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Lot 105
JEWSBURY & BROWN; a ceramic lidded toothpaste pot, inscribed to lid 'Oriental Toothpaste for cleansing, beautifying and preserving the teeth & gums. Prepared by Jewsbury & Brown, Chemists, 113 Market Street Manchester', centred with a royal crest, also a reproduction lidded pot inscribed to lid 'Rose Hand Cream, for softening and beautifying the hands' (2).
Lot 121
A French transport worker's cap with badge, for 'Regie Autonome des Transports Parisiens', no.14381, a Liverpool Police helmet, a pair of Queen Elizabeth II Silver Jubilee metal cufflinks, three gentlemen's wristwatches, including Rodania and Accurist examples, various other collectibles including a Russian ceramic model of a bird, Wedgwood, collectors' plates, writing slope, etc.
Lot 186
A group of late 19th and 20th century ceramics, to include a Spode gilt heightened twin-handled bowl, diameter 20.5cm, numbered to base Rd No.553455 and R5827 in red, a ceramic figural group of courting couple in period costume, in rural setting of trees in woodland, with bocage flowers, basket of flowers, saddle bag, hat placed on stylised grassy woodland base, seated lamb, height 24cm, width 27cm, with blue crossed swords of the Marcolini period to the base (af), an 18th century blue and white marriage jug, inscribed in blue 'Joshua and Martha Riley - Let us drink a good health to friends 1792', a commemorative mug for Alice Dean July 31st 1909, various Continental figural groups, two large Wedgwood jasperware lidded bowls, one green, one blue, a Wedgwood blue jasperware vase and an Isle of Wight glass squat baluster vase painted with flora and gilt-heightened throughout. CONDITION REPORT: The figural group itself is in good condition. The tree has been broken, some branches are broken off, some of them are loose, present, but there are some missing pieces. The Spode twin-handled bowl has no chips or cracks, good bright colours. Some age-related wear in the form of surface scratches and tiny areas of loss of gilding. No obvious signs of restoration.
Lot 216
A group of collectables, to include an Art Deco gilt metal figure of a lady, on a marble socle base, 28cm high, a WMF style Art Deco pewter desk stand, with ceramic inkwell, 25cm diameter, a cast brass photograph frame with strut support, 22cm high, a mottled glass cylindrical vase, with loose mushroom shaped lid, 32cm high, etc.
Lot 251
A selection of vintage costume jewellery. The lot to include a blue plastic beaded necklace, a hematite and cultured pearl beaded necklace, a green quartz beaded necklace, a gold plated curb ink bracelet, a citrine necklace, and ceramic necklaces. Blue plastic beaded necklace measures 24 inches.
Lot 270
A retro mid 20th Century Italian studio art ceramic trinket box having a stylized horse atop the lid opening to reveal a hollow interior. Red finished exterior and signed / numbered to the base. Measures approx; 4cm x 13cm x 11cm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 613
A large 20th Century Italian ceramic figure group depicting a horse and foal stood upon a naturalistic base. Unmarked. Measures approx; 50cm x 64cm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 101
Arne BangSet of three vases, model nos. 117, 128 and 129, circa 1937Glazed stoneware.Tallest: 12.4 cm high, 7.8 cm diameter Produced by Holmegaards Stentøj, Copenhagen, Denmark. Underside of each signed AB and numbered 117, 128 and 129 respectively. Footnotes:LiteratureHolmegaards Stentøj, Copenhagen, 1937, p. 4 for model nos. 128 and 129Having studied sculpture at the Royal Danish Academy of Fine Arts during the 1920s, Arne Bang established a studio in Copenhagen with ceramist Carl Halier, who had previously worked for Royal Copenhagen and from whom Bang gained extensive knowledge about glazes. The unique vessels created during their collaboration received public and critical acclaim. In 1929, Bang joined Holmegaard Glassworks, where his brother Jacob was creative director. Bang opened the company's ceramic department Holmegaards Stentøj where he produced high quality and innovative works that were accessible to a larger audience. The present three vases are signed and painted with model numbers identifying each as studio pieces. 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 7
Sir Eduardo Paolozzi and Nigel HendersonRare table lamp, circa 1958-1960Printed and glazed ceramic, printed paper shade.41.5 cm high, 40 cm diameter Produced for Hammer Prints Ltd.Footnotes:LiteratureMichelle Cotton, Lesley Jackson, Robin Spencer, Nigel Henderson & Eduardo Paolozzi: Hammer Prints Ltd., London, 2013, pp. 66-67 for illustrations of the printsToysNick WrightCo-author of Cut and Shut: The History of Creative Salvage, London, 2012Born in Lieth to Italian immigrants, Eduardo Paolozzi had few of the advantages of the young owners of the toys depicted on Hammer Prints. His father, a shop owner, admired Mussolini and sent Eduardo to summer camps in Italy. There he gained an appreciation of the planes, trains and fascist badges. At the outbreak of war, his father was declared an enemy alien and imprisoned. So was Eduardo. His father was then transported to Canada and drowned when the ship was torpedoed. Once freed, Eduardo helped his widowed mother make ice cream, one childhood treat that had always been abundant, whilst assembling scrapbooks containing images of the many more that were not.His friendship with Nigel Henderson was formed at the Slade School of Art. Henderson was born of a wealthy English family and focused his camera on London's poor. A working-class Scot, Paolozzi came to prominence with collaged images from American magazines. Their friendship was so strong they lived in adjacent cottages on the Essex coast and set up a business together. Hammer Prints produced household objects and textiles printed in designs based on deliberately degraded images taken by Henderson. Whilst some of the designs were later taken up by manufacturers like Hull Traders, 'Toys', the print used on the lamp base and shade, was only produced by the artists. Patrick Rylands, designer of Playplax, the toy Rachel Whiteread credits as her inspiration for her 2005 Tate installation, says the toys depicted would have been prohibitively expensive when new. Like the 'Toot Toot', Patrick thinks the 'Autobus' was made by Lehmans, a German manufacturer producing tin toys of a quality that rendered them 'the real thing writ small'. However, he says 'In Paolozzi's hands, the toys are speaking a different language'. That language is pop. In the centrality of ephemera and the use of collage and assemblage, British artists adopted the grammar of Kurt Schwitters but developed their own vocabulary. Where Schwitters used torn tram tickets, fragments of wire and bank notes rendered worthless by inflation to memorialise the dead of the First World War, Hamilton, Paolozzi and Henderson, collaged advertisements and glamour magazine images to critique the consumer culture of an ascendant America following the second. Not that their critique was entirely negative. In bombed out Britain where food was still rationed, images of fridges full of fresh dairy and T.V.s showing chromium-plated cars had an allure, materially and visually. Paolozzi wanted the Cadillacs and glamour girls he cut and pasted just as he had done the Lehman toys - but there's a rip tide.The fulfilment of our desire to buy creates, not a sense of achievement, but a lack. The objects of our desire are diminished by acquisition so the impulse to own remains. The eye then searches for something else, something better, bigger, a compulsive cycle illustrated in British Pop Art. Richard Hamilton, a member of the Independent Group which also included Paolozzi and Henderson, exhibited 'Just what is it that makes today's homes so different, so appealing?' at the 'This is Tomorrow' exhibition in the Whitechapel Gallery. The bodybuilder portrayed is not muscle and bone but a blow up that goes 'pop.' Similarly, Paolozzi and Henderson's 'Toys' are juxtaposed against a phrenology head and cherubs, emblems of pseudo-science and misplaced faith. Fat on ice cream that, like all sweet things creates a hunger for more, Eduardo Paolozzi knew well that the best toys are the ones we don't have. Moreover, in illustrating that paradox, the blind, crazy driver of consumer culture, British Pop has an unresolved tension that gives it relevance even in the age of the buy it now button.For further information on this lot please visit Bonhams.com
Lot 47
Rut BrykCube sculpture, 1950s-1960sGlazed ceramic. 19.6 x 16.2 x 16.2 cmProduced by Arabia, Helsinki, Finland. Signed by the artist BRYK and impressed ARABIA/MADE IN/FINLAND.Footnotes:ProvenanceAcquired directly from the artist, 1950s-1960sPalle Glitre, LondonThence by descent to the present ownerLiteratureFinsk Konst Industri, Helsinki, 1962, pp. 122-123 for similar examplesDomus, no. 371, October 1960, p. 20 for similar examplesBonhams wishes to thank Greta Muuri from the Tapio Wirkkala Rut Bryk Foundation for her assistance cataloguing the present lot.All the proceeds from the sale of this lot will be donated to The Spitz Charitable Trust, UK.The Spitz Charitable Trust brings professional musicians into care homes, day centres and hospitals, using live music to increase wellbeing whilst reducing isolation and loneliness. Spitz.org.ukFor further information on this lot please visit Bonhams.com
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163691 item(s)/page