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Lot 247
Collection of miscellaneous silver and gold items to include a 9ct gold mounted coin purse, a 9ct gold watch, a cased silver inkwell, a small silver bowl with engraved decoration, a silver caddy spoon with shell bowl, a small selection of glass marbles, silver mounted dressing table requisites, coins, etc At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 167
A FINE MALTESE WALNUT AND PIETRA DURA DRUM TABLEATTRIBUTED TO J. DARMANIN & SONS, 19TH CENTURYthe revolving top inlaid with specimen marbles, the centre with an urn of colourful flowers and a butterfly within a lozenge border and outer border of scrolls with a leaf carved edge, the frieze with four drawers inlaid with brass, one with four divisions another with multiple divisions and plush lined compartments, with a paper trade label for the cabinet maker 'Baptist Decarlo, carpenter Strada Marina No. 19, Burmola' on a triform base with acanthus carved columns and lions paw feet and sunken brass castors75cm high, 90.5cm diameterProvenanceThe contents of The Grange, Wendover.Catalogue NoteGiuseppe Darmanin established his business in the early 19th century and one assumes would have changed the company's name to include '& Sons' when his eldest sons joined the firm in the late 1820's or early 1830's. He used the anglicised Joseph (J) Darmanin to cater for the steady flow of British Grand Tourists heading to North Africa, the Levant and India. By 1851, the firm's reputation was so well established that they represented Malta at the Great Exhibition where they were awarded an 'Honourable Mention' in the judges report for the excellence of their workmanship. Examples of the firms work have subsequently featured in many major collections including the Royal Collection, the Victoria and Albert Museum and the Gilbert Collection.For other examples of work appearing on the market that are recognised as being by Darmanin, see Sotheby's, London, 26th November, 2003, lot 123 for a pair of tops with the coat of arms of Charles William Vane, 3rd Marquess of Londonderry, purchased by Ronald Phillips Ltd, London, also Sotheby's, 8th July 2008, Lot 365 for a table top with the coat of arms of Horatio Webb, Sotheby's New York, 16th October 2008, lot 58 for a table top with the arms of the Baker Family of Tipperary, Ireland.LiteratureK. Hay, Furniture History Society, 2010, Volume XLVI, pp.157-185, Mosaic Marble Tables by J. Darmanin & Sons of Malta.
Lot 173
Collection of clothing and doll related items (some antique / vintage), including: dolls antique silk (shredded) parasol, white work baby's christening gown x 2; wicker and wooden doll's pram, on metal chassis, with wooden spoked wheels, 26"/66cm tall; marbles; some doll's clothing; marbles; handkerchiefs; etc; Fair to Excellent; (qty).
Lot 500
ONE TIN OF EARLY TWENTIETH CENTURY GLASS MARBLES, some possibly earlier with faint pontil marks, older marbles are chipped and damage commensurate with age, approximately two hundred marbles, to include assorted colour and age, clay and stone marbles (1 tin) (Condition Report: all are play worn, earlier marbles are chipped and damaged)
Lot 1172
Items pertaining to Peebles and Innerleithen to include a Ballantyne Brothers Scotch Tweed Manufacturers printing block, pair of leather and brass horse tack by Scott and Son, Saddlers Innerleithen, a W Pearce & Son ginger beer bottle, two Pearce of Innerleithen glass bottles with marbles, Robert Matheson Chemist Innerleithen glass bottle, another, a crested ware fireplace model with Innerleithen crest, and ten pictorial paperweights.
Lot 152
A 19th century ebonised table with associated pietre dure top Applied with gilt metal mounts, the dished top with pierced three-quarter gallery inset with pebble shaped specimen marbles, including lapis lazuli and malachite, on a baluster shaft and tripod scrolled legs, 44cm diameter, 75cm high.
Lot 883
GIACOMETTI ALBERTO: (1901-1966) Swiss sculptor. A fine A.L.S., Alberto Giacometti, three pages, 8vo, Paris, 16th October 1956, to [David] Thompson, the prominent art collector, in French. Giacometti thanks his correspondent for their letter and photographs of the Beyeler marbles in Basel and continues to remark ´ Ces deux marbres sont tres differents l´un de l´autre mais ils sont fait a peu pres a la meme epoque, et ce sont des marbres originaux. Celui de Madame Doesburg etait a la Galerie Pierre; je ne me rapelle plus du tout a qui j´ai vendu celui de Beyeler. Celui de Beyeler est le meme sujet que le marbre du musee d´Amsterdam mais il est tres different´ (Translation: ´the same time, and they are original marbles. Madame Doesburg's was at the Galerie Pierre; I can't remember who I sold Beyeler's to. The Beyeler is the same subject as the marble in the Amsterdam museum, but it is very different´). The sculptor further writes ´ Ca me fait grand plaisir que ces deux marbres entrent dans votre collection. Et je vous remercie infiniment pour tout ce que vous faites pour mon travail et qui me touche beaucoup. C´est une tres grande joie pour moi´ (Translation: ´ It gives me great pleasure that these two marbles should enter your collection. And thank you very much for all you do for my work, which means a lot to me. It is a great joy for me´) before concluding ´Je travaille beaucoup et j´espere d´arriver a avoir quelque chose de nouveau´ (Translation: ´I'm working hard and I hope to come up with something new´). In a postscript to the third page Giacometti provides brief details regarding the dates of the two marble sculptures. A letter of excellent content and good association. VGG. David Thompson (1899-1965) American investment banker, industrialist and modern art collector who owned seventy works by Giacometti as well as others by Paul Klee, Marc Chagall, Jean Dubuffet and other artists.The Madame Doesburg Femme and Galerie Beyeler Tête qui regarde marbles are today housed in the Alberto Giacometti Stiftung in Switzerland. The Amsterdam museum marble referred to in the letter, also known as Tête qui regarde, today remains in the collection of the Stedelijk Museum. 1956 was a productive year for Alberto Giacometti; a fortnight earlier, he had finished representing France at the Venice Biennale (1 June - 1 October 1956) and, as the present letter demonstrates, he was working to ‘come up with something new’. Giacometti was thus plunging into what would later be called the ‘Yanaihara Crisis’, a very important artistic phase in his life. Isaku Yanaihara, a professor of French philosophy at Osaka University, met Giacometti in 1956. Giacometti was fascinated by Yanaihara's face and began a long series of paintings and sculptures of his likeness. He first produced an oil painting in October 1956 and numerous other drawings, paintings and sculptures followed. Yanaihara posed for the artist every summer in 1957, 1959, 1960 and 1961.
Lot 368
Signed and inscribed on a paper strip on the stretcher: `Corfu from the village of Ascension/ painted for Alfred Seymour Esqr by - Edward Lear/ 1857`, oil on canvas Sight 37 x 23cm.; canvas size 38.5 x 24.5cm. Provenance: Alfred Seymour, MP, JP (1824-1888) of Knoyle House, Wiltshire; and later of Trent, Dorset * Lear travelled to Corfu in December 1855 in order to join his `most intimate friend` and judge, Franklin Lushington. He stayed until 1863 and then returned in 1877. Having been swiftly enchanted by Corfu (`it really is a paradise..` he raved to his sister Ann), Lear found much to adore on the island. Early in the Summer of 1856, Lear determined this theme from above the village of Ascension (now Analipsi), looking across to the Citadel of Corfu and the distant but clearly defined mountains of Albania. He later wrote to Ann that 'The whole island is in undulations from the plain where the city is, to the higher hills on the west side; & all the space is covered with one immense grove of olive trees - so that you see over a carpet of wood wherever you look; & the higher you go, the more you see, & always the Citadel & the Lake, & then the Straights, with the great Albanian mountains beyond.' Lear delighted in the pleasing blend of trees, the coastal landscape and the distant snow-capped mountains and he adored the rampant wildness of the olive groves. In June 1856 Lear wrote delightedly to Ann that he intended to devote ‘a good bit of time to illustrating this little promontory for it is… full of interest, as the old city of Ascension (Coreyra) was built on it, ancient coins and marbles are still being found.’ The subject is at once scrupulously realistic and yet imbued with a sense of poetic wonder: Lear was quickly enraptured by splendid panoramas such as this. Lear worked with an exacting and accomplished technique in thinned oil, with no detail proving to be too trivial to be deserving of his meticulous brushwork. The Pre-Raphaelite intensity of his vision was derived in part from his companionable acquaintance with William Holman Hunt from 1852, the two joined on occasions by Rossetti and Millais too. Having worked on substantially larger canvases en plein air, it is possible that Lear developed subjects as ambitious as this on the spot. *CR On Charles Roberson (Long Acre, London) canvas; unlined; some cracking (the paint not lifting or flaking).
Lot 447
Dambusters Interest - two antique marbles reputedly used by bouncing-bomb designer Sir Barnes Wallis during early tests, undertaken in a bathtub in his back garden. The first larger marble is of control bubble form, measuring approximately one inch in diameter. The second smaller marble of frosted form and measuring half an inch in diameter. Accompanied by vintage engraved brass plaque 'Operation Highball' and mounted in a later frame for display. Total frame size: 17cm x 22cm. Provenance: These marbles, and others previously sold by different salerooms in 2015 and 2017, were originally purported to have been on display Hydneye House School (the Dambusters connection being 617 Squadron Pilot and Dambuster David Maltby's father, Etterick Maltby was the headmaster there, and a small 'museum' was situated on-site). The original owner, an ex-pupil of Hydneye School was given these marbles by the then-headmaster Gerald Brodribb shortly before demolition work on the school started some years ago. Purchased c2020 by their current owner, they are now offered for auction. These are thought to be the final two Barnes Wallis marbles from the Hydneye House School collection. In a 1951 speech, Sir Barnes Wallis discussed the use of marbles in early tests: 'A small but powerful catapult was arranged to fire marbles at the surface of the water in a tub, and by a series of such experiments I was able to determine the coefficient of restitution, and the angle at which a travelling sphere would leave the surface of the water after impact. This enabled me to draw a series of curves and to forecast the range which would be obtained were the sphere to be dropped from an aircraft travelling at a given speed.' (taken from: www.dailymail.co.uk/news/article-12088443/How-Barnes-Wallis-used-marbles-bathtub-develop-Dambusters-bouncing-bomb.html)
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