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Lot 8
A late 19th/early 20th century silver overlay elongated baluster-shaped ceramic vase with Ruskin-style glazes, the florid overlay in high Art Nouveau style (14.5cm)Condition Report: Condition is generally good overall, no hallmarks are prevalent. The neck appears a little 'abrasive' to the touch - the glaze has bubbled a little in the firing process and under a loupe there is crazing to be seen on the surface but no crack, damage or restoration has been noted. There is an impressed no '29' to the underside.
Lot 26
A cased set of six yellow glaze Staffordshire ceramic custard cups within ornate silvered holders (one custard cup damaged), silver mounts with maker's mark W.C., assayed London 1901Condition Report: 1st cup has black marks around the outside and on the yellow. 2nd cup has a hairline prevalent to the inside and also the underside. 3rd cup also has black marking to the outside of the yellow glaze. 4th cup has 1.5cm hairline emanating in from the lip and has discolouration. 5th cup is damaged to the edge of the lip (piece away and now missing). 6th cup has black marking to the yellow glaze, it is noted that all of the silver cup holders appear in good condition.
Lot 388
A good 19th century bombe-shaped continental ceramic box and hinged cover (probably French): the cover, inside of cover, main body and underside all decorated with couples in 18th century dress within gilt framed vignettes, gilt metal mounted and with fine gilded interior (8.25cm wide x 6cm deepest x 4.75cm high)
Lot 115
A collection of glass scent bottles to include: Victorian Aesthetic silver mounted porcelain bottle decorated with wheat, engraved silver cover hallmarked by Charles Mappin, London, 1885; an early 20th Century mother-of-pearl scent bottle casket complete with two glass and white metal mounted bottles; an early 20th Century blush ivory ceramic bottle decorated with rose hips and foliage, pattern no: 1189, Reg 97529 (Worcester?) with silver mounted cover hallmarked by Deakin & Frances, Birmingham, 1888 together with various coloured and clear glass examples, some Continental (1 box - Q)
Lot 850
German Westerwald - A 20th Century continental ceramic tankard, of ovoid form with loop handle, with cobalt blue decoration over a textured grey ground and metal hinge lid, signed, complete with certificate, height 16cm, together with two further tankards and a bottle of similar design and decoration, tallest height 23cm. (4)
Lot 960
Marianne Johnson - Royal Copenhagen Aluminia - A mid 20th Century ceramic dish, circa 1964, of square section and decorated with stylised flower heads in tones of blue and pink, printed marks, width 17.5cm, together with a pair of similar smaller square dishes, printed marks, width 11cm, and a small jug with abstract floral design, printed marks, height 12cm, both by the same hand. (4)
Lot 52
Sol LeWitt (1928-2007), Five geometric figures, each signed and dated in pencil ‘LeWitt 85’ (on the reverse), five glazed ceramic tiles, in wooden frames, each 25x25 cm, Issued in 1985 by the Haags Gemeentemuseum, The Hague, in an edition of an unknown size on the occasion of their 50th anniversary.Provenance: Acquired in 1985 by the present owner from the Haags Gemeentemuseum.
Lot 79
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Untitled signed and dated 'BEN ENWONWU/ 1962' (left shoulder)ceramic with bronze patination23 x 17 x17cm (9 1/16 x 6 11/16 x 6 11/16in).Footnotes:ProvenanceThe collection of the artist Twins Seven Seven;Mr Enrico Mascelloni;A private collection.The bust of a young boy is a rare example of Ben Enwonwu's work in ceramic. A prolific sculptor, the artist primarily worked in wood, bronze, and bronze resin. The present work offers a distinct technique and employment of materials in which a white ceramic has been coated with a bronze-like finish. The technique captures the defined textures that characterise Enwonwu's masterly depiction of his subject, from the folds in the fabric of the boy's shirt to the whorls of his inner ears. The boy's defiant expression positions the work somewhere between a portrait and a character study. Enwonwu's portrait busts of children, typically commissioned by wealthy families, typically present his sitters with neutral facial expressions. They are conceived, primarily, as exercises in realist representation. In contrast, the present work captures the young boy with an expression of quiet defiance. His chin is tilted upwards and juts forward, conveying the strong-willed nature of the child. The bust offers a characterful depiction of Enwonwu's subject and demonstrates his aptitude for emotional realism.The present work was created in 1962: in the middle of a period of great productivity in Enwonwu's sculptural practice. In 1956 he received a portrait commission of Queen Elizabeth II to commemorate her visit to Nigeria earlier that year. Working in London, he conducted preliminary sketches and clay models of the monarch in his own studio before relocating to the Maida Vale studio of his colleague at the Royal Society of British Artists, Sir William Reid-Dick, as the work increased in scale. In an interview conducted with the artist in 1988, Sylvester Ogbechie relates, 'Enwonwu completed his clay model of the queen's portrait in July 1957 and had it cast in bronze by Guilio Galicie, an Italian bronze caster resident in London, from a plaster cast prepared in the studio of Frederico Mancini' (Ogbechie, 2008: p. 138). Similarly, his later iconic bronze of the Yoruba deity Sango (1964), permanently installed outside the headquarters of the Power Handling Company of Nigeria in Lagos, was cast by Italian artisans in London before being relocated to Nigeria. The two sculptures, created around the time of the present work, establishes a precedent for the involvement of Italian craftsmanship in the production of Enwonwu's work in London.Given the complexity of the techniques utilised to create the present work – and its subsequent appearance in an Italian collection – it is not unreasonable to suppose that the bust of the boy was also created in London and its final form fabricated by Italian craftsmen. Along with the bronze and bronze resin versions of his work offered by Enwonwu to his clients to suit different price points, the present technique of coating white ceramic with a bronze finish demonstrates his aptitude working in a variety of mediums with the assistance of skilled workshops.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of Rochester Press, 2008).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 83
George Leslie Hunter (British, 1877-1931)Still life with roses and Japanese print oil on canvas61 x 50 cm. (24 x 19 11/16 in.)Footnotes:ProvenanceArthur Leyden and thence by descentThe inclusion by Hunter of a framed picture as a backdrop was a composition format he used from circa 1916 and at irregular intervals up until the end of the 1920s. However, this painting appears to be one of only two still lifes featuring a Japanese print, both datable to circa 1921-22.Hunter's fascination with oriental art was nothing new, nor did it differ from similar interests held by other artists. From early days in San Francisco, he was drawn to Chinese culture. His still life paintings often featured Oriental porcelain such as blue-white vases and ginger jars. A ceramic jade bowl was a favourite in the early 1920s (see Bill Smith and Jill Marriner, Hunter Revisited, the Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, pp.89-90, and plate 75).With Hunter not re-locating to Scotland until 1906, the Glasgow Boys' attraction to Japanese art (circa 1888- 1900) was not of any influence. His fellow Colourist, Samuel John Peploe (1871-1935) utilised Japanese prints in pictures such as Flowers and Fruit circa 1915 (Kirkcaldy Museum & Art Gallery) or Interior with Japanese Print, circa 1919 (University of Hull Art Collection), but Hunter's friendship with Peploe did not start until 1921. Hunter's notebook from circa 1920-1923 confirms that he was more concerned with Paul Gauguin (1848-1903) and the French Nabis movement (circa 1888-1900). The Nabis were also drawn to Japanese printmaking as a source of inspiration, particularly Édouard Vuillard (1868-1949) and Pierre Bonnard (1867-1947) whose art Hunter especially admired in 1921 and 1922. Furthermore, their pictures were readily accessible to Hunter in several of his friends' collections. In Still Life with Roses and Japanese Print, Arthur had acquired a superb still life with an almost unique composition from Hunter. He most likely purchased it in 1924 during his Scottish visit of that year.  This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 165
λ PABLO PICASSO (SPANISH 1881-1973)PROFIL DE TAUREAU (ALAIN RAMIE 315)Painted and glazed ceramic plaque, 1956, from the edition of 450Stamped Empreinte Originale De Picasso and Madoura Plein Feu (verso)25 x 25cm (9¾ x 9¾ in.)Literature:Alain Ramié, Picasso catalogue de l'oeuvre céramique édité 1947-1971, Vallauris, 1988, p. 161, no. 315Condition Report: Appears to be in good original condition. There are patches of glue residue to the reverse, together with a label still attached with pieces of tape. Condition Report Disclaimer
Lot 1
* Anne Gordon Vegetables. A collection of Anne Gordon ceramic vegetables circa 1980, comprising two bunches of asparagus dated (19)82, acorns on oak leaves 1979, blackberries on a leaf (chipped) 1986, a variant of blackberries on a leaf 1982, strawberry on a leaf 1979, two aubergines dated 1984 (both damaged), onion 1984, two runner beans, peas in a pod, spring onion, melon with grapes (damaged) 1988QTY: (17)
Lot 151
* Chinese Embroidered Robe. A woman's silk informal robe, late Qing Dynasty, dark blue silk robe with long wide sleeves, hand-embroidered overall using polychrome silks, with a design of large medallions of paeonies interspersed with other floral motifs and large moths, sleeves edged with a band of gold silk embroidered with urns and vases of flowers, and a ceramic pot of rolled paper scrolls and calligraphy brushes, hem with paeony flowers disposed at intervals on a lishui stripe border, worked in satin stitch and long and short stitch, with occasional back-stitch and couched gold metallic thread outlines, some small losses to embroidery, lined with pale blue silk (with mottled fading, and some soiling and slight perishing at neck), centre opening, with 3 toggle fasteners, length 108.5 cm (42.75 ins), width cuff to cuff 135 cm (53 ins) QTY: (1)NOTE:Undoubtedly a female calligrapher's robe, denoted by the relatively small size, and the iconography. The paeony flower, so predominant here, symbolises female beauty and love as well as longevity, wealth and status. The image of the tools of a scribe is much less commonly seen, and adds another dimension to our knowledge of the wearer of this robe. There is a long history of female calligraphers in China, but such women have often been overlooked over the centuries, and passed over in favour of their more dominant male counterparts.
Lot 35
* Walnuts. A collection of walnut memorabilia, 19th century and later, including 4 Chinese carved walnuts, variously carved with figures, animals, and flowers, 36 ceramic items, including plates, bowls, cruet sets, cake stands, still life ornaments, and a small Royal Worcester ginger jar, several wooden ink wells, 2 gold candles, a walnut containing a tiny scroll with photographic scenes of London, 2 nut crackers, a tobacco tin 'Ogden's Walnut Plug Sliced', a celluloid thimble in case, a hinged walnut containing miniature furniture, a white metal walnut pendant on a chain, a small white metal vinaigrette locket, several postcards, a framed engraving 'The Walnut Tribe', etc., various sizes, generally in good conditionQTY: (approximately 75)NOTE:Collection belonging to the owner's grandparents, who grew and sold walnuts. The owner's grandfather and his brother, on returning from fighting in WWI, purchased a mixed arable, cattle and fruit farm in the Dedham Vale in 1922. They decided to plant around 500 walnut trees, growing many different varieties grafted mostly onto rootstock from the Dordogne. Their boxed wet walnuts were sold in Harrods, Selfridges, Fortnum & Mason, and through Covent Garden, and were apparently a special favourite of Queen Elizabeth The Queen Mother. Over the years the family amassed this collection of 'walnuttery', which, along with the walnut orchards, have been passed down the family.
Lot 1016
A group of ceramic and glass cats, to include a modern Lalique frosted glass cat sat atop a rectangular base with vine motifs, engraved 'Lalique R France' to the underside, 13.5cm high, a Royal Crown Derby paperweight cat, with silvered stopper, printed mark and 'LIII' to underside, 8.2cm high, a Lladro cat with printed factory mark and incised no. 5114 to the underside, 13cm long, and two Royal Copenhagen sleeping cats, each with printed factory mark and no. 178 to the underside, 9cm long (5)Overall in good condition with no visible flaws.
Lot 1026
Christopher Dresser, two Aesthetic Movement 'Hampden' ceramic platters by Old Hall, each decorated with Japonesque motifs, larger 41.5cm x 30cm, smaller 36.5 x 26.5cm, together with a Wedgwood oval platter, a Ridgeway pottery octagonal dish and a butter dish (5)Please refer to department for condition report
Lot 1087
A pair of Italian ceramic table lamps, 20th century, of bottle shape with mottled green and turquoise glaze, atop turned wood bases, 61cm high inclusive of electrical fittings (2)It is the buyer's responsibility to ensure that electrical items are professionally rewired for use Overall in good condition.
Lot 128
A mixed group of ceramic and glass wares, 19th century and later, to include: four Victorian green glass dumps, each designed with flowering plant inclusions, the tallest 12.7cm high; an Anglo-Irish clear cut glass decanter with graduated rings to the neck and diamond cut pattern to the body, lacking a stopper, 18cm high; a blue glass obelisk modelled on stepped base, 27.7cm high; and three Victorian Staffordshire flatback houses, each of two storey design, each approximately 18.5cm high (9) Please refer to department for condition report
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163696 item(s)/page