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Lot 31
SIX VARIOUS ITEMS OF GEORGIAN AND LATER GLASS comprising TWO WRYTHEN MOULDED DWARF ALE GLASSES, with wrythen knopped stems, the taller with a folded foot; TWO JELLY GLASSES, with funnel shaped bowls and everted rims, one having a gadrooned base, the other a wrythen base; A SHELL FORM SWEETMEAT GLASS; and A LACE MAKER'S LAMP. (6) 10.5cm high and smallerThe shell shaped sweet meat dish is chipped around the rim, the rest appear in good condition, one or two have bubbles in the glass made during manufacture.
Lot 1097
Including a Dietz American Dainty Side Lamp, with various patent numbers and makers name (34cms high). Also with a Dietz Dainty Tail Lamp, with one coloured glass lens and one frosted (26.5cms high). (2). *CR: Both with dents in places. *BP 22.5% (18.75% plus VAT) plus a lot fee of £8 inc. VAT on each lot.
Lot 266
ART DECO FIGURAL LAMP ATTRIBUTED TO JOSEF LORENZL (AUSTRIAN, 1892-1950),cold painted spelter, modelled as a kneeling semi-clad female, on a hardstone triangular base, with original mottled pink glass spherical shade, 45cm highCondition good to fair. Shade appears original. Notable wear to face and body, as well as a couple of scratches to base, though no major damage. Rewired and currently working. Additional images now available.
Lot 305
BRASS TABLE LAMP IN THE MANNER OF KARL HAGENAUER,the base mounted with a stylised fox, 36cm high to top of bayonet fixtureCondition good to fair. Substantial discolour and will require a clean throughout. No notable damage, though wear to underside, and minor scratches and pit marks. Electricity works at time of testing. Additional images now available.
Lot 461
ART DECO BRONZED SPELTER FIGURAL LAMP,in the manner of Josef Lorenzl, modelled as a semi-nude female with opaque glass shade, mounted on black marble socle base, 57.5cm high to fixtureCondition good to fair. Crack to the sconce, though stable and still holds shade. Pitting to body throughout, as well as minor scuffs and scratches. Shade generally good, with some minor nibbles towards base. Light age related wear throughout. Additional images now available.
Lot 501
ART DECO GILT SPELTER FIGURAL TABLE LAMP,modelled as a kneeling dancer with one arm upstretched, on tapered alabaster base, the opaque ice glass shade with smoky inclusions, 42cm high overallCondition good to fair. Light age related wear to gippfigure and base. Doesn't turn on, so will need rewired. Large hairline to shade. Additional images now available.
Lot 525
HINK'S ART NOUVEAU CONVERTED OIL LAMP BASE,the associated Tiffany-style leaded glass shade with dragonfly designs, inset opalescent panels and cabochons, the brass lamp with maiden masks to tapered stylised supports, stamped Hink's to base, 65cm high overallWill need to be rewired to current safety standards; One of the screws attaching the support to the base has been lost which will require attention as base centre currently sits at a downward angle; base somewhat dull with further general wear, would certainly benefit from a polish; Regarding shade one of the lower panels cracked but still in place and numerous further panels with hairlines but these are only noticeable upon close inspection, all panels and insets are present with no major structural issues
Lot 578
CAMEO GLASS MUSHROOM TABLE LAMP IN THE MANNER OF GALLÉ,with butterflies amongst floral blooms against a yellow ground, bearing Gallé signature to shade and KT monogram to base, 36cm highCondition generally good. Cannot test working order as there is no bulb, though wiring looks fine. Additional images now available.
Lot 15
Nikos Engonopoulos (Greek, 1907-1985)Irô et Leandros signé en grec et daté '53' (en bas à gauche)huile sur toile65 x 55.5cm (25 9/16 x 21 7/8in).Peint en 1953. signed in Greek and dated (lower left)oil on canvasFootnotes:ProvenanceGift of the artist in 1954 to Demetrios and Niki Andrikopoulos and hence by descent to the present owner.LittératureK. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 474, p. 156 (illustrated), p. 282 (illustrated), p. 444 (catalogued and illustrated).A magician whose creative imagination followed the footsteps of gods and heroes, Engonopoulos couldn't but be fascinated by the love story of Iro and Leandros.According to the Hellenistic myth, Iro, a beautiful young girl from Sestos dedicated by her parents to Aphrodite's service, lived in an isolated tower by the shores of the Hellespont. The maiden's beauty increased with the years and the fame of her loveliness passed over the straits and reached Abydos, hometown of the brave and handsome Leandros. Eventually the two youths met at a solemn festival in honour of the goddess, fell in love, and Leandros vowed to swim to Iro's sea-girt tower when the shades of night had fallen. To guide him safely across the straits she would light a lamp and hold it aloft. And so, the secret lovers maintained their passion through many summer nights. But when winter came and the sea grew stormy, they should have refrained from lighting the lamp. Yet, love and destiny compelled them, and the fatal night arrived. Leandros struggled with the waves but his strength failed him—and Iro's lamp was blown out by the wind. When the grey morning dawned over the tossing sea, Iro saw him lying dead at the foot of the tower. Devastated, she threw herself into the waves and perished by her lover's side.1The story of Iro and Leandros is found in folk tales and love lyrics across Europe and beyond. It is also depicted on Pompeiian frescoes, on a mosaic and a relief found in Tunisia, and on coins of Abydos and Sestos, the towns at the beginning and end of Leandros's legendary journey. Centuries later, in 1810, Lord Byron, inspired by the story, achieved the hero's feat of swimming across the Hellespont. Three years later, he wrote the following lines from his The Bride of Abydos:'The winds are high on Helle's wave,As on that night of stormy waterWhen Love, who sent, forgot to saveThe young, the beautiful, the braveThe lonely hope of Sestos' daughter.'2Engonopoulos portrays the couple's encounter at Iro's stonewall tower by the sea.3 Leandros, waded knee deep into the wavy waters of Hellespont in a full body bathing suit, reaches towards his naked lover—in a manner highly reminiscent of Theofilos's representations of Erotocritos reaching the balcony of his beloved Aretousa—while the lamp,4 which is the confidant of their secret loving, presides over the scene. Drawn from the treasury of Greek mythology, this artistic vision faithfully reflects Engonopoulos's attitude towards painting as an ideal vehicle to probe into the world of Greekness. As noted by theatre director and playwright Alexis Solomos, 'Engonopoulos can merge symbols of different origin and character, yet what is more astonishing with him is the all-prevailing spirit of Greece in his work. Every point of the universe, every moment in history is detached, through a magic power, from its geographical or historical setting and made to contribute to the predominant idea of the artist's own land.'5 As noted by the late Athens National Gallery Director M. Lambraki-Plaka, 'Engonopoulos's figures may draw their origin from Giorgio de Chirico but they are unmistakably Greek, reminiscent of the Minoans immortalised on the Knossos frescoes and the early kouroi, while alluding to the tall and slender formula of the Byzantine saints also evident in El Greco's work.'6 1 See M. Grant, Myths of the Greeks and the Romans, Mentor editions, New York, 1962, pp. 373-378; H.A. Guerber, The Myths of Greece and Rome, London, 1921, pp. 89-94. See also K. Perpinioti-Agazir, Nikos Engonopoulos, Mythology, Ypsilon editions, Athens 2006, p. 98. 2 Lord Byron, The Bride of Abydos, Canto the Second, I, 483-487.3 Compare Iro and Leandros, 1980.4 The lamp is a distinct and recurring theme in Engonopoulos's work with symbolic overtones (compare Hora ruit, 1939, Iro,1957, and Scholiasts of a future text, 1958 (sold by Bonhams, Greek Sale 24.11.21, lot 41).5 J. Lehman ed., New Writing and Daylight, New Direction editions, England 1946, p. 126.6 M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.This 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 25
Three Bing tinplate buildings Three Bing tinplate buildings to include a station platform with a picket fence and many early 20th century advertisements such as Virol, Bovril and Nestle. A signal box with an exterior staircase and a station with sheltered seating. Also included is a railway signal, a single length of 92cm O gauge PECO track, four cast metal figures and a cast metal lamp post.
Lot 209
A Collection of 4 Laryngoscopes, Comprising of a cased Boekel' Laryngoscope finished in chrome with printed instructions, a Krihaber Laryngoscope in a fitted designed case to fit an oil lamp, a similar cased Laryngoscope and a large laryngoscope engraved to one of the arms 'Laryngoscope de Docteur Cadies', (4)
Lot 359
Book of Illustrations to S, Maw, Son & Thompson's Quarterly Price-Current, London 1870, 153 pages, Quarto (4To), green fabric covered boards with gold text, the book profusly illustrated with all the products of the company covering Pt.1 Surgeons Instruments, Pt.2 Surgery Apparatus, Implements, Utensils, Etc, Pt. 3 Fittings, Furniture, Etc for Surgeries and Dispensaries, covering everything needed from surgical instruments to shop fittings and even the gas lamp for outside in the street condition: complete, partly disbound with many loose pages, pages generally clean with only minimal foxing, page 142 and 143 with pencil scribble, boards worn and stained but complete
Lot 62
Apothecary Bottles, a gobular bottle with ground glass stopper, in amethyst gass, 19th century, 16cm high; a pair of German poison bottles with white enamellabels to body and ground glass stopper, Strychnine and Opium, each 9.2cm; an English opium pill bottle by Reynolds & Branson, c.1900, in card tube; an American jeweller's lamp, John H Purdy's patent, amber globe 'PAT SEP 14 1880 AND MARCH 14 1893', mounted on vulcanite cup (5)
Lot 73
A Cupping Set by Evans & Co., London, mid 19th century, comprising signed 12 blade scarificator in lacquered brass and steel with blade adjustment, in good condition and working order, compartment below with three sets of replcement blades, set of three free-blown graduated cupping glasses with folded rims and groun out pontil marks, and a brass cupping lamp, all in fitted velvet lined mahogany case with lock and key, case 27cm across
Lot 74
An Unusual Horn Cupping Set, early 19th century, unsigned, fitted velvet lined mahogany case with lock and key, three graduated horn cups, each with lacquered brass top, brass syringe pump, and compartment with two valve connectorsto attach cups to pump, owners name in ink inside lid 18.9cm across; with an early European cupping lamp (2)
Lot 155
VICTORIAN SILVER PLATE AND CUT GLASS OIL LAMP,with Hinks patent burner over a facet cut reservoir, with cast and embossed acanthis sconce to column, on a shaped stepped square foot embossed with gadrooned, acanthus and shell detail, 58cm highThe reservoir has become detached from the column and will need restored.No drill holes to base.
Lot 287
Chinese Canton Famille Rose porcelain Gu ‘Bajixiang’ vase, modelled in two sections after an archaic ritual wine vessel, the bulbous central section raised on a bell-shaped foot rising to a flaring trumpet neck, enamelled with lotus flower heads and scrolling foliage interspersed with the Eight Buddhist emblems, beneath a continuous band of ruyi heads to the rim and key-fret to the foot, bears six character zhuanshu "archaic seal" mark of Jiaxing (1796-1820) to the base of the neck, duck egg blue glazed interior, 29cm high, (a/f)The piece has decoration wear all over. There are four chips missing from the stem of the vase (see images) and a small nibble on the rim (see images) This piece has come from a deceased estate .We have revised our description and have also added ‘a/f’ (as found) at the end since, in addition to the chip visible on the extra images, there has been some old restoration to the neck which is visible under a UV lamp. I have attached images. The white ring is the join between the sections but there are two small spots to the ball knop and the two areas to the flared neck, which have been stabilized. Apologies for any inconvenience caused.
Lot 289
Pair of 19th Century Chinese Canton Famille Rose vases, each of footed bulbous form with gilt lion mask ring handles, painted and gilded with domestic court scenes, including ladies opening a cabinet, enclosed within floral and gilt scrollwork bands, (one vase as lamp), 29cm highThe vase without the lamp top has leftover glue on the inside rim, some on the outside of the rim, and down the neck. There is light decoration and gilt wear. The vase with the lamp top has a series of cracks around the neck with the glue very visible as can be seen here https://www.clevedonsalerooms.com/auction/lot/lot-289---pair-of-19th-century-chinese-canton-famille-rose-vases/?lot=19248&so=0&st=289&sto=0&au=21&ef=&et=&ic=False&sd=0&pp=48&pn=1&g=1. There is light decoration and gilt wear on this one as well.
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307192 item(s)/page