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Lot 133
Ruhmkorff induction coil used to produce high-voltage pulses from a low-voltage direct current supply. This coil was the first type of electrical transformer used widely in x-ray machines, spark-gap radio transmitters, and arc lighting. Many were used in schools to demonstrate induction. Though its invention is credited to Heinrich Ruhmkorff (German, 1803-1877) it was only popularized by him and was actually invented by Nicholas Callan (Irish, 1799-1864).With letter certifying the age of the object as being over 100 years old.Height: 9 in x width: 18 1/4 in x depth: 9 1/4 in.
Lot 102
Workshop by FRANCISCO BAYEU (Zaragoza, 1734 - Madrid, 1795).Providence presiding over the virtues and faculties of man".Oil on canvas. Relined.It conserves old frame of Carlos IV style.Measurements: 74.5 x 65.5 cm; 88 x 79 cm (frame).The conception of this scene, thought to be contemplated from below, and its figures indicate a great aesthetic relation with the fresco that is in the Royal Palace of Madrid titled "The Providence presiding over the virtues and the faculties of the man", which was concluded in 1771, by the artist Francisco Bayeu.Francisco Bayeu began his training in his native Saragossa, attending the workshop of Juan Andrés Merklein, a painter of Bohemian origin, and the drawing classes of José Luzán Martínez. In 1756 he was awarded the Extraordinary Prize at the San Fernando Academy, which earned him a scholarship in 1758 to study for two years at the San Fernando Academy in Madrid. However, Bayeu left the academy only two months later because of his disagreements with one of the professors, Antonio González Velázquez. He then returned to Saragossa and his financial situation became complicated, as the death of his parents forced him to take charge of his family. He then began his career as a painter, carrying out commissions for churches and convents in the city. Around this time, in 1759, he married Sebastiana Merklein, the daughter of his master. During these years he developed the language of his youth, influenced by Lucas Jordán and Corrado Giaquinto. However, in 1762 Anton Raphael Mengs, the leading court painter, visited Saragossa and asked him to work with him on the decoration of the new Royal Palace. Thanks to Mengs's protection, Bayeu carried out various decorative commissions for the Royal Sites, thus establishing himself as one of the most outstanding painters of the day. These early works for the court included the fresco decoration of the vaults of the dining room in the queen's bedroom ("The Surrender of Granada") and the antechamber of the Princes of Asturias ("The Fall of the Giants"). His Baroque training is still evident in these works, but elements of his mature language can already be glimpsed, such as the elegance of the positions, the meticulousness, the neoclassical lighting effects and the perfect anatomical study. By the 1760s his neoclassical aesthetic was fully formed, marked by a clean, precise drawing and a palette that played with the contrast of reds and yellows over a tonality based on blues and greys, as can be seen in "Hercules on Olympus" (conversation room of the Princes of Asturias in the Royal Palace), "Apollo remunerating the Arts" (El Pardo) or "Providence presiding over the virtues and faculties of man" (room next to the gala dining room of the Royal Palace). Within his religious production of these years, the eleven fresco scenes illustrating the lives and miracles of Toledo saints in Toledo cathedral, works that were already completely indebted to Mengs, are particularly noteworthy. After the latter's departure for Rome in 1777, the Aragonese painter took on all the duties left by Mengs as his first painter, although he did not obtain this appointment. These tasks included designing cartoons for the Royal Tapestry Factory, where he supervised the work of Goya, his brother-in-law from 1773. In 1785 he was commissioned by Charles III to restore the paintings in the royal collections. In 1786 he was appointed director of the San Fernando Academy. Influenced by the painting of Corrado Giaquinto and González Vázquez, Bayeu's first period was one of the most outstanding exponents of Spanish late Baroque painting. He later became the most faithful follower of Mengs, assimilating neoclassical principles. His figures would appear in restrained positions, his colouring would be local and his lighting balanced, leaving behind the strong contrasts of his first period.
Lot 79
Italian school of the 17th century. Circle of VIVIANO CODAZZI (Bergamo, ca. 1604 - 1670)."Interior of a temple".Oil on canvas. Re-drawn in the 19th century.Frame of the 19th century.Measurements: 86,5 x 107 cm; 107 x 130 cm (frame).This "Capricho", close to Viviano Codazzi's circle, offers us an architectural view contextualised in the interior of a magnificent temple. The spatial understanding is based on a firm mastery of the linear perspective of Renaissance heritage, while its rigour is softened by the atmospheric and intuitive study that the free movement of the figures in space helps to create.Viviano Codazzi left his native city of Bergamo to emigrate to Naples, where he trained as a painter with Cosimo Fanzago. In Naples he also worked with Domenico Gargiulo to create landscape views of a legendary and evocative nature. Gargiulo specialised in figures, while Codazzi focused on architectural perspectives and landscapes with ruins. Later, owing to the conflictive political environment in Naples, he moved to Rome, where he worked as an architectural and landscape painter alongside Antoine Gobau, Michelangelo Cerquozzi, Jan Miel, Filippo Lauri and Vicente Giner. In Rome he came into contact with the circle of Dutch painters, the so-called "bamboccianti", led by Pieter van Laer, who had a considerable influence on him. In Rome he worked with both fantastic and realistic landscapes, and one of his best-known works in this respect is Saint Peter's Basilica, one of the last depictions of the famous building before Bernini's interventions and the creation of his magnificent colonnade. Codazzi's views, which despite being imaginative always retain a certain degree of verisimilitude, had a powerful influence on the next generation of landscape painters, the "vedutists" such as Canaletto and Bernardo Bellotto. He developed a personal language which, in contrast to the heroic character of the landscape derived from the Carracci, imaginatively interprets buildings and ruins, but always respecting verisimilitude, playing with the lighting to obtain typically Baroque expressive effects that enhance the appearance of the ancient-looking buildings, populated by small, popular figures.
Lot 80
Italian school of the 17th century. Circle of VIVIANO CODAZZI (Bergamo, ca. 1604 - 1670)."Caprice.Oil on canvas. Re-drawn in the 19th century.Frame of the 19th century.Measurements: 86,5 x 107 cm; 107 x 130 cm (frame).This "Capricho", close to the circle of Viviano Codazzi, offers us a panoramic landscape constructed from the reproduction of several monuments of classical style, to which the romantic concept of the ruin is added. It shows an idealised landscape in which a series of ruins of clear Roman influence stand out, such as the remains of an arch on the left of the composition, porticoed colonnades at the front, etc. The genre of the landscape view with ruins or classical monuments, real or invented, enjoyed great success in the Baroque period and was widely influential in later centuries.Viviano Codazzi left his native city of Bergamo to emigrate to Naples, where he trained as a painter with Cosimo Fanzago. In Naples he also worked with Domenico Gargiulo to create landscape views of a legendary and evocative nature. Gargiulo specialised in figures, while Codazzi focused on architectural perspectives and landscapes with ruins. Later, owing to the conflictive political atmosphere in Naples, he moved to Rome, where he worked as an architectural and landscape painter alongside Antoine Gobau, Michelangelo Cerquozzi, Jan Miel, Filippo Lauri and Vicente Giner. In Rome he came into contact with the circle of Dutch painters, the so-called "bamboccianti", led by Pieter van Laer, who had a considerable influence on him. In Rome he worked with both fantastic and realistic landscapes, and one of his best-known works in this respect is Saint Peter's Basilica, one of the last depictions of the famous building before Bernini's interventions and the creation of his magnificent colonnade. Codazzi's views, which despite being imaginative always retain a certain degree of verisimilitude, had a powerful influence on the next generation of landscape painters, the "vedutists" such as Canaletto and Bernardo Bellotto. He developed a personal language which, in contrast to the heroic character of the landscape derived from the Carracci, imaginatively interprets buildings and ruins, but always respecting verisimilitude, playing with the lighting to obtain typically Baroque expressive effects that enhance the appearance of the ancient-looking buildings, populated by small, popular figures.
Lot 696
Meccano M280 Lighting Set, comprising two headlights , one with clear, other with green glass, loose red and clear lens, yellow wood 'lighthouse' with wire and orange pyramid and wire with bulb, with base insert and some string, in original box with guarantee slip glued to underside of lid dated 6/234, G, box F, wear to lid
Lot 277
George III mahogany glazed bookcase on cupboard, top section with moulded cavetto white wood string and cross-banding, double ten pane astragal glazed doors covering three adjustable shelves, lower section with deep drawer and two blind cupboards decorated with cock beading and figured mahogany veneers, lion mask handles, bracket feet.wide 116cm (46"), depth 53cm (21"), height 218cm (86")Condition report: The upper section at some stage wired for lighting (now removed), interior backboards now lined with velvet fabric, all glass in good order, lower section corner right-hand side veneer damaged, please note this is not a secretaire, therefore drawer does not contain a writing compartment, original brass lion mask and ring handles, astragal to double lower doors, detach. Depth of shelves 24.5cm.
Lot 97
A pair of Louis XV style painted and distressed bedside tables with cupboard superstructure with lift out moulded trays. (2) 60cm wide x 62cm deep x 74cm high. Provenance: The contents of a Chelsea Mansion furnished by Nicky Haslam and Collette van den Thillart. Further information on the Dawsons website article hereCondition report: Please note whilst the trays are detachable, they are currently wired with underneath lighting (as per images).Structurally sound with minimal surface wear/scuffs to painted decoration.
Lot 1387
A Clarkes patient Cricklite ormolu mounted clear glass seven light table candelabrum, each bell shaped shade supported on a scrolling wirework arm from a lotus cast tapered octagonal column, the socle with trumpet shaped specimen flower vases, spreading circular base, Lion paw feet, 79cm high, c.1890Samuel Clarke, one of several English designers of lighting devices, patented a glass cup covered with a dome on December 14th 1885. His company promoted the lamps as a way to sell there own candles. Clarkes original lamps feature a fairy embossed into the bottom as can be seen in these examples. They became so popular that all small candle-based lamps became know as fairy lamps. Queen Victoria reportedly purchase 1500 of his fairy lamps for her own use.Provenance: Christies sale, London, c.1995
Lot 39
Italian school; 17th century."Still life with fish and pots".Oil on canvas. Re-coloured.With repainting and restorations. Frame with damages.Measurements: 82 x 93 cm; 100 x 120 cm (frame).In this canvas the author offers us a still life rooted in the baroque tradition of the genre, both for its composition and for the chromatic and light treatment, the care of the qualities and the precise and detailed brushstroke. As was the case with many of the Baroque masters, especially the Dutch, here we see the elements that make up the still life arranged in a disorganised but clear manner on a flat surface that runs parallel to the lower edge of the painting. Furthermore, in the same tradition, the still life is placed in the foreground against a neutral, dark background that delimits the space, focusing the viewer's gaze on what the painter considers most important.While during the first half of the century the still life was ordered and clear, with a classicist aesthetic, the works of the second half of the century have very different characteristics, the result of the stylistic evolution towards the full Baroque, leaving behind the dominant classicism of the beginning of the century. In works such as the one we present here, the taste for naturalism is maintained, leading the author to describe not only the details in detail, but also to convey their different tactile qualities. This work presents. It is a dynamic composition in terms of the arrangement of the elements. It is a composition centred and dominated by geometry, fleeing from the open and dynamic structures, full of diagonals, of the full baroque. The lighting aspect, on the other hand, is key in this work, and reveals the direct influence of the Tenebrist Baroque, which reached these still-life painters and lasted until well into the 18th century.The still life or still life occupied the lowest rung of the hierarchy of pure genres in the history of art, yet it became increasingly popular with buyers. In addition to the independent subject of still life, still life painting encompasses other types of painting with prominent still life elements, usually symbolic, and images that rely on a multitude of still life elements apparently to reproduce a part of life.
Lot 387
After Guillaume Coustou, a pair of patinated bronze Marly horses, naturalistically modelled rearing with grooms to the side, signature to bases, set octagonal marble plinths, later converted into table lamps, 28.5cm high (at fault) (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 REPORT:The horse and groom facing left show a break to the reins at the horse's mouth. The groom's torso is a separate casting, and this is loose where it inserts into the loin cloth. The horse and groom facing right are lacking their reins. Both groups show chips to the edges of the marble plinths and extensive glue residue where the brass rods supporting the light fittings have been inserted into the bases. Both are dirty and would benefit from cleaning.
Lot 389
A pair of bronze patinated spelter figures after Ernest Justin Ferrand, one titled 'Travail' the other 'Recompense', set to faux marble socle bases, later converted into table lamps, each 43cm high (at fault) (2) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Lot 238
TOMORROW - MY WHITE BICYCLE 7" (ORIGINAL UK COPY - PARLOPHONE R 5597). The 1967 Psych classic from Tomorrow, this original UK copy on Parlophone (R 5597) presented in superlative condition. The record is in Ex+ condition showing only a couple of extremely faint, slight and wispy paper marks under intense LED lighting. No need to upgrade!
Lot 424
DEBBIE BOON (BRITISH CONTEMPORARY), 'STANDING TALL', a signed limited edition print of a stag, 57/195 no certificate, approximate size - image 95cm x 60cm frame 116cm x 79cmcm, condition: feint horizontal line to the lower part of the print, only visible in certain lighting conditions, frame dented , chipped and scratched
Lot 677
THREE BOXES AND LOOSE METALWARES, PICTURES AND SUNDRY ITEMS, to include a Pelham Perky the Pig (no strings, repaired), a miners' safety lamp type 6 by The Protector Lamp and Lighting Co Ltd, horse brasses on leather straps, other brassware to include vases and a kettle, vintage binoculars, twentieth century Australian stamps (some mounted, condition varies), a model sea plane, a Cadet Coronet camera, five twentieth century hand bags, six gilt framed prints and original art work, etc (sd) (3 BOXES + LOOSE)
Lot 1403
A QUANTITY OF LIGHTING, to include a matching pair of table lamps (SD to one shade), a solid natural slate table lamp, another similar lamp, an oriental style ceramic lamp, an onyx lantern style lamp, a leather lamp, two various standard lamps (all with shades), a brass folding fire screen, a giltwood wall mirror, and an AMS wall clock (one pendulum and winding key) (12)
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13370 item(s)/page