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Lot 81
A decorative decoupage waste paper bin by Home Embellishments of Newcastle-upon-Tyne, height 29 cm, together with a pine-framed mirror, 63 cm x 54 cm, a quantity of compact discs, a small leather sporran, three ornamental egg ornaments and finally a large wooden chopping board, 46 cm x 54 cm. (Q)
Lot 374
A selection of lady's bags and dressing table accessories, including: a Stratton gilt metal powder compact; other powder compacts including enamelled examples; a silver lidded cut glass cosmetics jar; a gilt metal pill box with enamelled lid; a brown leather reptile skin style ladies handbag; and other items, two trays.
Lot 603
THREE BOXES OF SUNDRY ITEMS ETC to include books - Lancaster by John Nichol, History of the Second World War, steam trains, military history etc, photographic equipment to include a Kodak Retinette 35mm camera fitted with a Schneider 45mm lens, Weston Master III light meter, Richo R8 digital compact camera, Richo 35mm compact camera, empty slide storage boxes, a quantity of 35mm colour slides and B&W negatives - holidays, weddings etc, B&W photos of steam trains, a case of vinyl records - Barbara Streisand, Barry Manilow, Frank Sinatra, Tommy Kinsman, Count Basie, etc (3 BOXES)
Lot 621
SIX BOXES OF ASSORTED SUNDRY ITEMS ETC, to include a boxed pink Samsung ES67 digital compact camera, boxed Boots IR1000 cordless headphones (foam pads perished), DVD player, Nec e540 mobile phone, TomTom 4EN52 satnav with case, Kodak easyshare printer, three boxes of Christmas decorations, climbing axe and walking sticks, vintage soda syphon, wooden bird box, reproduction cast iron money box, camping equipment etc
Lot 1490
BOUCHERON, A FRENCH SILVER, GOLD AND RUBY-SET COMPACT, import marks, London 1954, of rectangular hinged form, the pierced and engraved gold faced panel lid depicting a basket of flowers set with five cabochon rubies upon mirrored back, the reeded case with gold thumbpiece opening to reveal two hinged compartments, signed 'MADE IN FRANCE' 'BOUCHERON'. 8.2cm by 5.9cm, 5.9 troy ounces
Lot 1067
A CONTINENTAL ART DECO SILVER-GILT AND ENAMEL COMPACT, 935 grade, probably Swiss, circular, the cover enamelled with two ladies and a tortoise, in Krahl & Sonderegger box. 6cm wide, 2.3 troy ounces grossOverall in good condition commensurate with age and use. There are no signs of any loss or damage to the enamel apart from a small pin prick loss beneath the hinge, the silver gilt has a few minor blemishes, the interior is clean and with pink powder puff, the red leather Krahl & Sonderegger box is rubbed on the underside, otherwise in original condition, clasp works
Lot 353
MIXED LOT OF COLLECTABLESincluding two Sharps metal toffee tins, selection of coins, two resin Japanese figures, carved Japanese elder, cased junior microscope, fan, medical ear scope, ladies compact, Loch Ness monster paperweight, axe in a log paperweight, small iron, two Indian inlaid boxes and a dressing table set
Lot 20
"Bishop Saint". Hispanic-Flemish. Anonymous. Circa 1500. White wooden sculpture, not polychromed. 95 x 28 x 20 cm. The anonymous Bishop Saint is outstanding due to the skill displayed in the sculptor’s treatment of the luxurious elements of the clothing. We do not know the identity of the portrayed saint because he does not have any attributes other than the staff and the book, which are shared by a multitude of saints. Perhaps it could be Saint Blaise, bishop of Sebaste and martyr, who was one of the most popular saints of the Western Middle Ages, thanks to the fame that the proliferation of his relics, most of them false, and his character as a miracle worker and healer gave him. The saint features a stylized canon combined with pronounced stiffness and rigidity. Likewise, his body forms a compact block, ensuring that the extremities and the elements that accompany it remain attached to the body and protrude as little as possible. It does not have a carved back, body, mitre or staff, which indicates that it was probably conceived to be an altarpiece image. His face is inexpressive with a serious countenance, as if the character were concentrating. His facial features comprise almond-shaped eyes with very marked eyelids, bulging cheeks and cheekbones, a sharp nose with a rounded tip that takes the shape of an isosceles triangle, a very deep nasolabial fold, marked, thin lips, a closed mouth and a prominent chin. The mitre hides most of his hair, releasing only the unruly locks that cover his ears. According to his episcopal status he wears an alb, chasuble and cape richly adorned at the edge with a decorative fringe (rhomboid motifs alternately separated by three circles or by two equilateral triangles with the points facing each other) topped by fringes and fastened to the chest by means of a medallion and carries a short mitre inlaid with precious stones, as well as a staff. The grandiose garments are characterized by their deep perpendicular folds that form rounded volumes, and by the details of an anecdotal-decorative nuance that has led the anonymous sculptor to faithfully imitate the qualities of the garments and especially of the brocades, resolved through elaborate designs with which he seeks to indicate the nobility of the fabrics. Especially interesting is the way in which the staff has been conceived, with the lower part covered by a narrow helical strip decorated with circular motifs, and a more elaborate and decorated upper part that ends in a curve with a large rosette. Its state of preservation is exceptional, with only a slight crack on the back. The work would have been made by an anonymous Hispano-Flemish Gothic sculptor around the year 1500.
Lot 168
A FRENCH ART DECO ONYX, GOLD COLOURED AND JADEITE MOUNTED MINAUDIÈRE CIRCA 1930The onyx cover with engraved styled rose border and an applied jadeite and diamond set basket of flowers and rectangular panel engraved with SN, triangular facetted jadeite and rose cut diamond accents to the corners, rose cut diamond set thumb piece, opening to a mirror, hinged compartment and lipstick holder, the case and lipstick holder numbered 10532, with French poinçons6.5cm (2 1/2in) long115g grossCondition Report: Hinges goodClasp functioningCover closes wellEngraving crispAll stones presentLight scratches and wear commensurate with age and use.The gold parts of the box are the inner frame surrounding the mirror in the lid, which has a French poincon. The lower part of the box has a gold frame with a French poincon and maker's mark. The hinged lid of the powder compact compartment is gold with a French poincon and maker's mark. The hinged lipstick holder and cover are both gold and both parts marked with a French poincon.Condition Report Disclaimer
Lot 169
LACLOCHE FRÈRES, AN ART DECO FRENCH SILVER, BLACK ENAMEL AND DIAMOND COMPACT CIRCA 1930With a diamond set button clasp, opening to a mirror and powder compartment8cm (3 1/4in) long137g grossProvenanceSale, Sotheby's, unknown date, lot 7Condition Report: Hinges goodLight scratches to the enamelButton clasp does not secure tightly Condition Report Disclaimer
Lot 2620
A group of small collectors' items, including a Christian Dior compact, boxed, a white metal baby's rattle with whistle terminal, various doll's house items, a seal and a model of an elephant.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 34
‡ Leaf from a manuscript of Alexander de Villa Dei, Doctrinale puerorum, a grammar in Latin verse, on parchment [France, c. 1375] Single leaf, with single column of 30 lines of a rounded and compact gothic bookhand, each line opening with an initial touched in red and set off in margins, many of these preceded by a red paragraph mark, red rubrics and underlining, extensive marginalia in a number of hands, recovered from reuse as a pastedown in a later binding and hence with small holes, stains to edges and some wear (abrasion making some of verso illegible), overall fair and presentable, 198 by 142mm.From the collection of William Chmurny (1941-2013) of Oak Park, IL. and California. Alexander de Villa Dei (c. 1170-1240) was a Norman, who rose to prominence in the University of Paris. The present work was his magnum opus, a Latin grammar, drawing on Priscian and Donatus, entirely set in Leonine hexameters. It was written in 1199 while he was a private tutor to the young relatives of the bishop of Dol. ‡: A double dagger (‡) indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%) if the lot remains in the UK.
Lot 28
George Stubbs ARA (Liverpool 1724-1806 London)A black and white spaniel pointing to the left, in a wooded landscape with a church spire beyond oil on canvas54.4 x 73.2cm (21 7/16 x 28 13/16in).Footnotes:Stubbs was famously the most sought-after painter of horses by all those leading aristocrats of his day who had a passion for breeding and/or racing horses, so it was only inevitable that he was also commissioned to paint some of his patrons' favourite dogs. Alex Kidson has dated the present painting to the second half of the 1770s and the preponderance of Stubbs's exhibited portraits of dogs date from between 1772 and 1782, the bulk of them being shown at the Royal Academy, where he exhibited fifteen dogs of all kinds, largely pet dogs, probably all commissioned by private owners, culminating in the very large portrait of the Duke of York's Newfoundland Dog in 1803. Of these, his most frequent works were of pointers, setters and spaniels. These were all types that were not at that time categorised by their breeds as they are today, but for the most part were described by their sporting functions (making it difficult to identify the descriptions of those of Stubbs's dog portraits that were exhibited at the Royal Academy, with simple titles, such as Portrait of a Dog). In this case what is now recognised as a spaniel is in the act of 'pointing' at game, showing this sporting dog standing characteristically rigid as she scents a bird with muzzle stretched toward the game and one foot raised. Amongst Stubbs's most comparable works are his Spaniel, which he painted for the artist's loyal patron, William Wildman and is thought to have been a companion to a Pointer, which is of similar dimensions, although the latter is on paper laid on panel. Being 61 x 71 cm. and on canvas, William Wildman's Spaniel is a very comparable example of Stubbs's works to the present painting (Collection of British Sporting Art Trust; see Judy Egerton, George Stubbs, Painter. Catalogue Raisonné, New Haven, 2007, 139 and 140, p. 332). Other similar portraits of dogs by Stubbs include a Black and white spaniel following a scent, dated 1771, which is on canvas and measures 59.5 x 70.8 cm. (Private Collection; see Egerton op. cit. no. 170, p. 370); Black and white spaniel following a scent, dated 1771, on canvas, 63.5 x 76.2 cm. (Virginia Museum of Fine Arts, Richmond; see Egerton op. cit., no. 171, p. 370); and Brown and white spaniel following a scent, dated 1777, on panel, 38.1 x 53.3 cm. (Private Collection, Egerton, op. cit., no. 172, p. 371). Stubbs trained himself as an anatomist, having moved from Liverpool to York around 1745 in order to study in the city's hospitals. His drawings of dissections were then used to illustrate Dr. John Burton's Essay towards a Complete New System of Midwifery. He went on to study the physical structure and make-up of horses in order to ensure the accuracy of his paintings and the publication of his The Anatomy of the Horse in 1766 established his reputation. Queen Charlotte even commissioned him to paint her zebra – a remarkably exotic creature at the time, being the first of its kind to be seen in England, when it was installed in a paddock near the royal menagerie in Saint James's Park to 'entertain the populace' – a work that was subsequently sold at Bonhams (fig. 1). Other creatures that caught his attention were deer, a falcon, a monkey, lions, leopards, even a yak, a rhinoceros, a kangaroo and a dingo. It was in the mid-1760s that he turned his attention to dogs. Unlike with his portraits of horses, whose long legs allowed him to fill the space between them with landscapes, the compact build of his dogs necessitated Stubbs to make them fully occupy their space and dominate their settings, as we see here. The present painting is also typical of his working methods in the way in which the exuberantly feathered tail (which he seems to have particularly delighted in painting) was portrayed against a plain and darker background. The background of the picture as a whole echoes those of an early series of portraits dating to the 1770s of black and white or brown and white pointers following a scent, with the backdrop of trees and ground falling away to give a glimpse of a distant church spire set against distant hills: no doubt a clue to the estate to which the dog belonged. In Judy Egerton's words Stubbs was an artist with 'a deep and unaffected sympathy for the country life and English countryside.' In such a setting dogs were especially valued and beloved by both master and servant, where affection for a dog, in even the grandest of country estates, whether a working dog or a pet, was common to all classes of society. Such sensibilities were expressed by William Pitt the Elder when he counted the companionship of a dog as among 'the little-great pleasures of life'. Already common companions to be found in 16th and 17th century portraits of the grandest sitters by the greatest portrait painters, it was inevitable that with Stubbs dogs were to acquire the status of subjects in their own right, valued then as much as they are today.We are grateful to Alex Kidson and Brian Allen for confirming the attribution of this painting to George Stubbs.For further information on this lot please visit Bonhams.com
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