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Lot 183
An autojumblers Lotincluding instruments, clip-ons, lighting and electrical components, clutch and associated components, engine parts, oil pumps and other sundry parts, completeness and condition unknown, close inspection advised. (Qty)Lot to be sold without reserve.This lot is subject to the following lot symbols: ◊◊◊◊ £60 + VAT uplift and storage at £12 + VAT per lot per dayFor further information on this lot please visit Bonhams.com
Lot 485
1923 Norton 633cc Big 4Registration no. XM 6742Frame no. 9843Engine no. 4345•Early 'flat tank' Norton•Present family ownership since 1946•Off the road since 1955•Restoration projectNorton relied on proprietary engines in its formative years - winning the inaugural Isle of Man TT with a Peugeot-engined machine - before introducing its own design of power unit in 1907. The long-stroke (82 x 120mm) sidevalve single displaced 633cc and the new model it powered became known as the 'Big 4'. Smaller capacity versions followed and in 1911 the 500 adopted the classic 79x100mm bore/stroke dimensions which would characterise the half-litre (actually 490cc) Norton for the next 50 years. Norton's sidevalve engines were revised for 1914 and in 1921 the Model 16, as it had become known, received a new lower frame, becoming the 16H. Considered by many to be an ideal sidecar 'tug', the Big 4 (and 16H) would be continuously up-dated for the next 30-plus years, many seeing service with Allied forces in WW2. Post-war, the Big 4 was revised with a shorter (113mm) stroke for a capacity of 597cc before taking its final bow, alongside the16H, in 1954. A wonderful example of an original and un-restored Norton Big 4 'flat tanker', 'XM 6742' was purchased by the vendor's late father in 1946 and last used on the road in 1955. It took part in the Land's End Trial on three occasions during the 1950s and comes with some charming black-and-white photographs taken at around that time. Offered for restoration and sold strictly as viewed, the machine is offered with a V5C document, and an old-style buff logbook issued in 1942. The logbook lists the vendor's father as '1st change' and shows that the Norton was formerly attached to a sidecar. The previous owner is recorded as one George Waverley Smith of Sanderstead (from 19th September 1938). The machine features a non-original electric lighting system (original included in the sale).Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.For further information on this lot please visit Bonhams.com
Lot 314
Property of a deceased's estate 1957 BSA 123cc Bantam D1Registration no. 186 AKMFrame no. BD2 62952Engine no. DDB 7191Developed from the pre-war DKW RT125 and announced in 1948, the Bantam became a top seller for BSA, in excess of half a million leaving the Birmingham factory before production ceased in 1971. Originally of 123cc, the singly-cylinder two-stroke engine grew first to 148cc and then to 172cc. Plunger rear suspension became available as an option in 1950, as did battery electrics powered by a 6-volt Lucas alternator, direct lighting having been relied upon hitherto. Purchased in March 1978, this plunger-suspended Bantam D1 was supplied new by G E Tunbridge Ltd of Tunbridge Wells, Kent. Missing some parts (carburettor, exhaust, gearchange, kickstart, etc) the machine is offered for restoration and sold strictly was viewed. Accompanying documentation consists of the original old-style buff logbook and an old V5.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.For further information on this lot please visit Bonhams.com
Lot 62
NEW ORDER/CHEMICAL BROTHERS LIGHTING PLAN FOR SAN FRANCISCO GIG, 2005. Together with printed schedule. Frame measures approx 93x60cm.Given to me by Andy Liddle as a present, I lost him in the divorce... This was a great gig. One of my first sober... it freaked me out after the gig in the dressing room, because everyone was at it, so I sought refuge in Stuart (Jammer) James office, he was tour manager for the Chems. He looked at me and after hearing my tale of sober woe, looked very thoughtful for a while stroking his chin, "Do you know what you need Hooky?", "What?" I said, "A good book!" he replied... I saved his life once, sadly I couldn’t save it twice and he died of cancer. Rest in peace mate.
Lot 223
PETER SNOW (1927-2008) 'The Christmas Search' Atmospheric London street scene at night, a figure standing on the pavement illuminated by the street lighting, signed and dated '98 lower right, oil on board, 122cm x 150cm Provenance: The Studio of Peter Snow (1927-2008)Peter Frederick Briscoe Snow was an English painter, theatre designer and teacher. From the 1960s to the 1990s he was head of postgraduate theatre design at the Slade School of Fine Art
Lot 226
PETER SNOW (1927-2008) Russian style cityscape with a figure lighting a cigarette to the foreground, signed and dated '90 lower right, oil on board, 91.5cm x 122cm Provenance: The Studio of Peter Snow (1927-2008)Peter Frederick Briscoe Snow was an English painter, theatre designer and teacher. From the 1960s to the 1990s he was head of postgraduate theatre design at the Slade School of Fine Art
Lot 58
Alexander Saint-Paull (20th century)Portrait of Miss Elizabeth Hanley, three-quarter length seated, in a green dresssigned 'Saint-Paull' l.l., oil on canvas90.5 x 70.5cmElizabeth Hanley, also known as Betty, was a socialite and lived a life touched by the glamour of high society. Born in Grand Rapids, Michigan, throughout her childhood she lived in many different countries including Germany, Austria, Italy and Spain. In the late 1940s, she moved to the UK and stayed as a paying guest with the former Empress of Austria in Kensington. She later moved into her own house where, in the words of the vendor, she hosted ‘the great and the good of all ages, the only requirement being that you must have a title’. The artist Saint-Paull painted many well-known stars of the day including Rita Hayworth and even Lord Mountbatten. Betty’s life also crossed paths with the royal family, she held a Royal Warrant for lighting from 1978, which was sold from her shop in Elizabeth Street. Above the shop lived Anthony Armstrong Jones, the future husband of Princess Margaret. Later in life, Betty sold the emeralds worn in this portrait to help pay for the restoration of The Ring at Audley End. This portrait was displayed in the dining rooms of many of her friends including Lord Braybrooke, Lord Parmoor, Sir Henry Marking and the Sainsbury family.Condition report: Dirt and dust on canvas. White surface dirt to whole lower half, but looks like it would be easy to clean.Paint thinner around hair.Seen under uv light and a 1cm x 2cm area upper right looks like retouching near a light scratch. Tiny black spots alos show up under uv but these do not look like retouching but possible tiny dirty specks. Please see addition condition images on website.
Lot 215
Original Classics - A boxed limited edition Bedford Duple OB coach in 1:24 scale in West Yorkshire Road Car Company livery featuring working lighting. The model appears Mint in a plain white box with a certificate to show this is number 247 of only 500 produced. (This does not constitute a guarantee)
Lot 216
Original Classics - A boxed limited edition Bedford Duple OB coach in 1:24 scale in Royal Blue livery featuring working lighting. The model appears Near Mint with some small rub marks on the roof, it's in a plain white box with a certificate to show this is number 122 of only 500 produced. (This does not constitute a guarantee)
Lot 243
George Carwardine & Kenneth Grange - Anglepoise Lighting - Model WL3 - An original retro vintage mid 20th Century 1960's work desk lamp light having a red plastic shade on adjustable arm over a black cast metal circular base. Makers mould marks to undersides. Some minor age related marks but overall in good condition. Measures approx; 54cm tall.
![Miscellaneous Tokens and Checks, Co ANTRIM, Belfast, B[elfast] C[orporation] T[ransport], Harland & Wolff, aluminium (2), 29](https://cdn.globalauctionplatform.com/20f9cd9b-3523-42ef-a933-ad8e011bb884/07d5c661-1f1b-4c83-bd75-ad8e01211aa2/468x382.jpg)
Lot 461
Miscellaneous Tokens and Checks, Co ANTRIM, Belfast, B[elfast] C[orporation] T[ransport], Harland & Wolff, aluminium (2), 29 and 28mm (Smith –); Co CORK, Cork, Cork Electric Tramways & Lighting Co Ltd, red celluloid Penny, 22mm (Smith 280AD), Queenstown, Greek Line, rectangular bracteate tin-plate 2 Shillings, 31mm (Smith –); Co LIMERICK, Limerick, Limerick S[team] S[hip] Co Ltd, uniface zinc, stamped 481, 32mm (Smith –) [5]. Last fine, others very fine, all scarce £40-£50 --- Provenance: First and third bt 2005; second bt 1995; last bt 2014. Limerick Steam Ship Co Ltd, established 1893, subsumed within Hibernian Transport 1969
Lot 11
Giorgio Domenico Duprà (1689-1770)Prince Francisco of Braganza, Infante of Portugal, 7th Duke of Beja and Great-Prior of the Order of Malta in PortugalOil on canvas Ca. 1730125x93 cm Special Notes:GIORGIO DOMENICO DUPRÀComing from the circle of artists that surrounded the Duke of Savoy Vítor Amadeo II (1666-1730), Domenico Duprà was born in 1689 in the city of Turin, as the son of Giuseppe Duprà and Spirita Crossatti and the older brother of the painter Giuseppe Duprà (1703-1784). In 1709, when he reached the age of twenty, he moved to the city of Rome, with a certificate authenticated by Archbishop Miguel António Vibo, which testifies to his early relationship with the Portuguese circle. In that city he was a disciple of the Italian painter Francesco Trevisani (1656-1746) – author of the large canvas on the main altar of the Basilica of the Convent of Mafra – and it was in this workshop that he met Francisco Vieira Lusitano (1699-1783) who was in Rome as a boarder of King D. João V (1689-1750). In 1719, he was awarded the title of Academic of St. Lucas, which ensured the notoriety he enjoyed in the artistic society of that city. In that same year he arrived in Lisbon, following the invitation made by the 1st Marquis of Fonte, D. Rodrigo de Sá Almeida e Meneses (1676-1733) on behalf of the King D. João V. He arrived accompanied by the architect Filippo Juvarra (1688-1736) and the painter Vieira Lusitano, joining the Brotherhood of S. Lucas on October 22nd. From the records at the Brotherhood, we learn that he lived on the balconies of Terreiro do Paço, which means that he was nominated by D. João V as a Royal painter. Duprà's career in Portugal was almost exclusively dedicated to court painting. In 1719, he painted the portraits of the King's four sons and the portrait of the Monarch with the background of the Cape of Battle of Matapão (today in the collection of the National Museum of Ancient Art). In 1720, he began the cycle of celebration of the Dukes of Bragança, on the ceiling of the Tudescos room of the Paço Ducal in Vila Viçosa. These paintings, whose format adapts to the ceiling partitions, were made from pre-existing models, with three natural portraits (that of D. João V, Infanta D. Maria Bárbara, and the Prince D. José). This was followed, five years later, by the portrait of D. João V for the library of the University of Coimbra and those of the King's children, Infanta D. Maria Bárbara (1711-1758) and D. José Príncipe do Brasil (1714-1777), today in the Prado Museum and in the Palacio do Oriente, due to negotiations with the King of Spain for marriages with Spanish infants. In 1727, he painted the portrait of the 1st Duke of Cadaval. In Duprà's work we find the influence of painter Trevisani combined with French taste in the manner of painters such as Hyacinthe Rignaud (1659- 1743) and Jean-Marc Nattier (1685-1766), which opens a new phase in the portuguese court official portrait. In addition to portraiture, he dedicated himself to the elaboration of engravings and religious paintings. On this last theme there is a Blessed Christ, signed and dated (Dos. Dupra Pintor de Retratos de S. M. Portº o fez em Roma 1733) that was in the King D. Luís Painting Gallery in Ajuda Palace and that was lost in the fire of September 1974. In 1731, diplomatic relations with the Holy See is restored, and after eleven years working in Portugal, the painter returned to Rome and created the portrait of the new cardinal Vicenzo Bichi (known for the engraving by Rocco Pozzi) and another portrait of King D. João V. It was in this period (when it was cast in the context of Roman painting) that he began his relations with the house of the exiled Stuarts. It was in this period (when it was cast in the context of Roman painting) that he began his relations with the house of the exiled Stuarts. From then on, his orders to Portugal became part of a panorama of international orders and, in addition to the already mentioned, Christ lost in 1974, he made a portrait of Father Évora and a self-portrait, also acquired by D. João V. In the following years, there were no new Portuguese commissions, but it should be noted that his extensive production, not always datable with certainty, and sometimes attributed to his brother, is often identified by recorded reproductions. In 1750, he left Rome for Turin, where he was appointed painter at the court of King Charles Emanuel III of Sardinia (1701-1773) and ended up making a series of paintings of the royal house of Savoy, including the portraits of the Dukes of Savoy, Vítor Amadeu III (1726-1796) and his wife D. Maria Antonieta of Spain (1729-1785). The painter died in the city of Turin in the year 1770.The iconography of the Infante D. Francisco, Duke of Beja (1691-1742) The brother of King D. João V requires an in-depth study of his iconography. There are few portraits of him that are known. only one engraved and another identified by Professor Ayres de Carvalho, who is in the Palácio do Oriente, by Jean Ranc (1674-1735), made in 1739 on the occasion of the preparations for the episode of the exchange of princesses on the river Caia. It was through the comparative analysis of this painting, now brought to auction, with that one by Jean Ranc, that at the exhibition “JOANNI V MAGNIFICO: A pintura em Portugal ao tempo de D. João V” it was noticed the physiognomic characteristics of the infant are the same in the two paintings (the oval shape of the face, the same mouth, and the eyes). The good-natured look of the infant, as characterized in the respective catalogue, which appears in these portraits of D. Francisco hides the true personality of the ambitious Duke of Beja. And it is with a portrait painted by Duprà, when he was no longer in our country, that links are established with what is now up for auction. In 1745, when the painter was in Rome working for the exiled House of the Stuarts, he portrayed the pretender to the crown of England in full length. Unfortunately, the location of this painting is unknown, but the engraving opened by N.S.B. of Polly. The similarities in terms of composition and pose of the subjects stand out. The way the characters' left-hand rests on the waist, closing and leaving only the index finger to stand out, as well as the volumetry of the draperies and even the entire placement of the body facing the spectator, are strictly the same in the two portraits. If these common points do not exist, we could continue to attribute this portrait to Domenico Duprà due to the strong lighting effects that open his color palette and underline the vivid realism that seems to want to overcome the simple visuality in the detail of some physiognomic aspects which often led him to represent the dark shadow of clean-shaven male faces. A characteristic that in the 18th century was not much appreciated, but which the painter did not abdicate because he felt strongly linked to a commitment to fidelity to reality.TIAGO FRANCO RODRIGUESExhibitions: “JOANNI V MAGNIFICO - A Pintura em Portugal ao tempo de D. João V”, Lisboa, Portugal, 1994. Proveniência/Provenance: Etiqueta no verso com a inscrição: "Quadro que veio da quinta do Calhariz. Escolhido pª ficár no palácio de Lisbôa" Etiqueta de inventário nº 325 da colecção do Duque de Palmela Literature: A. de Carvalho – A galeria de Pintura da Ajuda e as Galerias do Século XIX, Lisboa, 1982. AA. VV – “JOANNI V MAGNIFICO - A Pintura em Portugal ao tempo de D. João V”, Lisboa, 1994. M. Calado – “Domenico Duprà” in Dictionário do Barroco em Portugal, Lisboa, 1989.
Lot 10
John Simpson Atribb. (1782-1847)A portrait of King Pedro IV of PortugalOil on canvas c. 183478x63 cm Special Notes:A PORTRAIT OF KING PEDRO IV OF PORTUGALPainter John Simpson was born in the city of London in the year 1782 and was a student at the Royal Academy and for a few years was an assistant to Sir Thomas Lawrence, eventually achieving some success as a portraitist. Late-nineteenth-century biographer Sidney Lee suggests to us that Simpson was "more a skilled portraitist than an artist and that his portraits were not without force but lacked in instinct and penetration." In 1807 he began to exhibit regularly at the Royal Academy and continued to do so until his death at Carlisle House, Soho, in the year of 1847. In 1830, he painted the portrait of King D. Pedro IV (1798-1834), halflength, three-quarters, in pose on the left. The King appears in the uniform of Generalissimo and bears the band of the Four Orders (Christ, Avis, Torre and Espada and Santiago) and the respective commendation, as well as the Commendation of the Military Order of Nossa Senhora da Conceição de Vila Viçosa and the insignia of Fleece of Gold. With his right arm advanced, he holds the bicorne, while his left hand rests on the hilt of the sword suspended in his belt. His face is framed by a short beard and wild hair, whose glassy look accentuates the serious character of his personality. The background, in dark brown, is tinted with red and yellow in the lower half of the screen, accentuating the lighting effects. This painting, which is part of the collection of the National Museum of Ancient Art in Lisbon (Inv. No. 361), and which can be seen at the National Coach Museum, was donated by the Queen of Sweden and Norway, D. Josefina de Leuchtenberg ((sister and heiress of Amélia de Leuchtenberg, Empress of Brazil and widow of King D. Pedro IV of Portugal). The Art Historian Herstal, to whom we owe the most exhaustive comparative study of the various portraits of D. Pedro IV, claims that twelve canvases with this same design were found, attributed by different sources to different authors: Simpson, Gant, Steegman and João Baptista Ribeiro. Of all, the only one that belongs to the MNAA is signed by John Simpson. The same author compares it with the others and states that “what is most similar in its technique to that of John Simpson is the painting from the National Museum of Soares dos Reis” and that, although it is a susceptible idea, “it cannot be categorically eliminated the possibility of being a replica, executed by the same artist”. Of variable plastic quality, the similarity in the figuration of the portraits indicates a unique model of which the painting we are now bringing up to auction is another example. John Simpson, also painted, in 1834, the young Queen D. Maria II, daughter of D. Pedro IV. In this portrait, which is part of the National Coach Museum collection, we find formal and stylistic similarities with the portrait of the 1st Duchess of Palmela, D. Eugénia Telles da Gama, also painted by Simpson and part of the Casa de Bragança Foundation collections (Inv. No. 2877).TIAGO FRANCO RODRIGUESBibliografia: AA.VV. - Exposição D. Pedro de Alcântara de Bragança (1798-1834). Queluz: 1987. AA.VV. - Portugal e o Reino Unido - A Aliança Revisitada. Lisboa: Fund. Calouste Gulbenkian, 1994, p. 250-251. AA.VV. – Exposição A Vida Castrense e as Artes. Figueira da Foz: 1979, p. 33. Catá E. Soares; H. F. de Lima – Retratos de Portugueses e de Estrangeiros em Relações com Portugal, Dicionário de Iconografia Portuguesa, 5º vol. Lisboa: Instituto para a Alta Cultura, 1960, p. 457 Ó. Paxeco – O Palácio de Queluz na História do Brasil in Diáro da Manhã. Lisboa: 24 de Abril de 1955, pág. - PINTO, A. C. Pinto – Museu Nacional dos Coches - Guia do Visitante (Ilustrada). Lisboa: 1948, pág. 39
Lot 370
GLASS TABLE LAMP. A mid-20th century, moulded, green glass table lamp with chromed fitting. Full height 36cm. For safety, all used lighting should be checked & fitted by a qualified electrician. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Lot 86
LIGHT FITTING. A five branch, chromed, modernist type light fitting with crackle glass shades. (Shades are modern replacements, including a spare). Full height 55cm. Please note: For safety, all used lighting should be checked & fitted by a qualified electrician. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CANNOT SHIP THIS LOT due to fragility, size or weight. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk
Lot 45
TABLE LAMP. A table lamp with opaque glass column & green spiral trailed decoration. The base in cast brass. Height 40cm. Please note: For safety, all used lighting should be checked & fitted by a qualified electrician. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Lot 369
JOBLING GLASS. An Art Deco Jobling Glass, Lambton pattern, moulded lamp base with original chrome & bakelite double lamp holder fitting. Height excluding fitting 30cm. For safety, all used lighting should be checked & fitted by a qualified electrician. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Lot 43
LIGHT FITMENT. A chromium plated 1930/40s light fitment with original fluted glass shade. (Pin for hinged lamp holder missing) Length of fitment 17cm, length of shade 20cm. Please note: For safety, all used lighting should be checked & fitted by a qualified electrician. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CANNOT SHIP THIS LOT due to fragility, size or weight. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk
Lot 108
HANGING LAMP. A spherical hanging oil lamp with electrical cable. Height 35cm. Please note: For safety, all used lighting should be checked & fitted by a qualified electrician. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase
Lot 44
LIGHT FITMENT. A chromium plated 1930/40s light fitment with original fluted glass shade. (Pin for hinged lamp holder missing) Length of fitment 17cm, length of shade 20cm. Please note: For safety, all used lighting should be checked & fitted by a qualified electrician. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CANNOT SHIP THIS LOT due to fragility, size or weight. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk
Lot 260
MOORCROFT. A Moorcroft lamp base on wooden stand. Height including base & fitting, 39cm. Please note: For safety, all used lighting should be checked & fitted by a qualified electrician.Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase
Lot 3080
Georgian style wooden double fronted three-storey dolls house with pale blue stucco finish under a faux tiled roof with two chimney stacks, the double hinged front opening to reveal six fully decorated rooms with floor coverings, central staircase, porcelain fitted bathroom, kitchen with deep white sink and Aga cooker, electric lighting with adaptor, fully furnished with French style and other furniture, grand piano etc, and comprehensive range of accessories H82cm W61cm D31cm
Lot 3081
Large and impressive Georgian style wooden double fronted four-storey dolls house with pale blue stucco finish under a faux tiled roof, double balustraded steps to the front leading to a central door, the double higned front opening to reveal a grand panelled entrance hall with columns and stairs down to two basement rooms, one fitted as a games room, two rooms to each the ground floor and first floor and three rooms to the second floor, all fully decorated, some with moulded ceilings, all with floor coverings/rugs and curtains, fully furnished with quality wooden furniture and comprehensive range of accessories, fitted fire surrounds and porcelain bathroom fittings, electric lighting, selection of dolls etc; bears name plaque 'Harbour Wynd' H107cm W105cm D49cm
Lot 3083
Georgian style wooden double fronted three-storey dolls house with textured rendering finish to the upper floors and parapet walls and plain pitched roof, the double hinged front opening to reveal six rooms with fitted fire-surrounds, central hall, stairs and landing with full height glazed rear door, fully decorated, electric lighting, large selection of good quality wooden furniture and comprehensive range of accessories including hallmarked 9ct gold teapot, bears plaque to the back 'Tomlinson Sweeney 1978' H96cm W104cm D38cm
Lot 7032
MARIO FORTUNY: A large set of curtains in coral and taupe with coronets and acanthus leaf scrolls (3 pairs). 282cm drop x 140cm wide approxSome sun fading on some panels to the edge. Mariano FortunyA Spanish fashion designer and early Interior Designer and Inventor born in 1871 in Granada, opened his first Couture House in 1906 in Venice.As a young man Fortuny travelled throughout Europe seeking out artists he admired including the composer Richard Wagner for whom he later did many set and stage and lighting designs including his famous lighting dome. The young Fortuny had many talents : painting, sculpting, architecture, etching, and stage lighting and he patented and registered more than 20 inventions in Paris between 1901 and 1934.The achievements Fortuny is most well-known for were made in the field of Fashion and Interior Design.His Parisian wife Henriette Negrin was an experienced dressmaker who helped construct many of his dress designs and from 1902 they lived in the Palazzo Pesaro Orfei in Venice surrounded by the artwork of his renowned painter father and Fontuny's own collection. He called the Palazzo his "think tank" in which he had many rooms set up for his experiments and inventions as well as inspiration.Fortuny manufactured his own dyes and pigments for his fabrics using ancient methods and he began printing on velvets and silks dyeing them himself and using a press which he invented using wooden blocks onto which he engraved the pattern.His famous pleated dresses the Delphos, the Klismos and the Knossos and his printed fabrics are seen as fine works of art today and are in many Museum and private Collections around the world. His workshops continue to dye and print in Venice , in the Giudecca, as before, and still use Fortuny's secret techniques and specifications . His Palazzo in Venice is a world-renowned Museum.These curtain panels were made in the U.S in the 1960's from fabric purchased in Venice from the Fortuny Atelier and are part of a larger set.
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