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Click here to subscribeA Victorian painted brass table lamp, stamped Palmer & Co, the column painted with floral sprays with gilt highlighting on a green ground, raised upon a cast hexagonal base, 39cm high Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
A pair of gilt brass and opaline glass five branch foliate candelabra, late 19th/early 20th century, probably French, each formed with a painted trefoil plinth base extending to multiple stems with five sconces punctuated by opaline glass and gilt brass flower heads, 66cm high (minor losses, at fault) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.Condition reportFirst candelabra is lacking 'stamen' from two metal flower heads and two opaline flower heads with some replaced nut fittings.Second candelabra is lacking 'stamen' from two metal flower heads and two opaline flower heads, large opaline flower head also lacking stamen with repair to centre, a further opaline flower head appears to be associated.General minor nibbles and chips to some opaline flower heads with overall general tarnishing, wear commensurate with age and use
A near pair of gilt metal ecclesiastical chandeliers, 20th century, each with a pierced bowl applied with six cast foliate scroll branches, extending to leafy sconces, 42cm and 39cm wide (2) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.Condition reportCandle holders rather than wired, general overall tarnishing, no visible faults, repairs or losses.
A Victorian brass hanging sanctuary lamp, the three prong shade holder with fleu de lis terminals (lacking shade), above a bowl shaped body with a stiff leaf frieze, over a similar inverted frieze, applied with three scrolled chain hooks, 52cm H x 26cm D Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
An early 20th century spelter figural table lamp, modelled as a cherub arms aloft within a chrysanthemum plant, the flower heads punctuated with three light fittings, 68cm high, along with a 19th century mahogany campaign stationery box, with skiver inset integrated writing slope, 51cm wide (2) (at fault) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Postcards, Advertising, a UK product advertising selection of 9 cards related to lighting, with a few poster style ads, inc. Telephos gas lighter (2), Veritas Mantles (Hassall), O.S Wiring System, Tantalum Lamps, Brush electric glow lamps, Brimsdown metallic filament lamps, Metallum lamps, and Robertson electric lamps (gd/vg)
METAL LEGENDS - LP COLLECTION. Turn the volume up loud with this heavy collection of 11 x LPs. Titles / Artists include AC/DC inc. High Voltage (APLP-009, Circa 1977 Reissue, 77 / 78, VG+ / VG), Back In Black (K50735, VG+ / VG+) and Let There Be Rock (K50366), Metallica inc. ...And Justice For All (836062), Master Of Puppets (MFN60 DM, VG+ / Ex+), and Ride the Lighting (MFN 27) Black Sabbath - We Sold Our Soul For Rock 'N' Roll (NELD 101 - Ex / Ex), Ozzy Osbourne - Blizzard Of Oz, Iron Maiden inc. Can I Play With Madness, The Trooper and Purgatory (IRN 3). The condition is generally VG+ to Ex+.
ONE BOX OF LIGHTING, LAMPS AND GLASS SHADES, to include four large 1920s Art Deco mottled glass ceiling light shades, a 1960s yellow plastic light shade, wall lamps, a boxed, unused brass ceiling light fitting with three white glass shade, table lamps, four small oil lamps, a modern children's bedroom lamp, a modern amber glass ceiling light shade, etc (s.d) (1 box + loose)
A GROUP OF LIGHTING, SEWING MACHINE AND CRAFT SUNDRIES, comprising a roll of self-adhesive film and two rolls of canvas (new and unused), pots of acrylic paint, craft work tools, two Nkuku glass wall terrariums, three distressed white flower metal wall décor, a Dar tower cluster pendant ceiling light fitting, a 'Passport to India' table lamp with a cream shade, a pair of Ikea metal light shades, a vintage Singer sewing machine, black with gold foliate decoration (Qty) (Condition report: all items are new and unused, most with packaging or labels attached, the Singer sewing machine has no fittings or case, therefore not working)
1932 Lanchester 30hp Tourer Chassis no. 8083 Engine no. 8080•One of only 168 built•Known ownership history•Present ownership since 1994•Replica coachwork•Little used for the last three yearsFootnotes:One of only 126 built, this last of George Lanchester's celebrated straight-eights dates from the final year of production. By this time Lanchester had been acquired by the BSA Group, after which all Lanchester-badged cars were made by fellow group member Daimler. Lanchester's 30hp car was powered by a 4.4-litre overhead-camshaft engine boasting ten main bearings and twin-plug ignition, the latter supplied with sparks by a BTH magneto and battery/coil. The engine went into a 142' wheelbase chassis costing a not inconsiderable £1,250, and with a maximum of 82bhp available at a lowly 2,800 revs, these 30hp cars, when fitted with lightweight bodywork, were capable of close to 90mph. Other notable features included temperature-controlled radiator shutters and a Clayton Dewandre brake servo. The Lanchester's first owner was a Mrs Van de Meyer of Bournemouth, Hampshire, and after her ownership it passed to a funeral director's business in Newbury before being bought by the previous owner, a dedicated Lanchester enthusiast, in 1965. The previous owner immediately commenced an extensive restoration, which would take the next 30 years to complete. The rebuild included having the car re-bodied as a replica of that built for Nancy Lanchester (George's daughter), using original factory drawings. Although he had completed the bodywork, the previous owner had not driven the car on the road when he sold it in 1994, the engine having recently been rebuilt. The vendor had the car roadworthy in 1995, and that same year participated in the Lanchester Centenary celebrations where it was very much the star. Classic Car Weekly featured the Lanchester on their front cover. The vendor also had the pleasure of driving Betty Mobbs (Frank Lanchester's daughter) during the rally at her request, as his Lanchester was her favourite among those attending.Since acquiring the car the vendor has made some changes. He has redesigned the windscreen, which improved the look of the car and provided a more secure location for the hood, while a Vintage Auster Screen has been added to provide some protection for the rear seat passengers. The dashboard was redesigned and some additional instruments fitted: a Tapley meter and a water temperature gauge. The dashboard instrument lighting is unique to the Lanchester and relies on a sheet of Perspex which acts as a light guide (similar to the way fibre optics work today). Unfortunately, the Perspex masks the instrument bezels, which are magnificent. The car was rewired and fitted with some discreet indicators for safe driving in modern traffic, while the headlamps changed to double dipping (the original set-up dipped one headlight and turned off the other). The brakes were reconditioned with new shoes and linings, and the silencer outer casing replaced by Franklin's of Northampton (the internal baffles were still in excellent condition). Another unique feature of this car is the spark plug caps used by Lanchester (very few surviving cars have a complete set). This car did not, necessitating their re-manufacturing. The caps are designed to clip onto the plugs, which are fitted with a spherical nut. Several other Lanchester owners were supplied with these plug-cap sets.The vendor has used the Lanchester for events and shows both locally and further afield. It is always driven to these events, being well able to cope with the mileage involved. The car has also been used for holidays and tours, letting down its owners only once when the Autovac failed 300 miles from home - a spring costing all of 30p had failed! The recorded mileage of circa 55,000 is believed correct.For various personal reasons, the Lanchester has not been used much in the last three years and the vendor wishes to pass it on to another appreciative owner. The Lanchester Archive at Coventry University has an extensive collection of information about the company's cars, including copies of the original factory drawings, all of which have been copied digitally for sharing purposes. Accompanying history files contain a quantity of marque-related literature; various photographs; old/current registration documents; and numerous expired MoTs, etc, etc.For further information on this lot please visit Bonhams.com
1912 Mors 12/15hp Model NX Roadster Registration no. BJ 4471 Chassis no. 120595 Engine no. 120595•Pioneering French make•Right-hand drive•Present ownership since 1994•VSCC Eligibility DocumentFootnotes:Mors, founded at the end of the 19th Century by Émile Mors, was one of France's most prominent makes of the Edwardian era having forged its reputation in the heat of competition. Mors was a firm believer in racing's technological and promotional benefits, and the company participated in many events in its early years. In 1901 Henri Fournier won both the prestigious Paris-Berlin and Paris-Bordeaux long-distance races driving a 10-litre 60 horsepower V4-cylinder Mors, which by then had been equipped with pneumatic shock absorbers. The company survived near bankruptcy in 1908 and began to prosper again under the management of André Citroën. Under Citroën's leadership sales doubled between 1909 and 1910 thanks to the introduction of smaller and less expensive models, which gradually supplanted the chain-driven leviathans for which Mors is best remembered. Sadly, by the early 1920s Mors' star was fading fast and in 1925 the company went into liquidation, its factory in Paris being taken over by Citroën. This rare example of one of Mors smaller pre-WWI models is powered by a 2.1-litre four-cylinder engine driving via a three-speed gearbox. The engine is reported to be in very good order, starting readily on the handle, running quietly and pulling very well, while the relatively high top gear makes for quiet and comfortable cruising. Particularly worthy of note is the Mors band-brake clutch, which is so much better than the cone clutches widely used at the time. The clutch action and steering are both said to be light, the ride good, and the brakes typical for a car of this period. The coachwork appears sound, likewise the paintwork and upholstery, while the hood is in very good condition. The car has been in regular use over the years, acquiring a delightful patina of age. The only notified deviations from factory specification are electric lighting, a scuttle-mounted fuel tank (moved from under the seat) and Sankey metal wheels (previously wooden). Accompanying documentation includes an old-style buff logbook dating from 1930. The first owner listed therein kept the Mors until 1977, and there is related correspondence on file dating from the 1960s. The current owner purchased the Mors in 1994 and has corresponded with the granddaughter of the person who owned it in 1930 (see letter and photographs on file). Additional documentation includes a Veteran Car Club Dating Certificate (number '905', issued 1961) and an old VSCC 'Blue Form' and current Eligibility Document enabling participation in their Light Car and Edwardian Section events. The car also comes with a V5C Registration Certificate and photocopies of marque-related literature. In short: this is a rare, distinctive and eminently useable Edwardian motor car eligible for all sorts of enjoyable events.For further information on this lot please visit Bonhams.com
Follower of ANTONIO MORO (Utrecht, between 1516 and 1520 - Antwerp?, 1575/1576). "Portrait of a lady", late sixteenth century. Oil on panel. Size: 57 x 40 cm; 64 x 47 cm (frame). In this female portrait, starring a lady of high lineage, elegantly dressed and adorned with rich jewels, captured with a language based on the rigor of the drawing and the meticulous brushstroke, the heritage of the work of Antonio Moro, painter of chamber of Carlos I and Felipe II, whose language determined the development of the court portrait in the Spain of the 16th century, is clearly appreciated. Born Anton van Dashorst Mor, Antonio Moro worked in the Southern Netherlands and also in Spain, Italy, Portugal and England. He trained in his native Utrecht as a disciple of Jan van Scorel, whose assistant he became in 1540. According to Karel van Mander, Moro traveled to Italy during his youth, and there he was able to spend three years before returning to Utrecht in 1544. In 1547 he was admitted as a master in the Guild of St. Luke in Antwerp, although he preferred to reside in his hometown. The following year he would attract the attention of his first important patron, Antonio Perrenot de Granvela, bishop of Arras and member of the court of Charles V. His portraits made between 1549 and 1550 already reveal an innovative style that would replace the oldest portrait traditions, combining Flemish precision with Italian models. Particularly important in his language would be the influence of Titian, which he brought to him through the works of the Venetian that existed in the collections of Granvela and Maria of Hungary, regent of the Netherlands. Moro's mature style will be characterized by the steely precision of Nordic heritage, the muted colors, the detail in the fabrics, folds and qualities, a simplified lighting generally on the left side and a neutral background that enhances the monumental isolation of the figure, which is usually three-quarter or full-length and fills the entire height of the pictorial plane. His career experienced the definitive impulse when he was presented by Granvela to Philip II; since then Moro will work the royal and courtly portrait in the Dutch and Spanish courts, so that his style will exert an important influence throughout Europe and, above all, in the Iberian Peninsula, where he had numerous disciples and followers. Among them were Alonso Sánchez Coello, Jorge de la Rúa, Manuel Denis, Cristóbal de Morales and Sofonisba Anguissola. In 1550 he was sent by Maria of Hungary to Lisbon to paint the Portuguese royal family, and especially Maria of Portugal, the fiancée of Philip II. On the way he painted his first official portrait of Emperor Maximilian II, probably in Augsburg. Probably from there he continued his journey in the retinue of Philip II, who was then in the Netherlands. He arrived in Spain in 1551, and there he painted Philip II's sister and her first daughter, Maria of Austria, with her husband Maximilian II. The following year he worked at the Lisbon court, and finally in 1553 he returned to Brussels only to go to London, where he was sent to portray Philip II's wife after the wedding. That same year of 1554 he was officially appointed painter to Philip II and moved to the court of Brussels, where he remained until 1559. After a brief stay in Spain Moro returned to Brussels in 1561, after having painted some of his best portraits in Toledo and Madrid. In the following years he continued to work with Granvela and also with the court of Margaret of Parma and the Duke of Alba, governor of the Netherlands. Also, in 1570 he portrayed the fourth wife of Philip II, Anne of Austria. During these years he also painted important aristocrats and bourgeoisie, applying attitudes and compositions of his court portraits.
Circle of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652)."Saint".Oil on canvas glued to panel.It has restorations.It has slight air bubbles caused by the adhesion of the canvas to the board.Measurements: 39,2 x 27,8 cm; 48 x 37 cm (frame).In this portrait we can appreciate the author's taste for veracity, as the face of the protagonist has been painted with great naturalism. The work represents the bust of a mature man, arranged on a neutral background. The face is the absolute protagonist of the work, magnificently modelled through a skilful use of light and shade, with appropriate contrasts that enhance the plasticity of the features. The gaze is the focus of our attention, and it is reflected with a veracity typical of a careful study of life.The treatment of light and the workmanship of the piece bring this work closer to the artistic circle of José de Ribera, a key painter who belonged to the generation of the great masters of the Golden Age, trained in Italy as a self-taught artist. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, ugliness and rigorous drawing, characteristics that shaped his style during his Roman period. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would play a key role in the development of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before the latter arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also marked the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper right corner and directly illuminates the saint's face and hands, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models the saint by means of the light, that touch of pasty, expressive brushwork that the artist learned directly from Ribera's work.
A PATINATED CAST IRON FIGURE OF AN EGYPTIAN CHILD LATE 19TH CENTURY, PROBABLY FRENCH With integral pedestal base, apparently unmarked 208cm high overall Provenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. as per cataloguing- the figure and pedestal are integral and do not come apart. They may have done so originally but are now joined. Surface looks to have been repatinated but there has been subsequent scratches and loss- notably to right buttock, elbow and right calf. some paint splashes. Presumably this would have been fitted for lighting but no trace of this nowPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A LARGE CAST IRON FIGURE OF A PUTTI PLAYING CYMBALS LATE 19TH CENTURY, PROBABLY FRENCH On integral cast iron pedestal, apparently unmarked 198cm high overall Provenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. as per cataloguing- the figure and pedestal are integral and do not come apart. They may have done so originally but are now joined. Surface looks to have been repatinated and shows as such under UV- this patina may conceal restoration work to the cymbals and small areas of the back which have a coarser finish- more uneven. Presumably this would have been fitted for lighting but no trace of this now Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Pair of perfumers in SAINT LOUIS crystal. France, ca. 1910.Cut crystal. Fine gold.Provenance: Spanish private collection, formed between 1970 and 1995.The stoppers and a gilt metal base are missing.Measurements: 12.5 cm (height); 6.5 cm (largest diameter).pair of perfumers of the manufacture of Saint Louis, in hand cut crystal with the wheel.The Compagnie des Cristalleries de Saint-Louis, is a French crystal factory that produces pieces in the fields of decoration, tableware, lighting and furniture. Founded in 1586 in the valley of Münzthal in Moselle, it is the oldest glass factory in France. Today it belongs to the Hermès group. Every day, the crystal pieces are blown, cut and decorated by hand by the craftsmen of the crystal factory.
The contents of a pallet of assorted lighting comprising 3 off floor standing lamps plus chandelierPlease note this lot is not subject to VAT. The hammer price will still be subject to our buyer's premium, however it is only the buyer's premium that is subject to VATWe have employed the services of a specialist to assist in the lot descriptions, however it is important to note that no descriptions can be warranted and buyers should only bid on items they have inspected to their satisfaction prior to bidding. We do NOT provide condition reports as we are insufficiently expert to comment, our speciality being insolvency, not specific asset classes.Where there are errors in description, however major, no allowances will be made. No consumer rights apply to this sale, which is only suitable for trade buyers. It is a strict condition of sale that successful bidders remove lots in their entirety (after payment has been made). Please factor in the requirement to remove the total contents of any lot when deciding whether to and how much to bid.IMPORTANT NOTICE FOR CUSTOMERS USING STARLING BANK: It appears there is a problem when Starling Bank customers pay for their lots online with Bidspotter/iBidder/The-Saleroom. Our advice is not to use Starling issued cards to pay online until this issue is resolved. Please be aware if you pay with a Starling Bank issued card you may be double charged initially and it can take two weeks or more for the duplicate transaction to be returned.YOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPAll Lots located at Robson Kay in Manchester. Goods successfully bid upon must be paid for and collected within 2 daysWE DO NOT ARRANGE DELIVERY NOR DO WE PACKAGE OR LOAD. We do not print labels, provide boxes or seal boxes. We do not provide any kind of shipping or loading servicesIf these rules might pose a problem, DO NOT BIDLate collections incur a penalty, please read our full rules before bidding.Goods paid for, but not collected within one week of the collection deadline, will be treated as abandoned unless agreed in writing with Robson Kay prior. Please remember to inform us if you intend using a carrier, to avoid us disposing of goods you might think have already been collectedLots are SOLD AS SEEN. We DO NOT TEST LotsNO REFUNDS under any circumstances No lots are tested, nor are they guaranteed to work and/or be complete. Our auctions are only considered suitable for trade buyers as there are no rights of consumer protectionNo refunds or cancellations can ever be offered. If you are unhappy with these terms DO NOT BID.
AN EDWARDIAN WEIGHT-DRIVEN WALL TIMEPIECE COX-WALKER LIMITED, DARLINGTON, EARLY 20th CENTURYThe four pillar single train movement with large diameter barrel, solid disc wheels, five wheel train and anchor escapement incorporating adjustable pallets regulated by half-seconds brass lenticular bon pendulum, the 8.25 inch circular convex silvered brass Roman numeral dial engraved COX-WALKER LTD, DARLINGTON to centre and with generous blued steel spade hands, the mechanism with additional conforming side plates screwed to the thick front and backplates continuing down to form uprights and secured at the base to a mahogany seatboard via screwed angled brackets, mounted on a wooden wall bracket with two concave end pieces and with mahogany dust cap for the top of the movement.The clock and bracket 39cm (15.5ins) high, 23cm (9ins) wide, 13cm (5ins) deep. Edward Cox-Walker is recorded by Graces Guide as born in Stockton-on-Tees in 1838. He studied at the Commercial College, York, and, at the age of 14, entered service with the Electric Telegraph Company. In 1858 he had advanced to become telegraph superintendent for the West Hartlepool Harbour and Railway Company where he remained for around four years. After spending time in London and Liverpool Cox-Walker returned as manager of the firm of Scientific Instrument Makers, Thomas Cooke and Sons, where he worked from 1868 until 1880. During this time he became increasingly interested in telephony and formed connections with eminent engineers in this field such as Willoughby Smith, Edward Graves, Silvanus Thompson, Campbell Swinton and Sir William Smith. He collaborated with Rev, H, Hunnings to develop the Hunnings granulated carbon transmitter which was essentially the prototype for most of the subsequent standard carbon-based transmitters.In 1880 Cox Walker relocated to Darlington and entered into partnership (as electrical engineers) with Mr. Harrison forming Harrison, Cox-Walker and Company. The business specialised in telephones, electric tell-tales and signalling apparatus for mines; latterly the firm moved into electric lighting and infrastructure becoming the foremost in the North of England. Edward Co-Walker retired in 1923 however the business was continued by his successors as Cox-Walkers Limited; he subsequently died in 1828.
OLYMPIC GAMES TORCH LONDON 29th JULY 1948, ORIGINAL PHOTOGRAPH OF MARK JOHN DELIVERING THE TORCH TO WEMBLEY STADIUM,The 1948 Summer Olympics torch relay was run from 17th July until 29th July 1948, prior to the 1948 Olympics, held in London, United Kingdom. The relay was nicknamed the "relay of peace". It was only the second occasion that a torch relay was held for the Olympics; the first was at the 1936 Summer Olympics. Mark John was the last Torch Bearer, carrying the Olympic Flame into the Opening Ceremony in the Empire Stadium, Wembley at 4pm on Thursday 29th July 1948.GOOD ORIGINAL 8 by 6in. PHOTOGRAPH PUBLISHED BY THE OLYMPIC PHOTO ASSOCIATION DEPICTING MARK JOHN RUNNING THE FINAL LEG OF THE 1948 TORCH RELAY PRIOR TO LIGHTING THE FLAME AT WEMBLEY STADIUM AT 4pm ON THE 29th of JULY 1948.
INGEBORG LUNDIN (Sweden, 1921-1992) for ORREFORS. Sweden, ca. 1960Translucent blown glass.Signed on the reverse base Orrefors D. 3877/231.Wear due to use and the passage of time.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 36.5 cm (height); 18 cm (diameter).Swedish Orrefors glassware vase, circular in shape with carved geometric decoration. Designed in the 1960s by Ingeborg Lundin. Lundin studied at the Stockholm School of Art, where she also worked as a drawing teacher. She was employed at the Orrefors glassworks in 1947 as a designer, where she worked with both utilitarian and art glass.She was awarded the Lunning Prize in 1954 and a gold medal at the Milan Triennale in 1957, which brought her international fame. Lundin is represented, among others, in the National Museum in Stockholm and the Röhsska Museum.The Swedish glassworks Orrefors owes its name to the village of Småland where it was founded, a place of craft and industrial production since the 18th century. In the 20th century, the name Orrefors would become synonymous with good Swedish glass. In 1897, the merchant Johan August Samuelson bought the village's complex of smithies and sawmills and introduced glass production the following year, initially producing everyday household and medical glassware, such as bottles and jars. When Consul Johan Ekman became the new owner of Orrefors in 1913, he appointed Albert Ahlin to run the glassworks facilities. Ahlin initiated a new era in Swedish glass production when he acquired the Sandvik glassworks under the Orrefors umbrella and brought in skilled craftsmen and designers to develop new collections. In 1914, Orrefors began to manufacture glass. Soon after, master glassmakers Simon Gate and Edward Hald joined the company to design new designs and shapes, focusing on engraving and overlay techniques. They also began experimenting with the innovative Graal technique, developed at Orrefors by master glassblower Knut Bergqvist. In 1917, Gate and Hald introduced figurative engraved patterns. Orrefors' reputation for excellence spread internationally in the mid-1920s; first as a result of Orrefors' presentation at the Gothenburg Exhibition in 1923, and then through participation in the historic Exposition Internationale des Arts Décoratifs in Paris in 1925, where Orrefors and the artists themselves were awarded the Grand Prix. In 1928, the designer-artist Vicke Lindstrand joined Orrefors and introduced a more sculptural and modernist aesthetic. Following Orrefors and Lindstrand's success at the 1930 Stockholm Exhibition, the company became increasingly associated with simple, subtle forms in the post-war period. In 1946, Orrefors hired architect-designer Carl Fagerlund to expand its glass lighting offering. Over the years, Orrefors designers developed a number of new glass manufacturing techniques. Vicke Lindstrand and Edvin Öhrström introduced Ariel in the 1930s, while in the 1940s Sven Palmqvist introduced the Kraka and Ravenna techniques. Nils Landberg's slender Tulpan (1957) and Ingeborg Lundin's delicate Äpplet (1955) - both icons of mid-century modern Swedish design - were created using the Fuga technique. The 1960s are associated with Gunnar Cyrén's Pop glass, and since the 1970s, designers such as Olle Alberius, Eva Englund, Lars Hellsten, Anne Nilsson, Erika Lagerbielke and Helen Krantz have contributed to Orrefors' rich heritage.
Darstaed, ACE Trains - Two boxed O gauge tinplate Brake Vans. Lot consists of ACE Trains G4/1L 3 rail only with lighting Brake Van; together with Darstaed 6 wheel Full Brake Van in SECR livery. Both items appear Mint housed in Excellent (Darstaed has some tape residue to lid) - Mint boxes. (This does not constitute a guarantee)
FIVE BOXES AND LOOSE CERAMICS, GLASS WARES AND MISCELLANEOUS ITEMS, to include a mid-twentieth century Austrian vase height 18.5cm, a model dolls house summer house with rocking chair, four boxed sets of Durobor wine glasses (one set missing a glass), two light fittings, one with a crystal up lighting shade, a pair of brass taps, a wall clock, a copper horn, two hurricane lamps, fourteen boxes of gold coloured tapering candles, twenty wrapped orange Anti-Tabac candles, Wilson Grand Slam Titanium and vintage Dunlop tennis racquets, vintage Players tobacco tins containing assorted nails, panel pins, screws and washers, bagged screws and rawl plugs, etc (5 boxes + loose) (sd)
Three 20th century watercolours, including Irwin John Bevan (1852-1940) watercolour titled Kethole Reach Medway approx 23w x 14.5 cms; William Collins (1788-1847) titled Normandy Beach approx 25 x 18.5 cms; together with another watercolour depicting fishing vessels signed H. Smithbirt approx 34 x 24.5 cms. Two 19th Century Josiah Wood Whymper RI (1813-1903) watercolour entitled 'Bit of Boston', a figure lighting a fire, signed and dated 1892, framed and glazed, and one other 19th century watercolour, untitled, depicting fishermen on a beach with boats in the distance, approx 65 x 41 cms, framed and glazed, unsigned. Together with Edward Pocock (Suffolk 1842-1905) watercolour, entitled Bishops Bridge Norwich, signed lower right, approx 17.5 x 10 cms; a W. Stanford oil on board, untitled, mountainous landscape, approx 24 x 17 cms, framed and glazed; and C. Tilley 20th century pen and wash, untitled, depicting a pike and frog, signed C.Tilley 1987, framed and glazed, approx 37.5 x 60 cms,; W. Stanford oil on board, untitled, mountainous landscape, approx 24 x 17 cms, framed and glazed. (9)July 21st Condition ReportsThe Smithbirt is foxed.
ADVENTURE COMICS #247 (DC - 1958) First appearances of the Legion of Super-Heroes - Cosmic Boy, Saturn Girl, Lighting Boy (Lad) + Superboy. Green Arrow, Aquaman backup stories - Currently valued #16 on Overstreet's list of Top 50 Silver Age Comics - Classic Curt Swan cover - Flat/Unfolded - a photographic condition report is available on request
Early 20th century Continental erotic cigarette case, the silver-plate body of curved rectangular form with cover decorated with painted enamel street scene depicting young boy in squatting position lighting a cigarette shielded from the wind by his girlfriend, who is lifting the skirt of her dress up over him, with gilt interior, L9cm
Stanhope ALfred Tollemache (b.1855, Helmingham Hall, Debenham, Suffolk, d.1934, Bentley Manor, Ipswich), a large folio scrap album containing 95 pages of mounted manuscript letters/correspondence, cuttings and manuscript notes etc, circa 1870's-1920's, much content relating to local Suffolk agriculture and estate management, Helmingham and environs, as well as Ham, Cheshire, Grantham etc, due to connection with other Tollemache family estates, items include Autograph Letter signed from Sir John Bennet Lawes (1814-1900), agricultural scientist, to Stanhope Tollemache, December 29 96, Rothamsted St Albans headed paper, 2 1/4pp, content re agricultural matters; ALS Charles Hanbury-tracy, 4th Baron Sudeley, to Stanhope Tollemache, 1916, Ormeley Lodge, Ham Common headed paper; manuscript letter on Royal Gardens Kew embossed headed paper dated 17 August 1898 "Dear Sir, The cones sent for identification are those of the "Cluster Pine", Pinus Pinastera native of South Europe, not of New Zealand. The plant in question must have introduced in the latter country", with another leaf with some books on trees written in the same hand mounted alongside, and another letter from Royal Gardens Kew similar, some other pencil notes on plants and flowers below, and at foot of page m/s not "the plants recommended by Lady Agnes"; other notes, entries, cuttings etc on a wide range of subjects, mainly relating to natural history and agriculture, Helmingham cricket, sale of brewery, Suffolk licenced Victuallers annual dinner, Bentley Manor inspection of rams, electrical lighting, cost of thatching, manuscript notes headed "John 1st Baron Tollemache notes on his policy in respect to Estate Management", tithes, family marriages and deaths, letter from Ipswich solicitors re estate water rights, letters/notes about Dodnash Priory Farm, Bentley, and the Austinian Friars, on headed paper, notes on statue of Perseus, Helmingham Garden, funeral lieut B.H. Tollemache killed great war cuttings, death of John 1st Baron Tollemache cuttings, large folding printed document Royal Commission on Agriculture Particulars of Estate Expenditure estate of Helmingham Rt Hon Lord Tollemache 1872, with manuscript entries, letter from Ipswich solicitors regarding if liable to pay a servant "Re Gertrude. cook. who was taken from Ipswich to Bournemouth", leases, surrenders, etc etc, manuscript index page at front, bound in 20th century half cloth over patterned paper covered boards, calf label attached to spine with S.A.T. (Stanhope Alfred Tollemache) initials in gilt
LUIS GRANER ARRUFÍ (Barcelona, 1863 - 1929)."Coastal landscape".Oil on canvas.Signed in the lower right-hand corner.Size: 100,5 x 122,5 cm; 133 x 155,5 cm (frame).The light was the great protagonist of Lluís Graner's work, both in his paintings of interior, where a quinque lighting illuminates the faces congregated in the half-light of the home, and in landscapes like the one we are dealing with, where a diffuse light reverberates everywhere: filtering from the lightly vaporous sky, it slides along the rippling surface of the sea, making land and sky, horizon and mountain dialogue.Luis Graner trained at the Escuela de La Lonja in Barcelona, where he was a pupil of Benito Mercadé and Antonio Caba, and in 1886 he moved to Paris thanks to a grant from the Diputació de Barcelona. During his five years in the French capital he won two third place medals at the Universal Exhibitions of Barcelona (1888) and Paris (1889). Settling back in Barcelona in 1891, he continued to take part in important international exhibitions, such as those of Berlin (1891), Munich (1892) and Düsseldorf (1904). He also submitted works to the National Fine Arts Exhibitions, winning third medals in 1895 and 1897, second in 1901 and a decoration in 1904. That same year Graner created the Sala Mercè, designed by Gaudí, where he organised his "musical visions", shows that combined poetry with music, scenography with cinema. Collaborating with him at this stage were Adrià Gual as director of the performances and Segundo de Chomón, as well as well-known poets (Verdaguer, Carner), musicians (Morera, Lambert) and contemporary stage designers (Moragas, Alarma). At the same time, Graner organised the first talkies, using the technique of placing actors behind the screen to lend their voices. Finally, ruined, he moved to America, where he returned to painting. He made several trips around the United States and Latin America, spending most of his time between New York, where he painted his first solo exhibition in 1910, and California. In 1928 he returned to Barcelona shortly before his death. His paintings, realistic in form, depict the everyday life of humble people, although he also painted landscapes and portraits. In his interior scenes he showed a profound influence of Latour, learned in his Parisian years, which led him to focus on the expressiveness of artificial light. Specialising in genre painting, he also produced landscapes and portraits. His work can be found in the Prado Museum, the MACBA in Barcelona, the National Art Museum of Catalonia, the Hispanic Society in New York and the Balaguer Museum in Vilanova i la Geltrú, among others, as well as in important private Catalan collections.
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