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Lot 205
Two boxes of assorted china wares, metal wares, glass and treen to include a Spode Rockingham part tea set, two lidded tureens, various glassware to include a pair of cut glass rummers, etc and a collection of African artefacts to include wooden head rest/pillow, king ebony elephant, figure of a drummer, two bust figures, mask, etc, together with an American drop dial wall clock by Jerome & Co. of Newhaven Connecticut, the front glass decorated with "State Street Boston"
Lot 535
CHARLES ROSENBERG (1745-1844) "Gentleman facing left", silhouette bust, reverse painted on glass, unsigned, bears artist's label verso "Rosenberg Profile Painter to their Majesties Their Royal Highnesses The Prince and Princess of Wales and The Duke and Duchess of York No. 14 Grove Bath" and inscribed on "Christie Collection" label "Sept 1945", 7.5 cm x 6 cm CONDITION REPORTS Slight blemish to the surface of the glass around shoulder area. Slight chipping to the extremities of the frame. Paper on back extant but in poor condition. Paper browned throughout. See images for further detail.
Lot 702
GIOVANNI SCHOEMAN (South African, 1940-1980); 'Ethne', a bronzed bust of an Art Nouveau maiden draped in relief, raised on tapering plinth base, height 22cm.Additional InformationThere has been a break across the lower body of the figure, which has been broken and glued back. Minimal wear and scuffs.
Lot 334
Two trays of ceramic items to include three ceramic candle wall sconces decorated with figures and fairies, a similar design column-shaped candle holder, and a ceramic/plaster bust of a girl, along with two carved eggs on small bronzed stands with monogram VTT to the side. (2)(B.P. 21% + VAT)
Lot 108
Italian school, late 18th century.Male portrait.Oil on canvas.Re-drawn.Frame of the 19th century.Measurements: 65 x 57 cm; 59 x 50,5 cm (frame).Male bust of naturalistic character, in which an expressive and extremely plastic palette has been used, based on strong contrasts between warm and cold tones. Wearing a beret, the figure is partially hidden behind a long beard of grey hair. His tanned skin, modelled with side lighting, emphasises his angular features. The influence of Venetian art can be seen in the treatment of light, as Venice is an enclave with a long tradition of portraiture, from the 16th to the 18th century, from Bellini to Giorgione and Titian to Giorgione. In particular, the legacy of Giorgione's vivid portraits of humble characters and old women can be appreciated,
Lot 44
Andalusian school, 17th century. Circle of PEDRO DE MENA (Granada, 1628 - Malaga, 1688)."Saint John of the Cross".Painted wood carving.Lack of polychromy.Lined wooden base.Measurements: 30 x 23 x 14 cm. (sculpture); 8 x 28 x 20 cm. (base).Bust from the Andalusian school, specifically from Granada, where the sculptural plasticity characteristic of Juan de Mena can be appreciated in this carving. Saint John of the Cross has been depicted with a young, beardless face, with expressive features, half-open lips and almond-shaped eyes that highlight his asceticism. A tonsure crowns the saint's head. Juan de Mena's images reflected devotional types that referred to states of introspection and ecstasy, and this piece is an attentive follower in the master's wake.Pedro de Mena was the son of the sculptor Alonso de Mena, whose workshop was the most important in Granada until the arrival of Alonso Cano. Trained with his father, after his father's death he remained in charge of the workshop and worked together with Bernardo de Mora. During this period he made four sculptures for the church of San Matías in Granada, the Sagrada Familia de los Capuchinos in the same city, and the San Antonio in the Municipal Museum in Malaga. He later worked with Alonso Cano after the latter moved to Granada in 1652. He carved four large sculptures of saints commissioned from Cano for the convent of the Guardian Angel and also a Conception for the parish church of Alhendín in the fertile plain of Granada. Later, in 1658, he left for Malaga due to the commission to make the choir stalls of the cathedral choir, which had been designed in 1633 by Luis Ortiz de Vargas, who began the carving but left it unfinished. José Micael y Alfaro continued the work, but in the end it was Mena who did most of the work, carving the forty-three missing panels and the crowning of the choir stalls. In this work he showed his great technical skill and his ability to create a great variety of faces, types and compositions. In 1662 he travelled to court at the request of John Joseph of Austria. On this brief trip he also visited Toledo. For Don Juan José he carved a sculpture of the Virgin of Pilar with Saint James the Apostle at the foot. In Madrid he also made a Crucifix for Prince Doria, which was sent to Genoa. In Toledo he carved the St. Francis in the Cathedral Treasury, which is one of his most important works. Small in size, as was customary in Granada art, he is shown standing upright, with his head slightly raised and his eyes turned towards the sky. He was appointed sculptor of Toledo Cathedral. Almost at the end of his journey he began Magdalena penitente (Prado) in Madrid, which he completed on his return to Malaga. There he set up an important workshop and produced numerous works. Around 1666 he produced, for the convent of Santo Domingo in Malaga, the Virgin of the Crib and a Crucifix, an unusual iconography for Mena, who was not in the habit of depicting sorrowful themes.
Lot 94
European school, following 17th century models; 19th century."Abraham".Oil on panel.It presents slight jumps in the painting.Measurements: 40,5 x 31,5 cm.In this work of the XIX century the author rescues the aesthetic models of the XVII century, based on the tenebrism. He conceives a completely dark image, with a directed and dramatic light that falls directly on the face of the protagonist. The sitter is presented bust-length before the viewer, with his head bowed in an attitude of humility or even redemption, in such a way that some of the features of his face are hidden from the viewer's view. The aesthetic treatment, inspired by ancient models, and the rotund features that indicate that we are dealing with an elderly protagonist, lead us to believe that this is a representation of Abraham.Abraham is the common patriarch of the Abrahamic religions, including Judaism, Christianity and Islam. His life, recounted in the narrative of the Book of Genesis, revolves around the themes of posterity and the land. Abraham is called by God to leave his father Terah's house and settle in the land of Canaan, which God now promises to Abraham and his descendants. This promise is subsequently inherited by Isaac, the son of Abraham and his wife Sarah, while Isaac's half-brother Ishmael is also promised to found a great nation. Abraham buys a tomb (the Cave of the Patriarchs) in Hebron to be Sarah's tomb, thus establishing his right to the land; and, in the second generation, his heir Isaac marries a woman of his own family, and thus the Canaanites are cut off from all inheritance.
Lot 97
Spanish reliquary, ca. 1600."Saint".Carved and polychromed wood.Polychromy from the 18th century.It presents damages by xylophages and flaws in the polychromy.Measurements: 34 x 20 cm.Bust made of carved and polychromed wood which is supported by a rectangular base with a marble appearance. On this base is a carved sculpture representing a saint with long hair, adorned with rich jewels that decorate her hairstyle, her shoulders and her ears. Devoid of any identifying attributes, the saint would most probably be holding a palm branch that would distinguish her as a martyr.Reliquaries of this type were somewhat common from the Gothic period onwards, usually referred to as "testas" in documentation contemporary to their production and used to contain relics of the head, as carvings of arms, etc. were used for relics of other parts of the saint's body. It should be remembered, however, that at that time practically any item that had been in contact with the saint or his mortal remains (cloths, burial soil, etc.) was considered to be a sacred relic. The best examples were made of precious metals, but specimens such as the present one were also highly valued, both for their container and, above all, for their content. The evolution of the centuries can be seen in the details of the carvings.
Lot 1987
A group of six First Word War period medals to E.E. Edwards, comprising 1914-15 Star to 'R.M.A. 5885, Sgt.Maj.E.E.Edwards', 1914-18 British War Medal and 1914-19 Victory Medal to 'R.M.A. 5885 W.0.2. E.E.Edwards' (Victory Medal officially renamed), Meritorious Service Medal to '5885. C.S.M., E.E.Edwards, R.M.A. Siege Guns Flanders 1918.', Navy Long Service and Good Conduct Medal, George V Admiral's bust issue, to '5885 E.E.Edwards. Sergeant , R.M.A.' and Croix de Guerre, Belgian issue, mounted on a bar.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1971
A group of nine First and Second World War period medals to Frederick John Archer, Royal Navy, comprising British Empire Medal for Meritorious Service, George VI issue, to 'Ch.Shpt. Frederick J.Archer,C/MX.57520.', Distinguished Service Medal, George V issue, to 'M.1765. F.J.Archer, Shpt.2Cl. H.M.S.Wahine. 1917', 1914-15 Star to 'M.1765, F.J. Archer,Shpt.2. , R.N.', 1914-18 British War Medal to 'M. 1765 F.J.Archer.Shpt.2 R.N.', 1914-19 Victory Medal to '1765 F.J.Archer. Shpt.2 R.N.', 1939-45 Star, Atlantic Star and 1939-45 War Medal with MiD spray (these three unnamed as issued), and Navy Long Service and Good Conduct Medal, George V Admiral's bust issue with fixed suspension, to 'M.1765 F.J.Archer. Shpt.1.H.M.S. Cleopatra', mounted court style for display, with a set of uniform ribbons, two buttons and a portrait photograph shown wearing a DSM, framed for display, together with a group of documents, comprising his certificate of service in the Royal Navy confirming service on HMS 'Wahine' from 22 July 1916 to 21 Apl 19, a cutting of the Daily Telegraph, dated Oct 2nd 1917, confirming notification of the DSM the previous evening in the London Gazette, a letter recommending his advancement to Chief Shipwright, a letter/form relating to his pension, a letter, dated 19 Feb 1996, confirming his award of the BEM military division, notified in the London Gazette 1st Jan 1941, and a framed Mention in Dispatches certificate for good service, published in the London Gazette on 23rd Jan 1941.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 621
After J. Smith (active 19th century), engraved by John Chapman (active 1792-1823)'Ireland', hand coloured stipple engraving, Published Feb. 14th 1812 by Adlard & Jones, depicting two allegorical female figures, representing Britain & Ireland (Britannia and Ireland) shaking hands, with bust of George III, William Pitt and Crown & Sceptre, framed and mounted,overall 37 x 29.5cm, within frame 25.8 x 18cm Condition: Unexamined out of frame, staining and tear visible to margins.
Lot 827
A Victorian Folk Art carved fruitwood 'Jubillee' walking stick signed Aaron Dossett and dated 1887having plain grip handle and white metal collar, the tapering shaft carved in raised relief with various animal and human masks and three bands of continuously carved decoration, the first JU.BIlEE VIR, either side of Christ on the cross, the bust of Queen Victoria in profile and a facing lady and gentleman on horseback, the second a ploughing and sheep herding scene scratch carved with trees, chickens, a peacock and a pig, the third a boxing and wrestling scene in four scenes and and two farmers fighting over a cow being milked by a titled lawyer The LAWSUIT 1887, signed AARON DOSSETT CARVED THIS STICK IN 1887height 90.5 cm.Condition: Stable shrinkage cracks to grp handle. good colour. Knock to one nose of the masks Otherwise good defintion
Lot 271
A SCULPTED ALABASTER BUST OF A GIRLLATE 19TH OR EARLY 20TH CENTURYThe lady modelled cowled, on a shaped plinth base36cm highCondition Report: 37cm high, 36.5cm wide, 21.5cm deepThe base is detached from the bust.There are marks, scratches, knocks, cracks, discolouration and abrasions consistent with age and use.There is dust to the recesses.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
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110054 item(s)/page