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Lot 580
TIFFANY STUDIOS, NEW YORK (1899-1918); a pair of patinated bronze ball and Favrile glass candlesticks, each with removable bobeche, one stamped to foot, height 21.5cm. CONDITION REPORT: Wax residue throughout to both, otherwise appears good with no further obvious faults, damage or restoration..
Lot 581
TIFFANY STUDIOS, NEW YORK (1899-1918); a pair of patinated bronze and Favrile glass tall candlesticks with removable bobeche, slender stem and moulded base, stamped to the base, height 46.5cm. CONDITION REPORT: Both with wax residue throughout, light surface wear. Images of base marks taken but very hard to see. We have not mentioned any registration stamps, so there is nothing to photograph. There is n number stamp to the base.
Lot 584
DEMETRE CHIPARUS (1886-1947); a 1920s ivory, gilt and cold painted bronze figure of girl in cape and hat with muff, signed to the back of the green onyx base, total height 21cm. CONDITION REPORT: General condition tends to be good apart from areas of wear and rubbing to the paint throughout, one major scratch to the back rubbing to the gilt particularly to the ribbon on top of the hat, minor surface dirt to the ivory head, some nibbles to the edges of the onyx base.
Lot 877
A Chinese bronze koro with incised archaistic styled decoration to the squat bell shaped body, with raised twin handled rectangular handles, raised on three lion mask decorated supports, diameter 8cm (lacking cover) and a green soapstone jug with dragon handle and on geometrical stepped supports, length 15.5cm (2).
Lot 878
A 19th century Chinese gilt bronze figure of Shakyamuni Buddha seated on double lotus base, height 38cm. CONDITION REPORT: General surface wear commensurate with wage but overall in good condition. There is no provenance or documentation with this lot. As we have catalogued this to be 19th century, we believe the age to be....19th century.
Lot 896
A Japanese Meiji period bronze figure of a seated gentleman holding a box in his left hand and a stick in his right, perched upon a tree stump, signed to base, height 19cm. CONDITION REPORT: Light surface wear commensurate with age, small dent to the front of his right foot,otherwise appears good with no further obvious faults, damage or restoration..
Lot 575
A Chinese bronze rectangular bodied ding with a waisted rectangular neck, the four sides chased or moulded with a chi-lin guarding a single character reading Wang, a family name literally meaning King, below this border a stylised t'ao t'ie motif, the four corners with extending separated flanges and supported upon cylindrical legs, 19th century, height 21cm, 16 x 13cm.
Lot 386
An East African Ida sword and sheath owned by Jack Chalker, the acclaimed British WWII artist who painted the atrocities he witnessed as a prisoner of war on the Burma Railway known as the 'Railway of Death'. A 57.5cm long, straight spined, crudely forged, double edged sword. The blade 2.3cm wide at its narrowest point close to the handle, flaring to 5.5cm at its widest point near the tip which is symmetrically rounded with a small point. The handle, 13.5cm long, is enclosed in rudimentarily hand stitched animal skin. The sheath also crudely constructed of red dyed animal skin stretched and stitched over wood with an integrated 5cm belt loop in the skin. At the tip of the sheath an East African bronze one cent coin (dated to 1949-52) has been formed into a protective wood filled finial. Jack Chalker, 1918-2014. Chalker had won a scholarship to the Royal College of Art but his studies interrupted by the outbreak of the WWII. He joined the Royal Field Artillery and was posted to Singapore in February 1942. Within a month he was captured by the Japanese. He was first sent to the Changi area for a few months, then a further four months at Havelock Road labour camp in Singapore Town before the journey up-country to Bampong in Thailand. From there groups were marched to various camp sites to begin the construction of the Burma Railway line. Chalker spent almost six months at Kanyu River working on the railway project. In March 1943 after succumbing to dysentery and dengue fever he was sent down-river to Chungkai where a large hospital camp was being established. In June 1944 he was moved south to the Nakhon Pathom Hospital camp where he remained until the Japanese capitulation in August 1945. Throughout his captivity, despite great personal risk to himself, Chalker sought to capture daily life in the camps in pen and ink. The making of any records was strictly forbidden and infringement of the rules resulted in savage punishment. Drawings were hidden in sections of bamboo buried in the ground, the roof of jungle huts or in an artificial leg worn by an amputee prisioner. Chalker kept an important record of the subhuman conditions endured by the allied POWs. He was a hospital artist for the renowned Australian surgeon Colonel Sir Ernest Edward "Weary" Dunlop and sketched the diseases, tropical ulcers and operations. After the war in 1945, Chalker joined the Australian Army HQ in Bangkok as a war artist; some of his work was used in evidence at the trials of Japanese officers and NCOs at the Tokyo War Crimes Tribunal. On return to the UK he resumed his studies. In 1950, after teaching History of Art at Cheltenham Ladies' College he became principal of Falmouth College of Art and, in 1957, principal of West of England College of Art, where he remained until his retirement in the mid-1980s. Chalker did not talk about his war-time ordeal or look at his pictures for almost 40 years. In 2002, a bout of ill-health forced him to auction over 100 drawings and paintings. “I feel reluctant and in a way guilty about doing this, but it will help us out,” he said. They sold for almost £200,000 and were acquired by several private collectors and museums, among them Britain's National Army Museum. The highest-selling lot was a painting of the Australian surgeon Colonel Edward Dunlop performing an amputation, which sold for £24,600. He published two books of his POW drawings and has featured in a BBC documentary about the Burma Railway. Jack Chalker's son describes his father as never being without a useful knife of some sort and as also being an avid collector. Knifes and swords were one of his passions. He is not aware of where his father acquired the African Ida sword but it is his belief that he brought the Dha-Iwe back home with him when he returned from Burma after the end of the war.
Lot 1045
A rare Troika square wall plaque with bronze glaze, inscribed to the back 'Put it Back on the Wall Nosey' and with Julian Greenwood-Penny monogram, height 4.4cm, width 12cm. Note: We understand from Julian Greenwood-Penny that this is one section of a larger wall piece made for a 1970s Troika exhibition at Heals. To the best of his knowledge there were no more than 12 of these ever made.
Lot 183
A pair of fine bronze, silvered and parcel gilt equestrian groups, one a Turk the other a Crusader, each on a cruciform black marble base. Maximum height 32.5cm. Condition report: Turk, some small chips to marble base, max height of Turk, 12 ½”. Both have areas of rubbing through the silver finish to the bronze. Other than rubbing, no condition issues. Marble base 11 7/8” Length and 4 7/8” width. No condition issues with Crusader, apart from rubbing. Some very small chips to bottom of marble base. Max height 12 ¾”, marble base 11 7/8”, wide base 4 7/8”. We believe possibly 1860.
Lot 50
TWO JAPANESE SWORD GUARDS (TSUBA) of bronze, the first with kozuka hitsu-ana, decorated on each face with a pattern of waves and shakudo leaves; the second of mokko gata form, signed 'Ikkan', with kozuka hitsu-ana and kogai hitsu-ana, decorated in brass with a dragon and two rondels the first: 5.5 cm; 2 ¼ in (2)
Lot 567
A SALUTING CANNON IN THE STYLE OF THE FIRST HALF OF THE 16TH CENTURY, 19TH CENTURY with multi-stage bronze barrel moulded at the muzzle, spirally fluted over the chase, decorated with tongues of fire within triangular flames on the first reinforce, fitted with a pair of dolphin lifting handles, trunnions decorated with punched ornament, and serpentine cascable: on an iron-clad wooden carriage, probably earlier, with iron-shod spoked cambered wheels 43.5 cm; 17 1/8 in barrel 1.8 cm; 3/4 in bore
Lot 562
A MINIATURE BRONZE GARRISON CANNON, 19TH CENTURY with tapering multi-stage barrel with raised astragal mouldings, flaring at the muzzle, incised around the vent field, globose cascable, plain trunnions, with its iron stirrup mount, on its bronze garrison carriage 24.0 cm; 9 1/2 in barrel 1.0 cm; 3/8 in bore
Lot 40
TWO JAPANESE SWORD GUARDS (TSUBA) both with kozuka hitsu-ana and kogai hitsu-ana, the first of polished bronze, signed, decorated with a figure in traditional dress, flowers and foliage, and all enriched with gold; the second decorated with an ox in a mountainous landscape enriched with gold the first:7.2 cm; 2 7/8 in (2)
Lot 43
TWO JAPANESE SWORD GUARDS (TSUBA) the first of iron, signed 'Kofu ju Tatsutoki', with kozuka hitsu-ana and kogai hitsu-ana, decorated with a prancing grasshopper enriched with gold; the second with of bronze mokko gata form, decorated with a sage enriched with gold the first: 6.8 cm; 2 5/8 in (2)
Lot 109
Two Japanese bronze sculpturesMeiji periodRealistically modelled as two roaring lions. With inlaid glass eyes. Mark of Genryusai Seiya to the abdomen.H 18cm x L 34cm CONDITION REPORT: Both in perfect condition, no damage and even patina. One lions eyes are opaque. Both signed, surface wear to the paws consistent with age
Lot 17
A Peter Tereszczuk (Austrian, 1875-1963) An Art Nouveau Bell:In the form of a woman covered in a robe with arms above head signed to back 'P Tereszczuk'Height: 16cm CONDITION REPORT: In good original condition signed to the back of legs, bronze effect, with spelter clapper t the inside of the bell
Lot 215
Ghisha Koenig (British, 1921-1993):Factory scene, bronze relief sculpture, H 60 x W 71 cm. Note: As in the present example, Koenig's work focused on the work place, especially factories as a hub of human activity. She studied at the Hornsey School of Art, the Chelsea School of Art with Henry Moore, & the Slade School of Art. During World War II she was a member of the Auxiliary Territorial Service. Her first solo exhibition was at the Grosvenor Gallery in London in 1966. Please note that Artist's Resale Rights may apply to this lot.
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