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Lot 1119
A Japanese carved three wise monkey`s netsuke, 19th/20th century, carved seated back to back in the round, two character mark to the base, height 3.5cm, a Japanese carved netsuke depicting children playing, two character mark to base, height 5cm, a Japanese netsuke depicting rabbits in and out of a basket, two character mark to base, together with two other male carved netsukes, (5).
Lot 1214
A Japanese carved ivory netsuke of a seated dragon, 19th/20th century, carved in the round with two character mark, diameter 5cm, a carved ivory netsuke depicting a mythical bird, reticulated base, height 3.5cm, a carved ivory standing male netsuke, single character mark to base, height 5.5cm, a coloured carved Japanese figure playing instruments with a monkey, two character marks to base, height 5cm, together with three carved ivory animal netsukes, (a lot)
Lot 184
TWO SIMILAR GEORGE III MAHOGANDY AND KINGWOOD CROSSBANDED CARD TABLES LATE 18TH CENTURY Each with a fold-over demi-lune top with green baize playing surface with simple strung friezes on square section tapering supports The larger: 30 in. (76 cm.) high; 36 in. (91.5 cm.) wide; 17¾ in. (45 cm.) deep (2) View on Christie's.com
Lot 281
A REGENCY SATIRICAL PRINT ENTITLED 'POLITICAL CHESS PLAYERS, OR BONEY BEWILDER'D - JOHN BULL SUPPORTING THE TABLE' PUBLISHED BY H. HUMPHREYS 1814 Later framed 20¼ x 28¼ in. overall (51.5 x 71.5 cm.) Together with a Regency engraved print entitled 'A GAME OF CHESS', apparently by Charles Williams (active 1797-1830) published 1802, depicting Napoleon playing chess against Lord Cornwallis, later framed -- 12¼ x 13½ in. overall (31 x 34.5 cm.) (2) View on Christie's.com
Lot 282
A GERMAN PORCELAIN PARCEL-GILT FIGURAL GROUP DEPICTING NAPOLEON AND JOSEPHINE BONAPARTE PLAYING CHESS A.W.Fr. KISTER Blue crossed S mark to underside 8½ in. (21.5 cm.) high Together with another German porcelain figure group depicting chess players, mark to underside -- 5 in. (12.5 cm.) high (2) View on Christie's.com
Lot 286
AN INDIAN BRASS, SILVERED AND BLACK LACQUERED BOX AND CHESS SET 19TH CENTURY The box with playing surface to hinged top decorated overall with scrolling flowers, with a 'Muslim' type chess set decorated with conforming scrolling flowers The box -- 4¼ x 14¼ x 14 in. (11 x 36 x 35.5 cm.); the king -- 2½ in. (6.5 cm.) high; the pawn -- 5/8 in. (1.5 cm.) high View on Christie's.com
Lot 352
A GERMAN FRUITWOOD AND STAINED BIRCH FOLDING GAMES BOARD POSSIBLY LATE 17TH 18TH CENTURY With incised foliate decoration and demarcated for chess playing, the reverse numbered for Glückshaus, the interior for backgammon, restorations 2¾ in. (7 cm.) high; 12½ in. (31.7 cm.) deep; 13¼ in. (33.3 cm.) wide View on Christie's.com
Lot 1245
A late 19th Century table centrepiece, decorated with floral scrolls, swags and masks overall, three arms holding cut glass bowls decorated with flowers and birds and another above, three putti seated on base playing various instruments, all raised on three large acanthus leaf feet, 17 1/2in. (44cms) high.
Lot 2384
A fine Victorian amboyna turnover top card table, the top inlaid with panels of amboyna, crossbanded in purple wood, with metal beaded border, ebonised moulding, opening to reveal a baize playing surface, banded in amboyna and strung with boxwood, the frieze similarly panelled in amboyna and purple wood, raised on square tapered ormolu mounted legs in purple wood amboyna terminating in brass capped castors, c.1860.
Lot 604
"A quantity of costume jewellery to include gilt metal bracelet set with mauve coloured stones and half pearls and matching brooch, ladies gold plated wristwatch, filigree work bracelet, two rings necklaces, gold plated brooch, a fob in the form of a crown with green glass insert and a white metal eternity ring stamped 9c set colourless stones all contained in a green musical jewellery box playing Blue Danube "
Lot 1110
An early 20th century Moorish games table, rectangular, hinging to a green baize lined reversible playing surface with chequerboard and backgammon playing surfaces beneath, with swivel top, shaped frieze and raised on cabriole legs with low shelf inlaid in mother of pearl, bone and a variety of woods. Width 24 ins (see illustration).
Lot 40
Collection of three various original tennis film reels – to incl: (1) "Almanack" newsreel black and white film issued in 1960 (3 minutes 50 seconds complete with sound) – featuring footage of Helen Wills becoming US Open Champion in 1923, shots of Suzanne Lenglen and both of them playing against each other in a mixed doubles match at Nice, France in 1926, there is also footage of her playing Fritz Mercer at Forest Hills. Helen Jacobs is shown too during their meeting in 1933 when Wills had to withdraw due to a back injury. We also see Wills at her "painting studio" with the paintings all around the room as well as examples at an exhibition gallery (produced by Richard B Morris Inc in Association with Hearst Metrotone News); (2) original 1956 News Reel film (9 minutes 14 seconds c/w sound) which includes footage of Shirley Fry beating Althea Gibson US National title, Ken Rosewall defeating Lew Hoad, the National Amateur Rowing Championship in Philadelphia, Golf with Jack Burke and Jim Crow in the Masters, "Needles" coming from the 16th place to win the Kentucky Derby, the Indianapolis 500 and Donald Campbell driving "Bluebird K7" at 225 mph at Lake Coniston; (3) the original 1974 tennis film reel titled "From the West Side Lawn Tennis Club" – original 16mm Black and White Phil (five minutes) featuring John Newcombe playing Tony Roche in Commercial Union Grand Prix (3rd rd) US National Finals at Forest Hills in 1974 – commentary by Pat Summerall and Tony Trabert covering the three final sets of this match and shows interesting archive shots of the old clubhouse and grounds. Each film reel comes supplied with its own DVD copy. (6)
Lot 41
Original 1953 Davis Cup tennis film titled "Slazenger Proudly Present Davis Cup 1953" – original black and white 16 mm (54 minutes with sound) showing extended coverage of The Challenge Round Final held in Kooyong Melbourne. The film begins with a look back at the history of the Davis Cup and shows fine and extensive slow motion archive footage of the early Australian/USA players in action – Norman Brookes, Gerald Patterson, Bill Tilden, Pat O`Hara-Wood and Bill Johnston. The film charts the progress of the United States and Australian teams as they fought their way through to the challenge round. Consequently many world-class players are seen including four Musketeers Cochet, Brugnon, Lacoste and Borotra, Jack Crawford, Alison, Hopman, Perry, Vines, Budge, Bromwich, McGrath, Quist, Kramer, Schroeder, Parker, Mulloy, Trabert, Seixas, Hoad, Brichand, and Talbot. There is in depth coverage of the Challenge round rubbers. This was the fourth consecutive year that Australia had won the title. Couple of very interesting scenes show Billy Knight, Tony Picard, George Worthington, Neale Fraser, Rory Emerson, Rex Hartwig, Ken Rosewall, Lew Hoad, and Mervyn Rose going through their training schedules. Of particular interest is a scene showing Lew Hoad playing his tennis at the tender age of 11 yrs in 1946. Truly a fine archive record of tennis heritage which comes complete with its own DVD copy.
Lot 44
Collection of early tennis items: to incl French ceramic side plate c1900 with an amusing tennis transfer to the centre titled "Le Tennis" complete with the makers stamp Mark to the base (2x minor chips to the underside of the rim), a brass ashtray advertising "Compass lawn tennis balls" and a Spelter figure of a 1920s tennis player playing an over head shot – mounted on plain wooden base (re-mounted) overall 8.5" (3)
Lot 184
1938 Football Charity match Leading Jockey`s v Champion Boxers played at The Den, Millwall Football Club: collection comprising 2x official invitations and 3x press photographs, incl the "ceremonial kick off" showing Alex James, Sam Wragg and Lord Tweedmouth et al – another of Flanagan & Allen et al playing cards in the goalmouth, and one other – all 8 x 10" (5)
Lot 275
Chambers, Robert – "Select Writings of Robert Chambers" contained in complete set of 7 volumes, first published in 1847 by W & R Chambers Edinburgh, covering events in and around Edinburgh – see page 294 titled ‘John Paterson the Golfer` with reference Charles I and the Irish rebellion while playing on the Leith Links and another occasion a match with the Duke of York (James II) and James Paterson against two English Nobleman – needless to say the former won and Paterson was rewarded accordingly - and from this the Far & Sure motto was established - all bound in half leather and gilt marbled boards, original wood engraving title page – hence fine collection (G).
Lot 313
* FECHIN, NIKOLAI 1881-1955 The Little Cowboy signed Oil on canvas, 76 by 51 cm. Provenance: Stendahl Galleries, Los Angeles, label on the reverse. Property from the Estates of Walter and Sonja Caron Stein. Private collection, Europe.Authenticity has been confirmed by the expert V. Petrov.Related Literature: For similar works, see G. Tuluzakova, Feshin, Zolotoy Vek, St Petersburg, 2007, pp. 134 and 162.The Little Cowboy is one of Nikolai Fechin’s most brilliant portraits of childhood dating from his time in the USA. Painted in 1940 it is — like Fechin’s early masterpiece, the portrait of Varya Adoratskaya (1914) — not only an expression of the credo of this artist, arguably the best painter of children of the 20th century, but also in its way an act of escapism, a conscious retreat from the harsh reality of two world wars, day-to-day hardships and various social cataclysms. Fechin was especially fond of children’s portraits. Even with all the problems of working with child models, quickly tiring and constantly fidgeting, the artist was able to assemble a whole gallery of childhood images, executed with an unequalled lightness of touch and effortlessly communicating the essence of his models and, at the same time, notable for the depths revealed in the subject portrayed. Even the commissioned, formal portraits which were the artist’s bread and butter in America are without any trace of mawkishness or sentimentality and distinguished by the highest draughtsmanship and technical virtuosity. It is worth noting that the image of the little cowboy is not just a tribute to the local colour of Fechin’s American environment. He had lived for several years in the little township of Taos, in upstate New Mexico, at the foot of the Sangre de Cristo Mountains, and knew at first hand the life of the farmers and cowboys who inhabited this picturesque mountain terrain and would from time to time sit for the artist. Even later on, after he had moved in 1934 to a permanent home in Los Angeles, he often took the journey — beneficial for his tuberculosis-damaged lungs — south-westwards, to where the rancheros of Arizona and New Mexico as well as the local Indians would continue to model for him. The artist was especially happy to paint such portraits en plein air, under the hot sun, often placing his model against the light, filling the expanse of the canvas with a golden heat haze, and almost always preserving the "study-like" nature of his sweeping, virtuoso painting style. However, this image of the little cowboy is characteristic not only of this free technique: it also offers a striking contrast, with a clear distinction between the painting method adopted for the face, with light, almost invisible brushstrokes, and the impasto rendering of clothes and background. Despite the preparatory sketch-lines in the boy’s face being delicately worked to convey the young equestrian’s composure and concentration, it seems likely that Fechin painted the portrait in a single sitting, given the integrity and the immediacy with which he captures the pose and the child’s passion for horse-riding, and the vivacity and temperament of the painting technique. The spontaneous artistic freedom of the image structure and the precisely conveyed and idiosyncratic riding position of the wiry figure of the child give the portrait an inner dynamism. Yet we do not see the horse itself, nor a wagon — for despite all the child’s preoccupation and the tightly clenched reins the lad, seated by the artist on the corner of a chair or a chest, is only, it seems, playing at horse-riding. But the authenticity of the "cowboying" is of no concern to Fechin, for it merely provides the composition of the portrait and the fundamental reason for that childish seriousness, the boy’s concentration on some distant point. The artist is utterly and completely focused on the image of the boy. He delights in the gentle face, chubby lips, brown eyes and the flush of those apple cheeks. The precise balance between the areas of colour, with the boy’s denim dungarees and red cowboy scarf providing vivid flashes against a subdued grey background, tells us a lot about Fechin, a refined and sophisticated colourist, who can derive from three basic colours a wealth of shades vibrating with light. The Little Cowboy is not only an outstanding example of Fechin’s masterly painting skill but also an expressive image of childhood, the seriousness and gentleness of which embody the authentic lyricism inherent in the very best of this artist’s childhood portraits.
Lot 178
A William De Morgan charger, painted with Classical figures playing musical instruments in a garden setting, in ruby and copper lustre impressed 17, smashed and repaired 36cm. diam. Literature The Designs of William De Morgan Richard Dennis Publications, page 23 plate 1235 for the sepia design illustrated
Lot 126
An Edwardian silver playing card box by George Unite & Sons, Birmingham 1903, the hinged cover with a pop up red leather lined interior for the packs, the bevelled glazed sides inset with playing cards, supported on moulded bracket feet, 13cm (5in) high, loaded **condition report: Marks worn but readable, left hand side glass plays inwards at top and silver upper frame of that side buckled. Dirt and some discolouration to the cards
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79738 item(s)/page