Spielkarten-Leuchter Herz, Meissen, Kanuffschwerter 1850-1924, 1. W., Entwurf Ernst August Leuteritz unter Verwendung alter Formen im Jahr 1876, Modellnr. K 104, Vierpassige, geschweifte Plinthe mit Goldrand. Trichterförmiger Sockelhals mit 4 Widderköpfen, Lorbeerkränzen und Rocaillen. Herz förmiger Korpus mit zwei geschweiften Maskaronenhenkeln. Türkisfarbener Fond mit Goldrand. Schauseiten bunt bemalt mit Spielkarten bzw. Herz in ovalen Medaillons, Postament best., H. 18 cm, Lit. Bergmann, Meissen Figuren, Ergänzungsband für I und II, S. 58Playing card chandelier heart, Meissen, Kanuff swords 1850-1924, 1st choice, design Ernst August Leuteritz using old forms in 1876, model no. K 104, four-piece curved plinth with gold rim. Funnel-shaped plinth neck with 4 rams' heads, laurel wreaths and rocailles. Heart-shaped body with two curved mascaron handles. Turquoise background with gold rim. Fronts colorfully painted with playing cards and heart in oval medallions respectively, pedestal bumped, h. 18 cm, Lit. Bergmann, Meissen Figuren, Ergänzungsband für I und II, p. 58.
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A collection of various playing card sets including bridge and single decks, cased domino sets, a collection of Russian decorative eggs and other decorative eggs in various materials, and a small group of French enamelled kitchenware (a lot).Condition report: As viewed. Please refer to images.
In order to view full details and any additional images for this lot as well as place advanced bids or bid live, please click here to view this lot on the auctioneer's websiteSold by Order of the Family. ‘Our receiving station told us that the message was full of errors in transmission, and that the sending operator had omitted his security check message. Now the operator was a certain Sergeant of Signals, K. A. J. Scott, who had the reputation of being one of the best operators our school had turned out. It was unthinkable that these errors could be accidental. We were forced to conclude that he had been captured and was operating under duress...playing back a set in enemy hands is a skilled operation involving double and sometimes triple bluff...So long as they were convinced that they were fooling us, Scott would be safe...We kept up this elaborate game for three months’ (Baker Street Irregular by Bickham Sweet-Escott refers) The exceptional and important Second War S.O.E. ‘Force 133’ Balkan Operations D.C.M. group of eight awarded to Sergeant K. A. J. B. Scott, Royal Signals and Special Operations Executive, late King’s Royal Rifle Corps, who was ‘dropped’ into Eastern Serbia in April 1944, linking up with Major Frank Thompson’s ill-fated Operation Claridges in support of Bulgarian Communist Partisans. As anti-partisan reprisal operations closed in, Thompson took the fateful decision to lead his private army ‘T. E. Lawrence Style’ into Bulgaria, where, with Scott continuing to serve as wireless operator, they were repeatedly ambushed and fought running battles with the Bulgarian Army and Gendarmerie before being ultimately broken up. Starving and exhausted, Scott and Thompson were encircled and captured before being subjected to brutal beatings and threats under Gestapo interrogation. Learning of Thompson’s execution, Scott was then compelled to extract intelligence from S.O.E. Cairo via his wireless set but, cleverly ensuring that Cairo were not deceived, at great danger to himself he disclosed nothing, surviving fourteen nerve-wracking weeks under Gestapo orders until finally, with the Red Army closing on Sofia, he was released, finding his way to London via Istanbul and Cairo as the only British survivor of the mission. To be sold together with an important associated archive of material, elements of which include the recipient’s unpublished autobiography of his war years; private correspondence regarding the Claridges Mission between the recipient and both the author Stowers Johnson and the eminent historian E. P. Thompson, and a rare surviving S.O.E. original typescript of the recipient’s D.C.M. recommendation Distinguished Conduct Medal, G.VI.R. (6897910 Sjt. K. A. J. Scott. R. Signals) with named card box of issue; 1939-45 Star; Italy Star; Defence and War Medals 1939-45; Efficiency Decoration, G.VI.R., 1st issue, Territorial (6897910. Sjt. K. A. J. B. Scott. D.C.M. R. Sigs.); Bulgaria, People’s Republic, Order of People’s Liberty, breast star, gilt and enamel; Honoured Medal of Georgi Dimitrov 1923-1944, gilt and enamel; together with the recipient’s riband bar, cloth S.O.E. parachute qualification wings and King’s Royal Rifle Corps cap badge, nearly extremely fine (8) £60,000-£80,000 --- D.C.M. London Gazette 9 August 1945: ‘In recognition of gallant and distinguished services in the field.’ The rare, surviving S.O.E. recommendation, not previously publicly available or held by the National Archives - an original typescript of which is with the lot - submitted by S.O.E. Cairo staff officer and author of the renowned S.O.E. memoir ‘Baker Street Irregular’, Major Bickham Sweet-Escott, states: ‘Sergeant Scott was dropped to join a mission in East Serbia on 7 April 1944. The mission crossed into Bulgaria in early May and on 11 May [sic - actually 18 May], was ambushed by a large party of Bulgarian troops. In the fighting the mission and the Partisans to whom they attached were split up, and Sergeant Scott, together with an officer, were the only British survivors. The wireless transmitting apparatus of the mission which had been dropped into a river during the fighting was rescued by Sergeant Scott at a great personal risk of being captured by the enemy. Several days of flight ensued during which the officer was ill and Sergeant Scott was left alone to face heavy responsibilities. By tact and perseverance he managed to keep the depleted Partisan band together. On 31 May, a second ambush was encountered and Sergeant Scott together with the officer were captured. Questioned under threats and beating by the Gestapo and Bulgar Secret Police, Sergeant Scott consistently refused to give away any vital military or technical information to the enemy. He was kept imprisoned until 9 September, at Bulgar anti-Partisan Headquarters in Sofia, and during the whole of this time made every effort to gain what information he could about the enemy’s activities. He was then compelled to work his wireless transmitting set to Cairo, but by great ingenuity succeeded in indicating that he was operating under duress, with the result that the messages thus sent by the enemy completely failed to deceive us. By this behaviour he put himself in considerable personal danger, since had he been discovered, he would certainly have been shot. Throughout the whole period, 7 April to 9 September, Sergeant Scott has shown considerable initiative, fortitude and steadfastness to duty and has thus contributed positively to the work of the Force in Bulgaria.’ Kenneth Alec John Baliol Scott was born on 1 March 1920 in Lewisham, London and was educated at Dulwich College. On leaving school he joined the The Rangers, The King’s Royal Rifle Corps - Territorial Army and was mobilised in August 1939, being quickly promoted to Signal Sergeant. Volunteering for Special Duties at the first opportunity, he was transferred to the Royal Corps of Signals in August 1943 and, before long, identified as suitable for Special Operations: ‘Eventually Kenneth Scott found himself at one of the most important finishing schools of the war: S.O.E. Middle East Training School for Wireless Operators. Men here had been selected (after volunteering) from every type of unit, and anticipated being sent to work behind the enemy lines with partisans in the Balkans, or on small Allied craft in enemy waters - anywhere, in fact, where danger was greatest and communication most vital. It mattered not what their previous military experience had been, for it was this that really united them - the consciousness that they had left unit and regiment behind, and all belonged to the same firm; and this indeed was the cognomen for their outfit: the ‘Firm’, Force 133 of S.O.E.’ (Agents Extraordinary by Stowers Johnson refers) Completing specialist training - including a five jump parachute course at Ramat David, near Haifa, in late 1943 - he was driven to a privileged district of Cairo serving as the home of S.O.E. Middle East H.Q., where he was to spend a lazy three months relaxing in S.O.E. surroundings, enjoying not just comfortable furnishings but Arab waiters, cooks and houseboys, pending further orders. Then, suddenly at midday on 5 April 1944, orders arrived for him to ...
An American Silver Stamp-Box and An Indian Silver Playing Card-Box, The First With Stag Trademark, Possibly for Roger Williams Silver Co., Providence Rhode Island, circa 1900, The Second Apparently Unmarked, 20th Century, the first oblong, the hinged cover chased as a 2 cent stamp, the back engraved with initials, 3.5cm high, the second oblong, each side chased with an animal, the interior fitted for two decks of small cards, 5.5cm high, weight of silver 2oz 13dwt (2)
A pair of Regency rosewood, calamander banded, parcel gilt and simulated rosewood card tablesin the manner of Henry Holland, after the model by Marsh and TathamCirca 1810, each with a swivel-hinged top with canted angles and fluted edges, enclosing a baize inset playing surface, concealing a mahogany-lined interior, on a flared ring turned and reeded inset column, with a concave quadripartite base terminating in winged and volute scrolled lion paw feet, with recessed brass castors, 93cm wide x 46cm deep x 75cm high, (36 1/2in wide x 18in deep x 29 1/2in high) (2)Footnotes:A pair of comparable occasional tables to the offered lot sold Christie's, South Kensington, 2nd July 2014, Ronald Phillips Ltd - Making Room, lot 274 while another similar centre table sold Christie's, 20th-21st September 2004, Property from Two Ducal Collections, Woburn Abbey, lot 1150.The model for these tables derives from designs for Roman candelabrum introduced by the connoisseur Thomas Hope (d. 1842) at his Duchess Street mansion museum and illustrated in his major work, Household Furniture and Interior Decoration, first published 1807, pl. IX and L, No. 3.A further pair of tables, likewise derived from Hope's candelabra patterns, formed part of the drawing room furniture designed by Henry Holland (d. 1806), and supplied in circa 1809 by the Mount Street firm of Marsh & Tatham for Southill, Bedfordshire (G. Jackson-Stops, 'Southill Park, Bedfordshire', Country Life, 28th April 1994, pp.'s 62-67, and F.J.B. Watson, 'The Furniture and Decoration', Southill: A Regency House, London, 1951, pp.'s 29-30, pl. 45).Also, the inset reeded spreading column, concave-sided plinth and giltwood lion paw feet of the offered tables relate to a pair of octagonal tripod tables originally at Oakley House, Bedfordshire, which was fitted for The 5th Duke of Bedford by Holland (Henry Holland, Woburn Abbey, exhibition catalogue, 1971, p. 6 and fig. 8). A pair of tables of this design sold from the collection of Lord and Lady White of Hull, Christie's, New York, 30 April 1997, lot 226, illustrated in E. Joy, English Furniture, 1800-1851, London, 1977, p. 65.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
An important pair of German late 18th century ormolu and brass mounted mahogany 'mechanical' reading/writing/card/games tables attributed to David Roentgen (1743-1807)Circa 1785, each with a triple foldover top, the first hinged top enclosing an inset baize playing surface, the second inlaid with a chess and draughts board, the third surface on one table inset with a baize surface incorporating a hinged rest and a lever-activated opposing 'pop-up' hinged box, enclosing an ebony and stained fruitwood inlaid backgammon playing surface encompassed by ivory playing discs, flanked by two compartments with line-inlaid tambour sliding lids, the other table inset with a gilt-tooled leather surface incorporating a hinged writing rest and a lever-activated opposing 'pop-up' hinged box, enclosing a void interior, each with panel mounted friezes and flute mounted angles, with a catch-activated release for the rear gateleg and a secret drawer, on four detachable screw-in square tapering legs each with two mille raie outer facings headed by collar mouldings, terminating in moulded block and peg feet, each: 99cm wide x 48.5cm deep x 81cm high, (38 1/2in wide x 19in deep x 31 1/2in high) (2)Footnotes:ProvenanceFormerly with Didier Aaron, Paris.Purchased: Koller Auctions, Zurich, 26th March 2015, Furniture, Porcelain and Decoration, lot 1184.Auction ComparablesA single games table of this same type sold Sotheby's, Zurich, 7th December 1994, lot 257. Another similar Roentgen table, albeit a very slightly earlier model dating to circa 1780, sold Christie's, London, 7th July 2008, Important European Furniture, lot 535.Forerunners and Further ComparablesTwo precursors to the offered lot, in terms of form, Neoclassical design and multifunctionality, feature in W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, 2012, New York, fig.'s 24 & 27, pp.'s 108-9 & 116-119, which was published to accompany the important and hugely successful exhibition of the same title held at the Metropolitan Museum of Art, New York in 2012. The first table is dated circa 1774-1780 and the second 1774-1775, and as a result of their earlier dates of production both of these incorporate marquetry which is totally absent on the offered pair.However the closest comparables to the present tables include one, dated 1780-1783, also illustrated and analysed in W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, fig. 45, pp.'s 163-5. And another, circa 1785, that is housed at the Palace of Pavlovsk in St. Petersburg features in both Greber, J.M. Abraham und David Roentgen, Mobel fur Europa, 1980, Starnberg, Bd. 1, S. 235, Bd. 2, S. 320, 321 and in D. Fabian, Abraham und David Roentgen, Das noch aufgefundene Gesamtwerk ihrer Mobel- und Uhrenkunst in Verbindung mit der Uhrmacherfamilie Kinzing in Neuwied, 1996, Bad Neustadt/Saale, fig. 103, p. 62. The New Restrained Roentgen StyleThese 'tables a jeu a quatre variations', examples of which are very rare to come across in pairs, display all of the features typically found on those pieces emanating from the workshop of Neuwied-based David Roentgen during the 1780s. By that time Roentgen's output had become increasingly restrained, incorporating the linear forms and antique elements of the new Neoclassicism. Instead of marquetry which had gradually fallen out of fashion, Roentgen took to simple but costly mahogany veneers with sparingly elegant use of gilt bronze ornamentation, thus completing the process of artistic emancipation from his father, Abraham Roentgen (1711-93). And yet arguably the most notable feature of David's works were now their complex mechanisms, in this case the rising box for 'tric-trac', the lateral compartments with tambour covers, the detachable screw-in legs, and the skilfully concealed, or essentially 'secret', drawer.The Development of Roentgen's Mechanical Furniture The earliest mechanical tables of Neoclassical design by David Roentgen were supplied in 1771 for the country house at Worlitz on behalf of Prince Leopold III Friedrich Franz von Anhalt-Dessau, where they are still located, D. Fabian, Abraham und David Roentgen, 1996, No.'s 47a-b. Roentgen provided a further pair to his main client of the mid-1770s, Prince Charles of Lorraine, Governor of the Austrian Netherlands, but these are now housed at the Museum fur Angewandte Kunst in Vienna, D. Fabian, Op. Cit, No.'s 67 & 68. Both sets employ abundant colourful marquetry but by the 1780s Roentgen had rejected this aesthetic in favour of plain mahogany with delicate mounts and this proved to be preferred by the princely patrons throughout that decade, as evidenced by the Pavlovsk model which was delivered along with many other items to the Russian court from circa 1783 onwards, Op. Cit, No. 103. For his most mechanically complicated pieces, Roentgen worked closely with Peter Kinzing, a highly gifted clockmaker likewise from Neuwied, and after they had supplied Marie Antoinette with an automaton in 1785, the position of Ebeniste Mecanicien du Roi et de la Reine was even conferred upon Roentgen. This was a rare and distinguished Royal appointment which one of the most famous cabinet makers of the 18th century, Jean-Francois Oeben (1721-1763), had previously been honoured with in 1760, during the reign of Louis XV.Famous Admirers of RoentgenInterestingly, it was this mechanical element of Roentgen's output that was held in the highest esteem by his peers and various notable contemporary figures. Roentgen was even revered by the literary, cultural and scientific polymath and major German Romantic, Johann Wolfgang von Goethe (1749-1832) who epitomised the zeitgeist. Goethe, author of the seminal Faust, Parts I and II probably encountered a games table similar to the offered examples while working at Weimar Palace as Privy Councillor to Duke Karl August von Sachsen-Weimar-Eisenach. This is believed to be the case due to an 1810 inventory of the assembly room at the Weimar Palace which documents a: 'game table veneered with mahogany, and decorated with brass mouldings. With a hidden 'Tocadille' [backgammon board]', 3 feet 4 inches long, 1 foot 8 inches deep. By Rontchen.', W. Koppe, Idem, p. 164.Analysis of the Offered LotAt first appearance the present tables are misleadingly simple in form and decoration, but it is clear that Roentgen's choice of superb mahogany veneers is perfectly matched and beautifully highlighted by his restrained, yet visually striking, use of both gilt bronze and brass mounts. The natural grain of the mahogany is effectively manipulated so that it runs horizontally along the length of the leaves whereas the flame figuring is vertical on each frieze. The mounts are brilliantly incorporated into the overall scheme to create a visually thrilling sense of depth. In particular, the projecting mouldings are brought out with bronze applications, the mille raie fields on the front and outer side facings of the legs are gilded, and the classical fluting to the angle blocks are lined with brass.In relation to the mounts, evidently Roentgen was influenced by the practice of contemporary Parisian ebenistes, who ordered their mounts directly from specialists working solely within that field. By 1779 Roentgen was employing the same process and in fact many of his mounts from that date onwards were supplied by the renowned maitre-doreur, Francois Remond (1747-1812) who was also based in Paris, C. Baulez, David Roentgen et Francois Remond, Une Collaboration Majeure dans l'Histoire du Mobi... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
* Wallis (Barnes Neville, 1887-1979). Two sheets of pen and ink matchstick figures by Barnes Wallis, c. 1940s, titled 'Matchstick Professions' at head of each sheet and comprising a total of 38 pen and ink over pencil matchstick figures in various poses, numbered in red pencil adjacent, some spotting and browning to both sheets, pasted on card, each sheet 32 x 20 cm, together with a set of a similar advertising game, comprising12 pieces of board with advertising and humorous cuttings pasted to rectos and numbered in pen or pencil, 5 of the largest cards used being the versos of colour-printed adverts for Empire Tea, 38 x 25 cm, plus a piece of card with pencil 'Answers' to these and other games, not in Wallis's hand, plus 2 complete packs of playing cards by Waddington featuring Wellington and Wellesley aircraft pictures to versos, contained in a homemade hinged wooden box with initials MW (probably Mary, daughter of Barnes and Molly) stencilled to upper lid and sides, and Mary's brother's name and date, 'Christopher Wallis 1945' inscribed to base, 11.5 x 15 x 4 cm, plus a folder of Wallis family wordgames on various sheets including duplicates and photocopiesQty: (a folder)NOTESProvenance: From the family of Barnes Wallis, by direct descent.
A 19th century Henriot mechanical musical box, the 31.2cm drum acting on a 30.5cm comb, (all teeth present), playing eight airs, the hinged lid with original card listing eight airs and numbered 50501, the side hinged to reveal winding mechanism and control levers, with hand-written instructions, 50cm long, 12.5cm high, 15cm deep.
An Edward VII silver playing card Box, by Sebastian Garrard, London, 1904, oblong, the hinged cover opens to reveal compartments for two packs, later engraved on each side with initials, 9.5cm high, 3oz 19dwt; together with: a George V silver trivit, by Adie Brothers, Birmingham, 1922, circular, the openwork mounts over clear glass body, 15.5cm diameter
An early Victorian Irish burr walnut and mahogany inlay folding card table, circa 1840, shamrock shape fold-over top satinwood strung with twist movement, enclosing a lined playing surface, supported on a carved baluster lobe column, raised on a quadripartite base with four cabriole feet on brass castors. 75cm H x 92cm W x 47cm D (94cm unfolded)
A pair of George III figured mahogany and crossbanded card tables, circa 1790, in the manner of Thomas Sheraton, each hinged demi-lune top opening to a baize playing surface, above a sectional frieze, on rectangular tapering legs, terminating in spade feet, each 73cm high, 92cm wide, 44cm deep (when closed) Provenance: Sotheby's, Collection of Colonel Preston, 2nd February 1962
A George II mahogany concertina action card table, circa 1755, the hinged rectangular top with floral moulded edge, opening to a baize playing surface, above a plain frieze and gadrooned apron, on acanthus and cabochon carved tapering cabriole legs, terminating in lion paw feet, 73cm high, 91cm wide, 45cm deepCondition Report: Marks, knocks, scratches and abrasions commensurate with age and use.Some old splits and chips. Small amounts of filler used in places. Larger crack running across approximately half of the top. Baize inset surface is a replacement. It has some wear, discolourations and a few small holes. Some evidence of old worm to underside. Slender block of timber applied to underside of one foot. Some later supporting block to underside. One of these blocks is lacking. Some veneer repairs and sections re-stuck to edge of the inside of the top. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A pair of George III mahogany and satinwood folding card tables, circa 1790, each hinged demi-lune top opening to baize inset playing surface, above the sectional frieze, on tapering square section legs, terminating in spade feet, each 73cm high, 91cm wide, 44cm deep (when open)Provenance: Purchased L Lowenthal, 4 St James' London, 1958
Y A Regency rosewood and brass marquetry card table, circa 1820, with foliate brass inlay throughout, the hinged rectangular top with rounded corners, rotating and opening to a baize inset playing surface, above a tapering rectangular stem, on a concave sided rectangular base and four outswept tapering legs, terminating in brass caps and castors, 75cm high, 91cm wide, 45cm deep
Y A pair of Regency rosewood card tables, circa 1825, in the manner of William Trotter, each hinged rectangular top rotating and opening to a baize inset playing surface, above a tablet moulded frieze, the U-shaped support on a patera terminal and four acanthus carved outswept tapering legs, terminating in lion paw cast caps and castors, each 72cm high, 90.5cm wide, 43cm deepFor a closely related pair of card tables see, Christie's, London, English Furniture, 8th July 1999, Lot 115 (£25,300).
A George II mahogany folding card table, circa 1750, the hinged rectangular top opening to baize inset playing surface, above a plain frieze, on foliate carved tapering cabriole legs, terminating in claw on ball feet, 73cm high, 86cm wide, 43cm deep (when closed) For a remarkably similar example of card table see, Christie's, London, Important English Furniture and Carpets, 24th November 2005, Lot 21 (£7,200). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Baize inset playing surface is later replaced. It has the expected wear, some discolouartions and is cut along the line of the fold. Some old veneer repairs to frieze. Sections of loss to veneer at 'teeth' of hinged rear frieze. Some later blocks to underside. Glue reside visible to underside at some of the joins. Old glued split to one foot. One leg with neatly executed and disguised spliced repair. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A George II Irish mahogany card table, circa 1750, the hinged rectangular top with rounded outset corners, opening to baize inset playing surface and counter wells, above a shaped apron centred by a carved shell motif, on shell carved tapering cabriole legs, terminating in paw feet, 74cm high, 90cm wide, 51cm deep
Pablo PicassoTête D'Homme (LE 14 AOÛT 1969) Tuschfederzeichnung auf bräunlichem Karton 23 x 17,5 cm Unter Glas gerahmt. Oben links datiert 'le 14.8.69', darunter mit Bleistift signiert 'Picasso'. Rückseitig formatfüllend das gezeichnete Datum. - Der vorderseitig gleichmäßig gebräunte Karton in den linken Ecken jeweils mit schwachen oberflächlichen Stauch- und Faltspuren, die rechten Ecken minimal bestoßen. Insgesamt in guter Erhaltung.Zervos Vol. 31, 377 mit Abb. S. 109ProvenienzPrivatbesitz Nordrhein-Westfalen; Lempertz Auktion 822, Moderne Kunst, International Auctioneers, 4. Juni 2002, Los 12; Rheinische Privatsammlung; Verkauf zugunsten des Vereins der Freunde des Wallraf-Richartz-Museums und des Museum Ludwig, KölnAusstellungenDüsseldorf 1980 (11. Westdeutsche Kunstmesse, mit rückseitigem Rahmungsaufkleber)Von Picasso gibt es aus diesen späten Jahren eine Fülle von Porträts, am bekanntesten sind seine "Portraits Imaginaires", teils humoristische, teils grotesk überzeichnete Darstellungen und Interpretationen menschlicher Physiognomie und ihres Ausdrucks. Ausgestattet mit dem reichen Zierwerk historischer Kostüme, werden Glanz und Grandeur eines vorrevolutionären Zeitalters beschworen. Etwas anders geartet und weniger heftig erscheint das hier vorliegende Porträt eines bartlosen Mannes en face. Picasso schreibt ihm das Tagesdatum ein, das die dichte, fast serielle Produktion des Künstlers in diesen Jahren systematisch begleitet und dokumentiert. Der mit wenigen winkligen Strichen angedeutete Blick des markanten Kopfes ist wach und intelligent auf den Betrachter gerichtet, der Mund resolut und schmal, die dichten Brauen gehoben und in der Stirn zusammengezogen. Ein weites Hemd mit offenem Kragen kleidet ihn viril, aber durchaus unprätentiös. Die Assoziationen bleiben offen, ob es sich nicht um einen Typus aus dem 18. oder frühen 19. Jahrhundert handeln könnte... die Rückseite des Porträts wiederholt das Tagesdatum in zusätzlicher, formatfüllender Zeichnung von ausgesprochener Zierlichkeit. Picasso spielt mit zeichnerischen Elementen wie beiläufig, zum immerwährenden Vergnügen des Betrachters und Kunstliebhabers. Pablo PicassoTête D'Homme (LE 14 AOÛT 1969) Pen and ink drawing on brownish card 23 x 17.5 cm Framed under glass. Dated 'le 14.8.69' upper left, signed 'Picasso' in pencil below. On the verso, filling the format, the drawn date. - Minor superficial traces of compression and folding on the recto of the evenly browned card in the left corners, the right corners minimally bumped. Overall in fine condition.Zervos Vol. 31, 377 with illus. p. 109ProvenancePrivate possession, North Rhine-Westphalia; Lempertz auction 822, modern art, International Auctioneers, 4 June 2002, lot 12; Private collection, Rhineland; To be sold on behalf of the Verein der Freunde des Wallraf-Richartz-Museums und des Museum Ludwig, Cologne.ExhibitionsDüsseldorf 1980 (11. Westdeutsche Kunstmesse) (frame label verso)There is a host of portraits by Picasso from these late years; the best-known of them are his “portraits imaginaires”, sometimes humoristic, sometimes grotesque, exaggerated presentations and interpretations of human physiognomy and its expression. Embellished with a plethora of decorative elements citing historical costumes, they conjure up the magnificence and grandeur of a pre-revolutionary era. This portrait of an unbearded man facing the viewer seems to be in a different and much less exaggerated style. Picasso includes the date, something that accompanies and documents the artist's intense, almost serial production in these years. Though sketched with just a few angular lines the gaze that meets us from this striking head is both alert and intelligent, the mouth is resolute and narrow, on his forhead the bushy brows are raised in a concentrated manner. A loose shirt open at the neck presents him as both virile yet unpretentious. The associations remain open as to whether he might not be a type from the 18th or early 19th century... the backside of the drawing repeats the date, filling the format, with graceful delicacy. Picasso delights in playing with artistic elements and almost casually manages to provide for the perpetual amusement of the observer and connoisseur.
AN EDWARDIAN SILVER HEART SHAPED TRINKET BOX, with pin cushion cover, Birmingham 1905, 9cm, a late Victorian silver mounted desk blotter, with pierced decoration, London 1895, an Edwardian silver mounted watch holder, Birmingham 1905, an American silver mounted playing card holder by Gorham, stamped Sterling, and a silver small ring tree and pen wipe (6)
Attributed to HRH Victoria, The Princess Royal (1840-1901)Study of a Vestal Virgin playing a harppencil heightened with white, on buff paper laid to card15 x 13cm, unframedSold with a copy of the book 'Queen Victoria's Sketchbook' by Marina Warner, published by Macmillan London, 1979.Provenance: Horton Lodge, Windsor, Berkshire.The Princess Royal, or 'Vicky', as she was known in the family, and her siblings were taught by the watercolourist Edward Henry Corbould (1815-1905). The Princes and Princesses seem to have had a fond relationship with Corbould and gave him many of their works as presents. Jane Roberts, in Chapter 4 of her book 'Royal Artists' (1987) discusses the tuition Corbould gave to the Royal children and notes that his pupils often made him presents of their work which he carefully preserved and annotated. There are two drawings by HRH Princess Victoria owned by Corbould now in the British Museum.Condition report: Unframed and stuck to card. Some discolouration and foxing.
A TURNED BOXWOOD AND EBONY CHESS SET the kings 10.3cm high together with a set of draughts pieces, all contained within a folding leather draughts and chess board case in the form of two books; and various playing cards, games board and four jigsaw puzzles Condition: the chess set with one ebonised knight in need of regluing top to base, the folding chess board with wear overall and some slight losses and marks, three of the four jigsaws in plastic bags and of unknown subject or completeness, the card games used
Cricket Glen McGrath signed and mounted Australia display. A white card signed by Australia cricket legend Glen McGrath professionally mounted with a colour photo of McGrath playing for Australia. Piece measures approximately 15 x 10. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Football David Seaman signed and mounted display. A white card signed by the England legend professionally mounted with a colour photo celebrating while playing for England. The piece approximately measures 12. 25x 15. 5. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
AN INDIAN CAVALRY PRESENTATION TRAY, A PIPE RACK OF SKINNER'S HORSE AND FOUR ASSORTED CARD CASES A massive oblong silver-plate tray, 24 in x 18 in, the rim with indented corners, engraved with a regimental device of the King's crown above crossed lances, two scrolls, one inscribed SKINNERS HORSE, the other HIMMAT-I- MARDAN-I-KHUDA, and DYO monogram, above another inscription: PRESENTED TO / MAJOR AM DANIELS / ON THE OCCASION OF HIS MARRIAGE / BY THE OFFICERS OF THE / 1ST DUKE OF YORK'S OWN SKINNER'S HORSE / 1ST NOVEMBER 1922; together with an ornately carved wooden pipe-rack, designed to fold flat, with holes for six pipes, the back with regimental device as above, within a circle, and a lower circle containing the monogram AMD (presumably AM Daniels), minor damage to upper circle; a photograph of a lady, in a plain-edged oblong silver frame (HM Birmingham 1920); a textured black leather case for two packs of cards by De La Rue, with silver corners (HM London 1905/6), and green silk lining to the lid and front (minor wear); a case in the form of a book with mottled cover and spine inscribed BRIDGE MARKERS containing two packs of cards; a cardboard packet inscribed DE LA RUE Society PLAYING CARDS, containing two packs of cards in their unopened wrappers; and a blue cardboard box also containing two packs (probably not a pair) (7)
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