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Lot 166
THREE STAFFORDSHIRE WELLINGTON COMMEMORATIVES, circa 1815-1835, the first a tobacco jar and cover modelled as Wellington's bust in military dress with bi-corn hat, 19cm high; the second a relief moulded jug of ovoid shape with bracket handle, modelled with portraits of Lord Wellington and General Hill picked out in enamel colours, 16cm high; the third a relief moulded jug with portrait of Earl Wellington flanked by fruiting strawberry vines, picked out in colours and trimmed with silver lustre, 12cm high. (3)
Lot 432
The Move & The Cream - Original concert poster for The Birdcage Club, Portsmouth, April 1967, featuring The Move (15th April 1967) and The Cream (26th April 1967), also featuring 'American Disc Nite' and 'First Round Heat, Miss Short Mini-Skirt' competition, framed, 30" x 40" (loss to top right corner and some tears throughout)
![* Paul Stephenson [b.1976], after Warhol-Little Electric Chair - Cadmium Yellow,:-silkcreen print on linenstamped 'UNDENIED'](https://cdn.globalauctionplatform.com/e18c8ef5-a5ec-4e7d-88fe-ac1400c43657/294d5623-54b5-4eec-85ec-ac1500a9f99a/468x382.jpg)
Lot 180
* Paul Stephenson [b.1976], after Warhol-Little Electric Chair - Cadmium Yellow,:-silkcreen print on linenstamped 'UNDENIED' to reverse56 x 71cm, unframed.*Notes Stephenson is a follower of Andy Warhol. Researching and recreating practices first established by Warhol in New York, London-based artist Stephenson is dedicated to creating After Warhol.*Notes Inspired by Warhol's [1964] Electric Chair the present lot references a press photograph of the death chamber at Sing Sing Prison in New York. Here Julius and Ethel Rosenberg were executed for passing details about the atomic bomb to Russia during World War Two. The original work was created at Warhol's studio in New York and forms part of his Death and Disaster series. Warhol is said to have quipped: "You'd be surprised how many people want to hang an electric chair on their living-room wall. Specially if the background colour matches the drapes"
![* Maurice Cockrill [1936-2013]-'Generation' - blue - first group,:- signed and inscribed on the reverseoil on canvas, 81 x 10](https://cdn.globalauctionplatform.com/e18c8ef5-a5ec-4e7d-88fe-ac1400c43657/b7b087b4-4bb8-4a2f-b2e3-ac1500a9ffe0/468x382.jpg)
![*Siddy Langley [b.1955] two 'Peacock' vases: the first of tapering cylindrical form, the latter of flattened form with applie](https://cdn.globalauctionplatform.com/e18c8ef5-a5ec-4e7d-88fe-ac1400c43657/ebf3ccd1-64c8-4387-b9a8-ac1500aa186e/468x382.jpg)
Lot 225
*Siddy Langley [b.1955] two 'Peacock' vases: the first of tapering cylindrical form, the latter of flattened form with applied blue wings each decorated pea green and blue spots joined by dark green trails on a light green body, diamond point etched signature and 2006 to bases, 24 and 15cm high.
![* Peter Thursby [1930-2011]-Standing figures, homage to Henry Moore,:-signed and dated '55 bottom left oil on board, 33 x 40c](https://cdn.globalauctionplatform.com/e18c8ef5-a5ec-4e7d-88fe-ac1400c43657/bb3c8db8-e683-4d29-9e2e-ac1500a9b325/468x382.jpg)
Lot 91
* Peter Thursby [1930-2011]-Standing figures, homage to Henry Moore,:-signed and dated '55 bottom left oil on board, 33 x 40cm.*Peter Thursby [1930-2011], born in Salisbury and raised in Jamaica. After National Service he studied at St Pauls Cheltenham and latterly with Paul Feiler and Ernest Pascoe at the West of England College of Art. Throughout the 1950s Thursbys' output was largely in the form of paintings, and by 1957 his career became textural and fully abstract. From the early 60s his work was almost exclusively sculpture, winning his first major award in 1962. Solo exhibitions at Plymouth Art Gallery in 1964 and the Marjorie Parr Gallery led to Podmen Sculptures in the 1970s followed by the Sarum and Flight series. Thursby's monumental works, cast by the Morris Singer Foundry, came in the 1980s. He gave generously of his time to art education and organisation including the West of England Academy of which he was President for five years [1995-2000]. In 1995 be received an honorary doctorate from the University of the West of England, Bristol. His career culminated in his Optimism series, one of which is in the Queen's Collection.
Lot 157
Ike an Ideal teddy bear circa 1908, with golden mohair, black boot button eyes, pronounced muzzle, remains of black stitched nose, mouth and claws, triangular swivel head, jointed elongated limbs with felt pads and hump ”12 1/4in. (31cm.) high (first inch of arms replaced and hand pad replaced, ears replaced and slight wear) this bear was purchased in an estate sale in Massachusetts in 1963 by the previous owner
Lot 63
ENTERTAINMENT, signed selection, inc. programmes, photos etc., featuring magicians & ventriloquists, inc. Sophie Tucker, James Crossini, Charlie Drake, Dame Hilda Bracket, Pat Mooney, Penn & Teller, Howard Schwarzman, Graham Adams, Lester Sharpe (P), Mr. Electric, Mark Raffles & Joan (first names only to Christmas card), Joseph Gabriel, Frank Bruno, Ken Morley etc., FR to G, 17
Lot 125
EPHEMERA, mixed selection, inc. Billy Smart's Circus Risk Assessment, poster for Zippo's Circus, Oxford n.y.; catalogue for the sale of Peter Arnett's Fairground & Circus Vehicles etc. 2008; engravings, magazines, Dancing Times, Top Model, Photo, The Magician 2005; billhead for J & N Phillips of Manchester; 2012 London Olympics stamp sets (3); commemorative cover for the First Atrans-Atlantic Crossing 1957; photos, ballet, scripts (7), modern flyers (50) etc., G to VG, Qty.
Lot 125
A Louis XV tulipwood, specimen marquetry and parquetry serpentine commode, stamped * A LAPIE, circa 1760, gilt metal mounted throughout, the variegated grey marble top above two drawers and a shaped apron, flanked by serpentine shaped angles and square section tapering cabriole shaped legs terminating in sabots, stamped * A LAPIE and JME to the front right corner of the top beneath the marble, 88cm high, 145cm wide, 71cm deep Please note: This commode is stamped by the maker LAPIE, and with adjacent guild stamp JME. The maker is almost certainly Nicolas Alexandre Lapie (made master in 1764). There were other makers by the surname of Lapie during a similar period, but whilst the first initial of the stamp is indistinct, the clear and legible initial 'A' strongly suggests that the commode was made by Nicolas Alexandre Lapie. For a cylinder bureau by Nicolas Alexandre Lapie displaying related marquetry and parquetry, see Christie's, London, Interiors: Including Property from the Collection of Sir David and Lady Tang and Property from Bywell Hall, Northumberland and Property from Howe, 21st January 2018, Lot 100 (£5,000 hammer). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Old splits, chips and small losses. Significant structural division to one side where join between two elements has opened and a gap now exists. This has caused adjacent veneer loss (see images). This has occurred to a lesser degree to the other side. Marble with some minor chips to edges. It has a polished rear edge and may possibly be associated but matched the shape of the piece as one would expect. Of cleaned/polished appearance. Various old veneer repairs and filler used in places. Lock appear original. Key present an operates locks. Evidence of old worm to underside and back. No clear evidence of alternate metalware. Metalware possibly previously cleaned and re-gilded. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 146
An unusual paktong fire fender, late 18th/ early 19th century, possibly Chinese Export, in the manner of designs by Robert Adam, the pierced frieze centred by a stylised patera terminal, flanked on each side by a large flowerhead patera, surmounted overall by four urn finials, on a stepped plinth base, 28cm high, 121cm wide, 34cm deep Paktong, a name derived from the Chinese word meaning white copper, is a rare non-tarnishing alloy of copper, nickel and tin or zinc. Also knownas 'Tutenag' or 'India metal' on account of its importation by the East India Trading Companies, it originated in China and although it first arrivedin London in the 1720s, it was developed by the Chinese much earlier. The principal advantage of paktong is that whilst resembling silver, unlike silver it isunaffected by atmospheric conditions, and can be easily cast, hammered and polished. Its unusual qualities were especially suited to such purposesas chimney-furniture, a fact well recognised in 18th Century Europe (A.Bonnin, op. cit. 1924, pp.18-51) and from about 1750, a limited number ofarticles including grates are known to have been made in England from this material. Condition Report: The fender bears the usual minor marks, knocks and scuffs overall commensurate with age and use. The surface is slightly tarnished and there are possible minor traces of lacquer or varnish, though overall the casting is crisp and well preserved.Most of the bolts to the rear of the fender have been replaced, and the corners have been later strengthened with steel brackets. There is some slight movement between the frieze and sides, and the sides are positioned at a slightly inward angle (likely due to design).There is some polish residue to the rear, particularly inside the recesses of the beading. The rear panel of sheet metal is slightly bowed between the bolts.The top and bottom rails have an iron core, presumably to weight the sheet metal.Condition Report Disclaimer
Lot 164
A pair of Derbyshire fluorspar campana urns, first half 19th century, each with flared rim and bulbous base, with waisted socles and square bases, 26cm highProvenance: Private Collection, LondonPlease note, there is a slight height difference between the vases, they are not an identical pair but a companion pair. Condition Report: Please note: there is a slight height difference between the vases, they are not an identical pair but a companion pair.The urns bear the usual very minor marks and scuffs overall consistent with age and use.One bears a small circa 1cm chip to one corner of the base.The material is naturally irregular and variegated in colour, though there may be old repairs or stabilisations.There is amber residue present on the inside of each urn, where the bases are joined to the bodies. Likely this is a result of the manufacturing process.Each has a handful of darker flecks particularly to everted rims and by the ring incised decoration, these are either natural inclusions in the material or possibly areas of filling. One has a tiny chip or natural irregularity above the line incision (circa 0.3-0.5cm wide).Overall these urns are in perfectly presentable condition.Condition Report Disclaimer
Lot 166
A pair of fine late George III Blue John solid ornamental urns in Neoclassical style, late 18th/early 19th century, the ovoid bodies with domed integral covers and ball finials, on square section slate bases, 21.5cm highProvenance: Private Collection, LondonBlue John, a rare and precious colour banded form of fluorspar, is mined in Castleton, Derbyshire. The mineral's unusual name is said to derive from the French 'bleu jaune' which translates to 'blue yellow' - referring to its lustrous jewel tones. Another, more vernacular theory is that the term 'Blue John' was used by miners to distinguish it from zinc ore, known as 'Black Jack'. Though prized for their rarity and decorative appeal, fluorspars such as Blue John have long been appreciated for their more functional qualities. The Roman poet Martial, writing towards the end of the first century AD, for example claimed that wine tasted better when consumed from a 'murrine' cup. 'Murra' has been identified with fluorspar, and was introduced to the Romans by Pompey the Great after his expeditions in the East (possibly a variety found in Persia, present day Iran) circa 62 AD. Due to its fragility, fluorspar is often heated with a coating of (pine) resin, in order to stabilise the crystals after the mineral is mined. This longstanding manufacturing process may have accounted for the added aroma referred to by Martial. The mineral was so popular in Ancient Rome that, as naturalist and historian Pliny tells us, Emperor Nero himself apparently paid one million sesterces for a cup. Two Roman drinking vessels made of similar fluorspars are held in the collection of the British Museum (the Barber Cup and the Crawford Cup).The present urns date from a time when Blue John was at the height of its popularity, with makers such as Matthew Boulton and Robert Adam incorporating the fluorspar into their decadent works of art and society commissions.A vase of similar shape and with comparable arrangement of banding was sold at Christie's New York, 28 April 2010, Lot 109.Condition Report: These urns bear the usual very minor marks, knocks and scratches overall consistent with age.One of the the urns has an old restoration of circa 0.5-1cm to the edge of the body, and an area of shallow chipping/nibbling of circa 2cm wide on the opposite side.The other also has one shallow chip to the shoulder of the body (circa 0.5-1cm), and a possible restoration to the upper rim.One has an old repair to the socle.One urn has detached from its slate base, though this is a clean separation and it could presumably be easily reattached.Overall these are well preserved, and the colouring of the purple banding is very vibrant.Condition Report Disclaimer
Lot 199
A birch and ebony marquetry sculpture or clock stand, circa 1810, attributed to George Bullock, the cushioned needlework inset panel above the marquetry frieze incorporating stylised patera terminals after the Wilkinson Tracings, on turned tapering feet, 13cm high, 23cm squareThe design of the inlay appears in the Wilkinson Tracings, p.137. Although the source and indeed the identity of Wilkinson is unknown the first page was inscribed 'Tracings by Thomas Wilkinson, from the designs of Mr. George Bullock 1820'. In addition to the tracings there are also drawings and engravings of full size patterns to be executed in either wood or brass.
Lot 20
An oak chest or ark, first half 17th century, with carved triple panel front, the distinctive panels incorporating carved and stylised patera motifs, 61cm high, 105cm wide, 55cm deep For a chest of related form and incorporating similarly carved panels, see Christie's, London, The Roger Wagner Collection - Part 1, 20th-21st January 2009, lot 52 (£1,750). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Old splits, chips and losses. Some old repairs. Evidence of old worm. Hinges are 18th century replacements and have moved position and have later screws securing. Vacant holes and cut out sections of timber remain from where they previously sat. The lock plate and hasp appear to be late 17th/early 18th century in date but are likely associated. There is no locking mechanism to the plate and no key present. Various nails and smaller number of screws to sides of the top, with some nails of the period. Later supporting blocks to the underside of the top. Some later tacks to the join at the centre of the top. Side handles appear to be 17th century in date but are likely associated. Condition Report Disclaimer
Lot 21
A patinated bronze model of the Farnese Hercules, second half 19th century, cast after Glycon's Roman marble and probably a Greek (Lyssippian?) original, portrayed as heroically nude and standing resting against the Nemean lionskin, draped on a tree stump, the Apples of the Hesperides held in his right hand behind him, 41cm highThe famed statue of Hercules, first reliably recorded in 1556 by Ulisse Aldrovandi was unearthed during excavations at Rome's Baths of Caracalla, and was quickly acquired by the Farnese, whose first courtyard at the Palazzo Farnese housed the massive piece until 1787.The Farnese Hercules is now held at the Museo Nazionale in Naples.
Lot 232
Y A George IV rosewood pedestal table or stand, almost certainly by Gillows, circa 1825, the dished and shaped top with carved beaded edge, the stem incorporating fluted, lappet carved detail, on triple downswept cabriole legs carved with acanthus leaves and terminating in cabochon carved feet, 74.5cm high, the top 35.5 x 26.5cmThe design of the current stand is an elaborate version of a model first shown in 1822 (Estimate Sketch Books folio 3170). The 1822 sketch is notable for being the first early 19th century Gillows design clearly based on a mid-18th century tripod table.For a pair of virtually identical 'stands' also referred to by Gillows as 'flower stands' see Christie's, Style & Spirit, 16th September 2014, Lot 192 (£6.875). A pair of the present model sold Important English Furniture, Sotheby's, New York, 16 October 2008, lot 178 ($20,000).Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Minor fading to top. Old repairs. One screw to block underneath top lacking. Block to underside of top is simulated rosewood. Remnants of small paper label to underside of top. Neat old repairs to bottom of stem, with small nail used to help secure and filler used in places. Three neat repairs to beaded edge of top. Slight movement within the join at the centre of the stem. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 278
A verdigris bronze sundial signed for Deane, Dray & Deane, London, first half 19th century, the circular Roman numeral dial with large central gnomon and inscribed DEANE, DRAY & DEANE, FINSBURY IRON WORKS. Chiswell Street, LONDON to top, mounted to a 19th century stone baluster plinth, 140cm high overallCondition Report: Marks, scratches, abrasions commensurate with age and use.Some minor old losses, including some nibbling to the base.The surface is weathered overall, consistent with outdoor exposure. The sundial itself is associated to the plinth. The diameter of the sundial is larger than the top of the plinth. The gnomon's bolts to the underside may have been replaced.Please refer to all additional images for visual reference to conditionCondition Report Disclaimer
Lot 285
A Regency white painted cast and wrought iron 'games seat', first quarter 19th century, the reeded and slatted frame with arched backrest, and with a further footrest below, on castors, 111cm high, 155cm wideCondition Report: The seat bears the usual minor marks, knocks and scuffs overall consistent with age and use. Two legs have wheels, which do turn when the bench is pulled. The other two have pad feet like those on the footrest.The painted finish is later, and there is some minor surface oxidisation particularly inside the wheels and between the slats of the arm rests. One or two bolts may be replacements.Condition Report Disclaimer
Lot 66
A pair of Worcester blue-ground (gros bleu) two-handled chocolate cups, covers and stands, circa 1770, painted with panels of flowers within gilt lappet band borders, the saucers with blue fretted square marks, the cups with a fretted square mark and a crescent mark; and a Worcester blue-ground and gilt pierced-oval two-handled basket, circa 1770, the well painted with a floral spray within a gilt lappet border, blue hatched square mark, 20.5cm in lengthProvenance: The cups; Albert Amor Ltd., Exhibition of first period Worcester porcelain 1751-1784, London 1973 (one saucer with paper exhibition label.). Sold in these rooms ex-lot 91 28th March 2018. The basket sold in these rooms, ex-lot 89, 28th March 2018.Condition Report: One cup has a 2cm long vertical crack from rim. Minute nibbles to floriform finials. One cover has a small 'tooth' of the dentil gilt rim rubbed off and has a barely noticeable shallow rim chip (couple of mm's), ditto one saucer. Generally very light wear to gilding of the leading edges of rimsBasket: Some small nibbles to the flower terminals of the handles.Condition Report Disclaimer
Lot 90
A Continental, probably Italian, patinated bronze model of Mercury after Giambologna, last quarter 19th century, on a stepped circular verde antico plinth, and presented on a further Italian green serpentine marble pedestal, the bronze 77cm high, overall height approximately 218cmCondition Report: The bronze bears the usual minor marks, knocks and scuffs overall consistent with age.The bronze has a dark brown patina, which is relatively matte overall. There is also some slight mottling to the surface, particularly the chest.The Caduceus is a little loose and slightly bent.There is a repair to the raised big toe. The smaller socle on which the bronze is perched has a handful of small chips to the edges.The top of the plinth has a repaired chip, and there are further smaller nibbles and chips to the rim. There is an old restoration to the moulding below, and there is an area of loss to the circular moulding above the base.The lot includes one large columnar pedestal. The first plinth mentioned in the cataloguing is the smaller one on which the bronze perches directly. Condition Report Disclaimer
Lot 198
An original GWR bronze locomotive cab side plate for 6009 "King Charles II", 11 3/4" x 25 1/4" (Built March 1928. First and last shed allocation Old Oak Common. 'Alfloc' water treatment fitted 1954. Double chimney fitted May 1956. Withdrawn September 1962. Scrapped at Cashmore's Newport.)Condition: Marks on edge: engine... class... boiler... and CLA.
Lot 220
A mixed lot, consisting of 3 x rings. First ring is a 14ct yellow gold square topped diamond ring with three moving gemstones in a glass layer. Ring weighs 5.2 grams, finger size K. Together with A 14ct yellow gold star set diamond ring. Ring weighs 5.0 grams, finger size K. Also A 14ct yellow gold 2 stone ring, claw set with 2 x green stones in different shades. Ring weighs 4.5 grams, finger size M.
Lot 246
A mid 20th century white painted kneehole dressing chest with triptych swing interior and drawers below on knee carved cabriole legs 58 1/2" x 45 x 20, a similar kneehole dressing chest with swing mirror 57 x 42 x 21 1/2", and a pair of matching (to the first chest), bedside cabinets 27" x 16 x 14 2/8"
Lot 145
The 12th (Prince of Wales's Royal) Lancers Victorian Cavalry Field-Service Cap Badge (Bi-metal), slider, first type. K&K: 767-The 12th (Prince of Wales's Royal) Lancers Cavalry Field-Service Cap Badge (Bi-metal), slider, second type. K&K: 768-The 12th (Prince of Wales's Royal) Lancers Cavalry Field-Service EIIR Cap Badge (Bi-metal), slider, second type. K&K: 1901.
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596772 item(s)/page