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Lot 339
A collection of antique and vintage architectural fittings dating from the 19th Century to include multiple door knobs with wooden, bakelite and ceramic examples with one having a blue painted flower decoration, Victorian curtain pulleys, brass and cast door latches various examples, door numbers, picture hooks etc.
Lot 13
Complete handle. Enamelled copper. Cm 11,50 x 25,00 x 9,00. Complete blue colored handle with abstract designs, 50s.The activity in this particular field of design dates back to 1946, when Paolo De Poli produced handles for the companies V.I.S and Yale & Towne of New York. A particularly large production that in 1958 will result in the exhibition at the Wildestein Gallery in New York for which, in the catalog, De Poli stated "The door must not only be a partition .. but also have its own decorative function"De Poli himself, describing his work with enamel and copper, states: "I am Italian and I was born in the Venezie, where in the past one of the greatest Renaissance color schools originated. I have a natural sense of color and personal knowledge. of painting makes me appreciate, in a special way, the beauty of tone and light.For this reason, fifty years ago, I saw in the enamel the material that could give a metallic object with simple and rational forms, beauty and splendor incomparable. A small and common metal bowl became precious if coated with the magical colors of the enamel. With enamel everything becomes beautiful and its smooth, vitrified surface increases the characteristics of practicality. I started with the linear bowls and then made vases , plates, trays, boxes, small paintings, large decorated walls, furniture with large decorated surfaces, fireplaces, handles of all kinds and unique pieces for collectors. collaborated with the most famous Italian architects always creating new applications, dazzling colors. I appreciate the enamel because no other material could give me such a wide range of colors, from deep and decisive tones to the most delicate transparencies. If then the metal is chiseled or wrought, the beauty of the colors is increased by transparencies, glosses, incomparable play of light. I have a lot of faith in enamel because I have found that in every application it gives significant practical and functional advantages. I like to glaze, because the fire knows how to transfuse magical colors and suggestive effects. I think that nail polish has always given me new possibilities of application, to embellish objects and make them more responsive to modern needs. "Taken from L ’Arte dello Smalto: Paolo De Poli, cat. anthological exhibition, Padua, 1984, p.30
Lot 14
Complete handle. Enamelled copper. Cm 8,00 x 17,00 x 7,00. Complete purple handle, 50s.The activity in this particular field of design dates back to 1946, when Paolo De Poli produced handles for the companies V.I.S and Yale & Towne of New York. A particularly large production that in 1958 will result in the exhibition at the Wildestein Gallery in New York for which, in the catalog, De Poli stated "The door must not only be a partition .. but also have its own decorative function"De Poli, describing his work with enamel and copper, states: "I am Italian and I was born in the Venezie, where in the past one of the greatest Renaissance color schools originated. I have a natural sense of color and personal knowledge. of painting makes me appreciate, in a special way, the beauty of tone and light.For this reason, fifty years ago, I saw in the enamel the material that could give a metallic object with simple and rational forms, beauty and splendor incomparable. A small and common metal bowl became precious if coated with the magical colors of the enamel. With enamel everything becomes beautiful and its smooth, vitrified surface increases the characteristics of practicality. I started with the linear bowls and then made vases , plates, trays, boxes, small paintings, large decorated walls, furniture with large decorated surfaces, fireplaces, handles of all kinds and unique pieces for collectors. collaborated with the most famous Italian architects always creating new applications, dazzling colors. I appreciate the enamel because no other material could give me such a wide range of colors, from deep and decisive tones to the most delicate transparencies. If then the metal is chiseled or wrought, the beauty of the colors is increased by transparencies, glosses, incomparable play of light. I have a lot of faith in enamel because I have found that in every application it gives significant practical and functional advantages. I like to glaze, because the fire knows how to transfuse magical colors and suggestive effects. I think that nail polish has always given me new possibilities of application, to embellish objects and make them more responsive to modern needs. "Taken from L ’Arte dello Smalto: Paolo De Poli, cat. anthological exhibition, Padua, 1984, p.30
Lot 15
Complete handle. Enamelled copper. Cm 13,50 x 20,00 x 8,50. Cerulean blue complete handle, 50s.The activity in this particular field of design dates back to 1946, when Paolo De Poli produced handles for the companies V.I.S and Yale & Towne of New York. A particularly large production that in 1958 will result in the exhibition at the Wildestein Gallery in New York for which, in the catalog, De Poli stated "The door must not only be a partition .. but also have its own decorative function"De Poli, describing his work with enamel and copper, states: "I am Italian and I was born in the Venezie, where in the past one of the greatest Renaissance color schools originated. I have a natural sense of color and personal knowledge. of painting makes me appreciate, in a special way, the beauty of tone and light.For this reason, fifty years ago, I saw in the enamel the material that could give a metallic object with simple and rational forms, beauty and splendor incomparable. A small and common metal bowl became precious if coated with the magical colors of the enamel. With enamel everything becomes beautiful and its smooth, vitrified surface increases the characteristics of practicality. I started with the linear bowls and then made vases , plates, trays, boxes, small paintings, large decorated walls, furniture with large decorated surfaces, fireplaces, handles of all kinds and unique pieces for collectors. collaborated with the most famous Italian architects always creating new applications, dazzling colors. I appreciate the enamel because no other material could give me such a wide range of colors, from deep and decisive tones to the most delicate transparencies. If then the metal is chiseled or wrought, the beauty of the colors is increased by transparencies, glosses, incomparable play of light. I have a lot of faith in enamel because I have found that in every application it gives significant practical and functional advantages. I like to glaze, because the fire knows how to transfuse magical colors and suggestive effects. I think that nail polish has always given me new possibilities of application, to embellish objects and make them more responsive to modern needs. "Taken from L ’Arte dello Smalto: Paolo De Poli, cat. anthological exhibition, Padua, 1984, p.30
Lot 16
Complete handle. Enamelled copper. Cm 11,50 x 25,00 x 9,00. Complete green handle , 50s.The activity in this particular field of design dates back to 1946, when Paolo De Poli produced handles for the companies V.I.S and Yale & Towne of New York. A particularly large production that in 1958 will result in the exhibition at the Wildestein Gallery in New York for which, in the catalog, De Poli stated "The door must not only be a partition .. but also have its own decorative function"De Poli, describing his work with enamel and copper, states: "I am Italian and I was born in the Venezie, where in the past one of the greatest Renaissance color schools originated. I have a natural sense of color and personal knowledge. of painting makes me appreciate, in a special way, the beauty of tone and light.For this reason, fifty years ago, I saw in the enamel the material that could give a metallic object with simple and rational forms, beauty and splendor incomparable. A small and common metal bowl became precious if coated with the magical colors of the enamel. With enamel everything becomes beautiful and its smooth, vitrified surface increases the characteristics of practicality. I started with the linear bowls and then made vases , plates, trays, boxes, small paintings, large decorated walls, furniture with large decorated surfaces, fireplaces, handles of all kinds and unique pieces for collectors. collaborated with the most famous Italian architects always creating new applications, dazzling colors. I appreciate the enamel because no other material could give me such a wide range of colors, from deep and decisive tones to the most delicate transparencies. If then the metal is chiseled or wrought, the beauty of the colors is increased by transparencies, glosses, incomparable play of light. I have a lot of faith in enamel because I have found that in every application it gives significant practical and functional advantages. I like to glaze, because the fire knows how to transfuse magical colors and suggestive effects. I think that nail polish has always given me new possibilities of application, to embellish objects and make them more responsive to modern needs. "Taken from L ’Arte dello Smalto: Paolo De Poli, cat. anthological exhibition, Padua, 1984, p.30
Lot 17
Complete handle. Enamelled copper. Cm 11,50 x 29,00 x 10,00. Complete red handle, 50s.The activity in this particular field of design dates back to 1946, when Paolo De Poli produced handles for the companies V.I.S and Yale & Towne of New York. A particularly large production that in 1958 will result in the exhibition at the Wildestein Gallery in New York for which, in the catalog, De Poli stated "The door must not only be a partition .. but also have its own decorative function"De Poli, describing his work with enamel and copper, states: "I am Italian and I was born in the Venezie, where in the past one of the greatest Renaissance color schools originated. I have a natural sense of color and personal knowledge. of painting makes me appreciate, in a special way, the beauty of tone and light.For this reason, fifty years ago, I saw in the enamel the material that could give a metallic object with simple and rational forms, beauty and splendor incomparable. A small and common metal bowl became precious if coated with the magical colors of the enamel. With enamel everything becomes beautiful and its smooth, vitrified surface increases the characteristics of practicality. I started with the linear bowls and then made vases , plates, trays, boxes, small paintings, large decorated walls, furniture with large decorated surfaces, fireplaces, handles of all kinds and unique pieces for collectors. collaborated with the most famous Italian architects always creating new applications, dazzling colors. I appreciate the enamel because no other material could give me such a wide range of colors, from deep and decisive tones to the most delicate transparencies. If then the metal is chiseled or wrought, the beauty of the colors is increased by transparencies, glosses, incomparable play of light. I have a lot of faith in enamel because I have found that in every application it gives significant practical and functional advantages. I like to glaze, because the fire knows how to transfuse magical colors and suggestive effects. I think that nail polish has always given me new possibilities of application, to embellish objects and make them more responsive to modern needs. "Taken from L ’Arte dello Smalto: Paolo De Poli, cat. anthological exhibition, Padua, 1984, p.30
Lot 117
A Meiji period ebonised shrine (zushi) and a carved gilt figure of AmidaThe zushi in the form of a gong, the interior carved with a figure of Izuna Gongen standing on a fox, with two armed attendants, door missing, 26cm wide, together with a Taishō period gilt carved figure of Amida with applied jewels with cloud mandala (detached), 37cm high.
Lot 130
A group of Japanese and other boxes, mostly late 19th century and later Comprising: a Meiji period Japanese parquetry work box, with caddy lid enclosing a tray with two lids, 35cm wide, a Meiji period small cabinet with metal mounts, in two sections, with five drawers and a panelled door enclosing two drawers, each drawer lacquer lined, 27cm wide, a Meiji period small miniature chest, 20cm wide, a Meiji period black lacquered box with hinged lid (a.f) with gilt chinoiseries, 20cm wide, a small lidded box, 11.5cm wide, a hinged brown and gilt lacquered box with a grasshopper and butterfly with leaves, 21cm wide, a red floral painted box, 32cm wide, a Victorian calamander and brass bound dome top tea caddy, 23cm wide. (8)
Lot 150
A Japanese ebonised and bronze kiri wood mounted chest (temoto)Shonei areaThe rectangular top above three long drawers with a short drawer below with a large lock plate and flanked by a cupboard door enclosing two small drawers, with a central locking post securing the top three drawers, 87cm wide, 42cm deep, 100cm high.
Lot 260
A group of carved fragments, 18th century and laterComprising: a pair of 19th century oak carved panels each of a serpent entwining a tree, each 40cm high, together with an 18th century oak carved fragment of a wyvern’s mask, 21cm wide, a 19th century French oak arabesque carved oak panel with griffins and dolphins, 51cm high, a 19th century green man mask with acanthus and bellflowers, 18cm high and a small 19th century French boxwood carved lion mask door panel, 15cm high. (6)
Lot 338
A George II carved mahogany bureau cabinet attributed to GillowsThe Greek key moulded broken pediment centred by a double 'C' scroll acanthus carved crest with unicorns and spear heads for the Wright family, above a Greek key frieze and a pair of shaped moulded panelled doors enclosing three adjustable shelves, the lower part with a sloping fall enclosing a replaced tooled black leather writing surface, with central mirrored door flanked by two 'secret' reeded drawers, six shaped pigeonholes with fret carved upper drawers and a further six short drawers; above three long graduated drawers with a wreathed base moulding and acanthus carved feet, 101cm wide, 58cm deep, 241cm high.Provenance:Possibly Thomas Wright (1724-1790) of Mapperley Hall, Nottingham.Thomas Wright was the patriarch of a family of bankers who had widespread connections with Manchester, Stockport, Hull and Sheffield, premises in Long Row, Nottingham and extensively engaged with the importation of iron and timber.The unusual handles of this bureau bookcase are identical to those used on a writing table by Gillows for Colonel Howard of Levens Hall, near Kendal in 1808. The same handle pattern was also used by the firm as early as the 1760's, see S.Stuart, Gillows of Lancaster and London 1730-1840, Vol I, pl.305 and discussed in further detail in Vol II, pl. D8a.Richard Gillow wrote to Sir Fleetwood Hesketh of Rossall, Lancashire, who had commissioned a small library bookcase in September 1766:'In the opens or aprons of the pediment you may have a Busto, carved shield or your arms carved which (ever) you choose' The shields were carved in Lancaster by the firm, whilst the bust were always procured or made in London (p.358 Ibid.)
Lot 852
Early 18th century longcase clock, with eight day striking movement, brass 12inch breakarch dial, with face mask spandrels, brass chapter ring, subsidiary seconds dial and calendar aperture, signed Samuel Jackson, London, in a burr walnut veneered case, with arched door and reduced plinth. Hood with plain columns, arched pediment and twin brass ball and spire finials. 205cm overall height. (Keys, weights and pendulum present)
Lot 860
George III longcase clock with 30 hour chain driven movement, 12 inch square painted dial, with floral spandrels and white chapter ring, signed Hedge, Colchester. In an Oak case with full length door and hood, with twin fluted pillars and decorative pediment, with three brass finials, 220cms overall height. (Pendulum and weight present)
Lot 855
Early 18th century longcase clock, with 30 hour rope driven, bird cage movement, 11 inch square brass dial, with face mask spandrels, signed William Cooper, Colchester. In a stained pine case, with full length door and plain hood, with architectural top. 211cm overall height. (Pendulum and weight present).
Lot 1641
Fine quality Art Nouveau mahogany and marquetry display cabinet in the manner of Shapland and Petter the upper trapezoidal glazed section enclosed by single door with moulded canopy raised on flared angular supports, arched frieze inlaid with stylised foliage and open shelf below, the sides inlaid with stylised fruit trees on square supports and splaying block feet, stamped to rear 2850 over 3591 over 1, ivorine retailers labels to door for P. E Gane 38 & 40 College Green, Bristol, 126cm wide x 45cm deep x 153cm high
Lot 854
18th century longcase clock, with 8 day striking movement, 12 inch painted break arch dial, with painted spandrels depicting women with various wild animals, subsidiary seconds dial and calendar aperture, signed George Dawson, Sudbury, break arch with scene of horsemen fighting. In an Oak case with arched door, hood with twin fluted columns and domed top. 200cm overall height. (Weights, keys and pendulum present)
Lot 1234
A 1920s oak three tier book stand raised on barley twist supports together with small walnut veneered freestanding display cabinet enclosed by a glazed panelled door, one other with later painted finish a reproduction low drop leaf occasional table in the Georgian style and two frameless wall mirrors (5)
Lot 1000
Triumph TR2 long door model - Chassis Number TS 1857, body number EB 1817 and 727783, mile-o-meter 88,500, red coachwork, disc wheels, with engine, gearbox, windscreen and roof, registration MFH 430, right hand drive. We understand this car has not seen daylight for around 40 years and has recently been pulled from a near collapsed garage on the outskirts of Gloucester - no paperwork or other documentation has been found and is being sold without reserve
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235346 item(s)/page