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Lot 72
A small quantity of silver and hardstone jewellery, including a silver and agate Aquarius medallion, a moss agate pendant, moss agate brooch and an oval hardstone brooch together with a quantity of costume jewellery including a Halcyon Days circular floral box and cover, a quantity of beads, brooches, dress studs and cufflinks, a Ralph Weston stainless steel costume brooch, string of 19th Century ivory beads, all in a Sorrento puzzle box and other hardwood boxes
Lot 125
A Chinese carved ivory backgammon set comprising: red and white counters and dice tumblers. Late Qing dynasty. Each counter carved and pierced with elephants, Chinese figures and horses with chrysanthemum heads to the reverse. Housed in a marquetry inlaid fitted box 19 cm long the box. 190 grams gross weight of ivoryCondition report: No apparent major defects.A tiny fleck almost invisible see images
Lot 183
A Baule standing hermaphrodite fertility figure, Ivory Coast, with linear coiffure, scarification marks to the forehead and temples, a short beard above small breasts and a swollen stomach, the hands resting on the stomach, on a later ebonised wood base, 58cm overallFootnote: The collection of Eric Mayes.
Lot 192
A Bobo/Koro standing warrior figure, Burkina Faso, with crescent shaped headdress, the body carved as square scales, with pronounced belly button and visible genitalia, holding a short knife, 51.5cm; a Baule seated ancestor figure, Asie Usu, Ivory Coast, wearing a pith helmet, the sides of the face with scarification marks, his hands joining at the tip of his plaited beard, seated upon a stool, 47cm, both figures covered in a thick pigment,Footnote: The collection of Eric Mayes.
Lot 352
Simon Mukimuk E-91317 (1936 Port Harrison) an Inuit carved soapstone figure of a seal 20cm. Together with an Inuit carved soapstone figure of a hunter with an ivory spear. Marked E91696 and a two-character artist code (not found) but bearing an old collection label, Allie Harrison (?) 23 cm high.Condition report: The seals tail is damaged
Lot 46
An early 19th century portrait miniature on ivory of a young lady, wearing a red bead necklace and blue dress, inscribed in ink verso ' Painted by G Fox, Miniature painter, 5 Grenada terrace, Commonwealth Road East, London, Sept 30, 1837', 8cm x 6cm, in rosewood frame; and a 19th century portrait miniature on ivory of a young lady, 9.5cm x 7.5cm, in maple frame
Lot 129
A heavy early 19th century hallmarked silver three-piece tea service: teapot, large two-handled sugar bowl with gilded interior and a milk jug also with gilded interior, each piece with cast borders of shell style and C-scrolls and with the main squat spherical body decorated repoussé style with further flowerheads, tendrils and other similar decorative ornament, each with cartouche engraved with 'R', each raised with lower milled-style base, maker's mark RK, assayed Edinburgh 1824 (total combined weight approx. 1,670g)Condition Report: The cream/milk jug appears in good order although the gilding is a little tarnished inside, the larger two-handled sugar has some tarnish inside also minor dings around the inner edge, pin head sized (4 or 5), the large teapot appears stained inside, spout OK, the bone/ivory insulators have small hairlines but no losses.
Lot 180
A late 19th century silver and ivory-handled presentation trowel; the script within the foliate scrolling-style engraving and ornament 'Presented by the Grand Lodge of A.F. and A. Masons of Nova Scotia to Colonel J. Wimburn Laurie, Most Worshipful Grand Master on the occasion of the laying of the cornerstone of Freemasons Hall Halifax, August 31st A.D. 1875 A.L. 5875', turned ivory handle (39cm full length)
Lot 376
Prisoner of War interest - a finely made ivory, rosewood and ebonised wood chess set. The board with opposing drawers containing all 32 finely carved ivory and ebonised wood pieces and plaques reading 'P.O.W. 36970 - SERG. MAGG. R.A. VALLI GIULIANO' and 'P.O.W. - 35996 - SERG. MAGG. R.A. SEGA GERARDO'. (27cm wide x 5.5cm high, King 5.5cm high, Pawn 3.25cm), all pieces presentCondition Report: Condition overall is good. There is some darkening to the white pieces
Lot 382
A good selection of late 19th century carved and set stained ivory chess pieces to include seven white pawns, four larger white pawns from another set and one further single pawn, a pair of bishops, a pair of rooks, two male figures (one being a king), knights etc. (various sets and conditions), the red stained set also with pieces in various states and conditions including items carved with concentric puzzle balls to the pedestal bases (selection within an oak box)
Lot 385
A 19th century leather-bound games board (as two volumes); the folding books opening to reveal inner section for backgammon and the outer section for chess/draughts, together with two waisted brown leather and gilt-tooled dice shakers and four bone dice and two smaller dice and a selection of red-stained and natural ivory draughts
Lot 391
A bijouterie group of five: an Eastern jambiya dagger having an engraved brass sheath and solid brass handle; two silver-mounted ivory page turners; an Eastern dome-topped and brass-mounted wooden box with pierced leaf decoration; an interesting ceremonial-style handheld brass cross engraved with faces and various symbols (5)
Lot 52
A Chinese Han Dynasty (206 BC - AD 220) incised cocoon jar. Grey, flared circular neck with incised bands above an ovoid body having similar vertical incised bands raised on a flared circular base (height 12.5" x width 13" x depth 9") Contained with a bespoke perspex display case of rectangular form with an ebonised base and ivory linen interior (case height 16" x width 14.5" x 13.5") Provenance: Purchased from Willer, 12 Holland Street, London W8 in 2011 (copy paperwork) and guaranteed as genuine and of the period stated.This has an original receipt so it is guaranteed as described. Everything appears to be in good condition with no restoration that we can see. There is discolouration and oxidisation commensurate with age and some colour differential etc., but the period is guaranteed as per the description. The circular foot is quite roughly made and there is very minor rim fritting around the edge but nothing of great note. Looking closely it is found to be “crusty” in places and there are scratches and discolouration commensurate with age but the piece is in good general overall condition.
Lot 702
A J. Robert Scott, Inc. 'Prince Charles' coffee table; designed by Sally Sirkin Lewis, US Patent #D406969. Finish: free form parchment, matt polish. Colour: ivory. The slab top with radius ends, supported by two slab legs, label to underside of top (width 40" (101.6cm) x depth 16" (40.6cm) x height 19" (48.4cm)
Lot 744
A large and exceptional north-west Persia carpet (signed to one end); central four-point multicoloured medallion flanked by two further similar sized medallions with cobalt-blue borders, all within a red field with various flowers and trees as a 'Garden of Paradise' design, two vertical ivory panels flanking and within various sized and multicoloured borders, the larger cobalt-blue border with scrolling vine motifs (601cm x 357cm)This exceptionally large hand knotted carpet appears to be in reasonable order coming from the main Cotswold country house clearance. Signed at one end, some of the tasseling is away at the ends. Colours look quite good on first inspection and the pile appears to be quite high and relatively unworn. See images. Overall appears to be in quite good condition with no major problems noted.
Lot 665
Elfenbeinprunkplatte und KanneDurchmesser: 49,5 cm. Höhe der Kanne: 56,5 cm. Deutschland, 19. Jahrhundert.Relief in Elfenbein geschnitzt, auf eine Holzplatte montiert. Venus und Amor im Spiegel in Basrelief mit umrandendem Bacchanal und die Fahne mit Lambrequindekor und Blattwerk sowie einer Silbermontierung. Minimal besch. Die Kanne in Elfenbein, geschnitzt, mit Silbermontierung. Gefußter ovoider Korpus mit dichter horizontaler Reliefschnitzerei, antikisierende Bacchanalszenen zeigend, mit dazwischenliegenden Lorbeerblattprofilringen. Hochgezogene C-Handhabe mit figürlicher Schnitzerei. Minimal besch. (1271542) (13)Magnificent ivory dish and jug Diameter: 49.5 cm.Height of jug: 56.5 cmGermany, 19th century.Export restrictions outside the EU.
Lot 667
Elfenbein-PrunkplatteHöhe: 60 cm. Breite: 74,5 cm. Italien, 19. Jahrhundert.Ovale Form mit leicht aufsteigener Fahne, trapezförmigen Elfenbeinplättchen hinführend zu dem oblongen Spiegel mit Bas- und Hochrelief, mit umrandenden Lorbeerblattkränzen und manieristischen Maskarons. Die Fahne mit ovalen liegenden Kartuschen, mythologische Szenen darstellend. Unter den dargestellten Figuren auch Hermes, Neptun und andere Götter. Die Lippe von Messingumrandung eingefasst. Minimal besch. (12715439) (13)Magnificent ivory dishHeight: 60 cm. Width: 74.5 cm.Italy, 19th century.Export restrictions outside the EU.
Lot 780
Pietra dura-Kabinett46,5 x 36 x 20,5 cm. Mailand, um 1870.Holz, ebonisiert mit Pietra dura und gravierten Elfenbeineinlagen. Auf getrepptem profiliertem Sockel der sechsschübige und eintürige Korpus mit floralen Pietra dura- Einlagen auf schwarzem Fond mit zentralem Vogel-Callas-Motiv. Jeweils flankiert durch gravierte Elfenbeinlisenen. Überfangender Rundgiebel mit Schub und Maskaronzier, flankiert durch plastische gegossene Zapfenaufsätze. (12719027) (13)Pietra dura cabinet46.5 x 36 x 20.5 cm.Milan, ca. 1870.Wood; ebonized with pietra dura and engraved ivory inlays.Export restrictions outside the EU.
Lot 982
Kynokephaler Baule SchalenträgerHöhe: 62 cm. Elfenbeinküste/ Region Beoumi, Ende 19. Jahrhundert.Hartholz, geschnitzt, Stoff. Kynokephale (aus dem Altgriechischen) zur Bezeichnung eines hundsköpfigen Fabelwesens. Die Wahrsager der Baule verfügten über sogenannte „aboya“, halb menschliche, halb animalische Statuen, welche auf geweihten Altären in Hütten außerhalb der Siedlungsgrenzen aufbewahrt wurden. Im Zusammenhang mit ihrer Verehrung wurden den Bildnissen in der Regel beschwichtigende Opfergaben in Form von Nahrungsmitteln dargebracht. Es folgte ein rituelles Besprühen der Oberfläche der Figuren selbst sowie ihrer Opferschalen. Diese Zeremonien hatten den Zweck, die Dorfgemeinschaft vor Landschafts- und Waldgöttern zu schützen, deren Verdruss die Quelle unendlichen Übels für das Bauernvolk darstellte. Die Baule fürchteten vor allem die zerstörerische Kraft und den Wahnsinn des kynokephalen „Mbotumbo“. Eine andere Tradition schreibt der Hybridfigur eine zwischen den Menschen und dem höheren Wesen „Alurwa“ vermittelnde Rolle zu, was das Mischwesen zu einem Verantwortlichen für das Leben nach dem Tod macht. Der Kynokephale wird mit leicht angewinkelten Beinen auf einer kleinen runden Basis stehend dargestellt. Die Unterarme sind vom Körper weggestreckt, während die Hände auf Brusthöhe ein Gefäß für Opfergaben halten. Die gesamte Figur ist nach ausgeprägtem zeremoniellem Gebrauch von einer ausgeprägten und schönen Patina überzogen. Auf Präsentationssockel. Provenienz: Europäische Privatsammlung. Auktion Binoche et Giquello, „Arts d’Afrique et d’Océanie“, Paris, 22. Juni 2017, Lot 45.Privatsammlung, Deutschland. (1270021) (13)Cynocephaly Baule bowl-bearerHeight: 62 cm.Ivory Coast/ Béoumi region, late 19th century.Hardwood; carved and fabric. Cynocephaly (from ancient Greek) characterizes a dog-headed mythical creature. The soothsayer of the Baule people had so called "aboya", half-human, half-animal statues where kept on sacred altars in huts outside the boundaries of settlements. The entire figure is covered in a beautiful patina due to its regular ceremonial use. Provenance:European private collection.Auction Binoche et Giquello, “Arts d’Afrique et d’Océanie”, Paris, 22 June 2017, lot 45.Private collection, Germany.
Lot 5
Sybil Andrews CPE (1898-1992)Day's End (Coppel SA 62) Linocut printed in raw sienna, crimson, permanent blue, Chinese blue and ivory black, 1961, on oriental laid tissue, a very good impression, signed and numbered 10/60 in pencil, additionally signed and numbered in pencil in the lower margin, with margins, in good condition, framedBlock 275 x 260mm. (10 3/4 x 10 1/4in.); Sheet 321 x 302mm. (12 5/8 x 11 7/8in.)Footnotes:Andrews took inspiration from her home county of Suffolk, featuring its rural landscapes and agricultural practices, with working horses being a favourite theme. In Day's End the horses are given precedence, almost filling the frame, highlighting their importance in the workings of rural life. The upward movement of the horses towards the edge of the frame combined with the dark tones convey the feeling of fatigue at the end of a hard day's work.Click for an instant shipping quoteThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 1
A fine late 18th / early 19th century Chinese export carved ivory and hardstone diorama of figures in a terraced gardenQing dynasty, circa 1800the elaborately detailed scenic group depicting a large gathering of scholars within a naturalistic setting bounded by geometric and roundel pierced paling, variously playing musical instruments, playing go, and practising calligraphy and painting, a number of boys in attendance and a goat herd in the background, the overhanging gilt lacquered leafy and flowering trees and shrubs decorated in coral, agate, amber, pearl, kingfisher feather and other hardstones, the figures and garden setting in polychrome and gilt decorated ivory, set on a carved hongmu stand, together with a modern fitted Perspex cover and storage case, 52cm wide x 43cm high x 31.5cm deep including the stand (3)Footnotes:ProvenanceProperty of a lady.Received as a wedding gift in Penang in 1884 and thence by family descent.For other examples of elaborately modelled ivory and hardstone dioramas in the Victoria and Albert Museum see: a model of a Daoist temple, accession number 9347 (IS)/1; a model of a mountain scene, accession number 9349 (IS); and another similar, accession number 9346 (IS). Also see a large ivory model of a temple garden, Hatfield House Collection.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 52
Attributed to William Burges (British, 1821-1881): An impressive enamelled, polished semi-precious stone and ivory inset parcel gilt and silvered bronze centrepiece base together with a polished semi-precious stone and ivory inset parcel gilt and silvered bronze upper sectional epergne support ensuiteby Hart, Son, Peard & Co., London in the later Gothic Revival style, circa 1875, the two parts originally from a centrepiece epergne exhibited at the 1878 Paris International Exhibition the base of architectural tripartite pedestal form, the conforming columnar support with cusped column decoration surmounted by a composite Corinthian capital with leafy and whorl decoration and punctuated by a knopped central section with applied beaded and banded agate cabochon set scrolling filigree decoration and three carved ivory busts depicting a king, a maiden and youth playing a lute, the elaborate hipped base of architectural form formed as three arched openings with circular steeple tower pinnacles surmounted by open filigree and turquoise cabochon inset orbs flanked by crocketed finials, the scrolling filigree and whorl decorated sides banded to the edges by black and white chevron enamelled panels with inset carnelian cabochons, the lower corners modelled as circular domed towers above inset square cornelian panels, the lower frieze with alternating pierced and blue enamel square motif decoration, raised on standing silvered lion passant supports; the upper section with flared scrolling open pierced filigree and lapis and banded agate cabochon inset supports terminating in stylised leafy griffins heads, beneath a border of six inset carved ivory panels depicting food related vignettes, comprising a boars head, a swan, a carp, a turtle, a truckle of cheese and an oval pie, the upper girdle supporting a cut glass dished lobed shallow bowl fitting with panelled star cut centre, the hexagonal columnar support below a filigree and whorl knopped section with lions mask heads, raised on a later fixed black painted stepped hexagonal support, the glass bowl of the upper support probably associated, its fixed stand of a later date, the base, 57cm high, 38cm diameter approximately, the support 28cm high, the support including bowl and later base, 41.5cm high overall (2)Footnotes:Upper Epergne SectionProvenanceJ. S. M. Scott, London - the Birkenhead CollectionWith the Fine Art Society, 148 New Bond Street, London W1S 2JT - purchased by the present vendor, The John Scott Collection 'Modern English' Design from the 1860's and 1870's, 11th June 2014 (4, Epergne fragment - INV 34276).With the Victoria & Albert Museum, Cromwell Rd, London SW7 2RL (loan) prior to March 2021ExhibitedParis International Exhibition, 1878.The Fine Art Society, The John Scott Collection 'Modern English' Design from the 1860's and 1870's, June-July 2014 (4).LiteratureThe Art Journal Illustrated Catalogue of the Paris International Exhibition 1878, p.115.The Fine Art Society, The John Scott Collection 'Modern English' Design from the 1860's and 1870', Exhibition Catalogue 2014 (4), p.16.Centrepiece BaseProvenancePrivate UK collection.With RIBA, 66 Portland Pl, London W1B 1AD (on loan) prior to August 2014.Purchased (private treaty sale) by the present vendor in conjunction with Haslam & Whiteway Ltd (advisors), Kensington Church Street, London W8 7NL, 15th September 2014 (INV 6491).With the Victoria & Albert Museum, Cromwell Rd, London SW7 2RL (loan) prior to March 2021.ExhibitedParis International Exhibition, 1878.LiteratureThe Art Journal Illustrated Catalogue of the Paris International Exhibition 1878, p.115.M. Whiteway & C. Gere, Nineteenth-Century Design; From Pugin to Mackintosh, London 1993, p.175.At the time of his death in 1881, the esteemed architect and designer William Burges was widely thought to be the most influential and gifted figure of his generation. An unstable and extravagant eccentric, he was a brilliant pre-Raphaelite architect who pursued his artistic goals via an idealised vision of the past. In his work he sought to escape from both modern industrialisation and the prevalent Neoclassical architectural style of the establishment and re-affirm the architectural and social values of a utopian medieval England. Standing within the tradition of the Gothic Revival, his works echo his predecessor Pugin and his contemporaries of the pre-Raphaelite brotherhood, whilst heralding those of the Arts and Crafts movement.In a short but illustrious career he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863 when he was thirty five working with a long established team of craftsmen and artisans he produced a small but architecturally varied output including castles, houses, churches, a warehouse, a university and a school, although many of his designs were either never executed or subsequently demolished. Of Burges's works, his most notable are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch constructed between 1872 and 1891, both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Aside from his architecture, Burges also designed metalwork, sculpture, jewellery, furniture and stained glass. He also gave a series of lectures called 'Art Applied to Industry' to the Society of Arts in 1864, illustrating the breadth of his artistic interests. Burges was a notable designer of Gothic-inspired metalwork and jewellery and who is now seen as the successor to architect and designer A.W.N. Pugin in refining and developing the Gothic revival style. In his book, William Burges and the High Victorian, the author and art critic Prof. J Mordaunt Crook states that 'Burges's genius as a designer is expressed to perfection in his jewellery and metalwork'. He produced a 'dazzling' array of religious artefacts including candlesticks, chalices, crosses either as individual commissions or as part of the decorative schemes for buildings. Burges also had an early and close connection to the Ecclesiological Society taking on the role of superintendent of the Society's church plate scheme in 1864. However, his most notable metalworks were created for himself, often from the proceeds of the winning of an architectural competition. Examples include his Elephant Inkstand and a pair of jewelled decanters, paid for by the fees for the plans of the Crimea Memorial Church and his series of lectures, 'Art Applied to Industry', and the Cat Cup, created in commemoration of the Law Courts competition. He also designed more utilitarian articles including silverware featuring various fantastical creatures including mermaids and spiders and a set of knives and forks specifically designed for his own residence, The Tower House, with the handles carved as types of meat and vegetables. His own large collection of historic armour was subsequently bequeathed to the British Museum upon his death. Hart, Son, Peard & Co. (1842–1913) were British architectural metalworkers basedin London and Birmingham most associated with the production of ecclesiastical works.Founded in 1842 in Wych St, off The Strand, by bible-trained ironmonger Joseph Hart who was also a member of the Ecclesiological Society, they became artistic metalworkers specialising in ecclesiastical manufactures after merging with Birmingham-based Peard & Jackson in 1866–67. Also skilled in sculpture and with an agent in Paris, Henri Collet, the firm made Burges designs by J.P. Seddon, B.J. Talbert, Alfred Waterhouse and William Butterfield. and importantly had a long-sta... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 56
A vibrant Gavin Morton Donegal carpetearly 20th centurybased on an 1899 design by Gavin Morton and G. K. Robertson, the royal blue field having an all over design of angular vines and bold palmettes in colours interspersed by boisterous floral sprigs framed by a wide ivory border of similar design,560cm x 360cm approximatelyFootnotes:A follower of William Morris, Morton collaborated with fellow artist and renowned architect C.F.A. Voysey, and later G.K. Robertson. Their designs have been lauded as some of the finest examples from the Arts and Crafts and Art Nouveau design movements. They replaced the more 'orientalist' design motifs with the flowers and vines of Art Nouveau, as well as typical Celtic motifs.Throughout his career, Morton's designs were exhibited in Dublin and London and were frequently published in international magazines, as well as displayed in Morton & Co.'s global showrooms. The carpets were purchased by Queen Victoria, King Edward, the Governor General of Canada's residence, and the White House in Washington, D.C.For similarly designed carpets, please refer to Malcolm Haslam, Arts & Crafts Carpets, London, 1991, figs. 67, 68, 69 and 70.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 304
Monogrammist D.J.19. Jh. Bildnis einer vornehmen DameR. u. monogrammiert D.J. Aquarell und Deckfarben auf Elfenbein. 8,5 x 6,3 cm. Rahmen min. besch. Monogrammist D.J.19th century Portrait of a noble ladyMonogrammed D.J. lower right. Watercolour and opaque paints on ivory. 8.5 x 6.3 cm. Minor damage to frame.
Lot 142
TWO SHIBAYAMA STYLE PANELS each carved and applied with archaic style vases, birds, fruit, insects and flowers in bone, ivory, lacquer, shell and gilt,signed on tablet, 67 x 40cm and 60.5 x 43cm (2) Condition Report: the larger panel with loss to one shell flower, large crack to vase body and various scuff marks to panel. the smaller panel with minor scuff marks.
Lot 157
A JAPANESE IVORY OKIMONO OF KANNON standing with Ho-o bird on her shoulder and holding a Sho instrument, signed on a red lacquered tablet, 17cm high and a figure of a farmer carrying vegetables, signed, 18cm high (2) Condition Report: figure of Kannon with damage to birds feather . the farmer with damage to his tool, left foot with loss damage to bail on is houlders and base lose.
Lot 166
A SOUTH SEA ISLAND STYLE CARVED HARDWOOD FIGURE the standing female figure her left arm outstretched with fist clenched and wearing an arm band, her right arm pointing downwards, the eye sockets and nipples set with ivory or bone, standing on a square plinth, 72cm high, bears label Gemini Organicus, Robert Brydon The estate of The late Robert and Lyndsay Brydon, Edinburgh Condition Report: Available upon request
Lot 168
A CHINESE BRONZE FIGURE OF GUANYIN standing and wearing flowing robes on a lotus base, 20th century, 22cm high, a Japanese ivory tusk carving of a bearded figure, 7cm high, resin figure, 7cm high, bronzed seated figure, 5cm high, Burmese ceremonial dagger, 8.5cm long (5) The estate of The late Robert and Lyndsay Brydon, Edinburgh Condition Report: Available upon request
Lot 254
A 19th CENTURY CONTINENTAL IVORY FAMILY GROUP modelled as men and woman sat around a table, set with plates and cups, with small children playing with a dog, upon a faux tortoiseshell veneered wooden base with gilt metal rim and sat upon four ivory bun feet, 26cm long Condition Report: The standing man has a piece missing from the back of his hat. The plate in his hand may have been chipped or it may be by design. Cannot get close enough to see. There is a crack to the top of the dogs head and one end of the table. The horse on wheel has come unstuck from the base. There are cracks in the tortoiseshell base. Otherwise the piece is in good condition.
Lot 282
SOLANGE BERTRAND, FRENCH (1913-2011) A pair of Art Deco gilded bronze figures of a Dutch boy and girl with carved ivory faces, he upon a brown onyx base and she on a orange veined white onyx base, both 16cm high and both signed to bases (2) Condition Report: Tiny chip to onyx base on boy and a few flea bites to rims.
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239713 item(s)/page