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Lot 301
‡ ALEXANDRE CHARPENTIER (1856–1909) AND TONY SELMERSHEIM (1871-1971) 'LA FUITE DE L'HEURE': FINE ART NOUVEAU TABLE CLOCK, 1898 padouk and gilt bronze, the twin train movement striking the hour and half hour, the surmount signed in the bronze ALEXANDRE CHARPENTIER, the panels to the sides and front signed with monogramDimensions:87cm high, the surmount 32.5cm highNote: Literature: Alexandre Charpentier (1856-1909): Naturalisme et Art Nouveau, Exhibition catalogue, Musée d'Orsay, pp. 115-116 illus.Art et Décoration, 1899, pp. 101-102 (illustrated).Exhibited: Paris, Le Musée d'Orsay, 22nd January - 13th April 2008, Brussels, Le Musée d'Ixelles 29th May - 31st August 2008 Alexandre Charpentier (1856-1909): Naturalisme et Art Nouveau, no. 79“It is necessary to make art part of contemporary life. To make the ordinary objects that surround us into works of art”.Paul Greenhalgh (ed.), Art Nouveau 1890-1914, V & A Publications, London, 2002, p. 20.Alexandre Charpentier and Tony Selmersheim belonged to the group Les Cinq (which later changed its name to Les Six and then Les Huit as new members joined) who advertised their ambitions, in an 1898 Paris exhibition, as to integrate art into present-day life and to make everyday items beautiful and meaningful. They, like Emile Gallé, believed in the transformative and redemptive power of the arts to change not just an individual but society more broadly, and even the national economy. Charpentier created the sculptural components of this clock. Originally conceived as a larger figural group it is here employed at half the size. Besides the change in scale, the other difference between the two figural groups is the inclusion of a scythe in this present piece.Charpentier had begun his career working for a medal maker and this clock incorporates three panels representing the Fates. He was very much at the forefront of the revival of interest in medal-making and low-relief plaques of the period. This art form very much suited the Art Nouveau ethos and the fascination for whip-lash lines.While Charpentier created the sculptural elements, it was the architect and decorator Tony Selmersheim who designed the case of the clock. Regarded as one of the leading Art Nouveau furniture makers, he worked alongside Victor Horta, Maurice Dufrêne and Henry van de Velde on La Maison Moderne, before forming a highly successful partnership with Charles Plumet. As is the case here, his work was characterised by simple forms that emphasised the structure of the piece, and by flowing elongated stem-like lines that reference nature.Like so many Art Nouveau works, this clock explores recurring Symbolist themes. The sculptural group surmounting the clock can be seen to represent Time, Age and Love. A young man kisses his lover whilst holding her aloft. Concurrently the man grasps the scythe being wielded by the old man, trying to keep him and it at bay. He represents not only old age but with the scythe offers a reminder of human mortality. Life is a cycle, and the bas-relief panels below depict the Fates from Greco-Roman mythology. In the front panel, Clotho holds a distaff, the left panel depicts Lachesis operating the spindle and on the right Altropos cuts the thread. This imagery is in keeping with the representation of time in the figural group surmount with a beginning and an end determined by another force. Instead of using classical models, Charpentier chose contemporary figures, and in so doing draws a clear link between art and modern life. Art is relevant and should speak to the present. This functional clock has been transformed and elevated by Charpentier and Selmersheim into a meaningful work of art.
Lot 309
LOUIS MAJORELLE (1859-1926) ‘OLGA’ ART NOUVEAU SALON TABLE, CIRCA 1900 mahogany, with gilt bronze cast sabots, bears paper label 30154Dimensions:66.5cm across, 75cm highNote: Literature: Duncan A. Louis Majorelle: Master of Art Nouveau Design New York: Abrams, 1991, p.206, where a comparable salon table is illustrated.
Lot 319
CAMILLE GAUTHIER (1870-1963) (ATTRIBUTED TO) ART NOUVEAU DINING SUITE, CIRCA 1900 tulipwood, bronze, comprising an EXTENDING DINING TABLE, with four later leaves, 127cm long (closed), 323cm long (open), 74cm high, 124cm deep; a SIDEBOARD CABINET, with marble top and cast bronze handles, 172cm wide, 165cm high, 49cm deep; and SEVEN DINING CHAIRS, each with later close-nailed leather upholstery, 44cm wide, 91cm high, 37cm deepNote: Note: Camille Gauthier began his career with Louis Majorelle in 1893, as a draftsman in the design office. At this point in his career, Majorelle was producing reproductions of Louis XV furniture. These he exhibited in 1894 at the Exposition d'Art Décoratif et Industriel in Nancy, but the influence of the glass and furniture-maker Emile Galle (1846 - 1904) inspired him to take his production in new directions. As a draftsman for the firm Gauthier will have been absorbed in producing designs for marquetry, carved details and the sinuous lines of the Art Nouveau style. By 1900 he decided to set up his own company and in 1904 joined forces with industrialist and upholsterer Paul Poinsignon. The firm was immediately successful, appealing to a wide market and producing high-quality furnishings in their mechanized workshops. Their production adhered to the principles of the School of Nancy (L'École de Nancy). The School was part of a wider effort to dissolve the divide between the ‘major’ arts of painting and sculpture and the ‘minor’ decorative arts. Set up by Émile Gallé in 1901, it was principally supported by designers Louis Majorelle, Victor Prouvé, and the glassmakers August and Jean-Antonin Daum. Camille Gauthier was on the steering committee. They aimed to enhance the artistic content of industrially produced articles through the intervention of the craftsman, building on the legacy of the writings of John Ruskin and William Morris in Britain.
Lot 353
Y ANTOINE BOURAINE (1886-1948) THE SEALION bronze, ivory, raised on onyx plinth, cast La Stele foundry mark Dimensions:31cm highNote: Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference MY7SNAWY. Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside Great Britain, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 360
§ CHARLES D'ORVILLE PILKINGTON JACKSON (1887-1973) 'DAWN', 1925 bronze, signed and dated in the bronze PILKINGTON JACKSON/ 1925, raised on a stepped slate plinthDimensions:63cm high, 76cm high including plinthProvenance:Provenance: Stanley Cursiter and by descentNote: Note: The sculptor Charles Pilkington Jackson set up his first studio in 1912 with the founder William McDonald. Commissions included collaborations with Sir Frank Mears and Sir Robert Lorimer. After the First World War, he set up on his own at 12, Church Lane, Edinburgh (now Gloucester Lane). During the 1920s Pilkington Jackson principally worked on memorials, among these the Elsie Inglis Memorial with Sir Frank Mears in 1922 and the Alloa War Memorial with Sir Robert Lorimer in 1925. He also produced some portraiture and allegorical work during this period including the current lot. 'Dawn' was cast by McDonald and Creswick between July 24th and March 1925, and the orb of the sun was cast separately. The marble base was supplied by Galbraith and Winton. Never on the open market before now this is the only example of this figure known to have been cast. The figure was given by Pilkington Jackson to the Orcadian artist Stanley Cursiter, in exchange for two oil paintings which the artist produced of Pilkington Jackson's studio at 12, Church Lane. The work of Carl Milles was an important influence on Pilkington Jackson, who visited the Swedish sculptor in 1929. After the Second World War, he continued to work, his career culminating in the monumental sculpture The Bruce at Bannockburn, cast in 1964.
Lot 372
§ SIR WILLIAM REID DICK (1878-1961) 'CONTROLLED ENERGY'; PAIR OF FIGURES, CIRCA 1930 bronze, mounted on green marble plinths as book endsDimensions:11cm high, 9cm wide, 12.7cm deep excluding base, 12.5cm high, 10.5cm wide, 16.5cm deep including baseNote: Note: The Art Deco headquarters for the Unilever Group, Unilever House was built in 1930-31 to a design by J. Lomax-Simpson with Sir John Burnet and Partners. The building is noted for its monumental facade, mounted with a large pair of statues by Sir William Reid Dick entitled 'Controlled Energy'. Other artists involved in the project included Eric Gill and Gilbert Ledward. These rare figures by Reid Dick are reductions of the figures on the facade. At the inauguration of Unilever House on 18 July 1932, a pair of small models of these groups in bronze, designed to form book ends were presented to the Lord Mayor and Lord Leverhulme. Another pair, the only other known apart from the current lot, is now in a London private collection.
Lot 225
A Japanese lacquer inro and a large group of Chinese jade, amber, and hardstone carvings, Meiji period and 20th century, including a soapstone teapot and cover, a green jade box and cover, a greyish-white jade archaistic pendant, and three jadeite pendants, together with a Japanese gilt bronze lighter case and a large Mongolian snuff bottle and stopper, the soapstone teapot 15 cm wide (34)
Lot 233
A bronze figure of a dancing Ganesha atop a leaf moulded base, 20th century, 17cm high, together with a collection of miniature bronze deities including two further figures of Ganesha, a figure of Annapurna, a figure of Radha, a figure group of Rama and Sita, a figure of Tantric buddhist Dakini Vajrayogini, 12cm high, and three others (10)
Lot 251
Three Indian embroidered textile fragments, late 19th/early 20th century, each worked in cotton and gilt wire, later mounted and framed, the largest inc. frame 45 x 45cm; together with a Indian silk embroidered panel, the red ground with repeating floral motifs, 75 x 100cm; pair of silk embroidered bell pulls, and a matching bell pull, each with gilt-bronze foliate handle, 163 and 166cm long; and a Flemish tapestry border fragment, 134 x 35cm overall (8) (VAT on Hammer Price)
Lot 282
Two bronze sculptures, late 19th / 20th century, to include an unsigned figure group of two children and a dog stealing a bird from its nest, resting on a verde antico base (not attached), the bronze 15cm high, and an unsigned figure of Cupid modelled resting on a rock with bow and arrow in hand and head turned to the left, on green marble step base, the bronze 15cm high, together with a bronze chamberstick with scrolling handle, with trefoil sconce and geometrically patterned drip pan, 6.5cm high (3)
Lot 313
A mixed group of objects of vertu, to include a George III gilt-bronze watch stand, third quarter 18th century, the circular aperture with bullrushes, cherub, cockerel, Old Father Time and an owl, on a tripod base, 34cm high; a Dutch brass bucket, c.1900, by Meeuws en Zoon, oval oval form with applied maker's label, 19.5 x 34cm; a pierced copper tray, early 20th century, of oval form with wavy edge, 61cm wide; a pair of English brass door handles; six brass escutcheons, 18th century, 7.5cm wide; a pair of brass escutcheons, 18th century, with Chinaman head finials, 8cm wide; and a modern iron table easel, 30.5cm high (14) (VAT charged on the Hammer Price)
Lot 317
A group of objects of vertu, to include a Luxor travelling alarm timepiece for Asprey, with silvered dial and gilded hands, date aperture, and turning bezel ring applied with capital city time zones, 11.5cm diameter, together with a small bronze of a naked baby recumbent upon a rock, unsigned, with verde antico marble base, 8.2cm high, and a small resin match striker with silver mount, Chester, 1894: Cornelius Desormeaux Saunders & James Francis Hollings (Frank) Shepherd, with patent number to underside, 3.7cm high (3)
Lot 325
A collection of over one hundred antique accessories and ornaments, including buckles, buttons and rings, various mediums including bronze and pewter, held in clear plastic dividers and wallets and mounted to cards, some loose, with typed and hand-written notes pertaining to date and origin (lot) (VAT charged on the hammer price)Condition Report: The collection is in worth antique condition, with examples of verdigris to bronze, scratches and marks to pewter and other metals, please enquire for further photographs of specific examples.
Lot 355
A mixed group of collectibles, to include a Georgian fiddle and thread pattern silver teaspoon, London, 1814, William Eley & Fearn, a silver plated serving spoon, a Royal Worcester blush ivory shell form dish, a gilt metal finial modelled as a young boy, a miniature resin figure of a Japanese foot soldier, a turned mahogany handle corkscrew, a small South East Asian bronze paperweight of a man holding a bear cub, a miniature blue hardstone seated figure, a miniature timepiece modelled as an alarm clock, the dial inscribed 'Park Lane', a white metal mounted glass inkwell, two diamond cut glass inkwells, a Japanese bronze model of a goose, a Hornby series advertising billboard accessory, and a gilt tooled red leather Wickwar dispatch box with British Royal Arms to lid, the interior with velvet lining, inscribed in gold letters Wickwar Manufacturer Poland Street London to either side of the lock, 10 x 32 x 23.5cm (lot)(VAT charged on the hammer price)
Lot 409
A pair of Indian bronze and hardwood Corinthian column table lamps, late 20th century, each tapering shaft on hexagonal base, with brass shade fittings for electricity, each approx. 95cm high (2)It is the buyer's responsibility to ensure that electrical items are professionally rewired for use
Lot 430
A French black slate and gilt-bronze mounted mantel clock, 19th century, the case with bronze figure of a lady leant on a plinth holding a book, above scrolling foliate mounts, on scrolling feet, the enamel dial with Roman numerals signed Renard A ROUEN, the twin train movement stamped AM and with Medaille D'or pastille, 57cm high, 31.5cm widePlease note that Roseberys do not guarantee the working order or time keeping of any timepiece. Condition Report: The case in need of restoration, with the top and base very loose, and with breaks and losses to black slate on base. Chips to dial. Tarnishing to movement. No key or pendulum.
Lot 431
A French gilt-bronze mounted mahogany veneered portico clock, second quarter 19th century, the architectural case with gilt-bronze floral swags to frieze above four columns with gilt-bronze capitals on plinth base with swan and scrolling floral mount, the silvered dial with Roman numerals, the twin train movement striking a bell on the hour and half hour, the backplate stamped with Pons MEDAILLE D'ARGENT 1823 pastille, having gridiron pendulum and winder, 49cm high, 25cm wide, 13.5cm deepPlease note that Roseberys do not guarantee the working order or time keeping of any timepiece. Condition Report: Case: With some wear and restoration to include warping, minor losses to veneer, including above cornice, frieze, and numerous cracks and chips to veneer at base and corners, and warping and splits to right side of base. The mounts with some wear and scratches, the columns do not sit straight. The mount to frieze slightly loose and with split underneath, possible restoration patches to centre of plinth and back right corner of cornice. Dial: With minor scratches. Movement: The backplate and bell with scratches and minor tarnishing. The pendulum suspension ring is missing, therefore the pendulum does not attach. The pendulum with mild general surface wear.
Lot 442
A gilt-bronze four glass mantel clock, by Ansonia Clock Company, New York, late 19th century, the case surmounted with an urn, on plinth base the scrolling foliate buttress supports and lion paw feet, the enamel dial with Roman numerals and Visible Brocot escapement, the twin train movement with rear mounted rack-striking the hours on a coiled gong, with adjustable faux mercury pendulum, movement stamped ANSONIA PATENTED NEW YORK, with associated key, 48.5cm high, 23.5cm wide; 20cm deep; together with a pair of associated gilt-metal urns, each with flambeau finial and scrolling handles, on plinth base, 25.5cm high, 14cm wide Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.
Lot 759
CHAIM STEPHENSON (1926-2016 ISRAEL/BRITISH) - BRONZE SCULPTURE OF EMBRACING FIGURES. (d) A small bronze sculpture of two figures in an embrace, on a separate wooden plinth. With a paper label to the wooden base, 'Chaim Stephenson', possible small monogram mark on one side. 14cms high, 16cms high with base *Artists Resale Rights Applies to this lot. *Chaim was a Anglo Israeli sculptor who produced sculptures in various media including bronze, resin and wood. Born to Russian immigrant parents, he was well known for producing Jewish, family and refugee themes. *CR Bronze in good condition, wooden base has a few marks in places.
Lot 840
EARLY CHINESE BRONZE BUDDHA. Possibly Ming Dynasty, the figure sat in contemplation on a lotus leaf base. The clothing with various floral motifs, various damages. 25cms high. *CR There is a hole to the back of the bronze which is also bent in shape around that hole, and a section missing of the base. There are other small holes in places and some damages to the tops of the leaves/dents in places, surface is quite rough around the back of the neck.
Lot 849
CHINESE & JAPANESE ITEMS - INCLUDING NETSUKE & SNUFF BOTTLE. A mixed lot including a lacquer snuff bottle, possibly silver inlaid with various figures, and with character marks to the base (7.5cms high). Also with a small Japanese bronze figure of Daikoku (5cms high), a small bronze turtle group (8cms long), a small silver lined coconut shell, a small carved figure of a buffalo, a small carved figure of a toad with a ring in it's mouth (possibly horn, 5cms long), a small carved netsuke in the form of an elephant (3.5cms long), metal Japanese fish (signed, 15cms long), a seal in the form of a figure on horseback, and various other items including a carved Chinese wooden figure of a scholar and stand. *CR Not available.
Lot 850
JAPANESE BRONZE FIGURE GROUP & CARVED WOODEN STAND. Meiji period, including two detailed bronze figures including one standing and holding a pipe, the other crouched with arms outstretched. On a carved wooden stand with depictions of rocks and water. Unsigned, 27cms high, stand 37cms across. *CR The wooden stand has lost a little colour along the back edge near the figures feet, couple of small minor chips to the wooden base.
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