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Lot 129
19TH CENTURY CARVED OAK BUFFET, with a carved domed shaped raised back depicting a female head to the centre and surrounded by floral decoration, above a single drawer with carved floral decoration and handles in the manner of fruit, with an alcove below and two panelled carved doors, each depicting a bird eating fruit, flanked by carved column supports depicting a lion's head above a female figure, and raised on a moulded plinth base 159cm x 141cm x58cm
Lot 166
20TH CENTURY OAK CUPBOARD, the upper section with a wooden galleried top, with a breakfront compartment comprising a central door with twin mirror opening to reveal a fitted shelf, and three fitted racks to the door, flanked by two small mirrors above a galleried section, with a door to each side of the cupboard revealing shelving, above two graduated drawers and two faux doors, with three drawers to the right hand side and raised on a plinth base, h 182cm x w 80cm x d 46cm
Lot 418
Georg Ehrlich (Austrian 1897-1966) - 'Head of Christ' bronze bust sculpture, mounted upon a rectangular wooden plinth, signature to shoulder, 16" high ** ex. Bealby-Wright collection - this sculpture is illustrated in the reference book 'Georg Ehrlich' by the art historian Erica Tietze-Conrat for Batsford Books first published 1956, fig.38. sold with a copy of the book, O'hana Gallery brochure and further exhibition ephemera. ** Georg Ehrlich was an Austrian sculptor though lived in London from 1938 and became a British citizen in 1947. Ehrlich has works in the Tate Gallery, British Arts Council, British Museum and Victoria and Albert Museum**This sculpture is part of a deceased estate and has been in the same family by descent for over 60 years, having been purchased by the vendors Grandmother Jane Bealby-Wright, who was a friend and supporter of the artist Georg Ehrlich A.R.A.
Lot 575
Rare Charles II oak canopy court cupboard, Yorkshire, circa 1660, the raised panelled canopy back supported upon inverted turned baluster supports, over the middle section fitted with two panelled cupboard doors either side of a central recessed arcaded panel, over the base fitted with two large panel cupboard doors raised upon a plinth, with plain panelled sides and stile supports, carved overall to the front with stylised arcaded foliage and flowerhead roundels, 60.5" wide, 23.5" deep, 76" high - ** Provenance - ex. Abbey House, Malmesbury
Lot 654
Arts & Crafts style two tier open bookshelves, the upper tier fitted with two central cupboard doors with swivel wooden locking bars under an open recess and flanked by adjustable shelves, the slightly deeper base with two tier open fixed shelving, supported upon four plinth feet, 96" wide, 13.5" deep, 72" high
Lot 364
A pair of 19th century patinated bronze and ormolu figural candlestick each modelled as Cupid with a quiver of arrows holding a burning torch aloft. supported on turned white marble pedestals with a plinth foot. 23 cm high x 9 cm diameter the bases.Condition report: No apparent major defects
Lot 271
A part early 19th-century, mahogany breakfront, library bookcase. With "diamond" glazed upper section enclosing adjustable shelves.The base with a central bank of two short over three long drawers flanked by a pair of figured panel cupboard doors one with further drawers to the interior.On a simple molded plinth. 260 cm long x 50 cm deep x 220 cm high Condition report: The bookcase may have been adapted or changed from its original form or size.Evidence of later timber used and inconsistent tooling marks to tops of cupboard doors that differ from the workmanship of the rest of the piece.
Lot 420
A Victorian silver plated inkwell with a square base and cranberry glass reservoir with bow pen rests and hinged cover. 18cm wide x 13cm high. Together with Victorian, silver on copper table lighter in the form of a Roman three spout oil lamp held aloft by the god mercury on a swag draped plinth base. 22cm high x 8cm diameterQty: 2Condition report: Ink well silver is a little rubbed on the high spots and may have been replaced.The lighter has the tip of one arrow missing from the hanging wick tweezers, And also a kink to the supporting arm of Mercury.
Lot 447
A pair of early 20th century Wedgwood Etruria,two-handled classical, porcelain urns with raised gilt oak leaf and anthemion decoration above a swag draped and trophy mounted, lower section on a painted diaper ground. On a stiff lotus leaf decorated square plinth foot. Bearing iron-red and impressed mark to the bases. 18 cm highCondition report: Probably missing domed covers.No apparent major defects.
Lot 449
A late 18th century / early 19th century Wedgwood lilac Jasper two-handled, Campagna urn and cover decorated with applied neoclassical motifs muses including Terpsichore and others. The dome cover with spear finial. On square architectural plinth foot. 31 cm high x 20 cm diameter.Condition report: The finial has been off and re-fixed the cover has a chip to the edge.The one handle has what looks like an iron stain
Lot 26
Fernando Botero (B. 1932)Gatta 2008 incised with the artist's signature, numbered 4/6 and stamped with the Fonderia Artistica Versiliese Italy markbronze22.5 by 65 by 28.4 cm8 7/8 by 25 9/16 by 11 3/16 in.This work was executed in 2008, and is from an edition of six numbered versions.Footnotes:ProvenanceGary Nader Fine Art, MiamiAcquired directly from the above by the present owner in 2008LiteratureGary Nader Editions, Fernando Botero. The Grand Show. Paintings, Drawings & Sculpture, Miami 2010, n.p., illustrated in colourRenowned for his voluptuous and exaggerated paintings, sculptures and drawings, Fernando Botero is arguably one of the most important Colombian modern artists and certainly the most recognisable. Not unlike Picasso, whose Cubist breakthrough came after experimenting with the construction of a guitar, Botero had his artistic revolution with a mandolin. In 1956, while painting an image of a mandolin resting on a table, Botero placed a disproportionately small hole in the body of the instrument, thus transforming it into an object of exaggerated mass and monumentality; a lifelong fascination with the exploration of volume was born. Well known for subjects ranging from the Old Masters to circus scenes, bullfights, domestic life and political satire, the present work is an inimitable take on one of art history's most universal icons—the cat. Cats feature in much of Botero's work, but especially in his monumental sculptures which are well-loved features in parks and city centres around the world. Whilst in his paintings, cats often accompany a dominant matriarch or a sensual nude and symbolize femininity and domesticity, they are often the sole protagonist in sculpture. One of Botero's most famous felines resides at the end of Barcelona's Rambla del Raval where the colossal endearing statue has become an integral part of the neighbourhood and a well-cherished tourist attraction. Other works by the artist are presently held in the collections of The Museum of Modern Art in New York, the Art Institute of Chicago, and the Museo Botero in Bogotá which is dedicated to the artist and his oeuvre. In 1958 and 1992 Botero participated in the Venice Biennale and represented Colombia in the 5th São Paulo Biennial, Brazil. He has had major retrospectives at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (1979); Seibu Museum of Art, Tokyo (1981); Museo Nacional Centro de Arte Reina Sofía, Madrid (1987); Museo de Bellas Artes, Bilbao (2012); and many others. Revered and admired for centuries of human history, the cat has inseparably woven its way into the canon of art history without ever losing any of its charm or appeal. From ancient Egyptian tomb adornments and centuries of Chinese and Japanese artistic practice all the way to the exotic markets of 19th century orientalist paintings and French impressionist living rooms the cat has been and still is a firm feature in many of the worlds most revered artistic masterpieces. Today, in the age of the internet and social media, no animal captivates audiences quite like the humble house cat and the subject is more accessible, one might even say more popular than ever.Fernando Botero would not have been ignorant to the wide and varied depiction of felines in art throughout the ages. Having studied under Roberto Longhi, a renowned authority on Italian Renaissance and Baroque art, Botero obtained a remarkable art historical knowledge of Western Classicism. The canon of art history, especially the European one became a rich source of inspiration whilst studying Italy's Renaissance frescoes, Spain's Golden Age masters and France's turn-of-the-century School of Paris on his travels in the 1950's. Deeply influenced by these masterworks, Botero embarked on a quest to critically re-interpret iconic paintings, to pay homage to the great artists of the past and finding a gateway to true originality whilst doing so. Gatta from 2008 is a particularly beautiful example of Botero's many reinterpretations of this perennial theme. Whilst it incorporates elements of the elegant goddesses and playful street pranksters that preceded it, Botero's Gatta is extremely topical and modern for it can be best described with one of the most universally used adjectives in 21st century popular culture- it is quintessentially 'cute'. Executed in Botero's distinctively rotund signature style, the curvaceous head, body, limbs and tail of the reclining feline give it a monumental quality. Sphinx like she resides elegantly on her plinth, head lowered attentively, ears pricked forwards, keenly aware of her surroundings. The swift flash of her tongue gives Gatta a more playful, accessible quality than its divine Egyptian forebears and captures its distinctive character. Humorous elements such as this are a common and important feature within Botero's formally refined plastic oeuvre. He breaks with the established tradition of sculpture, bronze traditionally being used to eternalize the classically heroic and brave, and instead memorializes the humble and happy house cat. Like Manet with his Olympia, Botero shifts the classical muse, the deity of centuries past into the realm of the common and trivial, the realm of day-to-day life which makes it so much more endearing.The present work is sold to benefit the Fondation Bernard et Caroline de Watteville to support cultural and humanitarian actions in Switzerland and abroad.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 308
A LATE 20TH CENTURY SPHERICAL WEIGHT CLOCK BY HARDING AND BAZELEY, CHELTENHAM the lacquered brass frame of four columns supporting a rack of twenty four steel balls behind a circular dial on stepped plinth base and ball feet, height 36cm Condition Report: the small hand is a bit loose, clock is ticking but mechanism doesn't seem to be working. Maybe missing a plaque at front of wooden base.
Lot 909
•JAMES GORMAN (SCOTTISH 1931-2005) ATTICA Biscuit fired clay (hand patinated), signed and dated 1986 (on the clay base), 33cm (13") (38cm (15") including plinth) Inscribed with title on Artist's label under plinth JOHN FRIEDLANDER AND JAMES GORMAN THREE KINGS FROM THE CASPEAN SEABOARD Ceramic (by John Friedlander) and Whalebone assemblage (by James Gorman), with inscribed and signed label (insert verso), 53 x 30cm (21 x 11 3/4") Provenance: The Late Dr Helen. E. C. Cargill Thompson (2) Condition Report: Up to total of 6 small chips to the patina and clay located right ear, right hand and right side of head dress, otherwise overall good condition.
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