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Click here to subscribeLATE VICTORIAN POLLARD OAK MIRROR-BACK SIDEBOARD, carved superstructure with foliate decoration, egg and dart frame to the bevelled mirror supported by four columns above cupboard base with under-arch and frieze drawer, 197h x 183w x 67cms Comments: base with water stains in the arch, general scuffs to plinth
LATE VICTORIAN MAHOGANY CHEST, North Wales /North England, cushion fitted drawer above two short and three long graduated drawers, plinth base raised on turned feet, 134h x 124w x 57cms Comments: 4/5 mother of pearl escutcheons missing, turned handles centered with mother of pearl, veneer losses to uprights, corners etc.
Ewald Mataré (1887 Aachen - 1965 Büderich) (F)'Finnisches Pferd', 1929/30, Bronze, braun patiniert, 26,5 cm x 22 cm x 10,5 cm, im Guss signiert, eines von insgesamt 14 Exemplaren, Plinthe verbogen, partiell leichte oberflächliche Kratzer, unterseitig Kleberückstände, Literatur: Wvz. Schilling 66bEwald Mataré war ein bedeutender deutscher Bildhauer und Grafiker, der zunächst zwischen 1907 - 1914 Malerei an der Kunstakademie in Berlin bei Lovis Corinth studierte und sich innerhalb der 1920er Jahre der Bildhauerei zuwandte. Holzschnitte und plastische Tierdarstellungen gehören zu den künstlerisch-handwerklichen Techniken, die Mataré besonders schätzte. Die Körper der Tiere reduzierte er auf flächige Grundformen und stellte sich der geistigen Herausforderung die Anatomie des Animalischen in eben diese Grundformen zu übersetzen. Als Material wurde vorwiegend Holz gewählt, dessen natürliche Maserung der Künstler durch glatte Oberflächenpolierung hervorzuheben wusste. An dieser Stelle muss darauf eingegangen werden, dass Mataré nicht von der Tätigkeitsbeschreibung des Schnitzens überzeugt ist - vielmehr sei es so, dass er als Künstler die Tiere aus einem plastischen Gedanken heraus bildhauerte. Der Künstler selbst beschreibt seine Arbeit an den Tierfiguren zu jenen Jahren als "fürstliches Vergnügen". Darauf geht er 1959 während eines Atelierbesuchs des Instituts für den wissenschaftlichen Film Göttingen näher ein. Mataré beschreibt eine glückliche Zeit, in der er einfach aus sich heraus, ohne jeden Zweck, ohne jede Notwendigkeit seine Tiere formte. Er erinnert sich selbst als alleinstehenden jungen Mann, der für sich selbst entscheiden konnte im Sommer in die Landschaften zu gehen, ans Meer, nach Spiekeroog, nach Sylt und nach Finnland. Sicherlich sind diese Tierdarstellungen angelehnt an die ältesten kunsthistorischen Tierdarstellungen, die es beispielsweise als Wandmalereien aus reinen Erdpigmenten in der Höhle von Lascaux (Frankreich) bis heute erhalten sind. Jahrtausende alte Relikte der Kunst, die das Tier als überlebenswichtiger Begleiter des Menschen, als Raubtier, als heiliges Tier und als Teil der Natur zeigen. Das finnische Pferd stammt aus den Jahren 1929/1930, als der Künstler mit einigen wenigen Edelhölzern nach Finnland reiste. Vor Ort entstand die Plastik aus Holz, die dann in einem Zwischenguß in Bronze gefasst wurde. Ewald Mataré arbeitete die weitere Abstrahierung heraus, bis einige Merkmale des Tieres nicht nur reduziert wurden, sondern gar verschwanden. Einzuordnen ist das finnische Pferd noch bevor die Werke Matarés während des Nationalsozialismus als entartet galten. Ebenso noch bevor sich der Künstler religiös dominierten Themen und städtischen Auftragsarbeiten zuwandte: In den Jahren 1948-1956 erstellt er für die Stadt Köln vier Domportale, den Taubenbrunnen am Westportal, die Gürzenichtüren, die Lochner-Säule, das Mosaik am Alter Markt und weitere Arbeiten. Einerseits ehrt ihn dieses Vertrauen in seine Kunst, um das Stadtbild zu beeinflussen. Doch weiß Mataré auch um die schöne Zeit, in der er selbstständig und aus seinem Inneren heraus seine Tiere formte.Ewald Mataré (1887 Aachen - 1965 Büderich) (F)'Finnisches Pferd', 1929/30, bronze, brown patinated, 26,5 cm x 22 cm x 10,5 cm, signed in the cast, one of 14 copies in total, plinth bent, partially slightly scratched, underneath adhesive residues, Literature: Cat. Rais. Schilling 66bEwald Mataré was an important German sculptor and graphic artist who initially studied painting at the Berlin Art Academy with Lovis Corinth between 1907 - 1914 and turned to sculpture within the 1920s. Woodcuts and sculptural representations of animals are among the artistic-craftsmanship techniques that Mataré particularly valued. He reduced the animals' bodies to dimensional basic forms and took up the intellectual challenge of translating the anatomy of the animal into precisely these basic forms. The material chosen was predominantly wood, the natural grain of which the artist was able to emphasise through smooth surface polishing. Here, it must be pointed out that Mataré is not convinced of the activity description of carving - rather, it is said that as an artist he sculpted the animals out of a plastic thought. The artist himself describes his work on the animal figures in those years as a ''princely pleasure''. He elaborates on this in 1959 during a studio visit of the Göttingen Institute for Scientific Film. Mataré describes a happy time in which he simply formed his animals out of himself, without any purpose, without any necessity. He remembers himself as a single young man, who could decide for himself to go out into the countryside in summer, to the sea, to Spiekeroog, to Sylt and to Finland. Certainly, these depictions of animals are leaned on the oldest art-historical depictions of animals, which are preserved to this day, for example, as wall paintings made of pure earth pigments in the cave of Lascaux (France). Thousands of years old relics of art, that show the animal as a companion of man that is essential for survival, as an animal of prey, as a sacred animal and as a part of nature. The Finnish horse dates from 1929/1930, when the artist travelled to Finland with a few precious woods. On site, the sculpture was made of wood, which was then set in bronze in an intermediate casting. Ewald Mataré worked out the further abstraction until some features of the animal were not only reduced but even disappeared. The Finnish horse can be classified even before Mataré's works were considered degenerate during National Socialism. Likewise, even before the artist turned to religiously dominated themes and urban commissions: In the years 1948-1956, he created four cathedral portals, the dove fountain at the west portal, the Gürzenich doors, the Lochner column, the mosaic at Alter Markt and other works for the city of Cologne. On the one hand, this confidence in his art to influence the cityscape honours him. But Mataré also knows about the beautiful time when he formed his animals independently and from within himself.
Gerhard Marcks (1889 Berlin - 1981 Burgbrohl) (F)'Gürtelbinderin', 1958, Bronze, braun patiniert, Höhe 55 cm, im Guss monogrammiert, Gießerstempel 'Guss. Barth Bln. Mariendorf', Gussnummer M, eines von insgesamt 13 Exemplaren, partiell leichte Kratzer, partiell leichte Korrosionsspuren, Provenienz: Geschenk innerhalb der Familie MarcksDie römisch anmutende Gürtelbinderin lebt geradezu von ihrer Geradlinigkeit. Aufrecht auf einer quadratischen Plinthe stehend, wird sie in ihrem Gewand gezeigt, in einem Moment kurz davor, dieses an der Hüfte zusammen zu binden. Die Falten des altertümlichen Kleides werden mit feinen Linien dargestellt, nah ist es am Körper anliegend. Das ruhige Gesicht wird von zusammengelegten Haaren umfasst. Der Künstler spielt mit minimalen Kurven und der gleichzeitig rechtwinkligen Haltung der Arme und Hände - bereit den Gürtel zu binden. Marcks hatte eine ganze Sammlung von eigenen Hand- und Fußzeichnungen, die sicherlich sein Formverständnis für die schlussendliche Ausführung dieser skulpturalen Körperteile unterstützt haben.Gerhard Marcks (1889 Berlin - 1981 Burgbrohl) (F)'Gürtelbinderin', 1958, bronze, brown patinated, height 55 cm, monogrammed in the casting, foundry stamp 'Guss. Barth Bln. Mariendorf', casting number M, one of 13 copies in total, partially light scratches, partially slight traces of corrosion, Provenance: Gift within the Marcks familyThe Roman-looking belt-tying woman lives virtually from her straightness. Standing upright on a square plinth, she is shown in her garment, at one moment about to tie it at the hip. The folds of the ancient dress are depicted with fine lines, close it is to the body. The serene face is embraced by folded hair. The artist plays with minimal curves and the simultaneous right-angled posture of the arms and hands - ready to tie the belt. Marcks had a whole collection of his own hand and foot drawings, which certainly supported his understanding of form towards the eventual execution of these sculptural body parts.
Regency style mantel clock, the satin walnut case of shield form encompassing a circular white enamel dial with black Arabic numerals, two winding holes, convex glass door, supported on ebonised scroll supports applied with brass decoration on a rectangular plinth, the brass movement with pendulum and keys, 45cm high
2005 MG ZT Estate Transmission: manualMileage:63444In 2001, three years after the launch of the Rover 75, and less than a year after the demerger of MG Rover from BMW, the MG ZT and MG ZT-T were launched. During the cars' development, the models were codenamed X10 and X11, for the saloon and estate versions, respectively. The basic shape and styling of the MG ZT remained the same as for the Rover 75 but with changes to the front bumper, now with an integrated grille, and detail alterations including colour coding of the chromed waistline, a new boot lid plinth, and different alloy wheels and tyres sizes. During the first few months of 2004, MG Rover facelifted the design of the ZT and ZT-T to a less retro look, at the same time as the Rover 75 received a facelift. This didn't feature much in the way of mechanical differences to the ZT, most changes were merely aesthetic. The main changes to the car included the replacement of the twin headlamps, with a new, clear single headlamp unit. Between 2003 and 2006 the top of the ZT range, and the rarest, was rear wheel drive and powered by the Ford 4601cc V8 engine giving 300bhp, 0-60mph in 6.3 seconds and a top speed of 155mph.This rare MG ZT is best described as a 'wolf in sheep's clothing'. A relatively unassuming vehicle from the outside, with the only visible feature being the large bore exhausts. However, start the engine and suddenly you become aware of the Ford Mustang 4.6 litre V8 under the bonnet. This is mated to a five-speed manual gearbox making this a true drivers car and one to really enjoy on the open road. Performance is put at 260bhp and 407NM of torque. The interior is trimmed in black leatherette and cloth seats with electric windows, electric mirrors and digital climate control with air conditioning. Showing just 63,444 miles on the odometer, the previous owner fitted a bespoke (and very expensive) stainless steel exhaust system with sports cats and central silencer box, coupled to an OE back-box, helping unleash a little more sound of the American dream. Supplied with a V5C registration document and a current MoT test certificate valid until October 2023, together with the original book pack and a collection of invoices. This stylish MG estate is both a capable load carrier and a truly exciting car to drive. These were built in relatively small numbers, it is thought less than 200 were manufactured, thus this could well prove to be a fine investment.Guide £8,000- £11,000
SCHWARZBURGER WERKSTÄTTEN 'Liegender Bauer', vor 1937 Entwurf von Ernst Barlach um 1908, glasiertes Weißporzellan, auf der flachen Plinthe ist das gepresste Künstlersigné 'E.Barlach' im Quadrat nicht mehr leserlich, nur noch das Quadrat ist erkennbar, die Unterseite hat die Pressmarke 'Schwarzburger Werkstätten für Porzellankunst' mit dem schnürenden Fuchs sowie die Modell-nr. 'U 63' und zwei Klebeetiketten mit den Daten des Künstlers und der Werkstatt, L 31 cm. Inspiriert wurde Barlachs Kunst durch eine Reise nach Russland im Jahre 1906 und den Begegnungen mit Menschen aus entlegenen Gebieten.| SCHWARZBURGER WORKSHOPS 'Reclining Farmer', before 1937, design by Ernst Barlach around 1908, glazed white porcelain, the pressed artist signé 'E.Barlach' in the square is no longer legible on the flat plinth, only the square is recognizable, the underside has the pressed mark 'Schwarzburger Werkstätten für Porzellankunst' with the lacing fox and the model no. 'U 63' and two adhesive labels with the artist's and workshop's data, L 31 cm.Barlach's art was inspired by a trip to Russia in 1906 and encounters with people from remote areas.
ROSENTHAL Fischgruppe "Skalare", 1949 Entwurf von Fritz Heidenreich im Jahr 1937, Ausführung 1949, zwei Skalare zwischen Wasserpflanzen, polychrom staffiert, Künstlersigné auf der flachen Plinthe "F. Heidenreich", grüne Firmenmarke, 1 Flossenspitze besch., H 38, 5 cm.| ROSENTHAL group of fish "Scalars", 1949, design by Fritz Heidenreich in 1937, executed in 1949, two angelfish between water plants, polychrome painted, artist's signé on the flat plinth "F. Heidenreich", 1 fin tip damaged, H 38.5 cm.
ROSENTHAL 2-tlg Konvolut Tierfiguren "Skalare", Ende 20. Jh. Entwurf von Fritz Heidenreich im Jahr 1937, Fischgruppe "Skalare" und ein einzelner Skalar zwischen Wasserpflanzen, polychrom staffiert, Künstlersigné auf der flachen Plinthe der großen Fischgruppe "F. Heidenreich", grüne Firmenmarken, 1 Vertikalband an der großen Figur besch., H 38, 5 cm und H 22 cm.| ROSENTHAL 2-piece mixed lot of animal figures "Scalare", late 20th century. Design by Fritz Heidenreich in 1937, fish group "Skalare" and a single scalar between water plants, polychrome decorated, artist's signé on the flat plinth of the large fish group "F. Heidenreich", green company marks, 1 vertical band on the large figure damaged, H 38 , 5 cm and H 22 cm.
BOLOGNA, Giovanni da NACH (1529-1608), 'Sieg der Tugend über das Laster', Bronze, braun patiniert, vollplastische Darstellung von Mann und Frau im Kampf, mit Plinthe aus einem Guss, auf Steinsockel montiert, HxB: gesamt ca. 33x15 cm. Alters- und Beriebspuren.| BOLOGNA, Giovanni da AFTER (1529-1608), 'Victory of virtue over vice', bronze, brown patina, three-dimensional depiction of a man and woman fighting, with a plinth made of one piece, mounted on a stone base, hxw: total approx. 33x15 cm. Signs of age and rubbing.
SEIFERT, VICTOR HEINRICH (1870-1953), "Trinkende", Bronze, poliert und part. brüniert, vollplastischer weiblicher Akt mit Trinkschale, auf runder Plinthe stehend, auf der Plinthe im Guss signiert 'Prof. V. Seifert', auf schwarzem, marmorisiertem Steinsockel montiert, HxBxT: Figur ca. 36,5x10,5x15 cm, gesamt ca. 46x10,5x15,5 cm. Altersspuren, Patina leicht fleckig, Riss an ihrem rechten Armansatz. | SEIFERT, VICTOR HEINRICH (1870-1953), "Drinking", bronze, polished and part. browned, fully plastic female nude with drinking bowl, standing on a round plinth, signed in the cast 'Prof. V. Seifert', mounted on a black, marbleized stone base, HxWxD: figure approx. 36.5x10.5x15 cm, total approx. 46x10.5x15.5 cm. Signs of age, slightly stained patina, crack at the base of her right arm.
GIAMBOLOGNA, NACH (G.: um 1529-1608), "Merkur", Bronze, dunkel patiniert, vollplastische Kopie der Merkursäule, auf runder Plinthe, auf rundem Steinsockel montiert, H: Figur ca. 24,5 cm, gesamt 32,5 cm. Altersspuren. Unterseitig Etikett mit Bezeichnung und Verweis auf die Merkursäule auf der Alten Kanzlei in Stuttgart. | GIAMBOLOGNA, AFTER (G.: around 1529-1608), "Mercury", bronze, dark patina, fully plastic copy of the Mercury column, on a round plinth, mounted on a round stone base, H: figure approx. 24.5 cm, total 32.5 cm. Signs of age. Label on the underside with the name and reference to the Mercury Column on the Old Chancellery in Stuttgart.
BILDSCHNITZER des 19./20. Jh., "Madonna Immaculata", Holz, farbig gefasst und vergoldet, vollplastisch, im Barockstil geschnitzte Figur der Maria, auf von Engelsköpfen umrahmten Wolke stehend, auf oktogonaler Plinthe, auf dem Kopf Metallmontur wohl für Nimbus oder Krone, HxBxT: ca. 59x35x28 cm. Alters- und Trocknungsspuren, Fassung und Kanten der Plinthe part. beschädigt.| PICTURE CARVERS of the 19th/20th Century, "Madonna Immaculata", wood, painted and gilded, three-dimensional, carved in the Baroque style figure of Mary, standing on a cloud framed by angels' heads, on an octagonal plinth, on the head metal gear probably for a nimbus or crown, HxWxD: approx. 59x35x28 cm. Signs of age and drying, paintwork and edges of the plinth part. damaged.
A 19th century French Ormolu mantle clock in the form of a vase on a plinth having painted porcelain face and roundels with bell strike. Standing 35 cm high excluding plinth Condition report - Fractures to metal cover, some fractures to metal case. Porcelain panels good – some gilt loss particularly on raised areas – wear to gilt of wood base, fabric top distressed. Has pendulum , key missing as is back clock movement cover
Coca-Cola - A limited edition lead crystal replica Coca-Cola bottle, specially commissioned for the millennium, limited to 6000 pieces and originally only available to Coca-Cola & Schweppes employees, bottle is numbered 2593 and comes with a display plinth and certificate, contained in original presentation box with outer card sleeve, bottle 19 cm (h).
A cold-cast bronze buffalo statue by Robert Glen. The 'Charge on the Serengeti' statue is presented on a plinth. Statue is 15 cm (h) x 31 1/2 cm (l) x 12 cm (w). Statue is presneted in an inner polystyrene box which is inside of a postage box. Statue appears in excellent condition. (This does not constitute a guarantee)
A French Empire mid-19th century marble and gilt brass mounted clock garniture having an eight-day duration movement striking the hours and half-hours on a bell, the cream enamel dial with Arabic numerals with engraved & pierced gilt-brass hands, the case of architectural pagoda form, surmounted by a floral spray and applied frieze decoration, within four marble columns and square plinth base, all standing on gilt-brass feet, together with a pair of matching vases with gilt metal floral spray decoration, standing on square bases. H40, W19, D11cm. (3) With pendulum and key.
R. M. Schneckenburger, an imposing 19th century mahogany ormolu-mounted chiming and striking bracket clock with bracket, the arched face with silvered chapter ring, fast/slow and chime/silent dials and applied cast pierced scroll and trelliswork spandrels, the case flanked by pair caryatid mounts to canted corners, on stepped plinth base, pierced ormolu scroll and paw feet, flame finials, the signed movement striking a gong and chiming on four graduated gongs, pull cord repeater, pendulum, 74cm raised on a matching bracket, 29.5 x 49cm
A Victorian late 19th century black lacquered Papier-Mache jewellery & writing box. The jewellery cabinet having a shaped raised top over double front doors inlaid with abalone shells & gilt painted decorations. The doors opening to reveal a bank of five drawers each fully appointed for jewellery storage & sewing kits. The last drawer sliding out to reveal a travelling writing slope & inkwells sections with intricate floral decoration atop. Raised on plinth base. Measures approx. 30cm x 26cm x 19cm.
An 18th century George III mahogany toilet swing mirror in the manner of Thomas Hope. Maltese dolphin mirror supports with octagonal mirror over plinth base with drawers. This mirror and other furniture in the auction part of the Olive Knox Will Trust who was married to Alfred Dillwyn Knox, a historic figure in the history of codebreaking at Bletchley Park. Measures approx. 54 x 49 x 18cm.BIO: Alfred Dillwyn (Dilly) Knox (23 July 1884 - 27 February 1943) was a British classics scholar, papyrologist and codebreaker. During WWI he worked at the Navy's Room 40 codebreaking unit, where he helped decrypt the Zimmermann Telegram, which brought the US into World War I [1]. During World War II (WWII) he ran his own codebreaking operation — Intelligence Service Knox (ISK) — at Bletchley Park, where he was successful in breaking the Enigma cipher of the Abwehr. Also documented to have encouraged Alan Turing to develop the Bombe machine which was to become the main tool for breaking Enigma keys during WW2.
An early 20th century brass & bronze TOC H Christian movement 'Lamp of Maintenance'. The lamp having a Chi Rho symbol over a rem head handle chained to dove shaped lid. The lamp inscribed with 'My Soul Doth Magnify the Lord'. Raised on plinth wooden base. The lamp in original wooden case with leather latch. The lamp measuring approx. 22cm x 19cm x 10cm.
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