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Lot 532
A large collection of assorted DC Comics collectible chess pieces with accompanying Eaglemoss Publications magazines. Chess pieces to include; Professor Zoom, Vixen, Doctor Light, Big Barda, Red Arrow, Animal Man and others. All figures cast in metallic resin and hand-painted with a crest on the front base depicting their rank. Housed in original boxes. Highly detailed pieces.
Lot 21
Scandinavian dining table and set of six chairs. Art Deco, ca.1920.Birch.Measurements: 79 x 182 x 88 cm.Dining table with six matching chairs. Elegant Scandinavian design in light birch wood. Subtle curves outline chairs and table top, so that support and backrest are defined in a single stroke, characterising the design by combining extreme simplicity and remarkable originality. The table is elevated on legs arranged on a base of slats joined in a double facet, opening out into a subtle wedge and joined by a single crossbeam. The art of economising and stylising forms achieved the highest levels in Scandinavian furniture in the 1920s and 1930s, when Denmark and Sweden were among the countries that championed Art Deco.
Lot 45
ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN.Set of six chairs model 3107 'Series 7', design 1955.Chromed tubular steel frame. Recently professionally reupholstered in cognac coloured aniline leather.Fritz Hansen Publisher.Measurements: 46,5 cm (seat height).Aniline leather is made of high-quality rawhide. As a rule, the leather has a completely natural surface, on which all natural markings are visible. This helps to bring out the unique character of the leather. The aniline leather changes over time through use and the effects of light, and quickly develops a patina of great natural beauty.The FH 3107 chair, designed in 1955 by Arne Jacobsen and belonging to Series 7, is by far the best-selling chair in the history of the Fritz Hansen company, and perhaps also in the history of furniture. The moulded seat is an evolution of the Ant Chair, an earlier design by the same creator, and its laminated structure represents the culmination of this construction technique. In fact, the visionary Jacobsen exploited the possibilities of laminate to the full to achieve the perfection of an iconic form.An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction and then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others.The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with internationally renowned designers and architects. Its collection includes the EggChair and Swan armchairs, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers PietHein and Poul Kjaerholm.
Lot 47
ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN.Set of six chairs model 3207 'Series 7', design 1955.Chromed tubular steel frame.Recently professionally reupholstered in cognac coloured aniline leather.Fritz Hansen Publisher.Measurements: 76/46,5 cm (height).Aniline leather is made of high-quality rawhide. As a rule, the leather has a completely natural surface, on which all natural markings are visible. This helps to bring out the unique character of the leather. The aniline leather changes over time through use and the effects of light, and quickly develops a patina of great natural beauty.The FH 3107 chair, designed in 1955 by Arne Jacobsen and belonging to Series 7, is by far the best-selling chair in the history of the Fritz Hansen company, and perhaps also in the history of furniture. The moulded seat is an evolution of the Ant Chair, an earlier design by the same creator, and its laminated structure represents the culmination of this construction technique. In fact, the visionary Jacobsen exploited the possibilities of laminate to the full to achieve the perfection of an iconic form.An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction and then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others.The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with internationally renowned designers and architects. Its collection includes the EggChair and Swan armchairs, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers PietHein and Poul Kjaerholm.
Lot 88
MARCO BOGA (Italy, 1961) for BUSNELLI.Two-seater sofa "Piumotto".Leather upholstery.With Busnelli publisher's stamp.It shows signs of use and light stains.Measurements: 70 x 210 x 105 cm.The Piumotto sofa is the re-edition of a classic piece of Italian design signed by Arrigo Arrigoni in 1973 under the direction of Bstudio. It is a sofa with a completely invisible metal structure. The body, with closed sides and soft, warm cushions on the seat, backrest and sides, has rounded shapes, reduced to its essence. It is, therefore, a functional and comfortable piece of furniture that does not renounce formal elegance.Trained in Architecture at the Politecnico di Milano, Marco Boga began his own architectural research in the studio of his father, Eugenio Boga, who specialised in furniture design and interior decoration. He currently designs for major publishers such as Busnelli, Casamilano, Tisettanta, Halifax, Fratelli Longhi, Axil and Merati.The Italian firm Busnelli has been dedicated to the manufacture of designer seating furniture for half a century. Its pieces are distinguished by the modernity of their forms, freed from tradition, which have made Busnelli one of the architects of the birth and consolidation of Italian design. In 1972 the firm moved to Misinto, in Crianza, where it built a factory that was the first example of its kind, and which continues to this day to be a model of reference for its production systems and technological advances. In fact, research has always been one of Busnelli's cornerstones, through its Centro Studi & Richerche. Always at the forefront of its sector, the firm is committed to the production of high quality and design upholstered furniture, marked by its silver emblem.
Lot 15
Rembrandt van Rijn (1606-1669)Beggar man and beggar woman conversingEtching, circa 1630, but a later impression of New Hollstein's final state (of three), printing with light plate tone on thick cream laid paper without watermark, platemark 78 x 66 mm (3 1/16 x 2 5/8 in), sheet 86 x 73 mm (3 3/8 x 2 7/8 in) (unframed)Literature:Bartsch 164; New Hollstein 45 iii/iii
Lot 18
Rembrandt van Rijn (1606-1669)Joseph's coat brought to JacobEtching, circa 1633, a good detailed impression of New Hollstein's second state (of two), some signs of light wear to the plate but still with the faint outline of a second thumb below the thumb of the pointing man, on laid paper without watermark, sheet 108 x 80 mm (4 1/4 x 3 1/8 in), trimmed to or just within the platemark, Literature:Bartsch 38; New Hollstein 122 ii/ii
Lot 2
Giovanni Battista Tiepolo (1696-1770)Two Magicians and two Boys, from: Scherzi di FantasiaEtching, circa 1740, an excellent impression of the first state (of two) with strong contrasts on thick laid paper without watermark, before the plate number, printing with light wiping marks and small impurities in the plate, platemark 220 x 175 mm (8 5/8 x 6 7/8 in), sheet 230 x 185 mm (9 x 7 1/4 in), minor spotting and surface dirt (unframed)Literature:De Vesme 26 i/ii
Lot 25
Rembrandt van Rijn (1606-1669)Christ and the Woman of Samaria among RuinsEtching, circa 1634, a very good bold impression of New Hollstein's third state (of five), with little wear to the densely hatched areas, on laid paper with partial 17th century watermark, sheet 120 x 110 mm (4 3/4 x 4 1/4 in), mostly with thread margins but some trimmed just within the platemark, minor surface dirt in the upper right corner, very light spotting (unframed)Literature:Bartsch 71; New Hollstein 127 iii/v
Lot 29
Rembrandt van Rijn (1606-1669)The Pancake WomanEtching, 1635, a good but later impression of New Hollstein's final state (of seven), printing with light plate tone on thick cream laid paper without watermark, platemark 110 x 79 mm (4 1/4 x 3 1/8 in), sheet 119 x 87 mm (4 5/8 x 3 1/2 in) (unframed)Literature:Bartsch 141; New Hollstein 144 vii/vii
Lot 50
Rembrandt van Rijn (1606-1669)Christ and the Woman of Samaria: An arched PrintEtching, 1657, a later impression of New Hollstein's final state (of five) on thick cream laid paper, platemark 126 x 160 mm (4 7/8 x 6 1/4 in), sheet 138 x 173 mm (5 3/8 x 6 3/4 in), light mottling to sheet in places (unframed)Literature:Bartsch 70; New Hollstein 302 v/v
![GEORGE TUTE [1933 - ]. Militant Forms, c.1963. wood-engraving, unique?; signed. 25 x 29 cm - overall including frame 43 x 46](https://cdn.globalauctionplatform.com/2d52b1f3-bf52-438c-97ab-af1200c56b67/007af9ab-f193-473b-b305-af1200e11b77/468x382.jpg)
Lot 26
GEORGE TUTE [1933 - ]. Militant Forms, c.1963. wood-engraving, unique?; signed. 25 x 29 cm - overall including frame 43 x 46 cm. Provenance: private collection, UK. [good condition - very slight waviness to the paper at top right corner - tiny light brown mark at bottom right corner - unexamined out of frame - some reflection in photos due to glazing]. Buyers premium of 20% + VAT is payable.
![MICHAEL AYRTON [1921-75]. Demeter in Winter, 1965. ink and wash; signed. 49 x 39 cm [overall including frame 65 x 54 cm]. Pro](https://cdn.globalauctionplatform.com/2d52b1f3-bf52-438c-97ab-af1200c56b67/403fdcae-c6c3-4380-9fa3-af1200e1bfbc/468x382.jpg)
Lot 87
MICHAEL AYRTON [1921-75]. Demeter in Winter, 1965. ink and wash; signed. 49 x 39 cm [overall including frame 65 x 54 cm]. Provenance: Artist; private collection, UK. Literature: 'Michael Ayrton...', J Nyenhuis, Wayne State, p. 263. An important Ayrton drawing - exhibited extensively worldwide, but most recently at the major retrospective exhibition at the Lightbox Museum, 2021. [very good condition - some slight time toning to the paper - minor light brown line at extreme top right edge, probably from previous mounting - unexamined out of frame]. Buyers premium of 20% + VAT is payable. ARR 4%.
Lot 907
A Victorian button back nursing chair in cream brocade on turned legs; An Edwardian mahogany armchair in cream fabric on tapering legs and castors. Both chairs are fairly solid with sound constructions; obviously reupholstered some time ago, they could do with a light clean, but no extensive staining noted.
Lot 357
JOHN DALBY (1810–1865)A racehorse and hound in landscapeOil on canvas, 50 x 60cmSigned and dated 1850Condition Report: Very good general condition Lined canvas with Artus Acherman trade label verso Professionally restoredSome light overpainting is apparent, particularly in the are above the horses's back, where the clouds are darker One small area of repair in the blue sky See additional images
Lot 388
A VICTORIAN PAINTED PORCELAIN DESSERT SERVICE,decorated by Herbert Cooper of Dublin. Comprising twelve plates and a pair of tazzas; each with pierced gilded border, the reserves with identified views: Upperlake, Killarney; Howth Castle: Ross Castle Killarney; St. Patricks Cathedral, Dublin; South wall light house, Dublin; Four Courts, Dublin; Killarney; Ballynahinch; Glenariff, Co. Antrim; river Landscape with Bridge; Norrow Water Castle and Cross, Clonmacnoise.All (bar one) signed, inscribed and many dated 1894 (14)
Lot 431
A PAIR OF GEORGE III IRISH SILVER SHAPED CIRCULAR CARD TRAYS, Dublin 1775, mark of Matthew West, the chased gadroon rim interspersed with scallop shells and foliate sprays raised on scroll feet, (17.5 troy ozs all in). 18cm diameterCondition Report: Both examples in very good condition. One tear to one border but sturdy, see additional images. Good clear hallmarks each with scratch marks reading "date Dublin 1748". Some light surface scratches to reserves and underside consummate with age.
Lot 439
A GEORGE III SILVER OVAL CAKE BASKET, London 1776, mark of Charles Aldridge and Henry Green, with pierced beaded swing handle, the lattice work body decorated with drapery swags, oval medallions within a bound rod, urn and ram's head mask border and raised on pierced beaded rim foot, (39 troy ozs). 36cm x 29cm x 11cm high.Lots 437 - 442 are sold on the instruction of The Trustees of the Earl of Rosse. The crests and armorials are those of the parson's family, or their connectionsCondition Report: Very good overall condition Strong bowl and pierced sidesRepairs to each base of swing handle and small tear to underside of rim where rams head is (see images)Some light scratching to undersideOtherwise good See additional images
Lot 519
A GEORGE IV MAHOGANY CIRCULAR DRUM TABLE, the top with tooled green leather scriver, fitted frieze drawers with ebon handles on turned centre pillar with reeded out swept quadruped legs with brass top cap castors. 112cm diameter, 78.5cm highCondition Report: Good original condition Leather top with some light water stains and surface marks Tooling has lost some gilt decoration All drawers are good condition and tight fitting Original handles There is an old professional repair to the foot and a small timber split within the column. I have attached images.No sign of restoration to base
Lot 533
NATHANIEL HONE (1718-1784)Portrait of the Rev. William Sclater (1709-1778)Oil on canvas, 76 x 64cmProvenance: By descent from the sitter in the Sclater-Booth family, later Barons Basing This, one of the most engaging of all of Nathaniel Hone’s portraits, shows Rev. William Sclater (1709-1778), the Rector of St Mary-le-Bow, London. The portrait was reproduced in mezzotint by John Raphael Smith in 1777, the year it was painted, and it was almost certainly included in that summer’s exhibition at the Royal Academy. Hone’s exhibits drew a mixed critical reaction the Morning Chronicle for Monday 28 April 1777 addressed the issue of his palette, for which the artist was occasionally faulted, commenting that ‘Mr NATHANIEL HONE is a very good portrait painter but, as has been remarked of Mr Gainsborough, would be still better if the colouring of his faces was more natural’. Despite this reservation, the critic singled out his ‘portrait of a clergyman’ almost certainly the present work as ‘a very good picture’. This refined essay in black and white, offset by the sober red of the chair and light falling on his spectacles, refutes the critic’s attack on Hone for the hotness of his colours. Hone plays with the pictorial space with subtle, but still noticeable, virtuosity. Sclater’s knuckles project to, indeed seemingly almost beyond, the picture plane, Smith’s mezzotint responds even further to this element of the portrait by introducing an illusionistic play of light on the frame as the sitter seems to emerge from the painting’s space. Hone shows a genial, rather likeable, character with a noticeable sparkle in his eye and barely restrained smile, as it the sitter and artist had enjoyed the portrait process.Rev. William Sclater was born at Loughton, Essex, and was educated at Winchester and Oxford. He succeeded his father as Rector of Loughton in 1735, a position he held until his death. In 1750 he became lecturer at Christ Church, Newgate Street, and in 1769 was appointed Chaplain to the Lord Mayor, William Beckford, at whose marriage in 1756 he had officiated. In 1771 he was given the plum job as Rector of the famous city church of St. Mary-le-Bow on Cheapside. Rev. Sclater was killed not long after sitting for Hone ‘by the fall of a bag of caraway-seeds out of the slings as it was being hoisted into a grocer’s warehouse’. William Laffan, 2022
Lot 545
A LARGE SILVER TWO HANDLED SERVING TRAY, Sheffield 1894 , mark of Martin Hall & Co, of octagonal form with cast pierced border and finely engraved reserve. 60cm long over handles x 39.4cmCondition Report: 113.14 troy ozs or 3519 gramsVery good condition Some light scratch marks to reserve and underside Join marks evident to underside of pierced rim, no tears apparent See additional imagesClear hallmarks
Lot 605
SIR GODFREY KNELLER (1646 - 1723)Portrait of Lady Mary Boyle nursing her son Charles, half length Oil on canvas, 82.5 x 65.4cm In fine period frame Provenance: By descent in the Boyle Family; Sale Christie's New York May 25th 2005, Lot 218, where sold $36,000This work by Kneller is a rare and unusual portrait for its period. While of course bearing allusions to the Madonna and Child and in particular the iconography of Nursing Madonna or Madonna Lactans, the artist has taken an interesting approach of depicting a young mother breastfeeding her infant son. The mother in question is the Lady Mary Boyle, wife of the Hon. Lt. Col Henry Boyle of Castlemartyr in Cork and daughter of the 1st Earl of Inchiquin. As woman in the upper echelons of society in the 17th century it would have been highly unlikely that she did in fact breast feed her own children. As was the common practice amongst the gentry, a wet nurse would have carried out the task for her. Depictions of breast feeding in earlier periods often presented the women in more ordinary clothes linking them to the symbol of the Madonna of Humility.In the 17th and 18th centuries paintings of breast-feeding women abound, suggesting that as a society it was considered a natural and important role of motherhood. The subject matter often derives from ancient texts or contemporary times including both a daughter breastfeeding her father in the Roman Charity story of Pero and Cimon to Jusepe de Ribera’s infamous painting of Magdalena Ventura or The Bearded Woman nursing her child.Yet they are rarely seen portraying women of this social class. Kneller has depicted Lady Mary with dignity, staring directly at the viewer, in her vibrant red gown and white lace headdress falling gracefully across her shoulders. It represents the idea of motherhood as the true calling for women and a celebration of that role. Of course, we do not know for certain if Lady Mary did enlist the services of wet nurses for her children but the painting may be a reflection of changing attitudes in society that encouraged this view of the exemplary mother figure providing nourishment to her child. We should not view this as moment of exposure for Lady Mary but rather as an expression of her love and devotion for her children. The child in the painting is her third son Charles, portrayed as healthy and sturdy baby, which at time of extremely high infant mortality, was cause, in and of itself, for much celebration. He did indeed survive to adulthood and went on to pursue a career in the Navy.Condition Report: In good overall condition Canvas has been lined The surface of the painting has light mould spots throughoutRestored to presentable conditionSpots over painting throughout Frame is goodSee additional images
Lot 189
An Imperial German Kurzes Seitengewehr M1898 bayonet, saw back blade 10" marked with crown over "ERFURT", the hilt with pressed leather grips, in its steel scabbard, the crossguard and scabbard stamped "KS 8028". GC (all metal parts have been plated, the hilt and scabbard over light pitting). £120-140
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