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Click here to subscribeJames Seymour (British, 1702-1752) Stable scenes with hunters and hounds Mezzotints by T Burford, plates 250mm by 350mm (2) Provenance: Duke of Cambridge Collection stampNot examined out of frames. Paper age-toned. One plate with repaired marginal tear and light spotting Imprints : [c.1752] Siltzer p.247
A Green Onyx Striking Mantel Clock Garniture, early 20th century, four glass gilt metal mounted case surmounted by an urn finial and side columns, scroll feet, 3-1/2-inch engraved dial, twin barrel movement striking on a bell, movement backplate stamped A D Mougin, 46cm high, with a pair of five-light green onyx candelabra, 45cm high 29.03.18, Gilt mounts are slightly discoloured in parts, clock base with minor chips in parts, one of the garniture bases with a crack, dial signature is rubbed, movement looks complete, movement is fully wound, not working.
Portuguese Machine Made Carpet, late 19th/early 20th century The polychrome compartmentalised field of neo-classical motifs and lion masks around a central panel containing four griffins around an octagon enclosed by mint green borders of slender trees, 554cm by 430cm both ends complete. Side cords virtually complete but with one 40cm section of slight damage. Flat weave field has a number of small areas of light wear and there are several small holes
Veramin Carpet Central Iran, 2nd half 20th century The mid indigo field of Mina Khani design enclosed by borders of samovar motifs between double guard stripes, 305cm by 204cmEnds both complete with fringes. Some light staining to fringes, selvedges original and complete, pile close clipped and in excellent condition
A Pair of Electroplated Corinthian Column Three Light Candelabra, 1st half 20th Century, with foliate capital and nozzles, bead borders; and A Pair of Old Sheffield Plate Sauce Boats, bell mark probably for Roberts, Cadman & Co, with gadroon rim and on shell and hoof supports, the candelabra 39.5cm high (4)
Dibdin (Thomas Frognall) Aedes Althorpianae; or An Account of the Mansion, Books and Pictures, at Althorp; the Residence of George John Earl Spencer, K.G. to which is added A Supplement to the Bibliotheca Spenceriana, 1822, Shakspeare Press, two volumes, frontis to each, folding plan, 29 plates as called for, top edge gilt, morocco gilt (offsetting from plates, light damp mould to boards)
A Victorian Brass Coal Scuttle, with ceramic handle, 40cm; A Similar Copper Coal Scuttle, with hinged cover, ebonised handle and matched coal shovel, 42cm; A Brass Fire Guard, with wirework inset; A Pair of Brass Fire Tongs and Similar Coal Shovel; Two Set of Postal Scales, with some weights; A Coloured Glass and Silver Plate Twin-Light Candle Holder; and An Ebonised Stand (qty).
A Silhouette of Samuel Holmes, circa 1812, wearing the uniform of the 13th Light Dragoons, oval, 9cm by 7.5cm; A Similar Silhouette of James Holmes, wearing the uniform of the 4th Dragoons, 9cm by 7.5cm; A Similar Silhouette of Joseph Holmes, wearing the uniform of the 34th Regiment, 8cm by 6cm; and A Similar Pair of Silhouettes of Lieut Wallace, wearing the uniform of the 60th Regiment, 8cm by 6cm and of Lady Hill (5)
A Cultured Pearl Necklace, with an Amethyst and Pearl Clasp, three strands of uniform cultured pearls knotted to clasp with a central oval cut amethyst within a border of pearl beads, clasp measures 4cm by 3cm, length 47.5cmThe necklace is in good condition. It is not hallmarked or stamped, valued as gold. The amethyst measures 25mm x 20mm approximately. The pearls measure 6.8mm-7.2mm approximately. The pearls are of pinkish luster with light surface blemishes. Gross weight 113.7 grams. Condition Report made 21st December 2017.
A Seed Pearl and Blue Enamel Cross Pendant, set throughout with seed pearls within a blue enamel border, measures 4.5cm by 2.5cm, in a fitted caseThe pendant is in good condition, there is very light wear to the seed pearls. The pearls are of silver grey colouration. It is not hallmarked or stamped, valued as gold. Gross weight 3.6 grams. Condition Report made 23rd March 2018.
A Silver Bangle, with applied buckle motif and foliate engraved decoration, measures 6cm by 4.8cm inner diameter, 3.1cm in diameter The bangle is in good condition with very light surface wear and with a slight gape to the clasp. It fasntes with a snap clasp. It is hallmarked with maker's mark 'K.LTD', Birmingham, 1913. Gross weight 43.0 grams. Condition Report made 23rd March 2018.
A Blue Spinel, Seed Pearl and Enamel Ring, a round cut blue spinel in a collet setting within a border of seed pearls to a blue and white guilloche enamel circular plaque with gilt detail, to tapering shoulders, finger size P The ring is in good to fair conition, many of the gilt dots to the blue enamel plaque are worn and there is light wear to the white enamel. The spinel is likely to be a replacement stone. The underside of the plaque is engraved with a monogram. It is not hallmarked or stamped, valued as gold. Gross weight 5.1 grams. Condition Report made 28th March 2018.
A Seed Pearl Necklace, and Earring Suite, a crescent and star brooch/pendant set throughout with seed pearls, with a removeable seed pearl set bail, measures 3cm by 2.5cm, suspended from a necklace, formed of three seed pearl set crescent and star links, spaced by seed pearl bell flowers, to a seed pearl set chain necklace, length 40cm; with a pair of crescent and star seed pearl set earrings, measure 1cm in diameter, with screw fittings (2)The suite is in good to fair condition. One of the earrings is deficient of the central seed pearls and there is light overall wear to the seed pearls. The earrings are stamped '9CT', valued as gold. The brooch/pendant fastens with a pin and c-hook with a safety cahin and the fitting is removable with a screw, the bail is attached by a c-hook. The necklace fastes with a tongue and box clasp with a safey chain. Gross weight 26.4 grams. Condition Report made 23rd March 2018.
Sadji (Sha Qi, Sha Yinnian) (1914-2005), A still life with flowers and carrots, oil on canvas, dated 1945Dim.: 111 x 91,5 cm (the frame) Dim.: 98,5 x 78,5 (the painting) Provenance: A private collection, Belgium Sha Qi is known by many names: Born Sha Yinnian in the village of Sha, part of Yinxian County in Zhejiang, China (1932), he would also be dubbed Sad Ji in his European travels, and eventually called the Eastern Van Gogh by the end of his career. The intense beauty and tragedy that permeated his life and artwork was recognized during his early years, neglected in his later years, then fortunately rediscovered before his final days; so his prolific body of work continues to gain praise and excite the world of art today. Sha Qi studied painting first at the Shanghai Arts School, then the Central University of China. His studies were interrupted, though, when Japanese armies invaded China. Sha Qi was not one to sit quietly by, and was arrested in 1933 after years of petitioning and demonstrations along with other Shanghai students. He spent a full year imprisoned by Kuomintang authorities, but after release he took a job at the Art Department of Central University in Nanjing. He worked then alongside his cousin and friend, Sha Menghai, who would go on to be a master calligrapher. It was at this same time Xu Beihong came into his life. Then Director of the Art Department, later to become President of Central Academy of Fine Arts (Beijing) and the Chinese Artists’ Association, Xu turned out to be a crucial guide and friend to Sha Qi, recognizing his talent and passion in art and spending the rest of their years together teaching, mentoring, promoting and protecting Sha. It was Xu that introduced Sha to the Belgium Royal Academy of Fine Arts, where he would learn Western painting under Professor A. Bastien (who also taught famous Chinese painter Wu Zuoren, 1908-1997). With his excellent teachers, Sha Qi quickly found his way as an artist. In 1939, his grades in sketching, oil painting and sculpture classes won him a Golden Medal in Fine Arts. He held many solo shows in Brussels, and in 1940 he was showing alongside Pablo Picasso at Atriome. His painting titled “Girl Playing Flute” was purchased by the Royal Family of Belgium in 1942. During these years of study in Europe, Sha’s style developed from academically notable to stylistic, as exhibited in his painting “Studio at Royal Academy of Fine Arts”, one of the first to be accented by expressive brushstrokes that would soon become trademark of his work in Belgium. By the time he moved back to China in 1946, ‘Sad Ji’ was a well known and beloved artist in Europe. At first Sha went right to work alongside his friend Xu to restore art education in their war-torn country, accepting a high-level position as professor at Beiping Special School of Art (later to grow into the Central Academy of Fine Arts). Unfortunately, he was not able to maintain the position when he fell very ill. It would seem the impact of war and prison, plus the emotional blow of his wife leaving him with their only son, pushed Sha over the edge. He was diagnosed with Schizophrenia, and the disease took a heavy toll on him. When word spread of his illness, Xu and Premier Zhou Enlai, in honor of his contributions to his country, made arrangements for the government to support Sha through a life-time monthly stipend. In a desperate state, with only his elderly mother to care for him, Sha’s ex-wife did eventually return their son, Tianxing, to live with him; and this was a great comfort to Sha in these long years of illness. After his friend, Xu, died in 1953, Sha seemed forgotten by his country and art community at large. Tianxing claims his father never stopped creating art during this time, though; often turning to old newspaper or wood, and using ash from cooking pots as paint. He would mostly hand out these pieces as gifts to neighbors, though anyone receiving his art during this time likely viewed him as nothing more than a madman, and would probably have burned or thrown away such works without understanding the value. Sha’s old cousin and friend, Sha Menghai, the famed calligrapher, restored some of Sha Qi’s earlier Belgium works which had been donated in 1978 to the Zhejiang Provincial Museum where Menghai held position as Director. Later, Cousin Menghai would organize a major show with these and more of Sha’s works, exhibiting 50 pieces in a solo show (1983) that would travel to Shanghai, Beijing, and Hangzhou, where the China Art Museum would keep 3 paintings. The show served to remind the art world of this forgotten talent, and also gave Sha encouragement to create again. Sha was invited to join the Shanghai Cultural-Historical Research Society in 1984, and the following year he showed his works throughout China and picked up the brushes again to create a new landscape series. His final works are now recognized as his most successful, “striking for their bold use of colors and the unusual spontaneity of strokes,” artist Yan Shanchun proclaimed. In the last few years of his life, Sha Qi was too sick to understand that his fame was steadily spreading. When he passed away in 2005, he left behind a large and growing crowd of admirers, students, a loving son, and a sizeable body of work that clearly tells the story of an artist’s changing and maturing approach to a range of subjects as wide as life itself, from portraits to still lifes, animals to landscapes, reflecting all that could imaginably be reflected in art- including high abstraction in his latest works. Though much of his work is now recognized and preserved, we have yet to see what lingering artwork may still be revealed as the provenance of his life’s work continues to come to light, piece by piece. (source: Tobin Reese)We have more lots available exclusively on our website www.rm-auctions.com! Condition reports and high resolution pictures are available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
1918 Oxfordshire & Buckinghamshire Light Infantry Officers Photograph, signed on the photographers mount; photograph of WW1 US soldier in uniform, grouping of photographs of female wartime interest; Great War period US Army Camp Meade coloured postcard folder; six postcards in sleeve of the Royal Military Chapel at Wellington Barracks also called The Guards Chapel; postcard set “Views of Celle” in folder of 43 (Wessex) Division interest. Various conditions.
ART DE FRANCE BRONZED SPELTER FIGURAL TABLE LAMPmodelled as a knight leaning down from his steed to a maiden's embrace, the naturalistic light fixture issuing from an oblong base, with three two-tone red and blue glass shades in the form of stylised flower heads, signed to the shades and base, 90cm high
TRIANG RAILWAYS TT GAUGE RAILWAY COLLECTION, some in original vendor's boxes to include; two 0-6-0 tank locos, two 2-6-2 locomotives, two diesel locos, 4-6-0 Windsor Castle with tender, electric loco, approx 27 carriages and various other rolling sto ck, some in original vendor's boxes and a die-cast search light
PETER HENRY EMERSON: ON ENGLISH LAGOONS, BEING AN ACCOUNT OF THE VOYAGE OF TWO AMATEUR WHERRY MEN ON THE NORFOLK AND SUFFOLK RIVERS AND BROADS, London, David Nutt, 1893, deluxe limited edition (55/100), numbered and signed by the publisher to limitation page, 15 full page photogravure plates as called for + 18 black and white views in text from photographs, photogravure plates include "A misty morning at Norwich"; "The moonlit river"; "Buckenham Ferry"; "Children of the road"; "At the Ferry - a misty morning"; "A frosty morning"; "The snowy marshlands"; "A frosty morning at Coltishall"; "The village by the river"; "The edge of the broad"; "Marsh Farm in early spring"; "Sheep on the Marshes"; "The marshes in June"; "A daughter of the marshland"; "Marshes by the North Sea"; 298pp + 2pp publishers adverts at end, quarto, rebound full dark green crushed morocco ruled in gilt, spine gilt in compartments and gilt titled, new end papers and front and rear blanksNB the following:Generally the internal leaves including the plates are very clean with very few/minimal and light spotting/foxing. Externally the binding is in fine condition, unfortunately the leaves have been trimmed, page size is 223 x 169mm, which affects some of the plates more than others, 4 of the plates are affected more than the 11 others, see below: 1) Frontis "A misty morning at Norwich" trimmed to horizontal margins, not affecting image itself but trimmed to within the plate impression, so only a few mm from image itself2) "The moonlit river" ok, still has good margins beyond plate impression3) "Buckenham Ferry" trimmed to horizontal margins, not affecting image itself but trimmed to within the plate impression, so only a few mm from image itself4) "Children of the Broad" ok, still has good margins beyond plate impression5) "At the Ferry - a misty morning" ok, still has good margins beyond plate impression6) "A frosty morning" ok, still has good margins beyond plate impression7) "The snowy marshlands" ok, still has good margins beyond plate impression8) "A frosty morning at Coltishall" ok, still has good margins beyond plate impression9) "The village by the river" trimmed to vertical margins affecting image itself at trimmed at horizontal margins to within plate impression, so only a few mm from image itself10) "The edge of the broad" trimmed to vertical margins to within plate impression, only a few mm from image itself & trimmed at top horizontal margin very close to image itself, only 1 or 2 mm from image but from process of being bound into book this does affect image itself slightly11) "Marsh Farm in early spring” ok, still has good margins beyond plate impression12) "Sheep on the Marshes" ok, still has good margins beyond plate impression13) "The marshes in June" ok, still has good margins beyond plate impression14) "A daughter of the marshland" ok, still has good margins beyond plate impression15) "Marshes by the North Sea" ok, still has good margins beyond plate impression
Seven miniature chairs, benches and stools to include miniature shaped top stool on turned supports, an oak pierced vase back country chair with turned supports and stretcher, a stick back two seat bench on turned legs and stretcher etc CONDITION REPORTS All the chairs show signs of war and tear commensurate with age, all have light scatches and dents to the wood. One of the spindles in the back of one of the rocking chairs has come out and appears to have been glued previously - see image for details. Height of chairs in dedscending order are: 34 cm, 33 cm, 32 cm, 29.5 cm, 21 cm, 21 cm and the bench is 10.5 cm high.
A Japanese Meiji period carved ivory okimono as a man with branch of peaches in his right hand, a rope in his left, a monkey with fan at his feet, signed on red tablet to base CONDITION REPORTS 20.5 x 6.5 x 5 cm Light scratches throughout. Surface yellowing throughout. Splits to the back of thre figure. Small split to the figure's hat. Small hole to the figure's hat. Light scratches. General small signs of wear and tear throughout - see images for further details. Some black marks also visible
A 19th Century silver plated lidded ewer with embossed floral lion mask and fruit decoration of cylindrical form to a flared circular base, with simple handle ending in loveheart finial, stamped "F.Brs Ltd Gothic S EPBM2103" to base CONDITION REPORTS Has patinataion and tarnishing throughout. Dented to one side in particular, surface scratching and some light pitting. Wear and tear conducive with age and use - see images for more details
A late 19th Century silver and embossed goblet of large proportions with scroll decoration (Walter & John Barnard 1894 London), 14.7 ozt, together with two further miniature electro-plated trophies and 6 assorted Georgian teaspoons CONDITION REPORTS Height approx 26.25 cm. Some dents to the body. Slightly misshapen and out of circular. Light scratches and scuffs, possible evidence of a repair to the inside of the base - see images. General signs of wear and tear throughout.
An Austrian painted pottery figure of a seated frog in a cape in the manner of Goldscheider, inscribed to base "1848 Austria", together with a Thomas Forrester twin-handled vase, decorated with a fisherman, signed "J Hale" CONDITION REPORTS Frog approx 13.75 cm tall. Large crack to the ruff at the back behind reveals extensive re-gluing. Chips and losses. Most of the collar has been off. Body with various small scratches, marks, nibbles etc and general signs of wear and tear throughout. Vase approx 15 cm tall, light body scratches and wear . some chips and losses to the glaze. There are some clotted marks, some crazing. The lighter colours appear to be browned. Impact mark to thebody and three resulting cracks running off from it - see images. Various general signs of wear and tear throughout on both items
FOLLOWER OF GERRIT DOU "Two figures in an interior", study of a brown-robed monk seated on a carver chair, a gentleman in red tunic praying beside him, oil on canvas, unsigned CONDITION REPORTS Cracking to the paint throughout. A heavy layer of varnish has been added. The whole picture appears browned. Some speckled brown marks throughout - especially evident to the figures hands and faces. The whole painting appears milky under UV light. Woodworm holes evident to the back stretches. Chips and cracks and losses to the frame. All over various general signs of wear and tear. May or may not have had some re-painting but if so, now hidden under varnish. 33 cm x 25 cm
A Coalport decorative ewer with gilt and floral encrusted decoration, the handle formed as a maiden, the body with Griffin and Green Man mask, the base as four horses, indistinctly marked, together with a bow type chamber in the Rococo manner, the scrolling tree-like body with bird decoration and a bow type figure of a goldfinch upon a branch and unmarked (3) CONDITION REPORTS Bird - highly damaged, missing sections, heavy repairs, paint worn, should read un-marked, light scratches, scuffs and marks throughout, considerable repairs and wear and tear. Ewer - damage to the nose and wing tips of the gryphn on the front, damage and losses to the floral encrustations, damage and some losses to the horses legs and hooves to the bottom of the piece, all over light scratches, scuffs and marks and general signs of wear and tear.Candlestick - some damage and losses especially to the flowers and petals and leaves throughout, various chips and losses, scratches, scuffs and marks. Various general signs of wear and tear throughout.All items with wear and tear conducive with age and use.
A set of four figures in the manner of Derby, emblematic of the four seasons, each raised upon pierced scrolling Rococo bases, unmarked CONDITION REPORTS Figure with hunter and bird in hand - various losses in leaves to his right hand and side, wear to the giltwork and paintwork, also to the leaves on the left hand side also, light scratches and scuffs, some small chips to his hat. Musket was possibly taller at one point. Various losses, scratches and marks throughout and general signs of wear and tear.Figure with woman with grapes in basket - chips and losses to her hat, damage to and losses to the leaves throughout, various scratches, scuffs and marks, various general signs of wear and tear throughout. Figure with gentleman with scythe - some losses to the flower heads and leaves throughout, crack to the wheatsheaf in basket, various general losses and signs of wear and tear.Figure of lady with flower basket - losses and damage to the leaves and flower heads throughout. General signs of wear and tear, scratches, scuffs and marks. All items with general signs of wear and tear. See images for more details.
A 19th Century facet cut glass toddy lifter of mallet form, together with a plain glass stirrup cup of boot form, another smaller similar stirrup cup and a plain glass pipe (4) CONDITION REPORTS Glass pipe - with various chips and losses to the bowl and to the mouthpiece. The mouthpiece may have been longer? With various scratches and marks throughout. 23 cm longSmall stirrup cup - with some small chips to the toe and a large chip to the heel. Light scratches throughout. 8.5 cm high Large stirrup cup - with chip to the toe and light scratches throughout. 14.5 cm highToddy lifter - with chips around the hole to the finger end and crack. Some small chips to the facets. Chips to the lifting end. General signs of wear and tear throughout. 13 cm high
A collection of Fentons Uranium glass ware in yellow, white and brown to include boat-shaped bowls, swan-shaped bowl, plates, baskets, bottle etc CONDITION REPORTS All items with light scratches, scuffs and marks and general small signs of wear and tear conducive with age and use. See images for more details.
By Green Tea Architects and Ben Fogle with joinery by Shape London. The Green Nest was a fun group collaboration that we created with input from Ben Fogle who gave us some early suggestions of what he would like. We ran with two of his suggestions in regards to the use of timber and the fact that he wanted the kennel to fit into a rugged landscape. Over a couple of months, our team developed the design and created the Green Nest which we think also represents Green Tea Architects in terms of colours and style. Most importantly it is a fun kennel for a small dog, with open light spaces as well as enclosed darker spaces and an open space for storing dog toys and treats. We hope that the Green Nest raises a good amount of money for the charity. Green Tea Architects has definitely enjoyed being part of the BowWow Haus London experience and would like to thank Blue Cross and the Outdoor Arts Founadation for enabling us to participate in such a fun and good cause. Happy Bidding!
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