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Lot 717
Frankreich - - Description des festes données par la ville de Paris, à l'occasion du mariage de Madame Louise-Elisabeth de France & de Dom Philippe, Infant & Grand Amiral d'Espagne les vingt neuvième et trentième aout mil sept cent trente-neuf. Mit gestoch. Titelvign., 1 Textkupfer und 13 (8 doppelblattgr.) Kupfertafeln von J.F. Blondel u.a. Paris, Le Mercier, 1740. 22 S., Taf. Imperial-Folio. Dunkelroter Maroquin d. Zt. mit reicher Rückenverg., Deckelbordüren mit Eckfleurons, Steh- u. Innenkantenverg. u. Wappensupralibros (etwas berieben u. bestoßen, Deckeln etwas beschabt und mit leichten Kratzspuren). Cohen-Ricci 288. Lipperheide Dg 19. Ornamentstichsammlung 3012. Palau 70995. Vinet 519. Lotz, Feuerwerk, 68 und 119. - Prachtvolle (und einzige) Ausgabe über die Vermählung Louise-Elisabeth von Frankreich mit Philippe von Bourbon, dem 2. Sohn von Philippe V. von Spanien. Diese Festlichkeiten, die wahrscheinlich die spektakulärsten des 18. Jahrhunderts waren, wurden von einer großen Anzahl von Architekten und Handwerkern geplant, allen voran Giovanni Niccolò Servandoni (1695-1766), der die Dekorationen entwarf und ausführte. Die Abbildungen zeigen die gesamte Seine zwischen der Pont-Neuf und der Pont Royal wie folgt: Übersichtsplan des Seine-Abschnitts zwischen Pont-Neuf und Pont Royal, Aufbau auf der Pont-Neuf für das letzte große Windrad, achteckige Insel für die Musiker in der Mitte der Seine, die überdachte Loggia am Louvre, von der aus das Königspaar das Schauspiel verfolgte (Vorder- und Profilansicht), zwei Tische mit beleuchteten Booten, ein Plan der Aufbauten, die entlang des Seineufers errichtet wurden, um die Zuschauer zu beherbergen, eine prächtige Ansicht der letzten Momente des Spektakels mit den von Zuschauern überfüllten Ufern des Flusses, die das Wasserspiel, die Illuminationen und das Feuerwerk bewundern, Pläne und Schnitte des Hôtel de Ville, die den nächtlichen großen Ball zeigen. Darunter auch die doppelblattgroße Tafel mit dem Feuerwerk auf der Seine zwischen Pont Neuf und Pont Royal, "das heißt auf einer Fläche von beinahe 950 m. Länge, ein Feuerwerk von einer solchen Ausdehnung, wie es wohl nie wieder erreicht worden ist" (Lotz 63). - Die Vorsätze mit zeitgenössischen türkischen Marmorpapier. Seiten meist sauber, nur seltener etwas fleckig bzw. fingerfleckig, bzw. wenige Bll. minimalen Wasserrand am Außenrand. - Insgesamt noch gutes Exemplar des prachtvollen Festbuches. France. - With engraved title vignette, 1 text copper-plate and 13 (8 double size sheet) copper-plates by J.F. Blondel et al. Contemp. dark red marocco with rich gilt to spine, bordures of the cover with floral corner pieces, gilt to standing edges and inner boards and armorial bearing (slightly rubbed and bumped, some scratching to sides). Splendid (and unique) edition. - Gorgeous (and only) edition about the marriage of Louise-Elisabeth of France with Philippe of Bourbon, 2nd son of Philippe V of Spain. These festivities, probably the most spectacular of the 18th century, were planned by a large number of architects and craftsmen, most notably Giovanni Niccolò Servandoni (1695-1766), who designed and executed the decorations. The illustrations show the entire Seine between the Pont-Neuf and the Pont Royal as follows: General plan of the Seine section between Pont-Neuf and Pont Royal, superstructure on the Pont-Neuf for the last big windmill, octagonal island for the musicians in the middle of the Seine, the covered loggia at the Louvre from which the royal couple watched the spectacle (front and profile view), two tables with illuminated boats, a plan of the superstructures, erected along the banks of the Seine to accommodate the spectators, a magnificent view of the final moments of the spectacle with the banks of the river crowded with spectators admiring the waterworks, illuminations and fireworks, plans and sections of the Hôtel de Ville showing the nightly grand ball. Among them, the double-page panel showing the fireworks on the Seine between Pont Neuf and Pont Royal, "that is, on an area of almost 950 m. Length, a fireworks display of such an extent as has probably never been achieved again" (Lotz 63). - Endpapers with contemporary Turkish marbled paper. Pages mostly clean, only rarely somewhat stained or fingerstained, respectively, a few pgs. minimal waterstains at the outer margin. - Overall still a good copy of the magnificent festive book.
Lot 892
NASA - - Sammlung von 8 Original-Farbphotographien der NASA. 1996-1998. Vintages C-Print auf Kodak-Papier. Maße je 27,5 x 20 cm. Mit NASA Text recto und verso. - Enthält: Nr. STS077-716-050 (Pacific Ocean and California with Spacehab-4's Module, picture taken from the space shuttle Endeavour). Nr. STS070-702-008 (TDRS-7 and IUS at moment of release from Discovery's cargo bay). Nr. STS077-711-054 (Spartan 207 free flyer held in the grasp of RMS, picture taken from the space shuttle Endeavour). Nr. STS082-719-002 (Astronauts Joseph R. Tanner and Gregory J. Harbaugh on Discovery's RMS arm). Nr. STS088-719-071 (Control and connecting module in Endeavour's cargo bay). Nr. STS086-387-014 (Solar array panel on Mir Space Station). Nr. STS087-341-004 (Backdropped over Africa Takao Doi during a EVA). Nr. STS088-341-015 (Russian-built FGB approaches Endeavour). - Eine Photographie mit Knickspur an einer Ecke. Teils etwas vergilbt. Insgesamt gut erhalten. Collection of 8 original colour photographs of NASA. 1996-1998. Vintages C-print on Kodak paper. - With NASA text recto and verso. - Contains: see above. - One photograph with a crease at one corner. Partly a little bit yellowed. Overall in good condition.
Lot 159
Victorian gold lava and stone set cameo bracelet, three silver pocket watches including R C. Bird Hull key wound lever, The Veracity Masters Ltd, Rye lever, Carmichael Rotary, Dan Dare pocket watch and a collection of wristwatches including Thomas Russell & Son, Condition Report:R C Hull watch working dial good , crack to glass, The Veracity not currently functioning, Dan Dare-missing back case not working, Thomas Russell working, lava cameo one panel broken, to panels cracked/ damaged
Lot 107
Two 19th century Lithophanes, the intaglio graduated translucent porcelain panel, reveals an image en grisaille, when presented to a light source, one image depicts a girl with her cat, the other a village family, 18.5cm x 15.5cmCondition Report: Both in good condition, a little dirty, KPM 491 on the family, KPM 458 on the girl.
Lot 176
W.I. Broadway & Co. A silver and enamel powder compact, the front decorated with an opalescent guilloche panel of radiating scallop form, with floral borders, Birmingham 1938, 7cm square, gross weight: 87gCondition report: Condition good overall, the enamel isn’t chipped or cracked, some scratches to silver, clasp good, missing the powder holding fabric liner / puff
Lot 287
An Art Nouveau painted wooden panel, in the manner of the Glasgow school, depicts a young woman full length, in a landscape, beside boughs of blossom, the panel edge is bevelled farming frame effect, stamped 'M.Bruce, 1910' to the reverse, 71cm x 28cmCondition Report: The panel has bowed / warped a little, there are some dents / scratches to the edge and image
Lot 221
17TH CENTURY-STYLE TIBETAN PAINTED & LACQUERED STORAGE TRUNK, decorated with a Buddhist jewel in a lotus flower within shaped quatrefoil panel, cloud scroll spandrels, below cusped raised rim, hinged lid, iron clasps and lock, 125w x 43d x 60cms hWe estimate it to be late nineteenth century.
Lot 259
§ Gary Hume (British 1962-) Dolphin Painting No.3, 1991 signed, titled and dated (to reverse of each panel), gloss household paint on board, in two parts(each panel 208.5cm x 139.5cm (82in x 54.9in); overall 208.5cm x 279cm (82in x 109.8in))Provenance: Matthew Marks Gallery, New York; The Boston Children's Heart Foundation, Boston; Sotheby's, London, 7 February 2001, Lot 17.Footnote: ‘The doors swing to and fro, all day and all night long…’ (Adrian Searle, ‘Gary Hume’, Frieze, 5 June 1993, online). The Door Paintings hold a foundational place in Gary Hume’s oeuvre, and have often been discussed as seminal works. Made up of around 50 paintings, ranging from the elegant and reflective Magnolia and Dolphin doors of the late 1980s and early 1990s to the starker and more luminous colour paintings of the early 2000s, they are a reflection of Hume’s meditations on the every day. Hume came to international prominence after graduating from Goldsmiths College where he was a member of the Young British Artists group. He participated in the 1988 exhibition Freeze, organised by Damien Hirst, that marked the emergence of this new art movement, including contemporaries such as Tracey Emin, Agnus Fairhurst, and Mat Collishaw. In 1996, Gary Hume was nominated for the Turner Prize, and three years later he represented Great Britain at the Venice Biennale in 1999. In Hume’s Dolphin Painting No. 3 from 1991, the viewer looks at the structure of a double door, made up of neutral hues, with faint indications of circular windows, and in the context of a hospital they act in a barrier between life and death. Hume explained ‘I went to St Bartholomew's Hospital with a tape measure and a piece of paper, measured numerous doors and made schematic copies of them. I used house paint in an institutional colour, magnolia, which is a colour of no choice…it was about democratic use of the symbol of the door. I had to use a totally democratic door. That's a hospital door the institution of the hospital won't care whether I'm Gary Hume the artist or Gary Hume the dustman. At the point of crisis I will be passing through those doors, so I wanted to make them democratic. I'm not naming the political, but the human. (Gary Hume, quoted in 'Brilliant': New Art from London, exh. cat., Walker Art Center, Minneapolis, 1995, p. 45) The series refers to the metaphorical idea that doors represent passageways into an array of internalised experiences in reality and in painting. These life-size representations of hospital, museum, or cafeteria doors occupy a space between abstraction and reality due to their largely monochromatic and simplified formation that contained almost-figurative elements that accurately recall real doors. Hume’s blend of the mysterious nature of an unpassable doorway combined with the fundamentally domestic and everyday nature of their institutional context allows the viewer to instantly connect to the works and reflect upon the sublimity and uncertainty of domesticity. The reflective nature of the work also contributes to its' success, as Hume said: '... it reflects the environment which the works are shown in... everything would be reflected within the painting, including yourself... So they made you think about light and about where the paintings begin and end.' (A. Searle, "Beyond the Face of the Door", in Gary Hume, exh. cat., London, Whitechapel Gallery, 1999). Hume’s later works continue his interest in everyday objects and materials, as he continues to employ household gloss paint on aluminium panels to explore a simplified palette and themes of everyday life and popular culture. Around 2005 Hume revisited the Doors series, arranging them in pairs as lovers and anthropomorphising them to continue to develop this interest, blending the sublime with the mundane. Today Hume’s work is held in numerous prominent public and private collections, including the Tate in London, Museum of Modern Art in New York and the Art Institute of Chicago amongst many others.
Lot 375
MARIANNE VON TUCKA; a stoneware slab vase with coloured panel and incised line decoration, height 21cm. (D) Provenance: Purchased from Lund Gallery, Easingwold, 2007.Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 161
A Chinese carved jade panel, possibly Ming/Qing, carved with two chilong and lingzhi, on a square base with re-entrant corners, 6.2cm; four later carved jade pendants, carved with a dragon, a chiming stone with flowers and longevity symbols and three interlinked rings.No visible faults, in good condition
Lot 223
A Chinese porcelain octagonal vase, Qing, 19th century, painted in the famille rose palette, the waisted neck with panels of Buddhist symbols, peony and bats below a yunwen border and gilt rim, each panel on the main body painted with birds and flowers, between ruyi head and foliate scroll border, the base with lotus flowers, 57.5cmA large section of the base looks as if it may have been off, as there is restoration around 90% of the foliate scrolling band, there is also restoration down one vertical section between the scrolling band and the foot. The underside of the vase has been oversprayed. The vase has been known in the family as is for many decades in its current condition.There are four panels that have signs of restoration and overspraying in the top half. The restoration is good and not obvious from afar but noticeable when close up.
Lot 247
A collection of Chinese jades, comprising a white and russet carving of two chilong, a white jade prowling mythical beast, a panel with a goose and lotus leaves, pendants, buttons, snuff bottles and others (approx 17 items)Qty: 17The smaller snuff bottle has a bruise on the side and two small rough chips. The larger snuff bottle has a rough patch on the side and a natural flaw on the opposing side. The mouth on both snuff bottles are slightly uneven. The large flower button has two small rim chips. The small rice pattern pendant has a small bruise to one corner. The chilong carving has some scuff marks one the high poiints.
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