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Click here to subscribeHimalayan Art Tibetan silver lamp Tibet, 19th century . . Cm 11,50 x 19,00. Goblet shaped repoussé silver lamp with turquoise inlays and chisel-finished bottom. This type of yak butter powered lamps were primarily intended to be placed on Buddhist altars. This lamp stands out for its high quality level and for the elegance of the proportions.
A COLLECTION OF POWER AND HAND TOOLS including a Vintage Castrol Oil canister, two vintage Hurricane lamps, a brass Gas Torch, a Black and Decker electric planer (untested due to bulgin plug fitted), a Plasplugs Master Sharp workstation with drill and chisel attachments (PAT pass and working), an electric sprayer (untested Bulgin plug), a pair of plastic saw horses etc (14)
WNAI - A CARVED MARBLE BUST OF AN EMPEROR18th Century, head to dexter, modelled with bearded face and drapery, on later associated column, the bust - 76cm high Overall height: 204cm Height of plinth: 127cmCondition report: Overall weathered, with losses of detail overall. Including, chipped end to the nose and weathered. Weathered eyes, mouth, beard and nose. Some lichen and discolouration to the marble, especially towards the base and recesses of the drapery. Heavy dirt and marks overall. Some black paint marks. Various fissures.The reverse with roughly carved out back, the central area darkened and discoloured, with the surrounding areas with cleaner looking with a fresher chisel marks. See additional images. The column with various chip marks in places, edges and corners. Various very minor fissures. A more recent scratch down the one side.See additional images.
Large qty of 00 Gauge scenic items including Lighting Kits and Signals Hamlings paper sides electrical components Turntable and many other items, Hornby R449 Coach Lighting kits (2, boxed) and Coloured light Signals (6, one boxed), Marklin electric Semaphore signal, various other signals including Crescent Gantry, DCC Coach Lighting kit, two sets self flashing Belisha Beacons, Ancorton Road Signs, Street Lamps, various Buffers, Gaugemaster Valley Scenes (3 in roll), Peco Turntable, Metcalfe Kits, Noch Road, Hamblings Bilteezi sheets (9), Hamblings and Merco wagons sheets, various Tunnel Mouths, various couplings, tools including chisel bits, oil and many other items, generally G, (qty in two boxes)
An oak case or toolbox containing woodworking chisels, the hinged lid stamped 'SWD. 579' with a chrome handle, enclosing two later lift-out trays containing fifteen modern Tiranti chisels, a mallet and a boxed whetstone, case 35.5cm wide21.5cm high excluding the handleCondition report: One chisel handle split.Case a little worn.
A collection of various tools etc to include a crate of various rulers and measuring implements including a Ryobi air grip laser level, steel rules, G clamp, heavy duty chisel, a box of silicon glue brushes, eight boxes of various wax and leather pattern makers fillet, smelting pot, box of sandpaper rolls, box of casters, two beech and chromed metal bound cramps, an autoway patent barrel weigher B104, a 42" steel floor standing vertical measure and a Center Mike hole location gauge
A Carved Limestone Male Torso, possibly medieval, 10.5ins high, on polished veined marble base, 14ins high overallCondition Report - There is damage to the torso's natural left side at the front of the shoulder, and some small areas of damage to the corresponding right side. There is some light bruising/wear to the chest and some chipping to the base at front and the torso's natural left side. The base of the neck is rough and uncarved, as opposed to the arms which have been finished with a chisel. This may suggest that this torso originally supported a head. There are two small holes to the front of the model, both below the right chest and also above the left breast. These may or may not have been part of the original design, but the interiors to these small areas are aged like the surface generally. There are also a series of light scattered scratches/bruises to the work. It is not attached in any way to the later polished marble base, nor was it ever intended to be attached. The base itself appears to be in good condition.
Leon Underwood (British, 1890-1975)The Sculptor black Irish marble38.7 cm. (15 1/4 in.) highCarved 1938-49UniqueFootnotes:ProvenanceSidney Rothman (probably acquired from the 1953 exhibition),thence by family descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Beaux Arts Gallery, Leon Underwood, 11 May-24 June 1953, cat.no.41Colchester, The Minories, Leon Underwood: A Retrospective Exhibition, 9 August-10 September 1969, cat.no.120LiteratureChristopher Neve, Leon Underwood, Thames and Hudson, London, 1974, p.176, pl.131 (ill.b&w)Ben Whitworth, The Sculpture of Leon Underwood, the Henry Moore Foundation in association with Lund Humphries, Aldershot, 2000, p.64, cat.no.118 (ill.b&w)The Sculptor appears to be the only carving Underwood made using black Irish marble, or Kilkenny marble as it is often referred to. An exquisite, fine-grained carboniferous limestone, its main source lies just south of Kilkenny, nicknamed 'the Marble City', in south-east Ireland.Of the present sculpture, which is appearing for sale through auction for the first ever time, Christopher Neve comments:'Ironically, with the 1939 Zwemmer exhibition indicating that his print-making and sculpture was not only increasing in momentum but beginning to regain a public lost when he went to America, war was declared. In no time he was frittering away a second spell in camouflage, this time attached to the Civil Defence department at Leamington Spa, with almost no opportunities for getting on with his work. The last major sculpture before the war is, significantly, The Sculptor, a massive and powerful figure in Irish black marble in which the head is drawn into the shoulders and all the forms block in on one another, the weight of the buttocks balanced by the heavy head of the mallet and the deliberately phallic and potentially productive chisel held against the body in front' (Christopher Neve, Leon Underwood, Thames and Hudson, London, 1974, p. 176)Whilst Underwood's earliest carvings in stone and wood appeared in the early 1920s, such as Torso in Tournai slate (collection: Tate Gallery, London), it was his sculptures of the mid-to-late 1930s which achieved greatest aesthetic resonance. African Madonna (St George's Anglican Cathedral, Cape Town, South Africa) for instance, in lignum vitae with silver-gilt inlay of 1934-35, is arguably his most impressive and successful. It was received in South Africa in 1935 to mixed reviews, to which Underwood explained his thought process, as Neve goes on to explain, 'In May, Underwood replied to his critics in an open letter to the Rand Mail, saying that he hoped in time the sculpture would be accepted as belonging to a new and different order of beauty by the descendants of those African artists 'whose simplicity of expression helped to rescue Western art from the slough of naturalism and vulgar sentiment' into which it has fallen in the nineteenth century.' (Op. cit. p.156). The Sculptor shares affinities with African Madonna, including its primitive, mask-like face and powerful over-sized forearm and hand. However, with the present lot the sculptor has jettisoned the rhythmic lines of lead or silver-gilt inlay which infiltrated his work during the middle part of the decade and concentrates all his artistic prowess on the medium to hand. Here, the inherent qualities of the fine-grained Kilkenny marble have been used to maximise impact. Part polished and unpolished, the areas left roughly sanded and are therefore less black, assist in accentuating the flowing lines of the glistening figure's body and face, thereby creating a dramatic sense of depth. It is the culmination of Underwood's twenty year-long investment with carving, as Ben Whitworth remarks:'Underwood's final carving was The Sculptor in black Irish marble, begun on the eve of the Second World War. This image of artistic power must not be read as a self-portrait, but it is ironic that, after making an image that epitomises the heroic view of direct carving, Underwood never again carved a block of stone or wood'. (Ben Whitworth, The Sculpture of Leon Underwood, The Henry Moore Foundation, Much Hadham, 2000, p.64)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
*Amended*A NORTHERN IRISH PINE SHIP CARPENTER'S CHEST ULSTER, 19TH CENTURY with parcel gilt decoration, carved with star motifs, an anchor and sword, a chisel and axe and initials 'AY' inscribed 'A Young', the hinged lid revealing an interior with a lift-out divided tray, with sunken iron side carrying handles 54.2cm high, 96.2cm wide, 50cm deep Provenance Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller.
19TH CENTURY SYCAMORE CARVED LOVE-SPOON decorated with pierced treskelion motif over a pierced flower-head over a smaller geometrically carved flower circle, surrounded by chisel-point carving and with two scratched hearts, the reverse with crudely scratched 1854, 30cms Provenance: private collection, formerly with Tim Bowen Antiques, Carmarthenshire Auctioneer's Note: similar at Swansea Museum donated by Col. W E Llewellyn Morgan and described as Carmarthenshire in origin (postcard photo showing this example to accompany produced by Royal Institute of South Wales) Comments: chip to edge of bowl but without other fault, very good rich chestnut colour, good example
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