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Click here to subscribeA Meissen porcelain crinoline group, second half 19th Century, after the model by J.J. Kändler, modelled as a seated lady wearing a turquoise ground floral dress, a child on her lap and a male attendant at her side leaning forward to kiss her cheek, raised on a naturalistic gilt edged oval shaped base, crossed swords in underglaze blue to base with incised shape No. 604, height approx 16.5cm (minor faults). (See illustration)
A composition baby doll, with moulded painted hair, sleeping printed blue eyes, and an open mouth with two upper teeth, on a bent-limb composition body, 43cm high, wearing a pink spotted dress and a broiderie anglaise bonnet; and a composition toddler doll, with moulded painted hair, sleeping blue glass eyes, and an open mouth with two upper teeth, on a bent-limb body, the head impressed 'Special / H.W. / 101/60 / foreign', 66cms high, wearing a knitted white dress and bonnet, (2).
An Armand Marseille bisque socket head doll, with a replacement dark brown wig (losely fitted over original cropped auburn wig), sleeping grey glass eyes, and an open mouth, on a jointed composition body, the head impressed 'Armand Marseille / Germany / 390 / A 1 1/5 M', 42cm high (forehead cracked; lacking four upper teeth); wearing a lilac pleated dress with matching bonnet.
A Simon & Halbig bisque socket head doll, with a long brown wig, sleeping grey glass eyes, and an open mouth with four upper teeth, on a ball-jointed composition body, the head impressed 'Simon & Halbig / 403 / Germany / 62', 61cm high, wearing a blue dress and original leather shoes; and a bisque socket head doll, with a long dark brown wig, sleeping blue glass eyes, and an open mouth with four upper teeth, on a ball-jointed composition body, the head impressed '5 1/2 / H.W. / Germany / 6 1/2', 59cm high, wearing a machine lace-trimmed dress and a crimson velvet coat; together with a quantity of other clothing, (2).
An Armand Marseille bisque socket head doll, with sleeping brown glass eyes and an open mouth with four upper teeth, on a composition ball-jointed body, the head impressed 'Made in Germany / Armand Marseille / 390n / D.R.G.M. 246/1 / A. 4 M.', 50cm high, wearing a mustard and blue printed dress.
A vinyl plastic fashion doll, circa 1960s, with a blonde nylon wig, and sleeping blue plastic eyes, on a jointed body, 42cm high, wearing original blue blouse, black and white printed skirt, nylon stockings and high heels; and another, similar, with a black wig, 53cm high, wearing original floral printed fuschia dress, matching hat and nylon stockings, (2).
Approximately 380 film and topographical press photographs, the subjects including T.E.Lawrence astride his motorcycle, undated (creased, with torn corners); Lawrence in Arab dress, undated; traffic congestion in New Bridge Street, London, 1928; St.Annes Street, Salisbury, 1956; the moon over the Caledon River, Basutoland, South Africa, 1934; and aerial view of Canterbury, 1952; George Formby 'firing' a tommy gun, and stills from Ben Hur, (majority with ink annotations and/or crop lines); together with fifteen assorted postcards.
Meng Yang Yang, b. 1980 LITTLE GIRL NO. 2 signed and dated 2006; signed, titled, dated 2006 and inscribed with Chinese characters on the reverse oil on canvas 100 by 100cm.; 39.375 by 39.375in. Born in 1980, Meng is one of the youngest Chinese painters to achieve international recognition. Growing up in a China increasingly less marked by Maoist authoritarianism, her artistic inspiration is instead derived from the dizzyingly fast-paced changes in her country with its influx of Western entertainment and consumer goods. In the present work and lot 545 Meng has succumbed to her own reveries, drawing from her inner world a set of intensely animated characters that are nevertheless marred with a haunting feel. Like an aspiring Marlene Dumas, Meng builds solid form out of loose brushstrokes. In lot 545 a figure is placed slightly off centre, awkwardly filling the height of the picture and staring transfixed at an uncertain distant point. Doll-like and clad in a fluffy dress, her arms seem disjointed and her head is disproportionately large. Her expression seems unfit for the paintings subdued candy colours and her girlish clothes; as if possessed her right eye expands with a greenish glow. While the large head suggests childhood, a certain friction exists through the elongated limbs that imply puberty or adulthood. At the point where Mengs sugar-sweet dream might turn into a nightmare, the figure is intercepted where childhood mercilessly must give way to adulthood. Provenance Private Collection, Europe
Andy Warhol, 1928-1987 SOUPER DRESS colour silkscreen on paper and cotton A-line dress overall: 99 by 55cm.; 37.25 by 21.5in. This dress is 'one size fits all' and has an adjustable hem line to suit most heights. Literature Mark Francis, The Warhol Look: Glamour, Style, Fashion, New York 1997, illustration of another example
A pair of late 19th century Minton Parian and porcelain figural candle holders, each modelled in classical dress, heightened in gilt, the porcelain bases decorated with cabbage roses, turquoise enamel reserves, and raised on gilded scrolling feet (some restoration to candle holders), height 36cm
Mikhail Fedorovich Larionov, 1881-1964 A Folio of 15 pochoir prints from Voyage en Turquie all signed in Latin, stamped with artist's stamp and numbered 31/50 on the mount sheet size: largest: 32.5 by 25cm., 12.75 by 9.75in.; smallest: 20.5 by 27cm., 8 by 10.5in. (15) The folio of 32 pochoirs titled Voyage en Turquie was printed in Paris in the late 1920s and first exhibited in 1929 at Literary Book Company Gallery in London. A few of the works are based on neo-primitive precedents, others date from Larionov's work on Karagueuz. Some of the best works feature bathers in beach dress and derive from drawings that Larionov made during his holidays in the South of France in the 1920s.
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