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Lot 1131
Lucian Ercolani - Ercol - Windsor - model 468 - A 1960's retro vintage elm wood sideboard credenza having a twin door shelved cupboard alongside a single door cupboard with drawer, all above two wide drawers.The sideboard raised on ball castors. Golden Dawn colourway. Measures 130cm long 50cm deep 77cm high.
Lot 961a
G-Plan - Model 6250 - A rare his and hers pair of mid 20th century circa 1967 G-Plan 6250 swivel chairs . Often referred to as a Blofeld chair, the swivel armchair raised on a teak wood 4 point base with chrome flashwork having wide upholstered frame with shaped back rest and button backed fabric. Measures 92cm x 75cm
Lot 238
A GOOD JAPANESE SATSUMA BOWL BY NAKAMURA BAIKEI MEIJI PERIOD, 19TH CENTURY The well delicately painted with a scene of revelers on a pleasure boat, the vessel with a dragon-shaped prow and a large model of a white phoenix on the roof, the family crest for the Tokugawa clan underneath, Maru ni Mitsuba Aoi mon, other boats visible in the distance and a densely-built island with a torii gate to the side, two cranes flying above, the rim with bands of chrysanthemum flowerheads, the outside with many cloud-shaped panels variously containing figures engaged in daily activities, some at work and others at leisure, the square foot surrounded by bands of lappets and brocade patterns, the base signed Nakamura Baikei with a gilt square seal and a gourd-shaped panel enclosing a long self-congratulatory inscription, 12.2cm dia. Provenance: an English private collection of Satsuma wares, Wiltshire. Purchased from Sotheby's London, 20th June 2002, lot 266; a copy of the original receipt is available. The decoration to the well may be a reference to chapter 24 of The Tale of Genji, in which the Prince arranges for the construction of Chinese-style barges with dragon and phoenix decoration for a spring party in honour of Lady Murasaki, his favourite consort.
Lot 12
Jack B. Yeats R.H.A. (Irish, 1871-1957)Romeo and Juliet (The Last Act) signed 'JACK B YEATS' (upper left) and titled twice 'ROMEO AND JULIET' (on the canvas overlap)oil on canvas45.8 x 61.1 cm. (18 x 24 in.)Painted in 1927Footnotes:ProvenanceMrs Roger FranklandSale; Sotheby's, London, 14 July 1965, where acquired byWaddington Galleries, LondonPrivate Collection, U.S.A.John Rous (4th Earl of Stradbroke), thence by family descent to the present ownerPrivate Collection, U.K.ExhibitedDublin, Engineers' Hall, 25 February-5 March 1927, cat.no.23Birmingham, Ruskin Gallery, Paintings of Ireland, 23 May-4 June 1927, cat.no.31London, Arthur Tooth & Sons, 14 March-5 April 1928, cat.no.34Montreal, Waddington Galleries, Jack B. Yeats Retrospective Exhibition, 12 March-5 April 1969, cat.no.7London, Waddington Galleries, 15 April-8 May 1971, cat.no.7 (col.ill)Dublin, National Gallery of Ireland, Jack B. Yeats, A Centenary Exhibition, September-December 1971, p.74, cat.no.62 (col.ill); this exhibition travelled to Belfast, Ulster Museum, January-February 1972 and New York, Cultural Centre, April-June 1972 LiteratureHilary Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil Paintings, Volume I, Andre Deutsch, London, 1992, p.322, cat.no.355 (ill.b&w)The painting depicts the last scene of Charles Guonod's 1867 opera Romeo and Juliet, based on William Shakespeare's famous tragedy. In the final act after a tumultuous duet, Romeo expires and Juliet takes her own life. Their entwined bodies lie in the deserted tomb. Guonod's opera was performed in the Gaiety Theatre in Dublin on 2 March 1926. The Irish Times review of the production praised the music and the performers although it noted that Cynlais Gibbs, who played Romeo had a lighter voice than Miss Hill who played Juliet, and was at a slight disadvantage. But it concluded that the orchestra 'gave a fluent account of the strongly coloured instrumental music'. The O'Mara Opera Company, which staged the production, was founded by the celebrated Limerick born tenor, Joseph O'Mara, in 1912 and performed opera seasons regularly at the Gaiety. In 1926, the year before his early death, O'Mara was the first opera singer to perform live on the newly inaugurated Radio Eireann, the Irish Free State's national radio station.Yeats was in attendance at the Gaiety and outlined the scene depicted in the painting in his sketchbook. His book also features drawings of the celebrated staging of Lennox Robinson's play, Cyclops which was performed by the Dublin Drama League in the playwright's home in Dalkey in August 1926. Yeats was an avid theatre goer and playwright. He wrote several plays for children in the early 1900s and his later experimental plays Harlequin's Positions, La La Noo and In Sand were staged at the Abbey Theatre between 1939 and 1949. Several of Yeats's paintings are inspired by his experiences of the theatre. These include Singing The Minstrel Boy (1923, The Model, Sligo), Now (1941, Private Collection), The Talent (1944, Private Collection) and Man Hearing an Old Song, (1950, Private Collection). These paintings like, Romeo and Juliet, incorporate the audience and its involvement in the performance. Yeats's cursory sketch notes the two candles, the balcony to the right and the prominent form of the conductor which are all key elements in the final painting. The figure of the conductor can be seen in the painting on the extreme left. His head is erect and his arms extended as he conducts the concluding notes of Guonod's score. The ghostly bodies of Romeo and Juliet lie next to each other in front of the tomb. Flecks of white, yellow and pink subtly indicate their faces and the flowers that adorn the sturdy sepulchre behind them. The tall ethereal forms of the candles are delicately painted and they and the single flame torch add to the sense of solemnity.The figures are dwarfed by the vast blue expanse of the set. One contemporary reviewer noted the emotional power of this colour in Yeats's painting. 'The surrounding blue seems to be the mystery of life – to symbolise every love-story that was ever lived or written – and birth and death and passion and sacrifice, and everything that is significant in human struggling. It is as if the universe had paused to mark a fleeting perfection'. The stage is framed by the warm reds and yellows of the surrounding auditorium. The heads of the front row of the audience fill the bottom of the composition. On the right hand side the towering structure of the interior of the Gaiety throws the perspective of the stage into stark relief. The elaborate gilt and maroon decoration is richly conveyed by loose swirls of deep colour which take on an organic quality, suggestive of movement and warm reflected light. A spectator is shown seated in the darkened theatre box looking at the performance. The ledge of this box, which stands out in sharp relief, is modelled out of thick brown paint while black lines indicate the railings. This unusual perspective emphasises the collaborative nature of live theatre in which the performers, musicians, and the spectators share in the illusion of the drama. It also draws attention to the artificiality of the set and the theatre itself as an extraordinary site where the human imagination is enabled to take flight. Romeo and Juliet was included in Yeats's one-man exhibition at the Engineers' Hall in Dublin in 1927 and was subsequently shown at the Ruskin gallery in Birmingham and the Arthur Tooth gallery in London. It features in many of the reviews of the acclaimed Dublin exhibition. George Russell described Yeats's work as 'intensely personal' noting that in the paintings, 'the psychic temperament is breaking through the limitations of the physical'. Another critic remarked on the 'powerful and almost audacious wealth of conception and composition' of Romeo and Juliet, which ' is bound to be one of the most discussed of the collection'. Finally the international art journal, The Studio, proclaimed that Yeats 'has now acquired a power over his medium which can only be described as masterly'. We are grateful to Dr. Róisín Kennedy for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 423
A PAIR OF LATE VICTORIAN SILVER MENU HOLDERS, each pierced and embossed with cherubs and fruiting vine, by Mappin & Webb, London 1900, 11cm wide; another of easel form, decorated with a resting Cupid, London 1902; and a small silver model of two cherubs upon a bench, import marks for Chester 1898 (4)
Lot 530
A SET OF SIX LATE VICTORIAN SILVER CUP HOLDERS, pierced and embossed with cherubs and scrolling foliage, by William Comyns & Sons Ltd, Birmingham 1897; other silver items to include an oval tobacco box, a cigarette box, a candle snuffer, several engraved trophy mounts/plaques, other small items, a model of a fox (one leg AF), various small Continental pieces, an American bell, and a small quantity of further plated and metal items, approximately 24 oz weighable (qty)
Lot 552
A LATE 19TH/ EARLY 20TH CENTURY CHINESE EXPORT SILVER CHATELAINE CLIP by Wang Hing, relief decorated with dragons within shaped borders, and hung with five various English silver accessories, including a 19th Century vinaigrette by Joseph Willmore; two pencils; a whistle and button hook, overall length 29cm; and a small Chinese model of a junk, on hardwood stand (2)
Lot 74
A CHINESE POTTERY 'HILL' JAR AND COVER AND A MODEL OF A WELL HEAD HAN DYNASTY The jar moulded with various animals including a tiger, lion and buffalo in a rocky landscape, all raised on three short feet and decorated with a green and amber glaze, the well head with tall supports tapering towards the top and terminating in dragon heads, supported on a waisted base, 27.5cm and 38.4. (3) Provenance: from a British private collection, purchased from Adrian Joseph of Allen Management in 1984. The hill jar by repute purchased from King Kong Lee in 1982. 漢 香爐及水井配件來源：英國私人收藏，1984年購於 Adrian Joseph of Allen Management。
Lot 101
A Lledo PLC 15th Anniversary Commemorative 1 of 1000 Wall Display, featuring a 3-dimensional component display of popular Die-cast model, cabinet, boxed; Corgi 'Eddie Stobart' including 58304 Ford Escort Van, 58401 Mercedes 207D Van, others; a Vanguards Limited Edition Del-Boy's Reliant Regal Supervan III; another Llledo; various boxed, Lledo & Cameo models, four Alex Vann framed prints etc.
Lot 102
A Kyosho 1:18 scale die-cast model of a Morgan 4/4 Series II, green, black interior, boxed; The Rolls Royce Collection 24-Carat gold plated limited edition set by Lledo, boxed; a Burago Bijoux Collection Porsche 911 Carrera Racing 1993 cod. 1560, boxed; a Franklin Mint 1922 Rolls Royce Phantom; another Jaguar Mark IV saloon, black; a Corgi Classics Jaguar XK120 soft top, gun metal silver, grey hood, red interior; a Matchbox Dinky Toys 1952 Austin A40 GV4 10-CWT Van; Corgi 97074 Routemasters in Exile limited edition set, boxed etc.
Lot 126
Matchbox Collectibles YAS01-M 1822 Stephenson's Rocket, YAS02-M 1922 Foden Steam Engine, YAS02-M Selby Quarries Yorkshire Steam Engine, YAS03-M Aveling & Porter Steam Roller, YAS04-M 1917 Yorkshire Steam Wagon, YAS05-M 1905 Fowler showmans engine, YAS06-M 1918 Atkinson Steam Engine, YY052/BM Matchbox Inaugural Colletors Edition 1998, 1920 Mack AC, YVT03, Matchbox Collectors Guild Second Edition 1926 Ford Model T & Third Edition 1948 GMC Cab all boxed with inner packaging (9)
Lot 129
Matchbox Models of Yesteryear including Y-4 Model 'J' Dusenberg; Y-3 1934 Riley MPH; Y-2 1914 Prince Henry Vauxhall; Y-14 |1931 Stutz Bearcat; others; a Corgi Classics 97021 AEC Regal David MacBrayne Ltd.; another Scilly Islands Vics Tours Bedford OB Coach; Corgi Classics 08002 Royal Mail Mini Van Set, etc all boxed
Lot 374
Caprice Bourret signed 10 x 8 colour Model Photoshoot Landscape Photo, from in person collection autographed at London TV Studios 2013. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
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627780 item(s)/page