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Lot 93
Tag Heuer Formula 1 Steel, Ceramic and Diamonds Set Chronograph Wrist Watch with Black Dial with Diamond Markers and Bezel. Serial Number CAH.1212. Purchased 3.9.2011. Diamonds Colour Wesselton, Clarity I. Weight 0.53 pts. Complete with Box and Papers and Diamond Certificate + Extra Links, Never Used Condition.
Lot 642
Goldscheider Art Nouveau Terracotta Vase, signed Kinsburger, the ovoid body decorated with a nude female floating amongst swirling clouds and drapery, with two birds in flight below her, in low relief; the back shows further clouds and birds similar; to the shoulders of the vase sit two complete figures of semi-nude male youths, their arms raised to reach the wavy rim, which flares from the short neck; the whole with a cold painted bronze patina style finish; 13.75 inches high; incised Goldscheider, Wien and Ges. Geschutz marks to upper side of back base, with the usual applied oblong cartouche above, plus the incised signature Kinsburger below the right handle; c1900 Sylvain Kinsburger, (1855-1935), sculpted principally in bronze, with productions in spelter and ceramic including parian and terracotta
Lot 174
THE JEAN AND CHARLES BAWDEN REFERENCE COLLECTION A collection of European pottery and porcelain related reference books, including Delfts Aardewerk, European Ceramic Art by W.B Honey, 18th century German porcelain, French Porcelain - A Catalogue of the British Museum Collection and others (qty)
Lot 600
John Verando a large stoneware vase, dated 1969, amorphic form with twin necks, covered with a running ash glaze, and another by the same artist, painted signature and date 44cm. high Catalogue Notes John Verando ran a ceramic gallery and pottery on Richmond Hill, London in the 1960s and 1970s.
Lot 54
A rare Caughley dessert tureen stand, circa 1788-93, painted in a light, bright underglaze blue colour, combined with an elaborate Gold Star and Spangles gilded border, central panel painted with a vista of a man and packhorse crossing a lake, with ruins beyond, unmarked, 23cm wide See PS&CP, pps. 43-106 for an extensive discussion on this design. By the release of Godden's book on Caughley and Worcester porcelains, the author knew of only six pieces in this pattern. It was Gaye Blake Roberts who first shed significant light on these designs in 1974 within an English Ceramic Circle Transaction paper in which it was reported that the source of several scenes from a Bright Landscapes dessert service were taken from Paul Sandby's Virtouosis' Museum published in 1778. The Gold Star Border and Spangles dessert service was first illustrated in 1969 by Godden. Research has shown that there are at least two dessert services with this gilt design.
Lot 43
Garden Urn : After the Antique: A pair of rare and monumental Coade stone Medici and Borghese urns stamped Coade Lambeth, one indistinctly dated 1815, on Portland stone pedestals 259cm.; 102ins high Eleanor Coade (d.1821) opened her Lambeth Manufactory for ceramic artificial stone in 1769, and appointed the sculptor John Bacon as its manager two years later. She was employed by all the leading late 18th Century architects. From about 1777 she began her engraved designs, which were published in 1784 in a catalogue of over 700 items entitled A Descriptive Catalogue of Coade's Artificial Stone Manufactory. Then in 1799, the year she entered into partnership with her cousin John Sealy, she issued a handbook of her Pedlar's Lane exhibition Gallery. The firm became Coade and Sealey from this date and following Sealey's death in 1813, it reverted to Coade and in 1821 with the death of the younger Eleanor Coade, control of the firm passed to William Croggan, who died in 1835, following bankruptcy. Coade's manufactures resembling a fine-grained natural stone, have always been famed for their durability. The Medici and Borghese urns are illustrated in the 1784 Coade catalogue, Nos 81 & 82. (see engraving). The Borghese Urn was recorded in the garden of Carlo Muti in 1594 by Flaminio Vacca who added that it had been discovered along with the Silenus and Infant Bacchus on Muti's estate near present day Casino Massimo. In 1645 the urn had found its way into the Villa Borghese where it stayed until purchased by Napoleon in 1807. By 1811 it was on display in the Louvre where it remains today. From the mid 17th to the late 19th Century the Medici and Borghese urns or |vases| were the most admired of all the antique models and were often paired together. The Medici urn is first recorded in 1598 in the inventory of the Villa Medici, Rome although there is evidence that it was there at least thirty years earlier. In 1780 it was removed to Florence and soon entered the Uffizi where it remains today. It is believed that the original was executed in the second half of the first century A.D. Provenance: Newtown Park House, Dublin, Bought on 20th September 1976, at an auction held by Christie, Manson & Woods Ltd., and Hamilton and Hamilton and thence by descent. A photocopy of the catalogue title page and photographs of the urns are available to the purchaser. For further information on Newtown Park House, go to; http://www.newtownparkhouse.ie/about-us/history
Lot 204
Pair of unusual Continental Oil Lamps with clear glass chimneys, opaque glass shades and ceramic bodies formed as elephant's heads, 18" high Condition: Both in good condition – slight wear to both around the elephants ears. Please note: Keys Fine Art Auctioneers take great care to ensure that any statements as to attribution, age, date, origin, provenance and condition are reliable and accurate but it should be noted that all such statements are skilled opinions prepared with due care, if provenance (written or historical fact) cannot be produced. However, Keys Fine Art Auctioneers do not guarantee that condition reports, whether included in the catalogue, or given at a later time, cover all aspects of an item(s) condition. All clocks, watches and mechanical items are sold on behalf of vendors by Keys Fine Art Auctioneers strictly on an “As Found” basis. No guarantee or warranty is issued or given in anyway, either written or verbal and therefore refunds will not be issued on the basis of the Lot not being “in working order”, “incomplete”, or “not in original condition”. Keys Fine Art Auctioneers would respectfully ask that prospective buyers view Lots in person, wherever issues regarding condition are seen as important to them, satisfying themselves as to the condition, completeness and originality of any Lot on which they intend to bid.
Lot 132
An Edwardian mahogany and chequer banded writing desk, the rectangular top with brown leather insert and gilt tooled border, above a central bow fronted frieze drawer flanked by four small drawers, raised on tapered square supports with brass cups and ceramic casters, 91cm wide x 74cm high x 51cm deep
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163696 item(s)/page