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Lot 169
An Aynsley Orchard Harvest panelled baluster lamp; a pair of Pembrooke baluster lamps; Wild Strawberry ginger jar; Kutani Crane jardiniere; etc**Please note all lots must be collected from Sudbury, Derbyshire on the 30/31/3 OR 1/4, a surcharge of £20 will be charged if the item is not collected and removed to the saleroom**
Lot 183
A Galway Irish Crystal Millennium bowl, 24cm diam, boxed; Galway Irish Crystal vase, boxed; another; a crystal lamp**Please note all lots must be collected from Sudbury, Derbyshire on the 30/31/3 OR 1/4, a surcharge of £15 will be charged if the item is not collected and removed to the saleroom**
Lot 165
A Chinese vase table lamp and shade,19th century and later, of hexagonal baluster shape painted in the famille verte palette with panels of figures, birds and insects,56cm high to top of bayonet fittingCondition report: Later metal top.Working order cannot be guaranteed, it will probably require re-wiring.Scratches to paint, gilt and enamel throughout. Restoration to rim and one handle. Please see photos.
Lot 168
A pair of carved wooden lamp standards,c.1850, Italian, each in the form of a Corinthian column with a twisting support entwined with laurel on a faux marble plinth base,30cm wide30cm deep175cm highCondition report: Knocks, chips and losses to paint all-over. Presenting in a pleasant, lightly distressed patina. Re-wiring required.
Lot 17
A large Imari table lamp and shade,the monteith-shaped neck on an ovoid body with traditional decoration,72cm high to the bayonet fittingCondition report: Neck repaired.Cannot guarantee to be in working order.Vase seems to have been broken or cut around entity of the neck, gilt worn, imperfections to the glaze
Lot 235
A Chinese-style celadon glazed ceramic table lamp,20th century, of baluster shape, the body set with a pair of taotie mask handles and all-over figural, floral and foliate decoration, on an integral pierced hardwood base,70cm high excluding fitmentCondition report: General surface wear, dirt and scratches. Some manufacturing imperfections.
Lot 272
A Chinese Canton export-style table lamp, 20th century, of baluster shape, with applied chilong and lizard decoration to the shoulders and neck, with a vibrant pink glaze, on an integral circular wooden base, with a pleated silk shade, 23cm diameter49cm high excluding fitment68cm high total (2)Condition report: Crack to body of lamp. Dust and general surface wear. Knocks and fading to base. One or two marks and stains to shade. General wear throughout
Lot 35
A pair of French Napoleon III Greek Revival gilt-bronze torchères,attributed to Ferdinand Barbedienne and possibly designed by Ferdinand Lenuain, each with anthemion and lion mask detail, fluted column and raised on an elaborate tripod base, each monopod terminating in paw feet and supporting a neoclassical urn-shaped oil lamp with cast figural detail,45cm diameter171cm high (4)Condition report: Urns possibly associated but both with the same gilding. One supporting anthemion bracket missing. Both appear to be lacking chains as there are eyelets surrounding the lion masks. Some marks, scratches and misshapen areas. General wear, tarnish and discolouration. The urn on the torchere locking the supporting bracket wobbles a little. Some slight wobble in the joints but generally solid and of heavy gauge.
Lot 518
John William Waterhouse RA (1849-1917)Study for 'Psyche opening the Golden box'black and red chalk22.5 x 30.5cmInscribed by a previous owner ''study' by J W Waterhouse RA bought by me at Christie's sale 23.7.1926 (Mrs J W Waterhouse's sale) James Nivel (?)' in pencil.Provenance: The artist’s widow, Mrs. Esther Waterhouse, by whom sold Christie’s, London, 23 July 1926, ‘The Remaining works of the Late J.W. Waterhouse, Esq., R.A.’,Mrs George Packham; presented to her by Mrs L A Duran; by descent to Mrs M Duran in 1980.The story of Psyche, like many Greek myths, is one of great drama and passion. Psyche, a mortal princess, is cursed by Venus who is jealous of her beauty, which has inspired many to worship her rather than pay their respects to Venus. She sends her son Cupid to shoot an arrow at her to make her fall in love with a monstrous creature. Instead, Cupid scratches himself and falls in love with Psyche. Abandoned by her family, she is saved by Zephyrus, god of the west wind, and carried away to Cupid’s palace where she is waited on by invisible servants. There, Cupid visits her every night but she is not allowed to see his face. Encouraged by her jealous sisters, she lights a lamp one night to see her lover’s face and injures Cupid in the process by dropping hot oil on him and he flees. She travels the earth searching for him and entreats Venus to help her. Venus instead sends her on a series of impossible tasks, the fourth of which is to take a golden box to the underworld to obtain a dose of beauty from Proserpine. She is told not to look in the box. Like Pandora, however, she cannot resist and opens the box, finding within it not beauty, but sleep, and she falls into a deep slumber. Cupid eventually finds her, takes her to Zeus, who allows her to become a goddess and marry Cupid on equal terms.Waterhouse painted many mythological subjects including several depictions of Psyche: Psyche Entering Cupid’s Garden, 1904 (Harris Museum and Art Gallery) and Psyche opening the Golden Box, exhibited at the Royal Academy in 1903 (private collection). The finished picture shows Psyche, seated in a dark wood, bending her head low as she peers into the slightly open box. A small plume of smoke rises from the interior. Fewer than 150 preparatory sketches by Waterhouse are known. They consist mainly of model’s heads - generally the most important element of the painting - in chalks. Here we have a typical preparatory sketch, confidently exploring the composition with fluid strokes, exquisitely modelling the flesh of the shoulder and back of the model. Not much is known about Waterhouse’s models and while it has been argued that he had a single muse who he returned to repeatedly over the decades (Miss Muriel Foster has been identified as a contender), it may also be the case that he chose a series of women with the same swan-like neck, doe eyes, modest features, full of understated grace that made his paintings both sensual yet innocent; a duality that has delighted viewers for more than a century.Condition report: Inscribed in pencil by previous owner. The paper is a light beige/grey and could be a little faded. Some scattered spots of foxing. Some light discolouration and smudges of surface dirt throughout, in particular close to the edges. Lots of pentimenti visible. The pencil writing is a little smudged, and there is a pencil mark lower left. A pin hole centre top, and at each extreme corner. Attached to backing card by hinges of tape. A thin border of tape around the outside of the back of the sheet. Many specks of brown discolouration and grey lines verso (we assume dirt). The surface of the paper verso has some scuffs as if it was stuck down previously.
Lot 727
A blue and white delftware vase table lamp and shade,18th century vase, painted with a floral cartouche inscribed 'Rappe', on a later wooden base,49cm to top of bayonet fittingCondition report: Later base and metal cover.Base drilled.The mounts obscure the top and base, it is not therefore possible to judge condition.Cannot be guaranteed to be in working order.
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307192 item(s)/page