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Lot 505
TWO BESWICK CONNOISSEUR MODELS, comprising 'Morgan Horse 'Tarryall Maestro' Multiple Grand Champion Stallion Owned by Ms A Conner', model no 2605, mounted on a titled oval wooden plinth and 'Black Beauty And Foal', model no 2536, mounted on a titled oval wooden plinth, repair to Beauty's ear and glue residue visible around majority of hooves (Condition:- possible restoration to Morgan Horse tail)
Lot 509
TWO BESWICK HORSES, comprising a Clydesdale, first version in working harness, matt finish, model no. 2465, and a Connemara Pony, grey gloss, model no. 1641, later mounted on an oval wooden plinth (2), (Condition:- tiny chip to front hoof of Clydesdale, Connemara has three broken legs with glued repairs)
Lot 754
FIVE BOXES AND LOOSE SUNDRY ITEMS, ETC, to include an Olympic Super Delux hockey stick with 1956 Olympic facsimile signatures, vintage Air Ministry Anglepoise style lamp in need of restoration, brass candlesticks converted to electric, plated comport and basket, carved wooden plinth, wooden crumb tray, bakelite tobacco containers, vintage glass Horlicks jar, slide rules, drawing instruments, stationery items, small leather suitcase, etc
Lot 821
A GROUP OF CERAMICS AND GLASSWARE, to include approximately twenty eight items of Stuart crystal and other glass items, a large Victorian green glass dumpy weight with bubble inclusions, height 17cm, a Border Fine Arts golden retriever ornament with wooden plinth (damage to puppy's mouth), Caithness leaves paperweight, two boxed limited edition Theakston's glass goblets with certificates - Christmas 1981 no 314/450 and Royal Wedding 1981 no 181/400 etc (sd) (quantity)
Lot 387
An early 19thc oak cased longcase clock, signed J. Richmond, York, the thirteen inch dial with birds painted to the arch, with arabic numerals, subsidiary dial and date apertures, twin train movement striking on a bell, within a swan neck hood and case with mahogany panels and boxwood inlay, raised on later plinth base (227cm)
Lot 328
Victorian walnut and burr walnut veneered side cabinet, the shaped back with large central mirror and two smaller side mirrors surrounded by carved detail and pillared supports over a base section with marble centre, two frieze drawers, pillared side supports and three mirrored doors, raised on a plinth base, 210cm high Condition: Overall reasonably structurally sound although some splitting is noted to the top section around the small oval mirror panels general surface marks and stainage throughout^ a loose piece of molding to the left hand side of the base^ would benefit from a re polish
Lot 2
An early 20th century mahogany and boxwood strung mantel clock, the eight day movement with chimes, the silvered dial showing Arabic numerals, standing on four brass ball feet, h.33cmCondition report: The clock seems to run but has not been tested for long. Dial has scratches around the keyholes. Case is a little scratched to the plinth, generally ok.
Lot 152
A collection of miscellaneous items, to include an early 20th century mahogany cased mantel clock, h.35cm; together with a 19th century mahogany miniature apprentice chest of drawers; a Japanese black lacquered musical jewellery box; and a spelter figural trophy mounted upon an ebonised plinth (4)
Lot 38
Jaume Plensa (B. 1955)SHADOWS I 2006 stainless steel and stone 242 by 192 by 196 cm. 95 1/4 by 75 9/16 by 77 3/16 in. This work was executed in 2006, and is unique.Footnotes:ProvenancePrivate Collection, US (acquired from the artist)Selling exhibition: Sotheby's, Windermere, Sotheby's at Isleworth: Monumental, 2007 Acquired directly from the above by the present ownerTowering at nearly eight feet tall with arresting presence SHADOWS I, executed in 2006, is a stunning example of Spanish artist Jaume Plensa's text-based sculptures that transform the environments they inhabit.Born in Barcelona, Plensa is renowned for his large sculptures and public installations, which are widely exhibited across the globe with celebrated projects in cities such as Calgary, Chicago, San Diego, Montréal, London, Paris, Dubai, Bangkok, Shanghai, and Tokyo. Installations of his monumental sculptures can be seen in public spaces at the Rockefeller Centre and 30 Hudson Yards in New York City, the Museo Nacional de Arte in Mexico City and Plaza de Colón in Madrid. Over the past 35 years, the artist has produced a multifaceted body of work creating sculpture that speaks to the power and beauty of humanity, bringing people together and enriching communities through their presence. He works with conventional sculptural materials like glass, steel, and bronze but has also gone further to blend this with unconventional media such as water, light and sound to create hybrid works of intricate energy and symbolic richness. Composed of stainless-steel letters that are weaved together in a linguistic fluid form, this present work is an elegant personification of Plensa's sculptures that are so definitive of the artist's oeuvre. Here, a figure sits upon a stone plinth with its arms clasped around its legs in what appears to be a meditative and serene posture, suggesting a sense of tranquillity and peace. Despite its striking originality, we are encouraged to see parallels to the figures we identify in classical sculpture, in its concern with aesthetic beauty and earnest examination of the human soul in the most simplified form. This figure bears no expression, no facial features or the complexities of human existence. Rather than a straightforward portrait, Plensa plays with proportions thus giving instead a sense of spirituality to his faces, as he examines the relationship between body and soul. Plensa's sculptures are unique in their remarkable ability to transform the environments which they inhabit. This present lot invites a dialogue between the sculpture and the surrounding landscape which is readily visible through the interlaced letters that comprise the figure. The sculpture exists in harmony within its setting and transforms the space around it, most notably in the way in which the open and closed form of the letters alter light and shadow. This subject of transparency was of great allure to Plensa; he was intrigued with how he could bring light and its related openness to metal and found he could achieve this through this use of open weave, lattice like letters. Plensa's work explores not only the human form, but also the role of language in the human experience. An avid reader, Plensa was fascinated with language and classical literature; he has a particular interest in the workings of Shakespeare, William Blake and Johann Wolfgang von Goethe regarding their texts as some of his main sources of inspiration. For Plensa, a language and its calligraphy, or alphabet, provided a portrait of cultures, and through the process of incorporating letters together, but without specific meaning, sought to provide a positive metaphor of our world today. He avoids any negative connotation in his work, and instead expresses messages of hope, beauty and unity, he seeks to portray feelings of unanimity despite the conventional barriers that separate humankind. He believed poetry, which for him was a far greater influence than the visual arts, to be a universal language with the capacity to bring humanity together; and has expressed his utopian vision of a world without boundaries. As the artist himself noted, 'One letter alone is nothing, but together with other letters you get a word. A word with a word becomes a text, and so on. A person alone is nothing, but together with others we become family, a neighbourhood, a city, a county, a country.' (The artist in an interview with Ginny Van Alyea, 'An Interview with Artist Jaume Plensa', Chicago Gallery News Online, 8 November 2017).The present work was acquired by the prominent American collector and philanthropist Gerard L. Cafesjian. Born in 1925 in Brooklyn to Armenian immigrant parents, Mr. Cafesjian became a highly successful editor at West Publishing - a firm specialising in legal materials - and spearheaded the launch of the annual 'Art and the Law' exhibition, for which he received the prestigious Business in the Arts Award. Mr. Cafesjian's passion for collecting began with a childhood fascination with geology and gemstones, which later branched into fine art. Over the years, he patroned and developed personal relationships with world-renowned sculptors and ultimately assembled an impressive collection of both lapidary and fine works of art.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP 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
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