green ground, painter's numeral 10 inside the footrim, a crack at the base of the handle, 12.2cm.Provenance: the David Stopher Collection.
Lot 801
A rare and early Bow vase and cover, c.1750-52, the baluster form well painted with flowering peony branches issuing from blue holey rockwork, the shoulder and cover's rim with a border of flowerhead panels reserved on a red trellis ground edged in yellow and blue, incised R to the base, the cover broken in half and restored, 18cm. (2)Provenance: the David Stopher Collection.
Lot 805
An early Bow small bowl or breakfast teabowl, c.1752-54, the flared form painted with a bird perched on a flowering branch with another in flight beside, and a Bow jug painted in famille rose enamels with a large chrysanthemum and flowering peony branches beside holey rockwork, minor faults, 9.8cm max. (2)Provenance: the David Stopher Collection.
Lot 272
Property of John Kenworthy-Brown FSA (lot 9, 18, 65, 272-319, 388-397 and 560)John Kenworthy-Browne is an art historian specialising in architecture and sculpture, principally from the neoclassical period. He was educated at Ampleforth College and Wadham College, Oxford, followed by the Courtauld Institute in London. John was the first National Trust curator at Dyrham Park, Gloucestershire, which he opened to the public in 1961. The Queen Mother visited Dyrham on 16th March 1962, and she was pictured with him outside the Assembly Rooms during the visit. After his time at Dyrham, John joined Christies where he catalogued furniture, and it was at Christies that he first became fascinated with sculpture.John has published numerous articles in Apollo, Burlington Magazine, The British Art Journal, Sculpture Journal and Country Life. He wrote the sculpture entries for The Age of Neo-Classicism Exhibition in 1972. He also published Chippendale and his Contemporaries (1975), and he was the co-author of Three Centuries of Furniture (1972) and The Country House Guide (1979). His work on a publication on the British sculptor Joseph Nollekens was cut short by an accident, and it is for Johns care that the following 61 lots are being sold.A Bow white porcelain figure of an abbess, c.1755, seated reading a large tome, wearing flowing robes and habit, with traces of silvered crucifix on a chain around her neck, 15cm highProvenance: E. & J. Handley Collection, no. B. 27, according to paper label applied to the base.Property of John Kenworthy-Brown FSA.Condition Report: The abbess is missing the thumb, forefinger and little finger on her left hand. A couple of firing cracks to the base and to the back of her garments, and also underneath her protruding foot. Pitting and bubbling of glaze present to the whole figure. The decoration of beads and pendant to her front is heavily worn.
Lot 273
An English porcelain white figure of a monk, c.1755, probably Bow, modelled standing on a mound base, holding a book in his right hand, 17cm highProvenance: The Property of John Kenworthy-Browne FSA.Note: An example of a monk, very similarly modelled but without the book in his right hand, is held at the Victoria and Albert Museum, London, museum no. C.239-1940.Condition Report: A couple of firing cracks to the base and underside. A small loss to the back of the monk's hood. General pitting and bubbling of glaze to the whole figure, and some areas of light staining. Fingers and face are intact.
Lot 274
A Bow porcelain figure of a shepherdess, c.1757, modelled after the Meissen example, standing wearing a cloth hat, blue bodice and flowered skirts, holding a posy and with her apron filled with flowers, a sheep at her feet, on a scroll-moulded base heightened in puce, blue and gilding, 27.5cm highProvenance: The Property of John Kenworthy-Browne FSA.Note: An example of this figure, which was copied from a Meissen model created circa 1750, probably by J.J. Kändler and F.E. Meyer, is held in the Victoria and Albert Museum, London, museum no. C.247-1940.Condition Report: A large firing crack through the base at the brocade. Numerous small losses to the decorations including the flower petals and leaves, bows tied to her sleeves, hem of her garments. Collector's label to the underside.
Lot 275
A Bow figure of Flora, emblematic of Spring, c.1758-60, modelled standing beside a vase encrusted with flowers, wearing flowing yellow flower-lined robes, the scroll-moulded base heightened in puce and blue, 24.3cm highProvenance: The Property of John Kenworthy-Browne FSA.Note: See Peter Bradshaw, Bow Porcelain Figures, figure 103, for a similar example of this figure.Condition Report: The left hand is restored and remodelled. Two fingers of the right are also restored and remodelled. The flowing yellow robe by the right elbow has been repaired. The tip of hair at the back is missing. The top of the head with a a tiny glazing flaw. There is a horizontal firing fracture to the yellow drapery across the left foot. Inevitable small nicks to the petals of the urn and base. The lot would benefit from a gentle clean.
Lot 276
A Bow porcelain Commedia dell'arte figure of a drummer, c.1760, probably Mezzetin, modelled seated on a tree-stump, wearing a cloth striped hat, cloak and flowered breeches, the scroll-moulded base applied with flowers and leaves, on three scroll feet, 22 cm highProvenance: The Property of John Kenworthy-Browne FSA.Condition Report: Examined under UV. The figure has been broken in several places and restored, UV light reveals restorative glaze around both arms and across the upper body and base. The end of the instrument held up to the drummer's face has been broken off. A hole and a couple of firing cracks to the base. Some loss of colour to a couple of leaves at the base, and several small losses to the leaves and flower petals of the encrusted flowers around the base. Small nicks and losses of glaze to the cloak
Lot 326
A pair of French bronze models of Cupid and a Young Girl, possibly Psyche, in the manner of Louis-Simon Boizot, second half 19th century, Cupid looking over at the girl, about to withdraw an arrow from his bow (lacking), the girl's arms held up in playful defence, a basket of fruit beside her, each on a circular gilt bronze base, 37cm high (2) Provenance: Works of Art from the Schroder Collection.Condition Report: Both figures with scuff/scratches to the patinated surface in areas of overall. The young girl has a horizontal horn area to the top of her left thigh. Cupid is missing his bow. The gilding to the bases is almost completely worn away.
Lot 136
Jeff Soan, Octopus, articulated coloured wood, canvas tape, with two small unattached fish, approx. 59cm high octopus, 11.1cm and 12.8cm fish; together with other articulated animals by the same artist, comprising: Python, hemlock, tape, approx. 228cm long; Rainbow Fish, 25.5cm long; and Kipper Tie, articulated stained wood, canvas tape, elastic, approx. 45.5cm long; together with a slug, by Neil Hardy, hand-operated, painted wood, wire, 18.5cm long; and other articulated wooden toys by anonymous Chinese makers, including two snakes, approx. 98cm long; a shark, approx. 60cm long; and a smaller snake, approx. 40cm long; three Chinese articulated bamboo snakes; and an articulated dragon, Poland, painted wood, metal, paper, approx. 35cm (lot)Sir Nicholas Goodison noted:Python: This is one of Jeff Soan’s masterpieces, a long snake with tactile qualities. A skilled snake-handler can make the head hover in the manner of snakes looking at potential prey. When this python arrived in the Head Office of TSB Group, then in Milk Street, the girls behind the reception desk shrieked. The letter quoted below demonstrates well how much Soan cares for the quality and properties of the woods in which he works. Length 230cm approx.Octopus: The octopus, with his articulated tentacles, is one of Jeff Soan’s imaginative sea creatures. He can lie on a flat surface or be draped over a chair or whatever. He has brought his lunch with him in the shape of two small fishes and so far hasn’t consumed them.Kipper Tie: The wood is cut thin and the fish is thus extremely supple. It will ride successfully on any configuration of shirted male front and makes a convincing if surprising necktie. The elastic hangs round the neck like any low made-up bow tie. Soan’s price list in 1988 described this ‘Fish Tie’ as a ‘double sided wooden ‘kipper’ tie.Slug: The slug is articulated and writhes as the handle on its tail is turned, but this is not one of Hardy’s more successful models. At least it is not slimy.Roseberys do not guarantee the working order of any automata or toy.
Lot 162
After Albert Bruce-Joy, Irish, 1842-1924, a marble statue of William Ewart Gladstone, 1809-98, late 19th century, with left hand outstretched and right hand clutching a document, standing beside an octagonal column with three books resting on top, 99cm highProvenance: The Property of the late Lord Avebury.Note: Liberal party statesman and four times Prime Minister, William Ewart Gladstone was one of the most revered politicians of the 19th Century. Renowned for his intense rivalry with Benjamin Disraeli, Gladstone was an outstanding orator and a passionate campaigner for reform, Irish Home Rule and an ethical foreign policy.This marble is after a bronze original unveiled on Wednesday 9th August 1882 in Bow, East London. At the unveiling of the statue by The Rt. Hon. Lord Charlingford, the politician's son said: "Seldom if ever has the hand of a sculptor succeeded in producing so admirable and faithful a likeness." Another commented: "It seems to breathe the deep earnestness, the dignity and intellectual power of the statesman whom we used to call the 'Grand Old Man'." The statue was commissioned by match makers Bryant and May, to commemorate the overturning of Gladstones Chancellor of the Exchequer Robert Lowes infamous match tax. Since 1988 the hands of the original bronze have been painted red, a reference to the matchgirls of the factory striking for better working conditions, and also an urban myth that the bronze was paid for with docked wages from the matchgirls' salary.Albert Bruce-Joy was born in Dublin and primarily worked in England, exhibiting at the Royal Academy from 1866. He also visited and exhibited in Boston, New York and Philadelphia. His most prominent works are the portrait busts in Westminster Abbey, St.Pauls Cathedral and The House of Commons.Condition Report: Light surface dirt overall to be expected with age and handling. There are natural veins in the marble, including one which arcs across his back from the top of the left shoulder for approx 12 cm. These are stable. The right hand is separately carved and attached inside the cuff. It is larger in size than the left hand but appears original. The larger size is perhaps explained by a deliberate fore-shortening by the sculptor as the statue may have originally be positioned higher up in a niche. The fingers of this hand have all been broken off and re-carved before being restored back into place with metal pins and filler. Three of these fingers are now detached but present with the lot and require restoring back into place or replaced as they are quite crudely carved.Some small losses to extremities, including the tip of one page of the rolled document in his left hand, the edge of his coat on his left side near the lowest button, the tips of the folds of his coat on the right side bottom edge, the circular base and the leading top edge of the octagonal plinth behind Gladstone. The statue is unsigned but there are two small holes and a shadow where a plaque has been positioned at some point.
Lot 163
A Victorian Parian ware bust of William Ewart Gladstone, by Adams & Co, after E. W. Wyon, third quarter 19th century, modelled in high collar, bow tie, waistcoat and frockcoat, on a waisted socle, impressed to the reverse E W WYON F / GLADSTONE / ADAMS & CO / PUBLISHED BY JOHN STARK ETRURIA, REGISTERED APRIL 25 1866, 40cm highProvenance: The Property of the late Lord Avebury.Condition Report: This bust is in generally good, ready to place condition. There are no apparent damages or restorations but there is small, dark horizontal firing fracture beneath the ribbon of the bow tie on the true right side. The surface is a little dirty and would benefit from a gentle clean and there are some dark specks in places. The reverse has some dark marks to the back of the head and along the top edge of the truncation but these can be gently cleaned away.
Lot 196
A Meissen porcelain small model of a pug dog, c.1740, in recumbent pose, its head turned to preen itself, a red collar around its neck with a yellow bow, 8.1cm wideProvenance: The Robert G. Vater Collection of European Ceramics.Photographs: © Christie's ImagesCondition Report: Both forelegs and tail cleanly broken through and restuck with some associated traces of overpainting to the pugs coat; this restoration is well executed. Two small flakes to black enamel on pugs face.
Lot 236
Two Höchst porcelain groups of a print-seller and a sleeping shepherdess, c.1775, blue wheel marks, the second incised N 45. / M66, both modelled by J.P. Melchior, the first with a print seller showing his wares to two children, the other with a shepherdess sleeping by a tree, a shepherd to her left holding a garlanded lute, a recumbent sheep nearby, on grassy mound bases, the first 18.3cm high; the second 18.5cm high (2)Provenance: The Robert G. Vater Collection of European Ceramics.Photographs: © Christie's ImagesCondition Report: Overall both groups in good condition for age and type with only very minor chips/restoration and typical small firing cracks.The group with a sleeping shepherdess: The hat lying at her feet with a crescent-shaped area of restoration to the front of the brim with associated overpainting. Very minor small chips to the loops of the blue ribbon bow around the sheeps neck. Three tuning keys at the top of the neck of the mandolin chipped off and lacking. Tiny flat chip to the underside of one finger of the boys left hand. Very small 0.3 cm. flat chip to the side of the mound base at the footrim. Minute chip to a few petals of the flowers in the wreath.Group with two children and a youth: 1 cm chip to underside edge of mound base. Some small chips to pink bow of girls cap and some minute chips to yellow ribbons on her dress. Small chips to blue bow tying the boys hair back. Tiny retouched chips to black ribbon tying the mans hair and to the rosette on his tricorn hat.
Lot 263
An old violin in carrying case with bow CONDITION REPORTSplit on top and damage to one edge.DimensionsBody Width, 21cmBody Length, 35.5cmTotal Length, 59cmOur team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself.To that end, we have provided a number of additional images for your attention.
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117845 item(s)/page