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Lot 1380
A French Louis XVI style display cabinet, 20th century, overall applied with gilt metal mouldings, with moulded top, above glazed doors, with cupboards below, on tapering legs, 155cm high x 121cm wide x 40cm deep CONDITION REPORT: minor losses of veneer ovewrall, light scratching overall, loose legs plus possible losses , plus possible lost panel to top
Lot 805
A Theon Memphis style lamp base, 20th century, 37cm high, together with three other lamp bases, to comprise a lamp with blue metal base and white shade, a green glass standard lamp and a chrome and white enamelled metal light on a blue stand. (4) CONDITION REPORT: all lamps show signs of domestic wear and will need to be cleaned, main lamp has light scratches to black base, some chips, otherwise all pieces are in good/reasonable condition
Lot 817
An American gilt metal and glass Art Deco lamp, early 20th century, in the Tiffany taste, the domed sectional shade with foliate decoration to the spandrels, with cream and caramel glass, on a bulbous foliate support with circular base, 67cm high. (It is the buyer's responsibility to ensure that electrical items are professionally rewired for use) CONDITION REPORT: 817 Please note this lamp is made of patinated and gilt metal, with glass. Overall condition is good, wear to gilding, light corrosion to connection between stem and base
Lot 820
A set of three glass and aluminium framed wall lights, c 1940-1950, the glass shades formed into oak leaves, above tiered bases, 28cm high. (3) (It is the buyer's responsibility to ensure that electrical items are professionally rewired for use) CONDITION REPORT: There is one wall light with no damages to the leaves, the other two have damages to leaves, but over all there is enough good shade parts to make a pair, with spares.
Lot 822
A Continental brushed aluminium and white plastic wall light, possibly Italian 1970's, the façade of cone shaped chromed metal and white glass shades suspended in front of lamp holders, 42cm x 45.5cm. (It is the buyer's responsibility to ensure that electrical items are professionally rewired for use) CONDITION REPORT: aluminium has minor scratches all over, plus a few shades with deep scores, glass elements seem ok, no cracks, general discolouration
Lot 837
After Salvador Dali, Spanish, 1904-1989, a Lampara Cajones lamp base, originally designed in 1937, this example late 20th century, with a line of drawers within the base, with pleated shade, metal plaque to base, 90.5cm high (It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.) CONDITION REPORT: Light domestic usage, dirt and dust comparative with age The lamp shade has some marks and is slightly grubby in parts Marks/dents to bottom and top of base One of the draws is loose and can be detached from the base (It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.) Overall in good condition
Lot 858
A Hukin & Heath silver plated twin compartment bonbon dish, the design by Dr. Christopher Dresser 1878-1881, with cane covered loop handle, stamped to base H&H with eagle mark, and design number 2223, approx 14.5cm high x 21cm wide. CONDITION REPORT: A few small areas of wear to the plating and light surface pitting. Small amount of breakage to cane handle covering.
Lot 878
After Pierre Bonnard, French 1867-1947- "Bonnard Vuillard et la Nabis. Musée National d'Art Moderne, Paris, 1955", printed by Mourlot, Editions des Musées Nationaux, Paris, lithographic poster printed in colours on wove paper, 70.5x50cm, (framed) (VAT charged on hammer price) CONDITION REPORT: in a glazed frame may or may not be stuck down unexamined out of the frame with small margins, light- and time staining otherwise apparently in good original condition
Lot 901
A Philippe Starck faux Cararra marble rectangular desk, late 20th/early 21st century, with integral light, on square legs, 72 cm. high x 135 cm. wide. (It is the buyer's responsibility to ensure that electrical items are professionally re-wired for use.) CONDITION REPORT: noted overall in good condition, some marks and scratches consistent with age and commercial use
Lot 916
A Philippe Starck faux Cararra marble rectangular desk, late 20th/early 21st century, with integral light, on square legs, 72 cm. high x 173 cm. wide. (It is the buyer's responsibility to ensure that electrical items are professionally re-wired for use.) CONDITION REPORT: noted overall in good condition, some marks and scratches consistent with age and commercial use
Lot 917
A Philippe Starck faux Cararra marble rectangular desk, late 20th/early 21st century, with integral light, on square legs, 72 cm. high x 173 cm. wide. (It is the buyer's responsibility to ensure that electrical items are professionally re-wired for use.) CONDITION REPORT: noted overall in good condition, some marks and scratches consistent with age and commercial use
Lot 925
A rectangular teak and hardwood sideboard, attributed to Archie Shine, with four drawers, and two long doors, on tapering cylindrical legs, 76cm high x 228cm wide x 58cm deep. CONDITION REPORT: top has ring marks, rubbing to edges, significant rubbing in one area, some light chips to drawer front, some marks to doors, domestic wear to interiors of drawers,
Lot 37
Jivan Ram, Raja (fl. 1825-1840) - Portrait of Lieutenant Jasper Trower, of the Bengal Horse Artillery Oil on canvas Signed and dated Jeewun Ram 1827 lower left, with indistinct Sanskrit inscription underneath 35.5 x 31 cm. (14 x 12 1/4 in) Provenance: the Trower family; by descent to the present owner Comparative literature: William Sleeman, Rambles and Recollections , London, 1844, vol. ii, pp.285-7 J.P. Losty, Of Far Off Lands and People: Paintings from India 1783-1881 , Indar Pasricha Fine Art exh. cat., London, 1993) J.P. Losty, Indian Portraiture in the British Period , The Indian Portrait, 1850-1860', ed. by Rosemary Crill and Kapil Jariwala, National Portrait Gallery, 2010 J. P. Losty, A new portrait miniature by Jivan Ram acquired , Asian and African studies blog, British Library website, 12th January 2014 A previously unrecorded and unpublished oil painting by the Indian artist Raja Jivan Ram, whose work, miniatures and oils, are rarely available on the open market. Oil paintings by Ram are almost exclusively held in public institutions, with small collections in the British Library, London, and the Bodleian Library, Oxford. Ram is recorded in contemporary literature by William Sleeman who described him as an excellent portrait-painter, and a very honest and agreeable person, [who] was lately employed to take the Emperor's portrait ( op. cit., vol. ii, pp. 285-7). A preliminary drawing is unfortunately all that remains of the portrait described by Sleeman, but the fact that the Mughal Emperor Akbar II (1806-37) commissioned his portrait to be painted by Ram highlights the regard that the artist had with the Indian, as well as the British, elite. [The drawing is now held in the British Library s India Office and Private Papers collection, ref.: Add.Or.3167] The high regard held for Ram by his contemporaries is further shown with his appointment in the 1830s by the famous Begum Samru of Sardhana (1745-1836), whose palace was decorated with some twenty of his oil paintings ( op. cit., Losty, Jan. 2014). The European influence on Indian portrait painting, which began in the 18th century, and was continued by artists travelling and working in India such as George Chinnery (1774-1852) and Thomas Hickey (1741-1824), is clearly apparent in the portrait of Lieutenant Jasper Trower. The most comparable portrait by Ram to the present work is that of Captain Robert McMullin, which is similarly dated 1827, and may well have been executed in close succession (currently held by the British Library, ref.: F863). The sitter, Lieutenant Jasper Trower (c.1807-1845) of the Bengal Horse Artillery, later a Captain in the 7th Light Field Battery, was killed in action during the Battle of Mudki, Punjab, 1845. We have been unable to find any record for an oil painting by Raja Jivan Ram available on the open market for the last 20 years.
Lot 71
Paul Lucien Maze (1887-1979) - A view of Henley Regatta from the Thames, with St. Mary's Church beyond Pastels and coloured chalks, on light grey coloured paper Signed lower right 37 x 55 cm. (14 1/2 x 21 1/2 in) Provenance: Paul Lucien Maze, and thence by descent. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
![Edward Lear (1812 - 1888) - Buon Ricovero, 1843; Villa Caesia, 184[?]3 A pair, watercolour, heightened with white, on light b](https://cdn.globalauctionplatform.com/3f4fb962-0dee-4e77-a1fc-a44c00f300ad/3de08e5f-f800-4a42-ce3b-59f144471342/468x382.jpg)
Lot 82
Edward Lear (1812 - 1888) - Buon Ricovero, 1843; Villa Caesia, 184[?]3 A pair, watercolour, heightened with white, on light blue paper Both signed lower right, inscribed and dated Buon Ricovers, 1843, and Villa Caesia, 184 [?] 3 , respectively 8 x 14 cm. (3 1/8 x 5 1/2 in), and 7.5 x 17.5 cm. (3 x 6 7/8 in ) Unframed, (2) Provenance:John Scandrett Harford (1787-1866); thence by descent to the present owner.
Lot 83
Edward Lear (1812 - 1888) - Ponte di Nona, 1844 Watercolour, over pencil, heightened with white, on light blue grey paper Signed and inscribed Ponte di Nona lower left, dated Thursday. Feby. 1844 lower right 11 x 18.5 cm. (4 1/4 x 7 1/4 in) Unframed Provenance:John Scandrett Harford (1787-1866); thence by descent to the present owner.For two further drawings of Ponte di Nona by Lear, painted one year later than the present work, see Houghton Library, Harvard University, Edward Lear Landscape Drawings , 1834-1884 (MS Typ 55.11, MS Typ 55.26, TypDr 805.L513), nos. 377 and 378.
Lot 84
Edward Lear (1812 - 1888) - Santa Maria di Luco, 1844 Black chalk, pencil, heightened with white, on light grey paper Signed and dated 1844 lower right, inscribed S. Maria di Luco lower left 9.5 x 20 cm. (3 3/4 x 7 7/8 in) UnframedProvenance:John Scandrett Harford (1787-1866); thence by descent to the present owner. Engraved: Edward Lear, Illustrated Excursions in Italy, 1846, pl. 5 " we were well pleased with the beautiful view of the Lake, and the group of Alba and Velino, now diminished by distance, yet forming a fine back-ground to the picturesque church and walls." [ op. cit., Lear, 1846, p. 21]
Lot 85
Edward Lear (1812 - 1888) - Antrodoco, 1844 Black chalk, pencil, heightened with white, on light blue paper Signed and dated 1844 lower left, inscribed Antrodoco lower right 13 x 18 cm. (5 1/8 x 7 in) Unframed Provenance:John Scandrett Harford (1787-1866); thence by descent to the present owner.
Lot 86
Edward Lear (1812 - 1888) - Albe, 1844 Black chalk, pencil, grey wash, heightened with white, on light buff paper Signed and dated 1844 lower right, inscribed Albe lower left 14 x 26 cm. (5 1/2 x 10 1/4 in), corners trimmed Unframed Provenance:John Scandrett Harford (1787-1866); thence by descent to the present owner.Engraved: Edward Lear, Illustrated Excursions in Italy, 1846, plate 17 "Two afternoons I devoted to visiting Alba, the ancient Alba Fucinensia, which stands on a double hill, about two miles only from Magliano, though the walk thither across the plain, covered with stones, is as fatiguing as treble the distance on a decent road". [ op.cit., 1846, p. 70]
Lot 87
Edward Lear (1812 - 1888) - Campagna di Roma A pair, watercolours, over pencil, with touches of white, both on light blue laid paper Both signed, dated 1844 , and inscribed Campagna di Roma , and [?] For S. G , respectively 4.5 x 9 cm. (1 3/4 x 3 1/2 in), and 8 x 12 cm. (3 1/8 x 4 3/4 in) Unframed, (2) Provenance:John Scandrett Harford (1787-1866); thence by descent to the present owner.
Lot 88
Edward Lear (1812 - 1888) - Civita d'Antino, 1844 Black chalk, pencil, heightened with white, on light blue paper Signed and dated 1844 lower right, inscribed Civita d'Antino lower left 16.5 x 28.5 cm. (6 1/2 x 11 1/4 in) Unframed Provenance:John Scandrett Harford (1787-1866); thence by descent to the present owner.Engraved: Edward Lear, Illustrated Excursions in Italy, 1846, plate 20 "Civita d'Antonio, a wild and scattered place, has a poetical and sullen grandeur in its aspect, as if it were altogether out of the world of life: no other dwellings are in sight and its own bear the stamp of desolate and melancholy antiquity." [ op. cit., 1846, p.74]
Lot 89
Edward Lear (1812 - 1888) - Stretti di San Luigi, 1844 Black chalk, pencil, wash, heightened with white, on light buff paper Signed and dated 1844 lower left, inscribed Stretti di San Luigi lower right 16.5 x 10 cm. (6 1/2 x 4 in), corners trimmed Unframed Provenance:John Scandrett Harford (1787-1866); thence by descent to the present owner.Engraved: Edward Lear, Illustrated Excursions in Italy, 1846, vignette no. 23, p.91 " the Stretti di San Luigi, is of fearful height and narrowness, and except in summer weather is totally impassable. Eagles and ravens abound throughout the whole of this terrific gorge, whose aspect chills the mind, as much as the cold wind sweeping through it does the body." [ op. cit. , 1846, p. 91]
Lot 90
Edward Lear (1812 - 1888) - Pizzoferrato, 1844 Black chalk, pencil, heightened with white, on light buff paper, Signed and dated 1844 lower right, inscribed Pizzoferrato lower left 14 x 26.5 cm. (5 1/2 x 10 1/2 in), corners trimmed UnframedProvenance:John Scandrett Harford (1787-1866); thence by descent to the present owner. Engraved: Edward Lear, Illustrated Excursions in Italy, 1846, plate 26 " It is a most romantic village, at the foot of an isolated rock crowned by a convent; nothing can be wilder or less interesting that the treeless country immediately around this place, nor more superb than the endless view over ridges of purple hills crowned by little towns, forming as it were, a continuous plain down to the shores of the Adriatic." [ op. cit., 1846, p. 99]
Lot 91
Edward Lear (1812 - 1888) - Trasacco, 1844 Black chalk, pencil, heightened with white, on light buff paper Signed and dated 1844 lower left, inscribed Trasacco lower right 13.5 x 22 cm. (5 1/4 x 8 3/4 in), corners trimmed Unframed Provenance:John Scandrett Harford (1787-1866); thence by descent to the present owner.Engraved: Edward Lear, Illustrated Excursions in Italy, 1846, plate 6
Lot 92
Edward Lear (1812 - 1888) - L'Abbazia di Santo Spirito, 1844 Black chalk, pencil, wash, heightened with white, on light grey paper Signed and dated 1844 lower right, inscribed [sic] Abaddia di S. Spirito lower left 8.5 x 15.5 cm. (3 1/4 x 6 1/4 in), corners trimmed Unframed Provenance:John Scandrett Harford (1787-1866); thence by descent to the present owner.Engraved: Edward Lear, Illustrated Excursions in Italy, 1846, vignette no. 9, p. 30 (engraved by J. Whimper)
Lot 93
Edward Lear (1812 - 1888) - Galera, 1844 Watercolour, heightened with white, on light grey paper Signed and dated 1844 lower right, inscribed Galera , March 5 lower left 17.5 x 11 cm. (6 7/8 x 4 1/4 in) UnframedProvenance:John Scandrett Harford (1787-1866); thence by descent to the present owner. For a similar watercolour of Galera by Lear, executed two years earlier than the present work, see Tate, London (ref.: N02749).
Lot 94
Edward Lear (1812 - 1888) - Lago di Scanno, 1844 Black chalk, grey wash, heightened with white, on light blue grey paper Signed and dated 1844 lower right, inscribed Lago di Scanno lower left 15 x 24 cm. (6 x 9 1/2 in) Unframed Provenance:John Scandrett Harford (1787-1866); thence by descent to the present owner.Engraved: Edward Lear, Illustrated Excursions in Italy, 1846, plate 22
Lot 95
Edward Lear (1812 - 1888) - Lago di Fucino, 1844 Black chalk, pencil, touches of wash, heightened with white, on light grey coloured laid paper Signed and dated 1844 lower right, inscribed Lago di Fucino lower left 14 x 26 cm. (5 1/2 x 10 1/4 in), corners trimmed Unframed Provenance:John Scandrett Harford (1787-1866); thence by descent to the present owner.Engraved: Edward Lear, Illustrated Excursions in Italy, 1846, plate 4 "The solitary character of the place is most striking; no link between the gay populous past, and the lonely present; no work of any intermediate century breaks its desolate and poetical feeling. I could willingly have lingered there for hours, for I can recall no scene at once so impressive and beautiful." [ op.cit., 1846, p. 20]
Lot 96
Edward Lear (1812 - 1888) - L'Aquila, 1845 Black chalk, touches of pencil, wash, heightened with white, on light grey paper Signed and dated 1845 lower left, inscribed Aquila lower left 14 x 28 cm. (5 1/2 x 11 in), corners trimmed Unframed Provenance:John Scandrett Harford (1787-1866); thence by descent to the present owner.Engraved: Edward Lear, Illustrated Excursions in Italy, 1846, plate 13
Lot 39
Artist: Pawel Srokowski - Srokowski Design Design: Invisible to the Environment About the design The inspiration for this design is transparency. The air breathe is transparent but environmental pollution cannot be invisible to us. A solution for air pollution is an eco-friendly bus. The bus not only helps us to communicate but it is also invisible to the environment. Mosaic made of broken mirrors attached to the bus sculpture gives us unbelievable feel of invisibility resulting in a unique visual effect. The bus reflects light and looks different from each point of view. About the artistPawel is an owner and designer at Srokowski Design Studio. He is a graduate of the University of Technology - Faculty of Architecture and Urban Design. He has studied art, painting, sculpture and graphic design from an early age and is passionate about architecture and photography. Pawel is a creative person with plenty of ideas at his work. His life motto - make it simple and always improve - connected with his experience and hard work results in unique and unbelievable designs. Location: South of the Park Trail: Around Queen Elizabeth Olympic Park Dimensions: Length- 2.4m Width 0.5m Height- 0.95m
Lot 40
Artist: Sophie Green Design: Dazzler About the designA contemporary take on the Dazzle camouflage developed during the first world war and used on allied ships, known as dazzle ships. These vessels were not camouflaged to become invisible but to confuse, with sharp broken lines of contrast and colour. About the artist Sophie Green is an artist and illustrator working from her studio-gallery in Liverpool city centre. Her work is predominately light, bright and characterful with a big spoonful of humour. Sophie was recently named 'one to watch' as part of the Independent on Sunday's 2013 Pink List. Location: ArcelorMittal Orbit Trail: Around Queen Elizabeth Olympic Park Dimensions: Length- 2.4m Width 0.5m Height- 0.95m
Lot 41
Artist: Loz Atkinson Design: CumulonimBUS About the design Clouds have always fascinated - the way they capture our imagination and day dreams making our brains see patterns that aren't necessarily there (pareidolia). A certain type of cloud had bus as part of its name so it is perfect to cover one in realistic representations of the cumulonimbus clouds. About the artist Loz Atkinson is an award-winning, internationally exhibited and widely collected artist living and working in Leicester. Her concept driven work has been depicted in paint, sculpture and digital media. Open to any subject, the exploration of ideas is important to her and she adapts her skills in many processes to convey them. Provocative yet hopeful, her visions adopt themes of mortality, emotion, truth, time, movement and environment. Loz plays with perceptions of what is seen and not seen, using bold shape, line, form, colour and symbolism - enjoying an element of harmonious discord when creating work. Giving a mystical quality, which expresses the paradox within concepts and circumstance, showing beauty in unusual places. Loz has a unique eye for detail, light and colour, using layering techniques within her digital and painted works giving visual, as well as evocative depth. Location: The International Quarter Trail: Around Queen Elizabeth Olympic Park Dimensions: Length- 2.4m Width 0.5m Height- 0.95m
Lot 44
Design: Crystal Artist: Sophie Green About the artist Sophie Green is an artist and illustrator working from her studio-gallery in Liverpool city centre. Her work is predominately light, bright and characterful with a big spoonful of humour. Sophie was recently named 'one to watch' as part of the Independent on Sunday's 2013 Pink List. About the design A temple of light and a colourful shrine to the new Routemaster bus, Crystal takes its lead from the large expanses of glass integral to the Routemaster’s unique design. Location: The Whitgift Shopping Centre Dimensions: Length- 2.4m Width 0.5m Height- 0.95m
Lot 9
Artist: Arizona Smith, ambassador for Kids Company Design: About the artist Arizona is an ambassador for young people at Kids Company,she has spoken and written on youth homelessness as well as contributing to Kids Company exhibitions around food insecurity. After living in squats in her late teens Arizona is passionate about showing the reality of children and young people living in extreme poverty in London and the UK. About the design Many young people that I know and who I have met at Kids Company have spent nights in their childhood sleeping on buses to escape street homelessness. I wanted to show the public a reality which goes uncounted due to a lack of statistics and resources. My bus represents the reality and the fantasy of living on a bus, the inside showing the harsh, cold light of different types of children and young people sleeping on a bus while the outside shows the elements of childhood imagination which makes the experience bearable. This bus is to both educate the public and pay homage to the dignity and resourcefulness of young people who find solace on buses. Location: Friday Street Trail: Around the River Dimensions: Length- 2.4m Width 0.5m Height- 0.95m
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