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Lot 1412
A good pair of late 19th century Baccarat rock crystal style cut glass vases, each finely engraved with a crane in the Oriental style, on a Chinese style bronze stand, 29cm high. For a similar example see Victoria & Albert Museum Accession No: C1242-1917. Provenance: from the drawing room at Winkfield Place. The collection of Fred Wilkinson, former Director of Constance Spry Limited. Spry opened her first shop 'Flower Decoration' in 1929 and Fulham Pottery subsequently began manufacturing bespoke vases to her designs in the mid 1930s. She went on to found a school at Winkfield Place where the flowers for HM Queen Elizabeth II's wedding were arranged.
Lot 5032
DAVID WYNNE O.B.E (1926-2014) (ARR) A bronze bust of the race horse Shergar, set on a marble block plinth. Signed and numbered four of eight and dated '81. The sculpture was commissioned by the horses owner Aga Khan after the Derby win. This edition was given to the main stable lad who looked after the horse at Michael Stouts yard. 32cm high x 31cm deep x 10cm wide.
Lot 122
WILLY RIZZO (Naples, 1928-Paris ,2013).Coffee table.Mirror and polished aluminium, black wooden base.Size: 33 x 120 x 120 cm.Designer and photographer, Willy Rizzo began his career in Paris and since then has built up a solid career in the world of photography. His activity as a designer began in 1966, when he moved with his wife to a small flat in the centre of Rome, which he renovated himself, also designing the furniture. Although he never intended to become a designer, his friends soon began to commission him after seeing his house. In fact, he has counted among his clients such prominent figures as Salvador Dalí and Brigitte Bardot. Rizzo always admired beautiful things, both modern and antique, so he focused his aesthetic experimentation on creating modern furniture that perfectly matched the antique. His style marked an era in Italian design, being recognised as the designer of the Dolce Vita. The demand for his pieces was so great that in 1968 he decided to set up his own company, with which he has since created numerous pieces, always handmade, combining noble materials such as travertine or bronze with other distinctly modern ones such as steel. He eventually opened shops in Paris and other European cities, as well as in New York, Miami and Los Angeles. In 1978 Rizzo sold his company and refocused his career on photography, tired of the business life. During the ten years he spent designing furniture, Rizzo, a great admirer of Mies van der Rohe, Le Corbusier and Ruhlmann, developed a style that is easily recognisable even today. His are pieces of clean lines and geometric shapes, made of carefully selected materials. He always remained faithful to the traditional, handcrafted use of materials, rejecting the mass production system and the use of plastic. Some of his designs have been exhibited at the Metropolitan Museum in New York, and more recently at the Madison Mallet Gallery in London.
Lot 132
WILLY RIZZO (Naples, 1928-Paris ,2013).Table lamp; Italy, c.1970. Designed for Luminica.Base in chromed steel and brass, and shade in nude fabric. Holds three bulbs.Dimensions: 53 x 14 x 21 cm. (base), 76,5 x 39 x 33 cm. (complete lamp)Designer and photographer, Willy Rizzo began his career in Paris, and since then has built up a solid career in the world of photography. His activity as a designer began in 1966, when he moved with his wife to a small flat in the centre of Rome, which he renovated himself, also designing the furniture. Although he never intended to become a designer, his friends soon began to commission him after seeing his house. In fact, he has counted among his clients such prominent figures as Salvador Dalí and Brigitte Bardot. Rizzo always admired beautiful things, both modern and antique, so he focused his aesthetic experimentation on creating modern furniture that perfectly matched the antique. His style marked an era in Italian design, being recognised as the designer of the Dolce Vita. The demand for his pieces was so great that in 1968 he decided to set up his own company, with which he has since created numerous pieces, always handmade, combining noble materials such as travertine or bronze with other distinctly modern ones such as steel. He eventually opened shops in Paris and other European cities, as well as in New York, Miami and Los Angeles. In 1978 Rizzo sold his company and refocused his career on photography, tired of the business life. During the ten years he spent designing furniture, Rizzo, a great admirer of Mies van der Rohe, Le Corbusier and Ruhlmann, developed a style that is easily recognisable even today. His are pieces of clean lines and geometric shapes, made of carefully selected materials. He always remained faithful to the traditional, handcrafted use of materials, rejecting the mass production system and the use of plastic. Some of his designs have been exhibited at the Metropolitan Museum in New York, and more recently at the Madison Mallet Gallery in London.
Lot 133
WILLY RIZZO (Naples, 1928-Paris ,2013).Table lamp; Italy, c.1970. Designed for Luminica.Base in chromed steel and brass, and shade in orange fabric. With capacity for three bulbs.Dimensions: 53 x 14 x 21 cm. (base), 76,5 x 39 x 33 cm. (complete lamp)Designer and photographer, Willy Rizzo began his career in Paris, and since then has built up a solid career in the world of photography. His activity as a designer began in 1966, when he moved with his wife to a small flat in the centre of Rome, which he renovated himself, also designing the furniture. Although he never intended to become a designer, his friends soon began to commission him after seeing his house. In fact, he has counted among his clients such prominent figures as Salvador Dalí and Brigitte Bardot. Rizzo always admired beautiful things, both modern and antique, so he focused his aesthetic experimentation on creating modern furniture that perfectly matched the antique. His style marked an era in Italian design, being recognised as the designer of the Dolce Vita. The demand for his pieces was so great that in 1968 he decided to set up his own company, with which he has since created numerous pieces, always handmade, combining noble materials such as travertine or bronze with other distinctly modern ones such as steel. He eventually opened shops in Paris and other European cities, as well as in New York, Miami and Los Angeles. In 1978 Rizzo sold his company and refocused his career on photography, tired of the business life. During the ten years he spent designing furniture, Rizzo, a great admirer of Mies van der Rohe, Le Corbusier and Ruhlmann, developed a style that is easily recognisable even today. His are pieces of clean lines and geometric shapes, made of carefully selected materials. He always remained faithful to the traditional, handcrafted use of materials, rejecting the mass production system and the use of plastic. Some of his designs have been exhibited at the Metropolitan Museum in New York, and more recently at the Madison Mallet Gallery in London.
Lot 134
WILLY RIZZO (Naples, 1928-Paris ,2013).Table lamp; Italy, c.1970. Designed for Luminica.Base in chromed steel and brass, and shade in nude fabric. Holds three bulbs.Dimensions: 53 x 14 x 21 cm. (base), 76,5 x 39 x 33 cm. (complete lamp)Designer and photographer, Willy Rizzo began his career in Paris, and since then has built up a solid career in the world of photography. His activity as a designer began in 1966, when he moved with his wife to a small flat in the centre of Rome, which he renovated himself, also designing the furniture. Although he never intended to become a designer, his friends soon began to commission him after seeing his house. In fact, he has counted among his clients such prominent figures as Salvador Dalí and Brigitte Bardot. Rizzo always admired beautiful things, both modern and antique, so he focused his aesthetic experimentation on creating modern furniture that perfectly matched the antique. His style marked an era in Italian design, being recognised as the designer of the Dolce Vita. The demand for his pieces was so great that in 1968 he decided to set up his own company, with which he has since created numerous pieces, always handmade, combining noble materials such as travertine or bronze with other distinctly modern ones such as steel. He eventually opened shops in Paris and other European cities, as well as in New York, Miami and Los Angeles. In 1978 Rizzo sold his company and refocused his career on photography, tired of the business life. During the ten years he spent designing furniture, Rizzo, a great admirer of Mies van der Rohe, Le Corbusier and Ruhlmann, developed a style that is easily recognisable even today. His are pieces of clean lines and geometric shapes, made of carefully selected materials. He always remained faithful to the traditional, handcrafted use of materials, rejecting the mass production system and the use of plastic. Some of his designs have been exhibited at the Metropolitan Museum in New York, and more recently at the Madison Mallet Gallery in London.
Lot 29
Pair of goblets; Sèvres, late 19th century.Porcelain and bronze.Signed Feccalti.With felling loss (x2).Measurements: 24 x 13 cm (x2).Pair of Sevres goblets polychrome with the characteristic cobalt blue or "bleu du roi". Both pieces present the characteristic medallions located in the centre of each one of the vases presided over by two ladies and a little love that accompanies them. One of the young women holds a lyre in her hands, while the other holds a flute, which identifies them as the muses of music. Both are set in bucolic landscapes of rococo taste. The polished bronze appliqués are richly classicist in character, particularly the classical face on each of the handles, in the Sèvres style. The prestigious French manufacture, Sèvres, was founded in the 18th century, although it was not until the early 19th century that pictorial decoration with gold began to be applied to Sèvres products, a period when the manufacture reached a high level of refinement.
Lot 37
NATIONAL cash register; USA, 1903.Serial number 768782-537-3-C.With certificate of authenticity dated 1978.Measurements: 88 x 78 x 54 cm.National cash register, made in the USA for the foreign market in 1903. It has three drawers in the cabinet of the base, marked with the letters A, B and C, that allow to take up to three different accounts. The machine is made of brass, with decorative motifs in relief, mainly classical motifs such as palmettes, vegetal scrolls and acanthus leaves. It also has an upper cartouche, with a sinuous modernist profile, on which the inscription 'Amount of your Purchase' can be read. It still has all the buttons, in red, black and yellow, and on the upper part we can see the representation of two hands with shirt cuffs, pointing to the indicators for the payment method and amount (in pesos), also visible on the back. It has two sheets of translucent glass at the base, and stands on a beautifully veined piece of furniture, with the aforementioned letters A, B and C on the front of the drawers, in beautiful modernist typography.At the end of the 19th century, most businesses were growing, acquiring dimensions that went beyond the family sphere, where it was usual for only one or two people to handle the money. Larger businesses began to worry about petty theft by their employees, so it was soon a logical conclusion to use mechanical systems for cashing up establishments. James Ritty (Dayton, Ohio), a café owner, is now credited with creating the first cash register. After realising that he was losing money in his business, he and his brother John invented and patented the first cash register on 4 November 1879. Together, in the following years, they developed new models, including the one known as "The Incorruptible Cashier". Success was slow in coming, however, as they failed to make a successful name for themselves until 1885 when they attracted the attention of a new partner, John Patterson, with whom they founded The National Manufacturing Company (shortly afterwards The National Cash Register Company). Despite the reluctance of shop owners, and especially their employees, Patterson succeeded in paving the way for the new invention and made the cash register the centrepiece of the shop, the focus of public attention. This was achieved by showing the customer the attractiveness of the new invention (through beautiful and ornate designs), and also by creating systems that helped employers to prevent employee theft. Thus, National would begin to manufacture cash registers with bases of fine woods, sometimes richly ornamented with marquetry, and cash registers of metals such as bronze, brass, copper and also plain metal, albeit adorned with engraved motifs or beautiful enamelled designs. In addition, these machines came with a two-year guarantee, which meant that they were well received by shop owners. Nevertheless, many of these early cash registers have survived, in working order and in good condition, to the present day, and in fact have remained in use for generations. Thanks to this success, many other companies began to manufacture cash registers; soon more than two hundred new firms would appear, although National would be the largest and most reputable.
Lot 40
Pair of porcelain vases JACOB PETIT (1796-1865), France, mid-19th century.Hand-painted porcelain and bronze.Marks on the back.Measurements: 51 x 19 cm.The present vases are a truly rare object, produced by the Jacob Petit workshops. It consists of three parts: the body, the bronze neck and the cover. The body is painted in foliate parchment throughout, applied with colourful porcelain heads of flowers, leaves and birds, attached with handles of branches emitting clusters of orange blossoms. On his neck in bronze is a male head related to this classical divinity, vine leaves and bunches of grapes.Jacob Petit (1796-1865) was one of the most famous porcelain artists of the 19th century. After travelling extensively in Europe, he returned to France and established a modest porcelain manufactory in Sèvres in 1830. As his business expanded, he moved to a rented factory in Fontainebleau in 1834 and by 1838 was offering highly prized ornamental objects to a distinguished clientele.His work was an innovative fusion of neoclassical, rococo and romantic elements that blended complex motifs and sculptural forms using a lively and distinctive palette. He is generally credited with introducing Rococo into Parisian porcelain production in 1834, which was a radical departure from the prevailing neoclassical fashion.
Lot 10
François Chevalier (born in 1942) Bugatti Type 59,Important bronze representing a racing Bugatti type 59, signed F. Chevalier and numbered I / IV below. Blue patina. L: 50 cm.FRANÇOIS CHEVALIER (né en 1942) Bugatti Type 59Important bronze representant une Bugatti type 59 en course, signé F. Chevalier et numéroté I/IV en dessous. Patine bleue. L: 50 cm. For further information on this lot please visit Bonhams.com
Lot 11
THE FLIGHT OF ICARUS DESK PIECE GEORGES COLIN (1876-1917)Garniture de bureau « Le vol d'Icare » Georges Colin (1876-1917),en bronze à deux patines brune et médaille. Repose sur un socle en marbre vert, pourvu de deux encriers à couvercles escamotables et d'une saignée pour les crayons et stylos. Signé G. Colin, daté 1907 et numéroté 10, porte le cachet du Syndicat des Fabricants de bronze 1818 France . Cartouche des Automobiles Farman sur le devant de la base. Dimensions : Haut. Avec le socle : 42 cm, larg. : 52 cm, prof. :24 cm. Poids : 18,3 kg. Historique : Cette statue de l'envol d'Icare fut réalisée à l'origine par G. Colin pour le monument en l'honneur de Santos Dumont qui fut inauguré en 1913. Les Automobiles Farman, créées en, 1920 reprirent cette œuvre comme emblème et en ornèrent leurs bouchons de radiateur. Le coût de réalisation élevé de cette garniture explique sa production très limitée qui le réservait aux bureaux des directeurs de la firme ou à ceux des plus importants concessionnaires.THE FLIGHT OF ICARUS DESK PIECE GEORGES COLIN (1876-1917)in bronze with two patinas, brown and medal. Rests on a green marble base, provided with two inkwells with retractable lids and a channel for pencils and pens. Signed G. Colin, dated 1907 and numbered 10, bears the stamp of the 'Syndicat des Fabricants de bronze 1818 France'. Cartridge of the Farman Automobiles on the front of the base. Dimensions: High. With the base: 42 cm, width. : 52 cm, prof. : 24cm. Weight: 18.3 kg. History: This statue 'The flight of Icarus' was originally made by G. Colin for the monument in honor of Santos Dumont which was inaugurated in 1913. The Automobiles Farman, created in 1920 use this work as an emblem and adorned their radiator caps. The high cost of this garnish explains its very limited production, which was reserved for the offices of the directors of the company or the most important dealers. For further information on this lot please visit Bonhams.com
Lot 17
LE BOLIDE MASCOT BY A.LUPPILe Bolide Mascotte par A. Luppi,en bronze argenté, titrée sur la base 'Le Bolide', signée A. Luppi et marquée 'Déposée' et 'XXIII'. H: 14 cm.LE BOLIDE MASCOT BY A.LUPPI,in silvered bronze, titled on the base 'Le Bolide', signed A.Luppi and marked 'Deposée' and 'XXIII'. H: 14 cm. Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 18
JAN AND JOEL MARTEL (1896-1966) FUTURISTIC MASCOTJan et Joel Martel ( 1896 – morts tous deux en 1966) L'Avion Mascotte futuriste,en bronze argenté. Montée sur un bouchon de radiateur.H: 9,7 cm et L:17cm.Bibliographie: ' L'Art et l'Automobile' éditions les clefs du Temps 1973 de H.Poulain. Une photo de la mascotte est reproduite page 111.JAN AND JOEL MARTEL (1896-1966) FUTURISTIC MASCOT,in silver bronze. Mounted on a radiator cap.H: 9.7 cm and L: 17cm.Bibliography: 'L'Art et l'Automobile' editions les keys du Temps 1973 by H. Poulain. A photo of the mascot is reproduced on page 111. For further information on this lot please visit Bonhams.com
Lot 19
PRINCESS MANGBETU MASCOTPrincesse Mangbetu Mascotte,en bronze argenté, base fileté avec bouchon à barrettes. Signée Martel et numéroté 3. Sujet inspiré par les dessins ethnographiques de la croisière noire Citroën. H avec base: 17 cm.On joint la terre cuite qui servit à la réalisation de la mascotte.PRINCESS MANGBETU MASCOT,in silvered bronze, threaded base with cap with bars. Signed Martel and numbered 3. Subject inspired by ethnographic drawings of the Citroën black cruise. H with base: 17 cm.We include the terracotta which was used for the realization of the mascot. For further information on this lot please visit Bonhams.com
Lot 20
EMILE BREGEON DOCTORS SPECIALITY MASCOT,Emile Bregeon ( XXeme) Spécialité du docteur Mascotte,en bronze argenté, grand modèle frappé Bregeon. Figure au catalogue de la maison E.Brégeon à Vincennes, circa 1930. H: 14 cm.EMILE BREGEON DOCTORS SPECIALITY MASCOT,in silvered bronze, large model struck Bregeon. Figure in the catalog of the E.Brégeon house in Vincennes, circa 1930. H: 14 cm. Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 9
THE MECHANIC ART DECO BRONZELe Mécanicien Bronze Art Déco,à deux patines, non signé. Figure un mécanicien tenant une clé à molette, 1925/1930. Montée sur un socle en marbre. H: sans le socle 19cm.THE MECHANIC ART DECO BRONZE,with two patinas, unsigned. Figure a mechanic holding an adjustable wrench, 1925/1930. Mounted on a marble plinth. H: without the base 19cm. For further information on this lot please visit Bonhams.com
Lot 808
ATTRIBUTED TO FRANZ XAVIER BERGMAN,AUSTRIAN COLD PAINTED BRONZE GROUP OF AN ARAB SLAVE TRADER,modelled upon a bronze column plinth, on a marble base,unsigned, 38cm highCondition report: Condition generally good, the bronze with some minor wear, though nothing of real concern. The base is a possible later addition, and is subject to wear as well as two chips. Additional images now available.
Lot 849
BRONZE DESK INKSTAND,by Brondel, with elephant surmount and single well retaining glass liner, 30cm wideCondition report: Surface pitting and rubbing, area of exposed under layer to head of elephant, ink well dented and misshapen and so glass liner stuck inside, this is cracked, further overall general wear, rubbing and overall signs of age and use.Early to mid 20th century
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