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Lot 674
A 19th century mahogany Estate cupboard, the pair of panelled doors enclosing a sectioned interior with cupboard doors beneath, on a plinth base, 122cms wide.Condition ReportThe beading to all doors with some losses or damage; loss of beading to the bottom left hand side of the top and completely missing to the right hand side, Lock to top door is present but lock recess to other door missing. Lock to bottom door has been forced open; there is a split to the right hand panelled and a split to the back of the top section and is generally in used condition but solid. Comes in two sections and the depth is 40cms max and height 214cms max.
Lot 772
A 19th century French flick stick / sword stick with hidden 9.5cms (3.75ins) square section cut steel blade in the top of the handle. Unlike a conventional sword stick, you hold the stick midway and with a flick of the wrist the blade appears. Stick length 84cms (33ins)Condition ReportThe blade trap door is missing, the stick shaft is somewhat warped, the blade is a little sticky in operation and doesn't fully protrude when flicked, needs a helping hand to fully extend, otherwise good overall condition.
Lot 1017
A cast Elkington & Co. Art & Science Department copy of an Italian Venetian 16th century bronze door knocker by Danese Cattaneo, with Elkington plaque to the underside with VR mark (the original in the V&A collection).Condition ReportSeems to be patinated copper. Measures out to 37cm high and 32cm wide. In good overall condition.
Lot 125
MONTEGRAPPA FOUNTAIN PEN "VATICAN PAPAL".Silver embossed and rose gold-plated barrel.Limited edition. Exemplary 410/476.Two-tone gold nib. Tip M.Screw cap. Piston loading.No box.Dimensions: 14 cm in length, 14 mm. in diameter.Uniquely captures the essence of the last two millennia by depicting the origin of this recorded time. Through the use of intricate engravings, it celebrates and commemorates the basis of the calendar by which we have achieved and marked this milestone.This numbered limited edition bears the signature of Pope John Paul II and the seal celebrating the Great Jubilee. The body and cap are overlaid with hand-engraved sterling silver 1.In a tapestry of images, hand-engraved into the precious metals of the cap and body of the pen, are the cherished values and images of the church.Turning the cap counterclockwise from the clip reveals the unmistakable silhouette of St Peter's Basilica. The name of the engraver's workshop is accompanied by the pen's serial number. An exclusive image of Pope John Paul II in front of the Holy Door at the opening of the Great Jubilee of the Year 2000 is central to the design of the cap, followed by the official logo of the Great Jubilee Celebrations of the Year 2000.Below the logo, the Latin inscription reads "PER CHRISTVM - IN SPIRITV SANCTO - AD DEVM PATREM" (FOR CHRIST - IN THE HOLY SPIRIT - TO GOD THE FATHER), quoted from the Apostolic Letter "Incarnationis Mysterium". The lower part of the cap proudly bears the signature of the Holy Father, Joannes Paulus II, who stamps this edition.The body presents the Holy Trinity: God the Father (top), Jesus Christ (centre) between Mary and John, the Holy Spirit represented by a dove (bottom). A multitude of angels surround the Holy Trinity, and the four angels near the dove hold the Gospels.Technically, the Papal Pen represents the latest advances in modern technology. It features a two-tone nib crafted in solid 18k gold, tastefully engraved to reproduce the keys of St. Peter's Basilica, masked platinum and an iridium tip for smooth writing.These piston-fed fountain pens employ a state-of-the-art ink feed system using hand-turned ebonite for uninterrupted ink flow, complemented by a high-capacity ink reservoir.
Lot 118
Clock; Genoese work, first quarter of the 18th century.Ebonised wood and bronze applications.It has French Jean Vaillaus machinery.Precise set up.Measurements: 70 x 46 x 17 cm.Table clock made of ebonised wood with a design based on an architectural structure. The piece is supported on eight gilded bronze chamfered ball legs, which give way to a moulded base with incoming and outgoing edges. This area is notable for the gilt-bronze appliqués that represent small cartouches, with the one in the centre standing out. The rectangular body is located in the upper area, flanked by two warped finials topped by pinnacles. The central area has a hinged door with glass, which allows a view of the inside of the piece where the clock face is located. Ornamented with reserved areas in the corners where a vegetal pattern can be seen, the centre is dominated by a dial in which black contrasts with gold, on which the Roman numerals are arranged. Finally, the piece ends with an upper cornice and a tympanum in the form of a split arch with a large crest.
Lot 141
LOUIS MAJORELLE (France, 1859 - 1926).Auxiliary display cabinet, circa 1900.Rosewood and various fruit woods.Signed "Majorelle, Nancy" on the top hinged lid.It has a plaque of the Barcelona house "G.Cuspinera".Measurements: 147 x 64 x 38 cm.Open-structured cabinet-vitrine, in rosewood combined with marquetry in fruit wood. Raised on an enclosed base with a geometric cut-out skirt, it consists of a closed cupboard with a marquetry door, together with vertical compartments in the lower register. This door concentrates the decoration of the cabinet, together with the upper hinged lid, with a natural landscape worked with classic marquetry. This technique consists of individually cutting and inlaying pieces of different woods to form a specific design, in this case a natural scene with a clear Japanese influence, very typical of French Art Nouveau. The central body, which opens like a niche, has finely turned balusters on the side. The upper part houses a closed display case with a slanted lid combining glass and wood decorated with floral marquetry.A cabinetmaker and designer who was a member of the Ecole de Nancy, of which he was even vice-president, Louis Majorelle was the son of a furniture designer and manufacturer based in the town of Toul, from where he moved to Nancy with his family. Majorelle received his first artistic training there and then went to Paris in 1877, where he studied for two years at the Ecole Nationale Supérieure des Beaux-Arts, where his teacher was Jean-François Millet. However, the death of his father forced him to return to Nancy to run the family earthenware and furniture factory, a task he would combine with his artistic practice for the rest of his life. In the 1980s and until the early 1990s, Majorelle produced Louis XV-style furniture in the family firm, which he took to the 1894 Exhibition of Decorative and Industrial Arts in Nancy. There, however, he was able to see at first hand the works of Émile Gallé, whose influence would determine a radical change in Majorelle's production. From then on, his work was characterised by the use of naturalistic elements in his forms and marquetry. From the nineteen-nineties onwards, his furniture became fully Art Nouveau, with intertwined forms and a clear direct inspiration from nature, with motifs such as plants, water lilies, the typical Nancy thistle and the dragonfly, an icon of French modernism. In 1900, he went a step further and set up a forge workshop in his factory, in order to be able to make iron fittings in accordance with his designs. Over time, this became more important and he was responsible for the handrails on staircases and the exterior details of many buildings in Nancy. That same year, 1900, Majorelle was a great success at the Universal Exhibition in Paris, which encouraged him to start mass production, enabling him to rapidly expand his catalogue. He also collaborated frequently with one of Nancy's great art glass firms, that of the Daum brothers, and in 1901 he was one of the founding members of the Nancy School, led by Gallé. His success was dazzling, and by 1910 Majorelle had furniture shops in Paris, Lyon and Lille as well as Nancy. Today his works can be found in prominent collections such as the Musée d'Orsay in Paris, the MoMA in New York, the Walters in Baltimore, the Texas College of Art, the Detroit Institute of Art, the National Gallery of Art in Washington D.C. and many others.
Lot 962
A late 19thC American mantel clock, in a figured mahogany arched case with turned finials, the paper dial enclosed by a black and gilt verre eglomise door, decorated with a single butterfly, 44cm high, and a similar German example by Junghans in a walnut, pine and parcel gilt case, 45cm and 43cm high respectively. (2)
Lot 964
A late 19thC American mantel clock by M.L. Gilbert of Winchester, Connecticut, in a rosewood case, the dial painted with flowers and with additional alarm to the movement, enclosed within a part verre eglomise door, 28cm high, and another similar timepiece by The Waterbury Clock Company, 30cm high, (2).
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