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Lot 45
Kindly donated by Prep 6Hamper includes:Lynnwoods Sourdough LoafTwo jars of Hatherop home made honeyJar of Tenuta Marmorella Italian tomato and basil pasta sauce Cantucci Almond biscuits Carapelli Balsamic Vinegar Bottle of Belvoir Raspberry and Lemonade sparkling soft drink Cotti al Forni Savoy cheese biscuits Millers harvest 3 nut crackers Millers harvest three seed crackers Pack of Napkins Deans Tin of Scottish Shortbread Homemade jar of Granola Taylors of Harrogate assorted speciality Teas London Essence grapefruit and rosemary tonic water London Essence bitter orange and elderflower tonic water Homemade shallot and red pepper chutney Homemade mango chutney Cartwright and Butler triple chocolate biscuits Gaea organic green olives and ceramic bowl Crespini sesame breadsticks Sapore Risotto Rice Wicker hamper
Lot 1102
LATE 19TH CENTURY FRENCH FIGURAL MANTEL CLOCK, the two train movement by Japy Freres et Cie., with blue enamel Roman numeral chapter markers, the cast brass case surmounted by a group of two gentlemen in 15th century dress playing a game of chess, the dial flanked by two ceramic portrait panels, on a shaped rectangular base on four bun feet, 47cm high
Lot 13
LATE 19TH/EARLY 20TH CENTURY GILT BRASS TWO TRAIN CARRIAGE CLOCK with swing handle to the gorge case above oval beveled glass, full depth Roman enamel ceramic face, on skirt base. Strikes on one gong. 14.5cm high approx. (B.P. 21% + VAT) General wear to gilding in places but retaining some original. One side glass and the back door glass both have small corner chips. Has its key.
Lot 152
Percival David Foundation of Chinese Art, Qingbai Ware: Chinese Porcelain of the Song and Yuan Dynasties, Percival David Foundation. 2002. ISBN: 0-7286-0339-X Lin Ying, Celestial Horses: The Apogee of Chinese Art and Civilisation, Foreign Languages Press. 2002. ISBN: 7-119-02999-1 Ann Paludan, Chinese Tomb Figurines, Oxford University Press. 1994. ISBN: 0-19-585817-4 William Watson, The Genius of China: an Exhibition of Finds of the PRC Held at the Royal Academy Lond 1973-74, Times Newspapers Ltd. 1973. ISBN: 0-7230-0107-3 Guo Ligu & Bo Wuyuan, Special Exhibition of Horse Paintings (Hua ma ming pin te zhan tu lu), Min Guo. 1990. ISBN: 957-562-018-6 Hugo Munsterberg, The Arts of China, Charles E Tuttle Company. 1989. ISBN: 0-8048-1624-7 Kentucky Horse Park, Imperial China The Art of the Horse in Chinese History, Kentucky Horse Park. 2000. ISBN: 1-56469-071-7 Michelle Morgan, 100 Treasures - The Museum of East Asian Art, The Museum of East Asian Art, Bath. 2000. ISBN: 1-89773-411-5 Albert E Dien, The Quest for Eternity: Chinese Ceramic Sculptures from the PRC, Thames and Hudson. 1987. ISBN: 0-500-27465-7 Robert Kleiner, Chinese Snuff Bottle, Oxford University Press. 1984. ISBN: 0-19-585756-9 Treasures from the Underground Palaces Treasures from Northern Song Pagodas, Dingzhou, Hebei Province, China, Idemitsu Museum of Arts Lisa Rotondo-McCord, Heaven and Earth Seen Withing Song Ceramics from the Robert Barron Collection, University Press of Mississippi. 2001. ISBN: 0-89494-077-5 Ancient Chinese Jade Gallery, Shanghai MuseumProvenance: The Professor Conrad Harris Collection
Lot 153
Southeast Asian Ceramic Society, Spirit of Han: Ceramics for the After-Life, Southeast Asian Ceramic Society, 1991. ISBN: 981-00-2961-6 He Li, Chinese Ceramics: The New Standard Guide, Gardners Books. 1996. ISBN: 0-500-23727-1 Rhonda Cooper, Masterpieces of Chinese Art, Tiger. 1998. ISBN: 1-85501-944-2 Jessica Rawson, Chinese Ornament: The Lotus and the Dragon, British Museum Press. 1984. ISBN: 0-7141-1431-6 May Holdsworth, Women of the Tang Dynasty, Pacific Century Publishers Ltd. 1999. ISBN: 962-217-460-4 China Institute in America, Ceramics in the Liao Dynasty Fung Ping Shan Museum, Green Wares from Zhejiang, University of Hong Kong. 1993. Jessica Rawson, Mysteries of Ancient China New Discoveries from the Early Dynasties, British Museum Press. 1996. ISBN: 0-7141-1472-3 Wu Hung, Between Han and Tang, Cultural Relics Publishing House Beijing. 2001. ISBN: 7-5010-1282-2/K.539 Suzanne G Valenstein, A Handbook of Chinese Ceramics, The Metropolitan Museum of Art. 1988. ISBN: 0-8109-1170-1 The J & J Collection, The Art of the Chinese Snuff Bottle (at the Percival David Foundation of Chinese Art 1997) Ancient Treasures from LuoyangProvenance: The Professor Conrad Harris Collection
Lot 154
William Watson (Thames & Hudson), Tang and Liao Ceramics, Thames and Hudson. 1984. ISBN: 0-500-23408-6 Shanghai Museum of Art, Treasures - 300 Best Exvacted Antiques from China, Art Media Resources Ltd. 2000. ISBN: 7-80635-587-1 Roger Keverne (Consultant Editor), Jade, Anness Publishing. 1991. ISBN: 1-85238-183-3 Roderick Whitfield and Anne Farrer, Caves of the Thousand Buddhas: Chinese art from the Silk Route, Braziller. 1990. ISBN: 0-7141-1447-2 Michael Teller, Celestial Horses, TK Asian Antiquities. 2002. ISBN: 0-98864-761-3 Stacey Pierson, Earth, Fire and Water: Chinese Ceramic Technology. A Handbook for non-Specialists, School of Oriental and African Studies University of London. 1996. ISBN: 0-7286-0265-2 Craig Clunas, Art in China, Oxford History of Art. 1997. ISBN:0-19-284207-2 The Cream of Henan Cultural Relics Collection, China Publishing. ISBN: 7-80537-791-X Stacey Pierson, Collecting Chinese Art: Interpretation and Display Colloquies on Art & Archaeology in Asian No. 20, Percival David Foundation of Chinese Art. 2000. ISBN: 0-72860-316-0 An Exhibition of Important Chinese Ceramics from the Robert Chang CollectionProvenance: The Professor Conrad Harris Collection
Lot 155
Maxwell K Hearn, Splendors of Imperial China: Treasures from the National Taipei Palace Museum, Rizzoli, 1996. ISBN: 0-8478-1959-0 Heian International Inc, Great National Treasures of China, National Palace Museum, 1992. ISBN: 957-562-086-0 Guggenheim Museum, China 5000 Years: Innovation and Transformation in the Arts, Harry N Abrams, 1998. ISBN: 978-0810969087 Grace Wong, Urban Life in the Song, Ming and Yuan, Empress Place Museum, Singapore, 1994. ISBN: 9-81300-281-6 Selected Treasures of the Past Dynasties Rare Gems of New Archaeolological Discoveries in Shaanxi Province. ISBN: 7-224-05792-4 Rosemary Scott, The World in Monochromes, The Oriental Ceramic Society, 1999 Regina Krahl, Bright as Silver White as Snow: Chinese White Ceramics from Late Tang to Yuan Dynasty, Yung Ming Tang, 1998. ISBN: 962-7502-39-1 Chen Quanfang, Yaozhou Kiln, Shaanxi Travel & Tourism Press, 1992. ISBN: 7-54180-506-8 Wang Ming Fang, Paintings of Flowers and Birds, ChinaProvenance: The Professor Conrad Harris Collection
Lot 423
Jonathan Christie Pienza Piazza II, 2020 Watercolour and Graphite on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jonathan Christie (b.1969) grew up in South-West London before completing his Foundation at Kingston and his Degree at Maidstone. Jonathan lives in East Sussex and has exhibited his paintings and drawings throughout the United Kingdom. Jonathan is also a book designer and has art directed interiors, cookery, design and lifestyle books for authors such as John Berger, Terence Conran, Dan Pearson and Orla Kiely. 'Jonathan Christie's paintings are all inspired by real places and objects, but in the memory, reimagined, conflated, obscured and elucidated. Deploying watercolour, graphite and sgraffito on a gesso board, he will incise, distress, glaze and wash, but always guided by the powerful impulse of drawing. In this way the paintings emerge from change and development, traces of their genesis apparent at completion. A ceramic dog is reanimated by the poetic congruity of its appearance in front of the Southwold lighthouse; Orion's shape is traced onto a moon-lit compotier of lemons; a marbled cup lends its pattern to a winding coastal path. These are the charms of Christie's vision, at once incisive and delicate, the working of imagination on memory.' Christina Jansen, Managing Director, The Scottish Gallery
Lot 467
Amy Bessone Small Refuge 1, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?"
Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses".
 Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California,
Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). 
Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Lot 468
Amy Bessone Small Refuge 2, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?"
Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses".
 Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California,
Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). 
Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Lot 469
Amy Bessone Small Refuge 3, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?"
Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses".
 Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California,
Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). 
Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Lot 470
Amy Bessone Small Refuge 4, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?"
Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses".
 Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California,
Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). 
Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Lot 81
A Victorian brass oil lamp, with cranberry reservoir, on a column support and circular ceramic base, with frosted and cranberry flashed glass shade, overall height 65cm.Condition report: Part of the chimney holder has been bent down below the shade holder, images of which on David Lay website. No other condition issues. Shade diameter at its widest 22cm, height 15.5cm.
Lot 904
A Chinese crackleglaze blue and white vase, 20th century, painted figures in a garden, height 18cm, together with a Japanese vase, a figure group and two other items (5).Condition report: Elephant lacking trunk, chip to rim of Japanese vase, flaking to paint on ceramic group. Extra images on David Lay website.
Lot 921
An Art Deco period Crown Devon figure, height 17.5cm, together with a ceramic figure group of a mother and child, incised marks to base, a pottery vase with leaf motif to rim, and one other vase (4).Condition report: Crown Devon Figure - repairs visible to neck, waistline and where the outstretched arm is holding the apron. Crazing throughout. Mother and Child - fritting to base, crazing throughoutBlue vase - crazing visible to pale areasVase with prunus decoration - crazing and light surface scratches, some wear to gilded footrims
Lot 550
OMEGA OMEGA Ladymatic. Schweiz. Automatik. 750/- Rotgold, Stahl, Lünette diamantgeziert, Zffbl. Perlmutt, Indizes diamantgeziert. Gesamtgewicht: ca. 101,5 g. Länge 18,5 cm, Ø 3,4 cm. Gehäuse-Nr.: 85499256. Referenz-Nr.: 425.25.34.20.55.001. Werk-Nr.: 85499256. Außergewöhnliche Omega Armbanduhr mit aufwendig dekoriertem Perlmutt-Zifferblatt. Gehäuse mit Wellenmuster, welches durch den innenliegenden Keramikring sehr schön zur Geltung kommt. Zustand C: Werk: Sehr guter Zustand. Zifferblatt: Neuwertiger Zustand. Gehäuse: Sehr guter bis guter Zustand, leicht verkratzt. Omega Schweiz Armband- & Taschenuhren Armbanduhr Automatik Rotgold Schweiz Erläuterungen zum Katalog OMEGA Ladymatic. OMEGA Ladymatic. Switzerland. Automatic. 750/- red gold, steel, bezel diamond embellished, dial mother of pearl, indices diamond embellished. Total weight: ca. 101,5 g. Length 18,5 cm, Ø 3,4. Case-No: 85499256. Reference-No: 425.25.34.20.55.001. Movement-No.: 85499256. Extraordinary "Omega" wristwatch with elaborately decorated mother of pearl dial. Case with wave pattern, which is beautifully accentuated by the inner ceramic ring. Condition C: Movement: very good. Dial: as new. Case: Very good to good condition, slightly scratched. Explanations to the Catalogue Omega Switzerland Wrist & Pocket Watches Red gold Swiss
Lot 3002
Furnival (William James) Leadless Decorative Tiles, Faience and Mosaic, comprising Notes and Excerpts on the History, Materials, Manufacture & Use of Ornamental Flooring Tiles, Ceramic Mosaic, and Decorative Tiles and Faience ..., Stone: W. J. Furnival, 1904, thirty-seven plates as called for, top edge gilt, original cloth gilt
Lot 434
HOWARD STYLE TWO SEAT SOFA, PROBABLY WHYTOCK & REID, EDINBURGH MID 20TH CENTURY with 'siege de duvet' padded high arms above a two cushion seat, raised on waisted square mahogany legs with ceramic castors, covered in cream cotton with a floral slipcover with green piping(150cm wide, 77cm high, 80cm deep)
Lot 495
PAIR OF FRENCH EMPIRE STYLE MAHOGANY MARBLE TOP BEDSIDE COMMODES LATE 19TH CENTURY the rouge marble tops above frieze drawers, raised on fluted column supports over bowfront bases with panel doors and ceramic lined interiors, on toupie feet, all outlined with gilt metal mounts(45cm wide, 37cm high, 90cm deep)
Lot 862
Souvenir of Crystal Palace – a scarce whitewood paint box, of rectangular form, the sliding lid with colour print titled ‘Crystal Palace’ and lower left ‘Myers and Comp., Licencees, London’, paper lined interior with paint tablets, two of four ceramic dishes and quill brush, 11 x 19 x 2.8cms.
Lot 8
An early 19thC mahogany concertina action dining table, in the manner of Gillows, the rectangular top with a reeded edge and rounded corners, on turned and reeded tapering legs with ceramic castors, with two loose leaves, 45cm high, 121cm wide, 61cm deep enclosed, 75cm high, the top 121 x 240cm extended.
Lot 808
A Victorian burr walnut games/ work table, the hinged shaped top with a moulded edge, enclosing a back gammon, cribbage, and chess boards, above a frieze drawer and a solid wool bag, of tapering form, on turned end supports with splayed legs carved with flowers and ceramic castors, the hinged top warped and both end supports have historic worm damage.
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163696 item(s)/page