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Lot 883
LACROIX, Paul, Manners, Customs and Dress during the Middle Ages'. Chapman & Hall, London 1826. 4to. plus MCCLELLAN, Elisabeth, History of American Costume 1607-1870. Tudor, New York 1937. 2 vols. 4to. plus a collection of approximately 20 titles relating to the study of Costume. All ex lib. (20+)
Lot 195
FINE JAPANESE SHIJO BRUSH DRAWING ATTRIBUTED TO ONISHI CHINNEN 1792-1851 This superb unsigned drawing is unmistakably the work of the great Shijo master, Chinnen. Originally it would have formed part of a “gajo” folding album which would only have been signed on the last work in the album. It has been the fate of many such albums to be broken up and the drawings sold separately. Here we see the epitome of the Shijo style with its fluent and utterly confident brush strokes and its subtle colouring.The subject is a child in Chinese costume and hairstyle kneeling before a bunch of fruit. In Japan at the time, it was not unusual to dress children in Chinese style. 33cm x 29.5cm Professionally backed in Japan and has some worm damage at the right and left vertical edges, which does not encroach upon the painting. The work was published in the 1991 catalogue, Japanese Brush Drawings, of the London dealer, Richard Kruml (plate 10). Provenance: the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.
Lot 110
A fine French engraved gilt brass oval repeating alarm carriage clock with painted porcelain panels Probably by Jules Brunelot, Paris, circa 1870The eight-day gong striking movement with silvered platform lever escapement and sounding the alarm on the same gong, the backplate stamped with trademark B within a circle to lower left hand corner, the rectangular porcelain dial with Roman numeral hour numerals and gilt brass spade hands within a painted scene of a female in 18th century dress seated in a woodland landscape with cherub in flight above and incorporating white Arabic alarm setting dial to lower margin, the substantial engraved satin gilt oval case with hinged arched carrying handle over leafy scroll border engraved top and conforming foliate trail decorated upper mouldings, the front with thick curved bevel glass panel set into a foliate border-engraved frame and the sides inset with curved porcelain panels painted with scenes of 18th century courting couples within conforming frame surrounds, the rear with curved bevel-glazed pin-hinged door, on ogee profile skirt base adorned with a band of repeating leafy scrolls, 14cm (5.5ins) high excluding handle. Provenance: The beneficiary of the Estate of a private collector, East Midlands. The trademark stamped to the lower left hand corner of the backplate of the current lot (letter B within a circle) is noted in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as possibly being for Jules Brunelot although no evidence has been found to confirm this.Condition Report: Movement is fully operational (including the alarm and repeat functions) and is free from any visible alteration or significant replacements however is in relatively dirty/neglected condition so will require a gentle clean/service before putting into long term use. The dial appears to be in fine condition with no visible damage/defects. The porcelain side panels also appear free from damage or visible restoration and have almost no discernible wear (only very light rubbing to upper margins of each visible on very close examination). The rear door glass has a small chip to the upper right hand corner otherwise glasses appear free from visible damage. The gilding is in fine condition with minimal wear or discolouration.Carriage clock has a winding key. Condition Report Disclaimer
Lot 96
A fine French Empire ormolu and patinated bronze figural mantel clockUnsigned, in the manner of Jean Andre Reiche, Paris, early 19th century The circular eight-day two train countwheel bell striking movement with anchor escapement regulated by disc bob pendulum incorporating silk suspension, the circular white enamel Roman numeral dial inscribed a Paris to centre and with gilt moon hands within an engine-turned bezel, the case with surmount finely modelled as a female figure in Empire dress standing at her dressing table adjusting an oval swing mirror with jewellery and fabrics to the table top raised over stylised foliate decorated frieze and legs formed as winged female terms over tapered uprights, the base of architectural plinth form with tablet upstand over moulded cornice and butterfly populated raised gilt square border around the dial with twin griffin and flaming torchere applied patinated bronze panel beneath, flanked by full-height panel pilasters decorated with laurel wreaths over further elaborate winged female terms, the sides with recessed arched panels applied with mounts cast as stylised torcheres onto a patinated background, on moulded skirt base with compressed bun feet, 46.5cm (18.25ins) high. The current lot is of particularly pleasing form with the surmount finely modelled with a figure in mid action interacting with faithfully modelled details in the table and accessories which forms an effective contrast with the formal architectural nature of the base. It is likely that the subject is Venus at her toilet which was a popular subject at the time. The faithful 'real life' nature of the modelling of the figural element is reminiscent of the work of Jean Andre Reiche (1752-1817) whose two best known models 'the Liseuse' and 'the Evening Prayer' are illustrated in Niehuser, Elke FRENCH BRONZE CLOCKS on pages 86 and 165 respectively. Elke, on page 185, also illustrates an interesting figural clock which he titles 'Antique Library'; this clock is noteworthy in that it shares many strong stylistic similarities with the current lot. In particular the scaling of the figure and the modelling of the details such as the table are so alike to that seen on the present clock that it would be reasonable surmise that both most likely originated from the same foundry. Unfortunately Elke does not provide any attribution as to the designer of the foundry responsible for the 'Antique Library'.Condition Report: Movement is in working condition and appears free from visible alteration or noticeable replacements. Although it will run and strike the mechanism is in dirty/neglected condition hence will require a clean/service before it can be put into long-term use. The dial has chipping around both winding holes; the left hand having minor fritting and the right having more extensive shallow surface losses however the losses do not appear to reveal the copper ground beneath and there are no visible hairlines. Faults to the dial are otherwise limited to some very light surface scratching.The case is generally intact and in fundamentally original unrestored condition retaining its original gilding and patinated surfaces. The figure and table surmount are a little wobbly (fixings need tightening). The silvering to the mirror glass shows heavy degradation; the rear is backed with paper (which is now lifting/incomplete) and the glass is held by a vertical wire. This arrangement appears to lack 'finesse' hence may be a modification (would expect a gilt back panel to the mirror?). The table is missing part of the foliate cast decoration to the frieze otherwise surmount is in good condition. The top of the main part of the case has some patchy degradation to the gilding and gilding to the base skirt heavily worn so this section will probably require re-gilding. The rest has some light wear/patchy degradation but is largely in good original albeit dirty/unrestored condition. All mounts appear present and undamaged.The clock has what appears to be its original pendulum (although the hook at the top is incomplete), there is also a winding key present. Condition Report Disclaimer
Lot 40
A Porzellanfabrik - Burggrub (Schoenau & Hoffmeister) - a bisque headed character baby doll, blue sleep eyes, open mouth showing two teeth, composition jointed body in christening robe, head marked with factory name and 769 2/0 Germany, along with an Armand Marseille bisque headed girl doll, with blue sleeping eyes, open mouth showing teeth, composition jointed body (head repaired) marked with factory name German 390 A 7 M, along with a dolls dress, undergarments, hat, wig and other items
Lot 260
Edwardian three piece silk wedding dress, comprising: ruched bodice with pintuck neck insert, ruched narrow gigot sleeves and applied lace trimmed lapels with ruched belt and plain panelled skirt (lacking underskirt), together with a pair of small white leather shoes, gloves, lace trimmed silk handkerchief and baby's bonnet.
Lot 363
Five items of early 20th century costume, all a.f., some used in film and television productions with alterations, comprising: lace, silk and net bodice with metallic beading and embroidery, Cosprop label; a pink and silver metallic shot loose jacket; flapper style dress with metallic silver lace bodice and tiered net skirt with very damaged silk lining; another flapper style dress with silver metallic lace of hieroglyphs and Egyptian symbols over purple silk lining, worn by Paola Dionisotti and a very damaged floral printed metallic cheesecloth dress, c.1920's/30's.
Lot 369
Box containing a quantity of vintage costume, probably mainly from the TV/Film industry, comprising: early 20th century black wool coat with frog fasteners; 1930's/40's style black crepe dress; open fronted tunic with embroidered hem; black chiffon flapper style dress with beading (shoulder damage); mauve taffeta skirt; aprons; mob cap, pair of shoes, etc. Some items with alterations /damages.
Lot 394
18th century incomplete detached dress bodice, possible Spitalfields silk, the white taffeta with pink and white warp stripe, brocaded leaf motif and embroidered floral sprigs in pinks, green and brown; together with a matching pleated waistband; several small matching silk offcuts and correspondence from the V. & A. Museum Textile Department.
Lot 10
Portrait of a Lady standing three-quarter length, in black, her hands clasped before her inscribed to the reverse '1575 Anne de Bretagne / femme de Charles VIII / et de Louis XII' oil on panel 34 x 27.5cmFootnote: Provenance: French Private Collection; With Philip Mould Ltd, London, August 2008, Private collection, Kensington, London According to an old label on the reverse of the panel, the sitter is Anne of Brittany, wife of King Charles VIII and Louis XII which, from a date perspective, she cannot possibly be. The sitter, from her demeanour and dress, is of high status, especially as she wears black which was at that time the most expensive dye to achieve in material. The painter, who is evidently aware of the French court portraitist François Clouet, could, however, be from Flanders.Condition report: Oil on an oak panel formed from a single board with small fillets attached with glue to each side. There is a small split in the upper left corner with associated paint loss. There is also a line of movement with raised paint to the left of the sitter’s face. The paint layer has a network of age cracks following the vertical woodgrain of the panel. In the lighter paint passages the age cracks appear dark. There are a few small dents to the panel and paint layer caused by impact. The paint layer is in a good, stable condition overall. There are localised areas of retouching which are fairly well matched to the original, mainly covering small damages and scuffs. The varnish is even and semi-glossy with a light layer of dirt. The frame is in a good condition with a few losses to the decorative surface, it has probably been intentionally distressed to appear older than it is.
Lot 45
Portrait of a lady, traditionally said to be Marquise de Thil, half length, in a red dress, her hair in ringlets oil on canvas 72.5 x 59cmFootnote: Provenance: From the collection of Hubert Faure (1919-2020), Albany, Piccadilly, London The sitter is more probably a Marquise de Grollier and Trefort which family were also Contes de Maisonseule and Vicomtes de Thil. There was, however, a Marquis de Thil who was Maître des Requêtes to Louis XIV.Condition report: Oil on canvas which has been lined. The picture is in plane with good tension. The paint layer has softened during the lining process and the impasto is slightly pressed into the canvas. Overall the paint layer is stable, there is a network of age cracks with some very slightly raised edges. There are localised area of overpaint in the flesh tones which have slightly darkened, for example in the sitter’s forehead. The frame has suffered from losses to the moulding and gilded surface.
Lot 70
Autumn signed with initials on the rock lower left 'G.H.B.' oil on panel 74 x 49cmFootnote: Provenance: Sir Charles Tennant, 1st Bt. (1823-1906); George Davidson Ltd, 123 Sauchiehall Street, Glasgow; From the collection of Hubert Faure (1919-2020), Albany, Piccadilly, London Exhibited: Australia, 'Melbourne Centennial Exhibition', 1st August 1888 - 9th March 1889, lent by Sir Charles Tennant, Bt.Condition report: Oil on panel. The support and paint layers are in a good condition overall. Drying cracks have formed in the dress and darker paint passages revealing the white ground below, this occurs as the paint layer dries. The thin varnish layer is dull and slightly yellowed with a layer of dust across the surface. The frame has several losses to the gilded surface.
Lot 73
Portrait of a lady in a black dress, half length, wearing a feathered bonnet; and Portrait of a lady in a green dress, half length, wearing a white lace bonnet both signed 'Gautherot' oil on panel (a pair) 33 x 24cmFootnote: Provenance: From the collection of Hubert Faure (1919-2020), Albany, Piccadilly, London Son of the sculptor, Claude Gautherot (1729-1802), Pierre Gautherot trained under Jacques-Louis David, entering his studio in 1787. He exhibited at the Louvre between 1793-1824 and is best remembered for his portraits of notable figures of the day and Napoleonic subjects. A portrait of Voltaire by his hand, based on an earlier composition by Nicolas de Largillière, is in the Hermitage Museum, St Petersburg.
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227115 item(s)/page