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Click here to subscribeAn early to mid 20th century oak combination snooker dining table, by E.J. Riley Limited, Accrington, rectangular top with four leaves enclosing a baize lined slate playing surface, cabriole legs, ball and claw feet, 74.5cm raising to 83.5cm high, 197cm long, 104cm wide; various accoutrements
A collection of books relating to musical instruments including 'Le Violins Venetian Instruments, Paintings and Drawings', 'History of the Violin' by Sandys and Forster, pub. William Reeves 1864, 'The History of Violin Playing from its Origin to 1761' by David D Boyden, 'More about the Double Bass' by Raymond Elgar no.157 from a limited edition of 1000 copies and 'The Oxford Companion to Music 9th Edition' (5).
COLLOT FOR SEVRES PORCELAIN; a pair of impressive pedestal vases and covers with ormolu mounts and handles, the dome covers set with acorn finials and gilt decoration above the main bodies painted in panels with cherubs playing musical instruments and writing to the front and musical instruments to the reverse, painted marks, height 51cm.Light wear to the gilding throughout but good condition.
A 19th century Swiss musical box, the lever wind mechanism playing eight airs on a 23.4cm cylinder, the tune sheet and movement numbered '13160', width 51cm (later applied brass plaque to lid).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A late 19th century Swiss music box, the lever-wind mechanism playing eleven airs on a 23.5cm cylinder and six bells with butterfly hammers, the part rosewood case with transfer printed British Royal coat of arms, width of case 60cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009).Untitled.Mixed media on paper.Signed in the lower right corner.Size: 92 x 62 cm; 105,5 x 74,5 cm (frame).Painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on atmospheres, themes, objects or graphics from everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.
ALBERT RÀFOLS CASAMADA (Barcelona, 1923-2009).Seria Herzegovina.1987Mixed media on paper.Signed and dated in the lower right-hand corner.Provenance: Private collection.Measurements: 43 x 59 cm; 51 x 66 cm.After a brief figurative period, the 1950s gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1980s and as his work progressed, it became increasingly closer to plastic poetry, filled with sensations and emotions, which can be observed in signs that veiledly refer us to everyday objects. Likewise, there is a clear protagonism of colour, which now fills the scenes, creating delicate and enveloping atmospheres.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on the atmospheres, themes, objects and graphics of everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.
ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009)."Gargal", 1986.Watercolour, pencil and crayon on paper.Signed and dated in the lower left corner.With Joan Prats Gallery stamp on the back.Provenance: Private collection.Measurements: 32.5 x 69 cm; 48.5 x 78 cm (frame).After a brief figurative period, the 1950s gave way to a more schematic and structured conception of reality, with a clearly abstractionist slant, which he would cultivate throughout the rest of his life. During the 1980s and as his work progressed, it became increasingly closer to plastic poetry, filled with sensations and emotions, which can be observed in signs that veiledly refer us to everyday objects. Likewise, there is a clear protagonism of colour, which now fills the scenes, creating delicate and enveloping atmospheres.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on the atmospheres, themes, objects and graphics of everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.
A circa 1900 hand-painted pen or glove box decorated in the style of Mabel Lucie Attwell or similar, bearing medallions depicting figures with white cats and various children playing to the sides, the top with inscription "Every night my prayers I say and get my dinner every day...", bearing seal mark to base of young girl seated with box on her lap, inscribed to the interior "This pencil box belongs to me Nora Heap", containing a white metal page marker and two pens
The G.C.I.E. set of insignia attributed to Charles, Lord Hardinge of Penshurst, sometime Viceroy of India and Grand Master of the Order The Most Eminent Order of the Indian Empire, G.C.I.E., Knight Grand Commander’s set of insignia, comprising sash Badge, 87mm including crown suspension x 60mm, gold and enamel; breast Star, 91mm, silver, silver-gilt, gold and enamel, with gold retaining pin, complete with full sash riband, some very minor enamel damage to badge, otherwise extremely fine and rare (2) £6,000-£8,000 --- Provenance: Richard Magor Collection, Dix Noonan Webb, July 2003 (when sold alongside the recipient’s other honours and awards) Lord Hardinge was created G.C.I.E. and Grand Master of the Order upon his appointment as Viceroy of India in 1910. The Right Honourable Sir Charles Hardinge, 1st Baron Hardinge of Penshurst, K.G., G.C.B., G.C.S.I., G.C.M.G., G.C.I.E., G.C.V.O., I.S.O., Privy Counsellor, (1858-1944), was the younger son of the 2nd Viscount Hardinge, and was educated at Harrow and Trinity College, Cambridge. He entered the Foreign Office in 1880 and rose rapidly to become British Ambassador at St Petersburg, 1904-06, and, as Permanent Under-Secretary of State for Foreign Affairs, head of the Foreign Office. One of the most brilliant diplomatists of his time and close friend and trusted adviser of Edward VII, he was raised to the peerage as 1st Baron Hardinge of Penshurst in 1910, when, forsaking the courts and chanceries of Europe which he knew so well, he fulfilled his lifetime’s ambition to follow in the steps of his grandfather, the Peninsular veteran who was Governor-General of India at the time of the First Sikh War, by becoming Viceroy of India. Hardinge arrived in India in November 1910, ‘full of enthusiasm for his great undertaking; a supremely self-confident figure, tall, spare, upright, with a high forehead and trim moustache, looking younger than his fifty-two years’, at his side a Vicereine who was to acquire a reputation for being every bit as clever as her husband. Hardinge’s first challenge was to reunite Bengal following partition in 1905 which had been the cause of terrorism and assassination attempts during his predecessor’s time. The unification of Bengal to form a Presidency under a Calcutta-based Governor sent out from home gave rise to the momentous decision to move the Imperial capital from Calcutta to Delhi. The move which was to become the principal legacy of Hardinge’s reign was announced by the King-Emperor, George V, at the Delhi Durbar in December 1911 – this third and last of the great Delhi gatherings being by far the most spectacular costing £660,000 against Curzon’s 1903 expenditure of £180,000. In March 1912 the Hardinges vacated Government House in Calcutta to make way for the new Governor of Bengal, and took up residence in Delhi, occupying a large bungalow which was to serve as the winter residence of the Viceroys for the next seventeen years until Edwin Lutyens’ grand design for the Viceroy’s House, New Delhi, was finally completed. Hardinge had strong views on style yet insisted on a woefully inadequate construction budget and a demand for speed that was far from conducive to producing timeless architecture in the grand manner. Indeed Hardinge’s role as patron to Lutyens has been described as ‘one of the classic conflicts of architectural history, comparable with that of Michelangelo and Pope Julius II’. Hardinge’s persistent urging was important however in ensuring that tangible progress was made before outbreak of war, which otherwise would probably have caused plans for the new Imperial capital and a world-class palace to be dropped. In December 1912 Lord and Lady Hardinge made their official entry into Delhi riding in the silver State howdah at the head of a long elephant procession of chiefs and high officials. As they passed through the crowded streets of the old city Hardinge remarked to his wife that something terrible was going to happen. A few moments later his premonition became reality when an anarchist threw a nail bomb at them from an upper storey window causing an explosion which could be heard up to six miles away. Initially it seemed that no harm had been done, but as Hardinge retrieved his topi which was passed up on the end of a lance, Lady Hardinge glanced round to see that the attendant who held the umbrella was dead, ‘his shattered body entangled in the ropes of the howdah’. She then noticed a rent in the back of her husband’s tunic and blood flowing freely from it. In the next instant Hardinge fell forward unconscious. With the help of aides, Lady Hardinge managed to get her husband down from the elephant, which was too terrified to kneel, by means of a hastily assembled pile of packing cases. As Hardinge lay on the pavement with a burst ear-drum among his injuries, he briefly came to and ordered the procession to proceed as though nothing had happened with his Finance Member standing in for him. A car whisked the Viceroy away to Viceregal Lodge, but the servants had all gone to watch the procession and it was left to Hardinge’s twelve year old daughter, Diamond, to make up a bed. A succession of operations to remove nails, screws, and gramophone needles with which the bomb was packed ensued. More serious than his physical injuries however was the psychological one which appeared to make him evermore conciliatory in his dealings with Indians. Furthermore he was observed to have lost much of his self-confidence. He was personally dismayed that terrorism was still a factor in Indian life and was accused of playing to the ‘Indian gallery’. In 1913 he annoyed subordinates and local officials in the United Provinces, by going over their heads and making an unprecedented appearance in Cawnpore to settle a dispute over a mosque which had caused serious riots and was inflaming Muslim opinion across India. He addressed the entire Muslim population of the city and having reproached them severely for their disobedience, proceeded to win the crowd by ordering the release of more than a hundred rioters from prison. Needless to say his dealings with Lutyens became yet more fractious. In 1914 he was hit by a series of personal tragedies. In the spring Lady Hardinge died unexpectedly after an operation carried out in England – a blow by all accounts far greater than the bomb. Later in the year his elder son (Lieut., D.S.O., 15th Hussars) was mortally wounded in France. Then the Viceroy lost three of his A.D.C.s to the war, all three being killed within a few days of each other. Diamond, on whom he became evermore reliant, died aged twenty-six in 1927. With the outbreak of war there was much to distract him from grief. He at once sent large numbers of Indian troops to Europe to help slow down the first German advance on Paris, and reduced the British garrison in India to what was regarded by some as a dangerously low-level yet kept order satisfactorily. He was also responsible for organizing the transport, supplies and medical services for the Mesopotamian campaign under Sir Beauchamp Duff whose appointment as C-in-C he had strongly supported in 1914. Whilst he relied too heavily on Duff (who eventually committed suicide) and can thus be blamed in some part for the Mesopotamian nightmare, he did go to Basra in person as soon as he realized how bad things were to try and improve the conditions of the troops. A post-war commission of inquiry absolved him of all blame. Owing to the war his Viceroyalty was extended for six months beyond the usual term. He returned home and became head of the Foreign Office once more before attaining the absolute pinnacle of the Dipolmatic Service, the Paris Embassy, 1920-22. In 1931...
A most unusual Great War D.C.M. group of seven awarded to Sergeant W. A. Taylor, Border Regiment, late Hampshire Regiment, who, hearing that the officers and senior N.C.O’s of his company had become casualties, immediately took command of the company during a heavy barrage; later, during lulls in the action, he ‘produced a piccolo, and by playing popular airs cheered and put new spirit into his men’; he afterwards joined the Royal Air Force and received one of only 8 Army L.S. & G.C. medals named to that unit Distinguished Conduct Medal, G.V.R. (10575 Sjt: W. A. Taylor. 8/Bord: R.); Queen’s South Africa 1899-1902, 3 clasps, Cape Colony, Paardeberg, Transvaal (5144 Dr. W. Taylor, 2nd Hampshire Regt.); King’s South Africa 1901-02, 2 clasps, South Africa 1901, South Africa 1902 (5144 Dmr: W. Taylor. Hampshire Regt.); 1914 Star (10575 Pte. W. A. Taylor. Bord: R.); British War and Victory Medals (10575 Sjt. W. A. Taylor. Bord. R.); Army L.S. & G.C., G.V.R., 1st issue (345492 Sjt. W. A. Taylor. R.A.F.) mounted as worn, the Boer War medals with edge bruising and polished, fine, others nearly very fine, the last very rare (7) £2,000-£2,400 --- Provenance: From the collection of Long Service Medals formed by John Tamplin, Dix Noonan Webb, December 2008. D.C.M. London Gazette 3 September 1918: ‘For conspicuous gallantry and devotion to duty when in charge of stretchers. Hearing that all his company officers and senior N.C.O’s. were down he left his job and went forward to take charge of the company at great personal danger, passing through a heavy barrage. He took charge of the remainder of the company, collected stragglers, organized them into bombing and Lewis gun sections, with the result that when another came he found all the work had been done. During lulls he produced a piccolo, and by playing popular airs cheered and put new spirit into his men’. Regimental History confirms award for Vaulx Wood, 21-22 March 1918. William A. Taylor served as a Drummer in the 2nd Battalion, Hampshire Regiment during the Boer War. He served in France with the 2nd Border Regiment from 5 October 1914, and won the D.C.M. whilst serving as a Sergeant with the 8th Battalion, Border Regiment. He subsequently served in the Royal Air Force and was awarded the Army L.S. & G.C. through Army Order 388 of October 1924, one of only eight such awards given to the R.A.F.
Daniel J Travanti signed 12x8 colour photo. American actor. He is best known for playing police captain Frank Furillo in the television drama series Hill Street Blues. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Fulham vintage multi signed sheet includes George Best, Bobby Moore, Rodney Marsh, Terry Bullivant, Gerry Peyton, Alan Slough, John Lacy and others. All Signed in red ink. Set on 13 x 8 inch piece of paper. Vendors Grandma Collected These Signatories at The Post House Hotel in Birmingham Where she was a Barmaid. Football Stars Would stay In This Hotel Who Are Playing In the Midlands. Est. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Fulham vintage multi signed sheet includes Bobby Moore, Alan Mullery, Alan Slough, Bill Taylor, John Fraser, and 9 others Signed on The Post House Hotel Headed Paper. Set on a4 Size Sheet. Vendors Grandma Collected These Signatories at The Post House Hotel in Birmingham Where she was a Barmaid. Football Stars Would stay In This Hotel Who Are Playing In the Midlands. Est. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
A RARE PAIR OF LATE GEORGE III BURR YEW CARD TABLES C.1800 inlaid with ebonised and boxwood stringing with stylised Greek key designs, each with a 'D' shaped top with satinwood crossbanding and revealing a baize lined playing surface, on twin gate supports and square tapering legs with applied ankles (2) 73.4cm high, 91.1cm wide, 44.5cm deep Provenance Purchased from Reindeer Antiques Ltd, 81 Kensington Church Street, London, 17th March 1999 for £40,000.
A FRENCH EMPIRE GILT BRONZE MANTEL CLOCK EARLY 19TH CENTURY the brass eight day drum movement stamped '118' with a circular silvered dial with Roman numerals and engine turned guilloche centre, the case modelled as a fireplace with logs burning on sphinx fire dogs, a girl standing to one side playing with balls of wool and a kitten on a rectangular base cast with a band of stiff leaves and foliate base 32cm high, 29cm wide, 13cm deep Provenance Redlynch House, Salisbury, Wiltshire.
A DUTCH MAHOGANY AND MARQUETRY CONCERTINA CARD TABLE 18TH CENTURY the fold-over top inlaid with an urn of flowers, birds and butterflies, the interior with a baize lined playing surface, sunken counterwells and protruding candlestands each inlaid with a playing card 73.8cm high, 76.7cm wide, 38.2cm deep
THREE OAK FIGURAL TERMS 17TH CENTURY comprising a pair carved with cherubs, one playing a lute the other reading a book, the other with a figure of Bacchus holding a grapevine, together with a carved oak panel depicting St George and the dragon, the back with a printed paper label inscribed "Port de Tabernacle" and an Italian walnut carving of a cherub amongst scrolling leaves and a grotesque mask 67.2cm high max (5)
J. Johnson, after Charles-Antoine Coypel - 'If Musick of its Self has Soothing Charms…' (Lady playing a Guitar and Gentleman playing a Hurdy-Gurdy in a Landscape), 18th century reverse coloured mezzotint on glass, 25cm x 35cm, within a painted wood frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
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