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Lot 46
A small Chinese flambé red glazed vase, meiping, 19th century, with apocryphal Kangxi six-character mark in under glaze blue, 10cm highProvenance: Major Edward Copleston Radcliffe (1898-1967) collection and listed, 'C10', as purchased from Bluett & Sons, for £18-0s-0d, and listed in the Bluett archive as sold to Major Radcliffe, on the August 17th 1964, Bluetts having previously purchased the item from Lobl, July 28th, 1964, for £12-00清 "大清康熙年制"款郎红釉小瓶拍品来源：Edward Copleston Radcliffe (1898-1967) 少校私人收藏（家族编号C10），其以18镑购自英国著名古董商Bluett & SonsCondition Report: good conditionfoot ground?Condition Report Disclaimer
Lot 103
Byron (George Gordon, 6th Baron Byron, 1788-1824). English Romantic poet and peer. Lord Byron's personal acting copy of The Wheel of Fortune; A Comedy, in Five Acts; as Performed at the Theatre Royal, Drury-Lane, by Richard Cumberland, printed… from the Prompt Book, with Remarks by Mrs Inchbald, London: Longman, Hurst, Rees & Orme, [1806], engraved frontispiece, 70 pp., the engraved frontispiece signed and inscribed by Lord Byron in black ink at head, ‘Byron / Harrogate / Monday Sept. 15th 1806’, inscribed ‘Leacroft’ at head of title, manuscript annotations, (probably by Julia Leacroft) to ‘Persons Represented’ leaf, identifying the names of the persons playing each part, (with Byron as Penruddock and Julia L[eacroft] as Emily Tempest, plus [C.] Becher, [John] Leacroft, [John] Pigot, [H.] Houson, [Captain] Lightfoot, [G.] Wylde, Weatherell, Miss L[eacroft] and [Ann] Bristoe), the pencil letters ‘O S’ over-inked in an unidentified hand adjacent to first prompt on p. [7], the dialogue affecting Weazel, a ivery servant and Jenkins struck through with pencil on p. 40 (Act 3 Scene 3, just prior to Penruddock’s entrance), lacks the final printed leaf (pp. 71-2), supplied in slightly later manuscript on 5 pages in the autograph of Caroline Elizabeth Leacroft, frontispiece heavily spotted and detached with paper loss to stub where originally stitched, title somewhat dust-soiled and frayed without loss of text, occasional spotting, marks and finger-soiling with page edge curling and a little fraying to a few leaves (touching a few initial letters of manuscript names on ‘Persons Represented’ leaf), the contents somewhat loose with later re-stitching into plain wrappers by Caroline Leacroft, the later stitching now partly broken, signed by Caroline Elizabeth Leacroft on the inside front wrapper, wrappers lightly dust-soiled, slim 12mo (165 x 99 mm)QTY: (1)NOTE:This is the original acting copy of the play used by Lord Byron to learn his lines in Harrogate during his brief visit there in September 1806. Though very battered and lacking the final text leaf, it was lovingly completed in manuscript and re-stitched by Caroline Leacroft (1799-1861) into plain wrappers. As such, it is a unique and powerfully emotive association item from Byron’s tempestuous teenage years.Byron’s mother rented Burgage Manor in Southwell, Nottinghamshire, and from 1803 Byron would visit her during school holidays from Harrow, and then later when he was at Cambridge. While visiting his mother, Byron formed friendships with neighbouring families, in particular Elizabeth and her brother John Pigot, and the siblings John and Julia Leacroft (1789-1855) at Burgage House. It was here that in the summer of 1806 the group of friends decided to stage some amateur dramatics. For this play Byron took the lead male role, while Julia Leacroft played the role of Emily Tempest. During this period Byron and Julia became close, their flirtation leading to rumours in the Southwell community. By January 1807 the idea that the pair would marry was assumed by many, including the Leacroft family. However, Byron had no intention of marrying Julia and the circumstances caused a local scandal.‘Life at Harrogate was anything but wild. All the while Byron was poetizing, and he and Pigot were memorizing their parts for the play. “Lord Byron can say all his parts,” Pigot wrote his sister, “and I most of mine. He certainly acts it inimitably.” Byron had seen a beautiful Quaker who inspired some verses to be included in his volume.On his return from Harrogate Byron wrote between stages a prologue for the play. He entered wholeheartedly into the production of the amateur group, which had chosen Cumberland’s Wheel of Fortune, a heroic drama that gave ample scope to Byron’s love for histrionic rhetoric. He had the leading role of Penruddock, the gloomy disappointed lover of Arabella Woodville (Miss Ann Bristoe). He mouthed the heroic passages with gusto, frequently bringing down the house with his acting. Byron also played the lead (Tristram Fickle) in Allingham’s Weathercock in the second play of the evening’s offering. Miss Bristoe played the heroine again.Through October Byron was working on his poems, sending them off to Ridge, the printer, in Newark, as he copied and revised old ones or wrote new. At the same time he was paying court and writing verses to several of the Southwell belles, especially to Julia Leacroft, in the dining-room of whose home the plays were represented, and to Ann Houson. To none of these Southwell flirtations did Byron give more than cynical attention. Since his frustrated passion for Mary Chaworth he felt that the capacity for romantic attachments had been burned out of him. Most of his verses addressed to the Southwell girls were essays in gallantry and accusations of infidelity and fickleness.’ Leslie Marchand Byron, A Biography, volume 1, (London: John Murray), p. 117: More information about this period and the people in Byron's life can be found in his Letters and Journals.Byron wrote two poems referring to Julia Leacroft, the first entitled ‘To Julia’ and published in his first collection, Fugitive Pieces, though the title was later changed to ‘To Lesbia’. In the poem he addresses her and explains he no longer loves her.When these theatricals were performed in September 1806 Julia would have been about 17 years old, her younger sister Caroline about 7. Caroline would undoubtedly have been swept along with the dramas then going on in the drawing room and beyond, and perhaps re-discovering the dog-eared pamphlet in her adult years, decided to restore and preserve this fragile Byron holy relic.
Lot 145
* Patmore (Coventry, 1823-1896). English poet and literary critic. Portrait by Herbert Rose Barraud (1845-1895), 1891, carbon print, head and shoulders portrait on original card mount (from Barraud's series 'Men and Women of the Day'), image 245 x 180 mm, signed and dated presentation inscription from the sitter in black ink to lower mount, 'Revd. C.L. Dodgson, from Coventry Patmore, April 23 1891', a few very faint marks to photograph surface and minor dust-soiling to mountQTY: (1)NOTE:Charles Lutwidge Dodgson (1832-1898), better known by his pen name Lewis Carroll, English author, poet and mathematician. A nice association item between these two eminent literary figures. Dodgson had been an admirer of the older poet since as early as 1855 when a young Oxford student. It was not until 1890, however, that the two were to meet. Patmore was living in Hastings and so not far from Dodgson during his long annual sojourns in Eastbourne. Dodgson's diaries record their first meeting in October when he stayed for afternoon tea and dinner. Their conversation dwelt upon Tennyson and other eminent writers.
Lot 362
An impressive item of Great War Zeppelin wreckage, being a large piece of rivetted aluminium framework forming a bracket with reinforced apertures for a cable or stay, one side endorsed in pencil "Brought Down in Essex by ... Sowby Sept 1916", and the other side in paint "ZEPPELIN. L. 33", 24 x 20 x 18 cm.33", 24 x 20 x 18 cm.Qty: 1The pencil note on the side of the relic disagrees with the painted identification, because it refers to the Billericay airship, whereas L.33 was the Little Wigborough airship.
Lot 475
An early 20th century American sterling five-piece tea set, each of ovoid form with angular handles, on a circular foot, initial engraved, comprising teapot, hot water pot, milk jug, two-handled slop bowl and sugar bowl and cover, New York by Dominik & Haff, total weight 2783.7g, height of teapot 19.5cm, together with a pair of Georgian silver sugar tongs, length 14cm. Note: a non-transferrable ivory exemption certificate has been granted for the sale of this item.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 12
Derby County: A Falstar, silver-plated goblet, inscribed 'Ron Webster (Derby County FC) Testimonial 1971 Presented with Sincere Appreciation to Jimmy Gordon'. Approx. 14cm height, 161g weight. Together with a rectangular plated tray 'Happy Birthday Jimmy from the Lads 1971-72'. (2)Provenance: The item has been consigned by Jimmy Gordon's daughter. Jimmy Gordon was a coach under Brian Clough and Peter Taylor at both Derby County and Nottingham Forest. Gordon joined Clough and Taylor at Derby in 1969, and remained alongside Clough until he retired in 1982. Clough described Gordon as "the fair-minded old pro whom I could trust with my life and my wallet if I carried one". During the infamous 44-day spell at Leeds United, Clough described Gordon as "the only friend I had" at Leeds. He would later also join up with Clough at Nottingham Forest before retirement.
Lot 14
Nottingham Forest: A hallmarked silver salver, 'Nottingham Forest - European Champions Madrid 1980', presented to Jimmy Gordon following the victory in the 1980 European Cup Final against Hamburg. Hallmarked 'Cooper Brothers & Sons, Sheffield, 1980'. Weighing approx. 177.2g/5.7ozt.Provenance: The item has been consigned by Jimmy Gordon's daughter. Jimmy Gordon was a coach under Brian Clough and Peter Taylor at both Derby County and Nottingham Forest. Gordon joined Clough and Taylor at Derby in 1969, and remained alongside Clough until he retired in 1982. Clough described Gordon as "the fair-minded old pro whom I could trust with my life and my wallet if I carried one". During the infamous 44-day spell at Leeds United, Clough described Gordon as "the only friend I had" at Leeds. He would later also join up with Clough at Nottingham Forest before retirement.
Lot 13
Nottingham Forest: A collection of assorted silver plated items, presented to Jimmy Gordon while he was a coach at Nottingham Forest under Brian Clough. Items in the lot comprise: a dish inscribed 'Nottingham Forest v S.V. Hamburg European Champion Clubs' Cup Final 28th May 1980 Madrid' with Nottingham Forest badge inscribed above and two white metal handles, modelled as squirrels; two plated dishes 'European Champion Clubs' Cup Final Munich 1979 Nottingham Forest 1 v Malmo 0' one inscribed 'To Pauline and Edwin', the other inscribed 'To Olive with love', the handles of both appear to have been detached and as such are missing; a Nottingham Forest ashtray; a circular dish inscribed 'Notts F.A. County Cup Winner 1979-80'; two Nottingham Forest lighters; a pewter tankard, inscribed 'F.A. XI v Northern Premier League 3.11.81'; and a silver plated trophy 'County Cup Winner 1980-81' Nottinghamshire Football Association. (9)Provenance: The item has been consigned by Jimmy Gordon's daughter. Jimmy Gordon was a coach under Brian Clough and Peter Taylor at both Derby County and Nottingham Forest. Gordon joined Clough and Taylor at Derby in 1969, and remained alongside Clough until he retired in 1982. Clough described Gordon as "the fair-minded old pro whom I could trust with my life and my wallet if I carried one". During the infamous 44-day spell at Leeds United, Clough described Gordon as "the only friend I had" at Leeds. He would later also join up with Clough at Nottingham Forest before retirement.
Lot 15
Nottingham Forest: An Adidas, Nottingham Forest tracksuit top and bottoms. Size 7. 1980s. Given to Jimmy Gordon, but appears to have never been worn. Please assess photographs.Provenance: The item has been consigned by Jimmy Gordon's daughter. Jimmy Gordon was a coach under Brian Clough and Peter Taylor at both Derby County and Nottingham Forest. Gordon joined Clough and Taylor at Derby in 1969, and remained alongside Clough until he retired in 1982. Clough described Gordon as "the fair-minded old pro whom I could trust with my life and my wallet if I carried one". During the infamous 44-day spell at Leeds United, Clough described Gordon as "the only friend I had" at Leeds. He would later also join up with Clough at Nottingham Forest before retirement.
Lot 16
Nottingham Forest: An Adidas, Nottingham Forest tracksuit top and bottoms. Size 186. 1980s. Given to Jimmy Gordon, but never worn. Please assess photographs.Provenance: The item has been consigned by Jimmy Gordon's daughter. Jimmy Gordon was a coach under Brian Clough and Peter Taylor at both Derby County and Nottingham Forest. Gordon joined Clough and Taylor at Derby in 1969, and remained alongside Clough until he retired in 1982. Clough described Gordon as "the fair-minded old pro whom I could trust with my life and my wallet if I carried one". During the infamous 44-day spell at Leeds United, Clough described Gordon as "the only friend I had" at Leeds. He would later also join up with Clough at Nottingham Forest before retirement.
Lot 260
Oskar Koller (German, 1925-2004). Watercolor on paper painting depicting semi-abstract flowers in vivid colors, 1985. Pencil signed and dated along the lower right.Sight; height: 12 in x width: 17 in. Framed; height: 20 1/4 in x width: 26 in.Condition: The item is in good condition with no visible losses, or major tears or creases. No visible sign of restoration. The color is bold and bright. Along the upper left quadrant, there are a few cut lines that do not cut through the paper but cause skimming. To the lower right quadrant, there are two minute impressions that measures smaller than 1/8 in each. To the lower left quadrant, there is an area with minute skimming. There is a minute crease to the lower right margin. Framed under plexiglass; not inspected out of frame.
Lot 31
Edwardian English silver service set. The three kettles, creamer, and sugar bowl are sterling silver and the large tray is silverplate. Each with maker's marks along the sides; the tray with marks along the underside. The tray is marked Walker & Hall. The makers of the service include Harry Atkin of Atkin Bros., one kettle marked L.D., one marked J.D. & S., one marked W&EV, and one marked illegibly.Height ranges from 2 in to 10 1/2 in; width ranges from 5 1/4 in to 27 in; depth ranges from 2 3/4 in to 16 in. Gross weight of sterling (including wooden handles and excluding silverplate tray): 1,979.3 grams.Condition: No visible dents or losses. The lids open and close smoothly. Several scattered areas with old polish collected. Light oxidation throughout the items, particularly along the interior and recessed areas. Light wear throughout. The wooden component on the top of the lid of the item captured upper right has a light crack. The wooden component on the lid of the item captured lower left has a crack and glue residue; in addition, the wooden component is not firmly attached to the lid. Fabric attached to the interior of the item, captured upper right in the listing, has a 1 1/2 in long tear and wear throughout. Along the underside of the feet of the tray, there are original holes.
Lot 3
Large Middle Eastern enameled metal candlestick. With alternating cartouches featuring an Arabic inscription and floral motifs.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went.Height: 57 in x diameter: 20 in.Condition: Structurally stable and all pieces are present; however, some pieces are not firmly attached to each other. Wear and dents, throughout as shown in the listing image. Along the upper rim, there are dents and minute pinholes; please see the listing image. Throughout the exterior of the item, there are several areas of dent and losses. Under UV light, there are several scattered areas that are fluorescent; however, they do not appear to be a restoration. Wear along the underside.
Lot 223
Kelsey Ross Brookes (American, b. 1978). Group of two letter press rubber ink on cotton rag paper prints from the "Triple Happiness" suite, 2013. Each signed, dated, titled, and numbers along the lower left and right corners. "Blood Orange Sunset" is numbered 14/14 and the black and white edition is numbered 22/236.Provenance: from the collection of an important Minnesota institution.Each; unframed; height: 23 1/2 in x width: 17 1/2 in. Framed; height: 27 3/4 in x width: 21 1/2 in.Condition: Both items are in excellent condition with no visible tears, creases, or losses. The color is bold and bright. The papers are floating on the mat; all four margins are visible. No visible sign of restoration under UV light. The item that is colored yellow, red, and pink, has a light crease in the lower left corner. Both are framed under plexiglass; not inspected out of frame.
Lot 144
Robert Slezak (Czech, 20th c). Bauhaus zebrawood and chrome wood cabinet, ca. 1930s. With three doors; two open to reveal a chrome pole for hanging clothes, one opens to reveal a five-shelf compartment. With a Slezak Bystrice p. Host label.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went.Height: 70 in x width: 63 1/2 in x depth: 22 1/4 in.Condition: The item is structurally sound and stable. The doors are warped and do not close firmly. There is discoloration to the wood along the sides. Tarnishing to the chrome fittings. Both keys are included but it is unknown of the locks function as the doors are unable to be fully shut due to the warping of the wood. Light wear to the interior wooden shelves.
Lot 60
Turquoise beaded necklace comprised of 47 oval turquoise beads and one inset turquoise stone in the clasp.Length: 27 in. Gross weight: 88.8 g.Condition: The item is in good condition with no visible cracks, chips, or losses. Light wear throughout. Oxidation to metal components. No visible sign of restoration when inspected under UV light.
Lot 186
Unsigned oil on canvas laid board painting depicting a portrait of a woman gazing at the viewers against a dark background. Her dress and jewelry imply her high social status.Sight; height: 13 3/4 in x width: 11 in. Framed; height: 18 in x width: 15 in.Condition: No visible sign of restoration under UV light. The canvas is laid on board. Craquelure throughout; there are stretcher's bar marks along four margins. Along extreme edges, there are a few scattered areas of paint loss. Wear and loss to the frame. The verso of the painting could not be inspected due to the nature of how the item is framed.
Lot 13
Dresden, Germany. Porcelain clock with applied flowers throughout and a cherubic baby finial. With gilded decorations throughout. Brass and enamel dial with Roman numerals. Marked faintly in underglaze blue along the underside.Height: 14 1/2 in x width: 8 in x depth: 4 in.Condition: The item is in generally good condition with no major cracks, dents, or losses. Light wear throughout as expected. Dust collected to the recessed areas. Color decorations and gilding have faded in several scattered areas. There are a few scattered losses to the petals and leaves along the head of the baby. There is an approximately 1 inch crack that is discolored dark to the pedestal. To the left of where the baby on the top is sitting, there is a 1/4 in crack. Under the back of the baby, there is a minute crack. There is another light crack, measuring 1/4 inch, to the left of the clock. No visible cracks to the glass on the clock; there is an area. that is lightly discolored to the center of the face; the case opens and closes smoothly; there is light oxidation to the metal bezel; there is an area with a crack, measuring 1/4 in, to the edge of the back glass of the clock. When inspected under UV light, there is no visible sign of restoration; however, along the baby on the top, there are unidentified residues only visible under UV light, not visible under natural light. Along the underside, there is a crack, measuring 3/4 in, and discoloration. Wear to the underside, consistent with age and use.
Lot 137
Dunbar, United States. Mid-century modern round teak coffee table with chrome fittings. With a Dunbar metal plate along the underside.Provenance: Distinguished Corporate Collection, Minnesota.Height: 15 in x diameter: 42 in.Condition: No visible cracks, dents, or losses. Light wear throughout as expected from use. The item is structurally stable and sturdy. Wear to the underside; dust collected as shown in the listing image.
Lot 178
Charles Partridge Adams (American, 1858-1942). Oil on canvas painting depicting a mountain landscape. Signed along the lower left.Provenance: Cyrus Boutwell, Denver, Colorado; Private Minnesota Collection.Adams moved from Massachusetts to Denver in 1876 at the age of 18. He worked with Helen Henderson Chain, a pupil of George Inness, who encouraged his talents. He painted throughout his life, primarily focused on mountainous landscapes he viewed in his travels in the Colorado Rockies, New Mexico, Arizona, Wyoming, Montana, and British Columbia.Unframed; height: 14 in x width: 20 in. Framed; height: 18 1/2 in x width: 24 1/2 in.Condition: The item is in generally good condition with no visible tears, creases, or losses. The surface is stable, and the color is bold and bright. Throughout the recto, there are vertical lines of craquelure. to the lower right quadrant, there is a spiral crack. Along the lower margin, there is a stretcher bar mark. From the verso, the canvas is toned. Along the verso, there are several paint cracks seen throughout; please refer to the listing image. Wear to the frame.
Lot 117
Pavlos Dionyssopoulos (Greek, 1930-2019). Large mixed media sculptural work titled "Sales Rack I" depicting hanging clothing, ready to be sold, 1967. Signed and dated along the verso. With a label from Dayton Gallery 12. Comprised of strips of paper folded and affixed to a wooden board in the artist's iconic style.Provenance: Distinguished corporate collection, Minnesota.Born in Filiatra, Messinia in 1930, Pavlos would go on to study at the Athens School of Fine Arts with Y. Moralis. He studied twice in Paris on scholarships before settling there permanently. Influenced by the art movements of the 1960s and the New Realists (Nouveaux Realistes), he switched from working on canvas to using cheap, everyday materials that could be found in the new modern society. His primary material became printed paper, starting with magazines and then moving to posters, which he cut into fine strips using a machine. He laid these strips out to form undulating abstract surfaces. Eventually, these abstract forms morphed into everyday objects; flower bouquets, corsets, sandwiches, and clothes became his subjects. Often he would place these sculptures in plexiglass boxes, separating them from the real world and giving them a sense of ephemerality. And although his works were influenced by the New Realists and Pop artists, he never identified with them.Height: 65 in x width: 65 in x depth: 5 in.Condition: The item is structurally stable and sturdy. There are several areas of wear throughout the work including small tears and scratches. There is a long scratch that runs through the width of the artwork along the front. Several shorter scratches. There are areas of wear throughout where the paper has been bent, likely from something pressing against the paper. There are a few areas along the exterior sides of the work with stress tears. It is likely that much of the paper is toned as it was created with nonarchival materials. There are a few areas that may have losses to the paper, however, due to the nature of the work this is difficult to discern. Some wear to the chrome clothing rack, consistent with age and use. The verso is in good condition. There are several spots of dripped liquid, likely original to the artistic process. There are a few small spots of restoration along where the hangers were screwed into the top of the work. One hanger is missing. The most evident restoration is along the rightmost hanger which has been stapled into its original hole and the wood covering it is missing. It appears an adhesive was used to support several other hangers.
Lot 189
After Anthony Van Dyck (Belgian/English, 1599-1641). 19th c. oil on canvas painting titled "The Stuart Baby," depicting a young James II of England (r. 1685-1688).Unframed; height: 18 in x width: 13 3/4 in. Framed; height: 21 1/2 in x width: 17 1/2 in.Condition: The item is in generally good condition with no visible tears, creases, or losses. The surface is stable. Along the lower margin, there are two minute paint losses. To the forehead, there is an area, measuring 1 inch, that is florescent under UV light. Clean verso. Wear to the frame.
Lot 240
Herbert Bayer (American/Austrian, 1900-1985). Framed screenprint on paper titled "Corona" from the portfolio "Edition Domberger Stuttgart Portfolio," 1968. Pencil signed along the lower right and numbered 2/85.(Portfolio) height: 20 1/2 in x width: 10 1/8 in. (Prints) sight; height: 19 in x width: 18 1/2 in. Framed; height: 27 in x width: 26 1/2 in.Condition: The item is in excellent condition with no visible tears, creases, or losses. No visible sign of restoration under UV light. The color is bold and bright. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Lot 215
Ed Baynard (American, 1940-2016). Oil on canvas painting titled "5 Tulips" depicting an imaginary desert seen through five tulips in the vase, 1999. Signed, titled, and dated along the verso.Height: 48 in x width: 40 in.Condition: The item is in great condition with no visible tears, creases, or major losses. There is a minute loss to the canvas in the upper left margin, which does not alter the overall appearance of the piece. There is a minute area with blue paint accretion in the upper right margin. The surface is stable, and the color is bold and bright. No visible sign of restoration.
Lot 123
CHROMA aka Rick Wolfryd (American, b. 1953), in collaboration with Elisa de la Cruz (Mexican (Huichol), 20th/21st c). Color beaded vinyl sculpture titled "Horizontal Hold Vertical Control," depicting a figure half beaded in the Huichol style. Signed, dated 2022, and annotated .0011 TP along the underside. With a certificate of authenticity signed by the artist.Height: 8 1/2 in x width: 8 in x depth: 11 in.Condition: No visible cracks, dents, or losses. No visible signs of restoration under UV light. Given the material, there are a few scattered areas with beads loss; however, it does not alter the overall appearance of the item significantly. Very light wear along the underside of the feet.
Lot 253
Pascal Cucaro (American, 1915-2004). Oil on canvas painting depicting a clown. Signed along the lower margin.Sight; height: 35 1/2 in x width: 7 1/2 in. Framed; height: 44 1/2 in x width: 16 1/2 in.Condition: The item is in good condition with no visible tears, creases, or losses. The surface is stable. Along the verso, there are two areas that are florescent under UV light along the upper margin; however, they do not appear to be a restoration but an original paint residue. Wear to the frame.
Lot 143
Art Deco burlwood display cabinet with four shelves - three inserted glass - and three hidden drawers.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went.Base; height: 6 1/2 in x width: 41 in x depth: 15 in. Cabinet; height: 64 in x width: 43 1/2 in x depth: 20 in. Glass top, each; height: 37 3/4 in x width: 16 in.Condition: The item is structurally sound and stable. All pieces are firmly attached. The door opens smoothly and shuts. All drawers open and slide smoothly. There is a buckling to the wood along the curved outside edges. Some minor losses. Many cracks throughout the veneer. There is some small spots of tarnishing to the mirrored lower shelf. Some spots of wear and scratches throughout the glass shelves. Staining to the interior of the drawers; particularly the middle drawer. Wear and scratches to the back of the cabinet. The underside could not be inspected due to the size and nature of the piece.
Lot 227
Group of three Cape Dorset Inuit woodcut and stencil prints including:Eegyaridluck (Inuit, 20th/21st c). Stonecut and stencil print titled "The Day's Catch" depicting two hooked fish. Stamped along the lower right; pencil signed along the lower right; dated 1980, inscribed "Dorset," and numbered 14/50 along the lower center; titled along the lower left.Kananginak Pootoogook (Inuit, 1935-2010). Stonecut and stencil print titled "Making Kayak" depicting a group of individuals building a kayak, 1979. Stamped along the lower left; titled along the lower left; numbered 42/50, dated 1979, and inscribed "Dorset" along the lower center; signed along the lower right.Mary Pudlat (Inuit, 1923-2001). Stonecut and stencil print titled "Ptarmigan" depicting two birds, 1980. Stamped along the upper left; signed, inscribed "Dorset," and dated along the lower right; numbered 14/50 along the lower center.Sight; height ranges from 16 in to 21 in; width ranges from 20 in to 30 1/2 in. Framed; height ranges from 25 in to 29 in; width ranges from 29 in to 39 in.Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. Light undulation throughout. The color is bold and bright. Framed under plexiglass; not inspected out of frame. Very light wear to the frame. To the center of the item, captured upper right in the lot listing, has a very light folded area; please see the listing image.
Lot 134
Dunbar, United States. Mid-century modern teak and walnut credenze with chrome fittings. With six sliding drawers - two with locks - and two doors. With a metal Dunbar plaque affixed along the interior of one drawer.Provenance: Distinguished Corporate Collection, Minnesota.Height: 28 1/4 in x width: 75 1/2 in x depth: 20 in.Condition: All pieces are present and firmly attached to each other. All drawers open and close smoothly. No visible cracks or restoration under UV light. Wear and surface stretch throughout. To the upper right corner along the upper side, there is a loss, measuring 1 1/2 in; please see the listing image. Along the backside, there are liquid marks and discoloration that do not hinder the function of the item; please see the listing image.
Lot 133
Dunbar, United States. Mid-century modern teak and walnut credenza with chrome fittings. With eight drawers, four with locks. With a Dunbar metal plate along the inner wall of one drawer.Provenance: Distinguished Corporate Collection, Minnesota.Height: 28 1/2 in x width: 75 1/2 in x depth: 28 in.Condition: The furniture is structurally stable and sturdy. Wear and stretches throughout, particularly along the top. No major losses, cracks, or dents. Minute dents throughout. All drawers open and close smoothly. To the center of the top, there is a circular area that is discolored, possibly there was a plant vase. Along the top, to the left, there is an adhesive residue as shown in the listing image. Along the left side of the item, there are two adhesive residues. Along the back, the nails along the top are firmly attached but not screwed completely to the wooden panel; please see the listing image. Along the lower center of the backside, there is 3 inch long screech, possibly rubbed against another piece of furniture or wall. No visible sign of restoration.
Lot 23
African Igbo or Wawa, Nigeria elephant mask carved with two standing figures with outstretched arms.Provenance: From collection of Howard Gelb; Private collection, Minnesota.Height: 14 1/2 in x width: 7 in x depth: 8 in.Condition: Heavy wear throughout as shown in the listing image. The color faded significantly. Several scattered areas of minute losses. Cracks to the neck of one of the figures; there is a hairline crack to the right side of the item, measuring approximately 3 inches. No visible sign of restoration. Dust collected along the interior.
Lot 136
Dunbar, United States. Mid-century modern teak and walnut desk with chrome fittings. With five drawers, one with a lock. With a Dunbar metal plate along the inner wall of one drawer.Provenance: Distinguished Corporate Collection, Minnesota.Height: 28 1/4 in x width: 76 in x depth: 35 3/4 in.Condition: All drawers open and close smoothly. Wear throughout, particularly along the top; please see the listing image. There are several stretches along the top; to the left of the top, there is a sticker adhered to the top. To the right edge of the left cabinet, there is an approx 2 inches long loss as shown in the listing image. To the lower drawer of the right cabinet has noticeable surface stretches; however, it does not hinder the function of the item. To the right side of the item, there is tape adhered to the exterior. No visible sign of restoration under UV light. Wear to the underside, consistent with age and use.
Lot 206
Bernard Chaet (American, 1924-2012). Oil on canvas painting titled "Churning" depicting a tumultuous and rocky shore, 2001-2002. Signed and titled along the backing along the verso. With a sticker from Alpha Gallery along the verso.Unframed; height: 20 1/4 in x width: 30 in. Framed; height: 22 in x width: 31 1/2 in.Condition: The item is in great condition with no visible tears, creases, or losses. The surface is stable, and the color is bold and bright. When inspected under UV light, there is no visible sign of restoration. The verso could not be inspected due to the nature of how the painting is framed. There is an area with the adhesive residue to the upper center of the frame; however, it does not affect the painting. Light wear to the frame.
Lot 364
LIMITED EDITION BREITLING SUPER OCEAN CHRONOGRAPH WATCH. MADE FOR THE ROYAL MILITARY POLICE CLOSE PROTECTION UNIT (CPU) 177 PRO. COY. RMP. ITEM IS STAMPED 18 OF 50. IT BEARS ON THE FACE THE RMP CPU BADGE OF BREAST PLATE HELMET & SWORD ( ALSO ON REAR) IN ORIGINAL BOX. TWO SLIGHT SCRAPES ON BRACELET CLASP.
Lot 4221
A 19th century 1831 pattern general officer's mameluke sabre with single-edged blade with clipped point, blade length 77cm, gilt brass crossguard with engraved and cast decoration depicting a wreath encompassing a baton and sabre crossed, and ivory grip plates with rosette rivets (blade heavily cleaned in the past). Note: a non-transferrable ivory exemption certificate has been granted for the sale of this item.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 4209
A George III 1796 pattern light cavalry officer's sabre with curved single-edged blade, blade length 66cm, indistinctly marked 'St James Street London', shaped brass stirrup guard with plumed-helmeted mask languets and wire-bound ivory plate grips, with original brass scabbard, detailed 'A.M.'. Note: a non-transferrable ivory exemption certificate has been granted for the sale of this item.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 4225
A 19th century Javanese kris dagger with watered steel blade of wavy outline, blade length 36cm, carved rhinoceros horn grip in the form of Jawa Demam, silver metal petal-form collar, with an associated scabbard. Note: as this lot incorporates rhinoceros horn, it would be very unlikely that a re-export certificate would be granted beyond the UK. Customers outside the UK are requested NOT to bid on this item.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 4277
A large late 19th/early 20th century North African rhinoceros hide shield of circular form with raised umbonate centre boss, banded linear decoration and raised outer edge, the back with thick hide carrying handle, diameter 64cm. Note: as this lot incorporates rhinoceros hide, it would be very unlikely that a re-export certificate would be granted beyond the UK. Customers outside the UK are requested NOT to bid on this item.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 438A
A cased art glass vase, two similar glass items Cased vase centre of the picture is 19.5cm overall seems to be in good condition but with no maker marks, The purple and gilt vase is 20.5cm Loss to some of the gilt etc and minor fritting to the base and an imperfection to one of the ridges which may have been a small chip buffed out possibly, the last item have chips to lid and neck
Lot 445
A Chinese hard stone carving of a double gourde fruit and another item. In good condition.WE TAKE GREAT CARE in the accuracy of our condition reports and may record damage and restoration if obvious. The information is provided in good faith along with detailed photographs where requested and is for guidance only. However, this does not imply that there may not be further condition issues associated with the lot and we DO NOT provide any guarantee to the buyer.WE STRONGLY ADVISE BIDDERS TO EXAMINE PERSONALLY ANY LOT THEY ARE INTERESTED IN BEFORE THE AUCTION.
Lot 209
A GEORGE III OAK AUMBRY CUPBOARDCIRCA 1760169cm high, 104cm wide, 38cm deepCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, chips and losses, indentations, old filled woodworm holes, some openThis has had electrics fitted for a light - Dreweatts do not guarantee this works, we sell this as a decorative item of furniture only. All would need to be re-wired on installation and use if wished. There are later elements including shelvesThe locks are replacements, the handles are probably later but old examples, the escutcheons have been removed crudely Overall will require some attention before use in a domestic settingPlease see additional images for visual reference to conditionCondition Report Disclaimer
Lot 3126
Pop Transcribed Spot 7" Single (H08W-0646/H08W-0647) featuring excerpts from Helen Morgan, Gogi Grant; Jennie Smith, Jennie; Chet Atkins, Hi Fi In Focus; Elvis Presley, Jailhouse Rock; Kay Starr, Blue Starr; Search For Paradise - Very Good to Very Good Plus in Fair RCA Victor sleeve. An unusual item.
Lot 41
THANGKA DEPICTING VAJRASATTVA WITH CONSORT QING DYNASTY, 19TH CENTURY 清 半忿怒相雙身金剛薩埵唐卡 colour on fabric, the semi-wrathful deity depicted striding in alidhasana, four-headed, twenty-four hands with two main hands crossing in front holding two vajras, others brandish an array of weapons and attributes, his yellow-bodied, three-faced and eight-armed consort embracing him from the front, flaming nimbus enclosing dense tendrils aureola, numerous other deities and lamas surrounding the central figures, framedDimensions:87cm x 60cmNote: Note: Normally depicted in serene iconography, this standing Vajrasattava can be compared to another semi-wrathful rendition of a thangka, 19th century, HAR item no. 667
Lot 40
° ° ISLE OF WIGHT: Brannon George - The Pleasure - Visitor's Companion in Surveying the Isle of Wight. Pointing out the best plan for seeing every remarkable object ... within the shortest time. folded map and 3 plates; original pictorial printed wrappers, 12mo. Wootton (I.O.W.), 1833: Albin, John - A Companion to the Isle of Wight ... 9th edition, with considerable additions. large hand-coloured and folded map, engraved plate and folded table; original paper boards with printed labels, uncut, 12mo. Newport: printed for the Author ... 1823; Albin, John - (Isle of Wight Map). hand-coloured and folded on linen, engraved dedication, inset plan of Newport, 39 x 59cms. (approx), in original marbled slipcase. Newport, 1807 (3)***CONDITION REPORT***Brannon - wrapps. lt. creased and marked, overall good copy, contemp. ownership (Aug.1833) on upper wrapper.119pp. nb. pp.(1&2) an advert leaf; Albin - front inner hinge cracked, spine defective, map with clean tear at 1 fold (approx. 9cms up from lower margin), dated 1823 it is revised from the next item: Albin Map - attractive map at almost 1 inch to mile, reasonably clean, a few mid 19th century ms.notes in margins and 'sea', s/case with some wear. J. Phillips (del), S. Neale (sc).PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Lot 126
° ° WILTS: (Britton, John) The Beauties of Wiltshire ... interspersed with anecdotes of the arts. 2 vols. engraved pictorial and printed titles, 14 plates; contemp. half calf and marbled boards, gilt-panelled spines and marbled edges,.1801.; Britton, John - Topographical Sketches of North Wiltshire ... new edition. engraved pictorial and printed titles, hand-coloured folded map and 56 plates: old black polished calf, gilt-ruled, with panelled spine and red label, marbled edges and e/ps. (by T. Armstrong, of London). 1837 (3)***CONDITION REPORT***Beauties v.1 - pict. title soiled, also frontis., lt. elsewhere (mostly clean). XXXI, 312pp., old armorial bkplt (Sir John Lawson, Bart.); v.2 - lt.bndg. wear, some inside foxing; N.Wilts - pict. title soiled, some inside spotting (but mostly good); some leather wear, front inner hinge weak; incl. a 38pp autobiographical memoir; this is the 2nd edition (orig. publ. 1825) and supplements (with revisions) the first item in this lot.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Lot 440
MOORCROFT; a black and green glazed ginger jar decorated with scene from 'The Owl and the Pussy Cat', signed to base, height 15.5cm.Condition Report: This item appears to be in very good condition, there are no chips, cracks or losses on this item. This item is also contained in its original box. There is no visible red mark to the base.
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