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Lot 199
Antoine Bofill (act.1895-1925) - an early 20th century gilt bronze and ivory figure of a standing child wrapped in a cloak, raised on integral naturalistic base, with incised signature, h.18.5cmCondition report: General handling wear to gilt bronze.Ivory good, original and complete.Overall a good decorative piece.
Lot 1333
Orme & Sons, Manchester: a Victorian carved mahogany snooker score board, late 19th century, the moulded pediment above a carved panel of trailing leaves, berries and flowerhead, a hinged panel with inset chalk board flanked by sliding markers with ivory roundels, the base with turned mahogany handles and pivoting scoreboard, on plinth base, 106cm by 20cm by 81cm
Lot 291
A late 18th century carved ivory Chinese Canton export brise fan, twenty carved sticks with central cartouche bearing initials, 18.5cm, another similar with central initialled cartouche, twenty-four sticks, 20cm (2). Fan Central cartouche initialled 'LAM'- ribbon split, 12 of the sticks have chips & small areas of piereced decoration missing. Repair to one of the guards & slight wear & discolouration overall. Fan Central cartouche initialled 'HCL'- ribbon split, one stick repaired & three have splits ro the pierced decoration. Discolouration to both guards & wear
Lot 345
Modern Ladies handbags, four Enny bags comprising an ivory flap shoulder bag, another smaller and similar design in black leather, two smaller brown leather shoulder bags, Henrys London small tan leather shoulder bag with zip fastening (all with dust bags), DKNY tote style handbag in cream logo canvas and cream trims (6)
Lot 176
19th century Chinese Canton 'Mandarin' brise fan, the ivory guards carved in relief with figures in ornamental gardens, the sticks similarly pierced and carved in low relief, the paper panel painted to one side with exotic birds in a profuse ground of predominantly pink flowers, flanked by two figural panels, the other side depicting several different scenes of social gatherings, in glazed fan case, guard length 28cm, case L59cm x H34cm
Lot 119
NO RESERVE δ Sutherland (Graham) Untitled, from: Giorgio Soavi, Storia con Sutherland, lithograph, on ivory wove paper, signed in pencil and numbered from an edition of XXV, image 140 x 100 mm (5 1/2 x 3 7/8 in), under glass, framed, [published by All'Insegna del Pesce d'Oro, 1968]Provenance:From the collection of the late Mr. Laurence Lee δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 5
NO RESERVE δ Beaven (Marcus) A sheet of 12 book illustrations for Ralph Whitlock's 'Wildlife in Wessex', wood-engravings on ivory wove paper, signed in pencil, inscribed, and numbered from an edition of 25, total image approx. 280 x 380 mm (11 x 15 in), hinged into mount, minor handling creases, unframed, [1976]; together with 5 further sheets with 10 proof wood-engravings for the 'National Trust Countryside Handbook', each signed, inscribed and numbered 'A/P', each double image approx. 150 x 110 mm (5 7/8 x 4 1/4 in), unframed; and 4 further sheets of multiple wood-engravings of birds and wildlife, all signed in pencil, some inscribed and numbered, unframed, [late 20th century] (10)Provenance:From the collection of the late Mr. Laurence Lee⁂ Beaven was a self-taught wood-engraver, who also worked as furniture maker and woodturner, as well as in Forestry. Examples of his wood-engraving are held in the Ashmolean Musuem in Oxford, and in the Hunt Institute for Biological Documentation, a research division of Carnegie Mellon University.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 7
NO RESERVE δ Beaven (Marcus) St Catherine's Valley, large panoramic wood-engraving, on ivory wove paper, signed in pencil, inscribed and numbered from an edition of 20, image approx. 160 x 745 mm (6 1/4 x 29 1/4 in), hinged into mount, unframed, [circa 1990s-2000s]; together with 13 further wood-engravings by the same hand, including mainly botanical studies, a few miscellaneous book illustrations, all signed in pencil, inscribed, and most numbered from editions or 'A/P's', various sizes between 75 x 55 mm (3 x 2 1/8 in) to 145 x 140 mm (5 3/4 x 5 1/2 in), all unframed, [circa 1990s-2000s] (14)Provenance:From the collection of the late Mr. Laurence Lee⁂ Beaven was a self-taught wood-engraver, who also worked as furniture maker and woodturner, as well as in Forestry. Examples of his wood-engraving are held in the Ashmolean Musuem in Oxford, and in the Hunt Institute for Biological Documentation, a research division of Carnegie Mellon University.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 8
NO RESERVE δ Beaven (Marcus) The Chairmakers, 8 individual prints on one sheet, all designs for Batheaston Chairmakers booklet 'Windsor Chairmaking', wood-engravings on ivory wove paper, one printed in red ink, signed in pencil, inscribed and numbered from an edition of 21, total image approx. 270 x 200 mm (10 1/2 x 7 7/8 in), hinged into mount, unframed, [1996]; together with a copy of the booklet 'Windsor Chairmaking', dedicated to 'Laurence' and signed by the artist, and 12 further wood-engravings by the same hand, including a panoramic view inscribed 'Cornish Farm', 'Celtic Cross' printed in red and black ink, and numerous other book illustrations and bookplates, many signed in pencil, some inscribed, various sizes, all unframed, [circa 1990s-2000s] (14)Provenance:From the collection of the late Mr. Laurence Lee⁂ Beaven was a self-taught wood-engraver, who also worked as furniture maker and woodturner, as well as in Forestry. Examples of his wood-engraving are held in the Ashmolean Musuem in Oxford, and in the Hunt Institute for Biological Documentation, a research division of Carnegie Mellon University.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 85
NO RESERVE δ Paynter (Hilary) Collection of 14 wood-engravings, from the Newcastle Metro Project, wood-engravings on ivory wove paper, all signed in pencil, inscribed and numbered, from editions of 30, 50, and 60, 8 images each measure approx. 205 x 205 mm (8 x 8 in), another 3 205 x 255 mm (8 x 10 in), and 3 others each approx. 160 x 70 mm (6 1/4 x 2 3/4 in), all uniformly presented in mounts, unframed, [2004] (14)Provenance:From the collection of the late Mr. Laurence Lee⁂ Part of a series commissioned by Tyne & Wear transport company, Nexus, to commemorate Thomas Bewick's 250th anniversary. Paynter conceived the series as a set of Japanese screens engraving her designs on eleven large blocks measuring about 20cm in height and three half-blocks. These were englarged up to two metres high and screen-printed on to 32 vitreous enamel panels stretching 22 metres, for installation in Newcastle Central Station. Other examples are held in the Victoria & Albert Museum, London.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 1025
Collection of Victorian and later jewellery including pietra dura flower brooch, agate pendant, lava brooch, carved ivory and 18ct gold ring, jade ring, gold filled bamboo hinged bangle, gold propelling pencil, rose gold cameo ring and bar brooch, gold stone set pendant necklaces and two gold stone set rings, all 9ct hallmarked or tested
Lot 542
AN ITALIAN LIDDED URN IN GREEN GRECIAN PORPHYRY (LAPIS SPARTANUS/LAPIS LACEDAEMONIUS) EARLY 19TH CENTURY 45cm high, base 12.5cm wideProvenance: The Simon Neal Collection This lidded urn is carved from the rare marble known as Lapis Spartanus. With yellow and white snowflake crystals of Feldspar, it belongs to the family of Green Porphyry marbles that originated from ancient Greece, commonly called Serpentine (Porfidi volgarmente detti Serpentini or Marmor Lacedaemon). Found mostly around Mount Taygetus, near the ancient Greek city of Sparta, in the region of Laconia, the marble is so rare that it is invariably only seen in small pieces. For this reason, the Italian Lawyer & eminent collector of ancient decorative stones, Avvocato Faustino Corsi (1771-1846) wrote that: "Indeed in Rome there is not to be seen either a column, or a bath, or an urn of serpentine". Therefore, the ancients mostly used it for flooring, for example, at the Nymphaeum known as Egeria's Grotto. Described by the Romans, Papinius Statius stated that the hard rocks of Sparta were green, and Pliny likened it to emerald (smeraldo) and described it as "more beautiful and vivid than any other". Pausanius believed its pieces were carried by rivers, which may explain why pieces of serpentine are often found disseminated and Lampridius recounted that Elagabalus laid Lacodemonian porphyritic marble for the public squares on the Palatine in Rome. Although sometimes known as Green Porphyry, Corsi explains that it "differs from porphyry by the singular shape of the markings, otherwise crystals, which are rather long and angular, are arranged in the shape of a star, and more commonly in the form of the cross of St. Andrew".Condition Report: There have been various discussions and suggestions with relation to the precise nature of this unusual stone. General agreement is that it would seem to be a porphyritic stone with 'flower' form phenocrysts in white and olive yellow. However Corsi's illustrated text for Lapis Spartanus indicates larger, more rectangular shaped phenocrysts- of an ivory white colour. Interestingly though the Museum of Natural History in Siena illustrates a section of "Krokaetis Lithos, Lapis Lacedaemonius, Green Porphyry of Greece or Serpentine - Inv. No. 7031" in its archive that shows similar colour variance and 'florescence'.Lapis Lacedaemonius is known also as "Krokean stone"- from its primary source the small town of Krokees south of Sparta. Hard to work nevertheless it was used to make vases in the Minoan age. Later, small sections were used in mosaics and the pavement at St. Peter's Rome. "Ancient Decorative Stones" of the Federico Pescetto and Pio De Santis Collections was originally printed in 1986 by the Geological Survey of Italy and then published online in 2013 on the ISPRA virtual museum. In the online version, chapter 4.2.2 illustrates excavated examples of diabasic porphyrites more commonly known as "Lapis Lacedaemonius", "Lapis Taygetus" "Lapis Croceus" (an alternative spelling of Krokees) and "Lapis Spartanus". The pages clearly show close similarities of style and composition with this lot with Fig.88 displaying similar colour characteristics.Corsi details the particular stone mined from this area as;"797. (198.1) Serpentino, light green, with paler crystals tending to faded yellow " and also "806. (200.10) with a grass green ground, with crystals of green that shade into faded yellow".Frustratingly though- his own polished section of this stone, held in the Oxford University Museum of Natural History, displays some of the 'floral' characteristics of this vase- but lacks the colour variances seen in this turned vase and lid. The vase itself has old repair to the lid- which comes off to reveal threaded screw running through the body and base- with canted large bolts. Body with various fissure/hairlines running throughout- mostly from the base but also across the body. There is indication of infill suggestive of either stabilization- or more significant repair work. Additionally, signs of old glue residue at base of body where it meets stem- suggesting either repair or that it has been fixed to be sturdier. 1 corner to base with clear historic repair. Underside unpolished. Surface is slightly dirty from atmosphere and handling,Please see additional images which form part of this condition reportCondition Report Disclaimer
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