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Lot 1200
An early 20th century circa 1920’s - 1930’s oak dresser. The dresser having and open detachable shelve unit atop over a cupboard with twin drawers and twin panel door cupboard raised on a plinth base. This item has come from a house in owned by Cadbury's factory, in Bourneville village Birmingham, by Bennett Brothers, who supplied furniture for the workers of the factory. Measures, 177 cm H x 153 cm W x 52 cm D
Lot 1220
A contemporary mahogany cylinder chest of drawers having an oval top with a bank of four drawers each with carved panel front decorated with acanthus leaves, with brass pull handles to each raised on cabriole legs together with a contemporary Georgian style tally boy chest on chest of drawers having walnut drawers with serpentine fronts and an oval bathroom swing mirror.Measures, 70 cm H x 42 cm W x 35 cm D
Lot 1363
An early 20th century circa 1900’s wedding cake shop cabinet. The cabinet of a large tall pedestal form with flared top, glass panel sides, single glass shelve to the middle, single full length door to the front raised on a plinth base finished in shabby chic style Measures, 200 cm H x 59 cm W x 59 cm D
Lot 1380
Michael Thonet - A set of six vintage retro early 20th century circa 1920’s Thonet bentwood cafe / bistro dining chairs. The chairs with circular panel seat raised on turned supports having upper peripheral stretchers with spindle gallery back rests. Makers label to the underside. Measures 87 x 38 x 38cm.
Lot 1382
Michael Thonet - A set of six vintage retro early 20th century circa 1920’s Thonet bentwood cafe / bistro dining chairs. The chairs with circular panel seat raised on turned supports having upper peripheral stretchers with spindle gallery back rests. Makers label to the underside. Measures 87 x 38 x 38cm.
Lot 3452
ALIGHIERO BOETTI(Turin 1940–1994 Rom)Aerei. 1983.Kugelschreiber auf Papier auf Leinwand aufgelegt (Triptychon).Verso auf dem mittleren Panel signiert, datiert und beschrieben: Alighiero Boetti 1984 3 fogli inseparabili.70 × 150 cm (jeweils 70 × 50 cm).Mit der Bestätigung der Authentizität durch das Archivio Alighiero Boetti, 11. März 2021, Rom. Das Werk ist dort unter der Nummer: 9760 verzeichnet.Provenienz: - Galerie Susan Wyss, Zürich.- Vom heutigen Besitzer bei obiger Galerie erworben, seitdem Privatsammlung Schweiz."... I would like to have an assistant draw a thousand planes on a sheet with a background bluer than the sky of the nativity scene. They would be precisely executed, drawn from all perspectives and angles, evoking desire. It must be an explosion!" Alighiero Boetti1977 entsteht in einer Zusammenarbeit des Künstlers Alighiero Boetti und des Architekten und Cartoonisten Guido Fuga ein mit Flugzeugen übersähtes Triptychon vor blauem Hintergrund. Schon seit jeher von Flugzeugen fasziniert, nutzt Boetti diese Idee und setzt sie in seiner Serie der "Aerei" um. Unzählige Flugzeuge unterschiedlichen Alters und Formats sowie Flugzeugtyps sind kreuz und quer über dem tiefblauen Himmel verteilt. Sie fliegen in unterschiedliche Richtungen, teils aus dem Bild heraus, teils auf den Betrachter zu. Ein Wimmelbild der Flugzeuggeschichte. Die einzelnen Flugzeuge finden sich in allen Werken dieser Serie, dabei ändert sich jedoch immer die Farbe des Hintergrunds, die Maltechnik, die Grösse sowie der Ausführende. Boetti glaubt an das Konzept der geteilten Kreativität, und so sind es oft Assistenten, aber auch Ungelernte, die die Flugzeuge oder auch einen Teil des Hintergrunds malen. Gleizeitig hinterfragt er auf diese Weise natürlich auch den Zusammenhang von Künstler und Autorenschaft.Der Gegensatz von Ordnung und Chaos spielt in Boettis Werk eine grosse Rolle und wird in den "Aerei" meisterlich umgesetzt. Gegen den ruhigen, strukturierten Hintergrund setzt er das Wirrwarr der Flugzeuge. Während der Hintergrund akkurat und gleichmässig gemalt ist, scheint es für die Flugzeuge keine Vorgaben zu geben. Der Betrachter ist herausgefordert, sich im Bild zurechtzufinden und taucht so in den von Boetti geschaffenen Kosmos ein.
Lot 3470
SAM FRANCIS(San Mateo 1923–1994 Santa Monica)Untitled. 1994.Acryl auf Leinwand.Verso mit den Stempeln: The Sam Francis Estate, der Archivnummer auf der Überlappung: SF94-80, sowie mit der Datierung des Studioassistenten auf dem Keilrahmen: 7-25-94.35,6 × 45,8 cm.Provenienz: - Atelier des Künstlers, Kalifornien (1994).- Galleri Faurschou, Copenhagen (1996).- Kaare Berntsen Collection, Oslo.- Hollis Taggart, New York (verso mit dem Etikett).- Galerie von Vertes, Zürich (verso mit dem Etikett).Ausstellungen:- Los Angeles 1995, Sam Francis: The Last Works. Los Angeles County Museum of Art, 25. Mai – 1. September (mit Farbabb.).- Basel 1997, The Complete Paintings (152) from the Last Studio of Sam Francis. Galleri Faurschou 11. – 18. Juni (Art Basel) (mit Farbabb.).- Kopenhagen 1999, Sam Francis: The Last Works. Galleri Faurschou, 18. März – 5. Juni (mit Farbabb.)- Oslo 2005, Sam Francis-de siste arbeider. Kaare Berntsen Galleri, 12. – 27. Februar (mit Farbabb.).Literatur:- Burchett-Lere, Debra (Hrsg.): Sam Francis. Catalogue Raisonné of Canvas and Panel Paintings, 1923–1994, Berkeley, 2011, Nr. 1756, DVD I (mit Farbabb.).- Ausst.Kat.: Agee, William C.: Sam Francis. Paintings 1947–1990, Museum of Contemporary Art Los Angeles, 1999, S. 51 (Abb.).- Ausst.Kat.: Sam Francis, Museo d’Arte Mendrisio, 1997, S. 20–21 (Abb.) und Ausst. Broschüre (Abb.).- Ausst.Kat.: Sam Francis. Les années parisiennes 1950–1961, Galerie nationale du Jeu de Paume, Paris 1995, S. 39 (Abb.).In den letzten Monaten seines Lebens entstanden, zählt Sam Francis’ vorliegendes Gemälde zur Serie der "Last Works", die allesamt eine wilde Demonstration seines künstlerischen Schaffenswillen widerspiegeln und vom typisch meisterhaften Umgang des Künstlers mit Farbe geprägt sind.1994 durchlebt Francis eine unfreiwillige kreative Pause. Durch seine Krebserkrankung wird eine Lähmung der rechten Hand verursacht, ausserdem ist er für mehrere Monate an den Rollstuhl gefesselt. Da er es sich zur Gewohnheit gemacht hat, mit beiden Händen zu malen, empfindet er es anfangs als sehr unangenehm, nur die linke Hand zu benutzen. Während dieser schwierigen Zeit realisiert der Künstler etwa 170 Gemälde auf Leinwand und Papier, von denen heute 152 erhalten sind ("The Last Works"). Jedem davon wird unverkennbar mit individuellem Datum seiner Fertigstellung auf der Rückseite ein besonderer Stellenwert im Spätwerk des Künstlers zugesprochen. Das vorliegende Werk lässt nichts von Francis’ körperlicher und psychischer Schwäche erahnen, lässt es uns doch in gewohnter Manier an einem visuellen Drama von ursprünglicher Kraft teilhaben. Vor nahezu schneeweisen Hintergrund legt er opulente, aus ozeanischem Blau sich überschneidende Linien, die mit energischen, die gesamte Komposition einnehmenden, tiefroten Spritzern kontrastieren. Francis’ Werk verkörpert in doppelter Hinsicht einen Gegensatz: Die beiden hier verwendeten Primärfarben Rot und Blau finden sich in einem Konflikt zwischen Ordnung und Unordnung, Struktur und Chaos. Denn während die blauen Linien Struktur und Einheit auf der Leinwand verkörpern, stiften die wirren Rottöne auf der Oberfläche des Werkes ein unbändiges Spektakel. Mit dem vorliegenden Werk schafft Sam Francis eines der letzten spektakulären Arrangements von Farbe und Form, die, wie der Künstler gegen seine unheilbare Erkrankunggegen, gegen die weisse Fläche anzukämpfen scheinen und hinterlässt mit unmissverständlicher Lebendigkeit seine Spuren auf der Leinwand.
Lot 162
TENTURE VERTICALE INDIENNE aux fils polychromes sur toile de coton à décor, en panneau central à écoinçons, d'une abondante jardinière fleurie accostée de deux paons, d'où s'élèvent cyprès et tiges florales autour desquelles virevoltent des oiseaux multicolores. Large bordure à décor de tiges végétales et de boteh. Doublée. (Usures et petites déchirures).Inde, fin du XIXe siècle.An embroidered vertical panel, India, late 19th century.185 X 120 CM (72 13/16 X 47 1/4 IN.)
Lot 254
TYMPAN CALLIGRAPHIÉPanneau de forme ogivale formé de six carreaux de revêtement en céramique siliceuse à décor peint en bleu, rouge, jaune et bleu turquoise sur un fond d'engobe blanc, décoré d'une partie d'un verset du Coran (Sourate 2, verset 144), en écriture cursive surmontée d'une composition florale aux tulipes.Dans un encadrement.Probablement Turquie, XXe siècle.A decorative lunette panel of six large tiles with a Quranic inscription, probably Turkey, 20th century.37 X 63 CM (14 9/16 X 24 13/16 IN.), , NOTEL'inscription coranique indique : " Tourne donc ton visage vers la Mosquée sacrée (al-Masjid al-Haram) " (Coran 2, 144).
Lot 255
PANNEAU DE REVÊTEMENT composé de quatre carreaux en céramique siliceuse à décor peint en émaux bleu de cobalt, turquoise, et manganèse sous glaçure incolore, d'un large médaillon central polylobé animé de fleurons sur fond de rinceaux floraux. Dans un encadrement.Proche-Orient, XXe siècle.A 20th century painted ceramic panel of four tiles. À VUE: 38,5 X 38,5 CM (15 3/16 X 15 3/16 IN.)
Lot 158
Cased matched set of six Edwardian silver buttons and two piece buckle by Levi & Salaman (one button marked for Walker & Hall), the circular shaped buttons with a rococo style border enclosing figure playing a musical instrument, approx 1.8cm diameter; the two oval panel buckle similarly embossed with a female being serenaded by a male, 7.2cm long x 4.5cm wide; offered with a pierced metal buckleCondition report: Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Lot 769
A GEORGE I OAK DUODARN CUPBOARD,, early 18th century and later elements, the gallery with three frieze drawers and twin acorn terminals to the overhang, above three panel doors, one inscribed 23 ML 1716; the base section with three further drawers above twin panel doors, a serpentine apron and bracket feet, 154cm high x 136cm wide x 56cm deep
Lot 784
A CONTINENTAL WALNUT AND ASH SECRETAIRE CHEST,, early 20th century, with angled cornice above a cushion front drawer, above twin arched doors flanked by pilasters, enclosing a fully fitted interior of drawers, pigeon holes and secret compartments; above a drawer with baize writing surface and hinged falL front, above two panel doors enclosing further drawers, on a plinth base, 166cm high x 96cm wide
Lot 801
A GEORGE III MAHOGANY AND GLAZED BREAKFRONT BOOKCASE,, late 18th /early 19th century, with Gothic arcaded cornice above a frieze of scrolling foliage and flower heads in low relief, the four glass doors with entwined serpentine astragals with floral embellishments at the intersections; the base section with four panel doors, on a plinth base, 232cm high x 250cm wide x 58cm deep
Lot 815
A PAIR OF KINGWOOD AND TULIPWOOD VENEERED AND GILT METAL MOUNTED SIDE CABINETS IN LOUIS XV /XVI TRANSITIONAL STYLE,, each with three quarter galleried top above a maiden's mask, each panel door set with a Paris porcelain style panel decorated with Watteauesque scene, flanked by putto terms, above serpentine plinth bases, 113cm high, 83cm wide, 36cm deep
Lot 172
Papier mâché to include Earl Grey: a circular snuff box, circa 1831, the cover printed with a head and shoulders portrait in colours entitled Earl Grey & Reform, 93 mm diameter, a framed and glazed box top after Jan Miel, inscribed to reverse Das Wirthskaus an Wege, mach Jan Miel, 19th century, panel 8.2mm, another box with painted scene after Lawrence; a papier mâché cheroot case; a rectangular box painted with a young woman en décolletage (5) Condition Report: Grey with dent to centre and loss, background possibly retouched Miel scene small area of retouching to top of tree Lawrence with losses and rubbing Cheroot, lid damaged- marked to front of dress Rectangular box- heavy rubbing/scratching Condition Report Disclaimer
Lot 186
Y A Louis XV style rosewood, inlaid and gilt metal mounted occasional table, floral marquetery inlaid panel to swept square top, single drawer, 34.5cm wide 73.5cm high, 34.5cm deep Condition Report: generally fair condition- but some veneer lift to bottom of drawer and losses- underside of bottom tier with cracking and losses Condition Report Disclaimer
Lot 214
An oak plank chest or coffer, mid 17th century, bearing stamped or branded ownership initials 'IR' to the front panel, 61cm high, 98cm wide, 36cm deep Provenance: Property from The Manor House, Stanford in the Vale Condition Report: Marks, knocks, scratches, abrasions consistent with age and heavy use, The top hinges have become detached to one side and the top is therefore loose - this will require some attention before use. The top also with warping The lock plate is not original, there are old marks, chips, and losses in this area At least one of the shaped brackets appears to be a later replacement There is looseness to some joints - some pegs protruding from the carcass - overall this coffer may well benefit from some restoration or attention overall Some signs of old worm Please refer to additional images for visual reference to condition Condition Report Disclaimer
Lot 218
Two mahogany wall brackets of similar form, one 19th century the other later and probably made to match, each with rectangular shelf and pierced back panel and support, 46.5cm high, 32cm wide Provenance: Berwick House, Shropshire Condition Report: Bothe with some wear from handling, use and hanging- some losses to extremities. Older bracket with old repairs to lower back support- and some losses- notably around upper pierced sections; Condition Report Disclaimer
Lot 246
A William IV 1822 pattern infantry officer's sword, 32" pipe backed blade etched on both sides in panel with crowned reversed and interlaced WR IV cypher, and "Prosser Maker to the King & Royal Family, London" in frosted panel, brass hilt with crowned WR IV cypher, with turn down inner portion, stepped pommel, fishskin grip, original dress knot (worn), in its brown leather scabbard, 103cms long overall. Condition Report: brass hilt retaining a little original gilt Condition Report Disclaimer
Lot 265
19th century English School The feather plumage Oil on mahogany panel Apparently unsigned 21.5 x 16cm (8¼ x 6¼ in.) Together with 2 further pictures; An oil depicting young woman with servant carrying a fan, oil on panel, possibly overpainted, indistinctly signed possibly "B Delaroche", 26 by 20cm An oil depicting Spanish style young woman standing at a window, bearing remnants of signature for D Pasmore and date 1864, 18.5 by 13cm (3) Provenance: Property from The Manor House, Stanford in the Vale Condition Report: First - craquelure with mostly horizontal cracking. old contact dirt and wear from previous framing- two white paint loss sections to upper left. Very dirty but UV showing retouching throughout notably to upper and lower margins, left of servant etc. Old gifting label to reverse Second- varnish shows very green under UV but there has been considerable restoration and retouching throughout. Loss to bottom right hand margin, odd wide craquelure. Reverse with stencilled design Third- surface very 'wrinkled' dirty but UV showing margin wear- old Christie's style stencil marks to reverse Condition Report Disclaimer
Lot 30
Y An Austrian brass inlaid rosewood grande-sonnerie striking mantel clock, unsigned, circa 1840, the four pillar triple train short duration movement with anchor escapement regulated by half-seconds disc-bob pendulum with silk suspension, and sounding the quarters on a coiled gong followed by the hours on a second larger gong at every quarter hour or on demand via pull trip repeat function, the 5.5 inch circular convex white enamel dial with concentric calendar ring to centre within vertical Arabic hour numerals and outer minute ring, with steel spade hands set behind hinged engine-turned brass convex glazed bezel, the rectangular case with butterfly centred brass scroll inlaid shaped crest over conforming spandrel decoration and line borders enclosing a mask-centred motif beneath dial to front flanked by panel-strung canted angles, the rear with lift-out access panel, on tall cavetto moulded skirt base with further butterfly-centred elaborate brass scroll inlaid decoration within line borders to front over small disc feet, (lacking calendar hand), 47cm (18.5ins) high. Condition Report: Damages to dial including but not limited to; section missing between 4-5, losses around winders, later screw fixing between 10/11, rubbing and marks, margin losses, Case cleaned- sides are faux rosewood, some brass lifting including to cresting Condition Report Disclaimer
Lot 94
An Ottoman silk and metal thread embroidered silk curtain, probably Egypt, the text on this piece, which is possibly a section of four pieces, (texts are incomplete and would have continued on other sides) contains: Qur'an, chapter II (al-Baqarah), part of verse 125 in the top panel; Qur'an, chapter II (al-Baqarah), part of verse 260 and chapter III (Al 'Imran), part of verse 96 in the middle panel; and Qur'an, chapter XVII (al-'Isar'), verse 84 in the lower panel with 'God, exalted be His glory' and 'Muhammad, God bless him and grant him salvation' in its top corners, 263cm x 119cm on later black velvet backing Translates as: and when we made the house [Mecca] and when Abraham said "my lord, now show me how you give life to the dead" the first house of worship established for mankind [Mecca] say, each works according to his manner, but your lord is most knowing of who is best guided in way Each of these sections starts with the blessing "bismillah al-rahman al-rahim" and the words "allah" and "muhammad" have sections on either side of the lowest panel. Provenance: From a Private Collection Condition Report: It has almost certainly been re-backed and with later black velvet surround. The silk field through-out with staining and with perishing leading to discolouration and losses. Metal threads with pulling loose elements and with signs of some later cross stitching repairs. Please refer to additional images which are available on request. Condition Report Disclaimer
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