Jugendstil-Puppensalon mit Erker. Holz, außen cremefarben gestrichen, innen grün tapeziert. 26 x 56 x 36 cm. Ca. 2,5 kg. 1-Raum-Gehäuse mit dekorativen Frontlisenen, unverglastem Sprossenfenster und lose eingestellter Türverkleidung zum Erker. Eingerichtet mit 7 Möbelchen, davon 2 in Jugendstil-Art schabloniert. Dazu 4 Püppchen und etwas Zubehör. Nachgestrichen, Fußbodenpapier jünger ergänzt, kleine Defekte.Aufrufzeit 27. | Feb. 2025 | voraussichtlich 10:49 Uhr (CET) Art Nouveau doll's house with bay window. Wood, painted cream on the outside, green wallpaper on the inside. 26 x 56 x 36 cm. Approx. 2.5 kg. 1-room housing with decorative pilaster strips, unglazed sash bar window and loosely fitted door panel to the bay window. Furnished with 7 pieces of furniture, 2 of which are stencilled in Art Nouveau style. Plus 4 little dolls and some accessories. Repainted, floor paper replaced more recently, minor defects.Call time 27th | Feb. 2025 | probably 10:49 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
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Attributed to Frederick Buck of Cork (Irish, 1771-1840)Portrait miniature of an Infantry officer, 15th (The Yorkshire East Riding) Regiment of Foot, facing right wearing a red coat with yellow facings, silver epaulettes, frilled chemise and badged white sash his buttons inscribed XV, watercolour on ivory, oval, gold locket frame with plaited hair border, the reverse with central glazed compartment containing plaited hair with overlaid initials within a blue guilloché enamel border 7.1 x 5.7cm,.Condition: Good condition Irish family collection and thence by descent IMPORTANT NOTEThis item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission number reference: ZSM46HFK
Royal Doulton Prince William Royal Wedding Day figurine, issued in celebration of the wedding of Prince William, Duke of Cambridge, and Catherine Middleton on April 29, 2011, at Westminster Abbey. The porcelain figurine depicts Prince William in his ceremonial Irish Guards uniform, featuring a red tunic with gold trim, black trousers with red stripes, and a blue sash. Designed by Timothy Potts, this limited-edition collectible is hand-numbered and part of the Royal Doulton White Label Collection. Issued: 2012Dimensions: 10"HCountry of Origin: EnglandCondition: Age related wear.
An Isaac Newton University Lodge (Cambridge University (No. 859)) regalia case and its contents. The case with gilt tooled initials 'I.N.U.L.- 859' and 'U.L.S.- 3779' and brother's initials G.C.H. The contents to include: 1. a silver-gilt and enamel I.N.U.L. 1861 centenary jewel, Toye & Co, London 1961 (good) 3 a Craft Master Mason apron and an English Royal Arch apron and sash 3. 'United Grand Lodge of England - 1947 Constitutions' 4. 'Grand Chapter of England - Royal Arch Regulations' 5. 'University Lodge Sheffield No. 3911- Craft Ritual' 6. 'A Hundred Years of the Isaac Newton University Lodge No. 859 (1861-1961)' (booklet) and printed transcript of the centenary oration delivered by Lord Bishop Herbert.
SCOTTISH: Two Staffordshire Pottery figures of Highlanders, circa 1860, possibly the Parr Factory, each decorated in colours and seated with arm resting on a stump, kilted and wearing a bonnet, the taller in a blue coat and bonnet, with orange sash, 25cm high, the other with a puce bonnet, 24cm high (2)
ROYALTY: A rare pair of Staffordshire Pottery Royal Portrait Figures of Queen Victorian and Prince Albert Enthroned, mid 19th century, seated on square gilt lined bases, Victoria with both hands resting in her lap, her right foot resting on a cushion, wearing a crown, ermine edged cloak and long dress. Albert with his right hand resting on his leg, his left resting on his hip, wearing an ermine edged cloak, tunic and trousers, a sash across his chest and waist, 15cm high (2) Refer: Harding Book 1, Page 170, Figs 485/486
SPANIELS: A pair of Staffordshire Pottery Comforters, modelled as Spaniels with Royal Children, mid 19th century, each red and white spaniel bearing either a Prince or Princess, both children with parrots upon their shoulders, the Prince with a gilt sash, both dogs sat upon 'fruit of the vine' decorated bases, 27cm high (2) Sometimes described as Girl & Boy, the children are almost certainly modelled on Queen Victoria's children, in part popularised by her own King Charles Spaniel 'Dash' and general interest in the Royal Family at the time.
THEATRE: A Staffordshire Pottery Portrait Figure, modelled as Jenny Lind, in the role of Alice in Meyerbeer’s opera Robert Le Diable, circa 184, seated with her arms around a Celtic cross, wearing a short sleeved bodice and full length skirt, a sash across her shoulder, 24cm high. Refer: Harding Book 1, Page 352, Fig 1332 Jenny Lind was born Johanna Maria Lind and often called 'The Swedish Nightingale' a celebrated soprano in Europe and the USA, touring widely with showman P.T. Barnum. There is a possible repair to the cross where it meets the base, the left hand appears to have lost a thumb, and some areas of loss to paint.
SCOTTISH: Three Staffordshire Pottery Flatback Portrait Figures, including Robert Burns; Sir Walter Scott; and Burns & Highland Mary, Burns standing, leaning on a stump with a book, 35cm high; Scott, standing with a sash and a dog by his feet, 29cm high; Burns and Highland Mary grouped in a bower by a bridge (bocage missing), 23cm (3). Refer: Harding Book 1, Page 35, Fig 56 (Burns) & Harding Book 1, Page 125, Fig 308 (Scott)
Charming Vermont Teddy Bear from the Vermont Teddy Bear Company, dressed in a royal-themed outfit. The bear wears a velvet red gown with a golden crown adorned with faux jewels and a sash that reads "Happy Birthday Queenie." This bear is part of a themed collection by the renowned Vermont Teddy Bear Company, known for their handcrafted, high-quality plush bears. The bear features movable limbs and retains its original label, confirming its authenticity. A delightful collectible piece for teddy bear enthusiasts. Issued: c. 1995Dimensions: 15"HCountry of Origin: United StatesCondition: Age related wear. As is. Hairline fracture on pot.
**NO RESERVE**An Indian Miniature of a Young Prince.This Indian miniature depicts a young prince standing with an air of confidence, holding a long staff. Dressed in a striking black and gold robe, adorned with intricate patterns and a richly embroidered sash, the noble figure exudes authority and refinement. His turban, embellished with a decorative ornament, signifies his high status.Approximately 25 x 14cmProvenance: From the collection of a distinguished gentleman in NW London
A collectors' lot, to include a glass decanter with hallmarked silver collar, a pair of Classical-style plaques depicting female figures, each approx. 12 x 6.5cm, a brass plaque depicting cherubs and a brass moulding depicting a female face, also stamps in album, first day covers, loose stamps, postcards, tea cards in albums, a Masonic apron and sash, a GWR wall lamp and a framed set of cigarette cards.Condition Report: - Please note that this lot is not suitable for our in-house postage service.We would recommend collecting this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on https://www.adampartridge.co.uk/services/transport/
A mixed lot comprising empty scent bottles, jewellery, an Oriental parasol, a vintage Revelations suitcase including bead necklaces and High Street jewellery, modern simulated and cultured pearls, 2 jewellery display stands together with a mid 20th Century Lee Delman for Bourne & Holligsworth fern green evening gown having a lace outer layer and long sash tie to the rear, approx 34" chest x 58" long. Location:If there is no condition report, please request
GROUP OF THREE PORTRAIT MINIATURES OF LADIES LATE 18TH / EARLY 19TH CENTURY all of oval form, watercolour and body colour on ivory, to include a portrait of a young lady with loose dark hair in a partial turban, wearing a white striped dress, in a rose gold frame with suspension loop, the reverse with a woven hair knot and initials JG; a portrait of a young lady with light brown hair with double bandeau, wearing an open frilled collar chemise with blue sash, in a gilt metal frame with a loop to the back; and a portrait of a young woman with grey hair and yellow bandeau, wearing a triple strand of pearls and white frilled open collar chemise with yellow ribbon (3) the largest 10.5cm high, 8cm wide [including frame] Note: Sold in compliance with UK Government and APHA regulations, with pre-registration application reference 1EGVX5RRPlease be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Seven Naga body clothsNagalandincluding Kabui, with supplementary-weft to the end and side borders, 81cm x 51cm, Zemi, with woven chevrons and tassles to the inner borders, 102cm x 141cm, Tangkhul, with chequer stripes, 82cm, x 213cm, Ao, indigo with thin stripes, 57cm x 176cm, two white with four black stripes and a central red stripe with red cotton to the ends, 96cm x 153cm and 70cm x 138cm, one natural with thin black stripes and remains of nine rows of seeds?, 135cm x 176cm, and a Tangkhul women's skirt, with chevrons on white bands, 58cm x 136cm, and a Kabui embroidered sash, 38cm x 198cm. (9)ProvenanceHansjorg Mayer Collection.PublishedJulian Jacobs, The Nagas; Hill People of Northeast India, 1990. p. 282, 284, 299, 304.
A Naga panji containerNagalandof horn shape with applied dyed hair tails, with a bound rattan loop and a cotton sash,40cm high,and a Naga panji basket with dyed hair tail, with dyed red cane and yellow orchid stem, 37cm long and a group of panji in a basket, 39cm long. (3)Panji are sharpened bamboo spikes stuck in the ground to impede the progress of one's enemies.ProvenanceHansjorg Mayer Collection.PublishedJulian Jacobs, The Nagas; Hill People of Northeast India, 1990. p. 238.
A Yoruba shrine bowl arugba shangoNigeriathe seated woman with a lip plug and raised arms supporting a covered bowl, relief carved two masks and a shango wand, the base with a male figure, holding a drum and a woman with a sash, with a earth ground and with blue and white pigment decoration, 92cm high. (2)ProvenanceZbyszek Plocki Collection, London.
A Naga sashNagalandembroidered cloth with five cast brass bells and coloured glass beads, 108cm long,a Naga double carved head chest ornament, hung with a pair of Janus heads, fibre and hair pendants, 21cm long, two Naga brass link chains, 35cm and 80.5cm long, a Naga coiled brass bead necklace, 32.5cm long, three pairs of Naga metal disc bells, another brass with a horn tapper, two Naga woven fibre armbands, another with applied cowrie shells, a Naga brass buffalo head pendant, a Naga brass bell on a red glass bead necklace, three brass disc pendants and a pair of metal rattle anklets. (23)ProvenanceHansjorg Mayer Collection.PublishedJulian Jacobs, The Nagas; Hill People of Northeast India, 1990. p. 260. (chains)
A SMALL BRONZE FIGURE OF A SEATED SHAKYAMUNI BUDDHA, DATED ZHENGSHI 3RD YEAR Northern Wei dynasty, 506AD, modelled with legs crossed and hands held in dhyana mudra, wearing a pleated robe with sash over left shoulder, supported by a circular tiered stem and square footed base, inscibed to three sides, 'on the 8th day of the 8th month in the 3rd year of Zhengshi, Zhang Zifu made a statue of Buddha'. Notes: For a similar gilt example see; Sotheby's, Important Chinese Art, New York, Sep 2020, lot.588 10cm high 402g Property from the collection of Frankie Neo Ownership Statement: This item is offered for sale in the name of the owner, Frankie Neo. For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A 19th century salt glazed stoneware 'Admiral Lord Nelson' portrait jug - copied from the original by Doulton of Lambeth, modelled as Nelson half-length, in naval uniform, in a buff glaze with treacle glazed bicorn hat, indistinct inscription 'Trafalgar.....' above base to front, 25.5cm high.* Small chip to edge of base centre front. Firing crack to glaze just above the base to the centre at back. Tiny underglaze chip from manufacture to the top edge of the sash to the front of the figure. Shallow chip with a straight edge to the underside of the base - possibly a manufacturing defect. No other faults or restoration.
A woman in a large red dress, billowing in the breeze, holds a green and pink floral sash around her arms while gripping her hat to keep it from blowing off. Royal Doulton backstamp. Artist: Leslie HarradineIssued: 1937 - 2004Dimensions: 4.5"L x 4.25"W x 7.5"HCountry of Origin: EnglandCondition: Age related wear.
Mary, dressed in a soft purple dress with an indigo sash and matching headband. Her lamb rests gently on her legs and they gaze at one another with equal affection. Royal Doulton backstamp. Artist: Peggy DaviesIssued: 1949 - 1988Dimensions: 3"L x 2.25"W x 3.5"HCountry of Origin: EnglandCondition: Age related wear.
A beautiful, elegant woman wears a flowing long pink dress paired with a matching handbag, a delicate light pink sash draped around her arms, and a stunning gold gilded necklace. Royal Doulton backstamp. Artist: Nada PedleyIssued: 2005Dimensions: 5.5"L x 5.25"W x 8.75"HCountry of Origin: EnglandCondition: Age related wear.
FRANCESCO RENALDI (BRITISH CIRCA 1755-1799) PORTRAIT OF MRS. WILLIAM DOUGLAS, NÉE JANE BELL, AND HER SON, PHILIP, IN AN INDIAN INTERIOR Oil on canvas Signed and dated '1789' (centre right) 110 x 92cm (43¼ x 36 in.) In its original carved and gilded 'Carlo Maratta' Provenance: By family descent, until sold, Christie's, London, 26 April 1912, lot 48 (50 gns. to Schuster) Private collection, U.K. Described by Mildred Archer as 'one of the most sensitive portrait painters to work in India during the late eighteenth century' (1), Francesco Renaldi (c.1755-1799) was an English-born painter of Italian heritage about whose life relatively little is known. He entered the Royal Academy Schools in London in 1776, aged twenty-one. For two years after 1781, Renaldi traveled in Italy, initially with Thomas Jones, the Welsh landscape painter and pupil of Richard Wilson.Evidently on at least one occasion, Jones exploited Renaldi's name to pass himself off as an Irish catholic in order to gain access to the prior of a monastery at Caserta near Naples - which would normally have been inaccessible to him on sectarian grounds - but Renaldi seems to have accepted this with good grace, even affability. While Jones left behind a now celebrated group of oil sketches on paper of the environs of Naples and other Grand Tour sites, no works executed by Renaldi in Italy are currently known. Years later, in 1798, Renaldi painted a group portrait of Thomas Jones and his family (National Museum of Wales, Cardiff) which may also contain a discreet but cheerful self-portrait. Upon returning to London in 1783, Renaldi attempted without success to establish himself as a portrait painter at 2 Portugal Street, a modest house located near Lincoln's Inn Fields. On November 3 of that year, Jones was pleasantly surprised to bump into Renaldi in Fleet Street and the two dined together not long afterwards. In 1785, perhaps frustrated by commercial sluggishness, even sensing the prospect of professional failure in a highly competitive metropolitan market for portraits, Renaldi applied to the East India Company for permission to travel to Bengal. He supplied the names and addresses of two references - Mr. Job Hart Price of Aldershot House and Robert Codd of the 59th Regiment of Foot. These guarantors were evidently acceptable to the company, because the following February Renaldi was given formal approval to travel. He sailed aboard the East India Company ship, the Hillsborough, and arrived at Calcutta in August 1786. For the next ten years Renaldi lived and worked in Calcutta, Lucknow and Dacca (now the capital city of Bangladesh). He was therefore one of only a relatively small number of European painters - among them William Hodges, Johan Zoffany, Tilly Kettle and Ozias Humphrey - who spent extended periods painting portraits of and for the nabobs - English, Scottish and Anglo-Irish gentleman of the East India Company - as well as local rulers such as Asaf ud-Daulah, the Nawab Wazir of Oudh. He painted a group portrait of Major William Palmer and his family at Calcutta in 1786. In 1789 Renaldi relocated from Calcutta to Dacca, a large town in eastern Bengal possibly in the hope of finding fresh patronage. He returned to Calcutta and in 1790 embarked on a leisurely tour up-country, reaching Lucknow in 1792 or 1793, where he seems to have remained for several years. In total only around a dozen works - including the present, recently rediscovered portrait of Mrs. William Douglas and her son - painted by Renaldi in India are currently known but amongst them are a group of three individual portraits of Indian women which rank amongst the most intriguing and emotive images produced in British 18th century painting. They have traditionally been identified as bibis,the term for an upper-class Indian woman who became a mistress or unofficial wife to a European resident. The first, known in two versions, both dated 1787, depicts a Mughal lady sitting cross legged, wearing gold-striped green pajamas and a white gauzed shift looking straight ahead (Metropolitan Museum of Art, New York; sold Sotheby's, London, 6 December 2023, lot 23, £825,000) and the second depicts the same sitter but with the addition of a hookah pipe (Private collection). The third, a sensuous portrait of An Unknown Woman was painted two years later in 1789 at Dacca and depicts a Mughal lady reclining on a rug and cushion in a small room with green painted shutters and the door of British type - perhaps in a bibi khana, a small house or quarters which was frequently built behind the main house for ensuring privacy from visitors. The girl is holding a hookah and gazing at a piece of jewellery in her hand. As Mildred Archer wrote: 'It is her air of reverie and quiet calm, her ruffled dress with its soft texture, and above all the darting highlights on the hookah, silver pan tray, slippers and jewels that catch the eye and endow the painting with flashing brilliance' (2). The reemergence of this double portrait of Mrs. William Douglas and her son, Philip may provide the key to help identify the subject of the painting at Yale. The young Mrs. Douglas, née Jane Bell, is depicted at full length wearing a white dress with a blue sash, seated in armchair with her right foot resting on a stool and working on a piece of needlework in her lap. Her son, Philip, is seated at a high chair playing with a glass vial of scent from his mother's jewelry box, which sits on top of a circular side table which has a pair of sewing clamps with thread attached. Behind them is an Anglo-Indian daybed draped in red fabric. Natural light is diffused from the left-hand side through a window shaded by green painted shutters of the same type and design as found in the portrait of the Unknown Lady at Yale suggesting that they are situated in a different but related part of the same house. This raises the strong possibility that the present portrait and the Yale portrait were painted closely together, in the same residence, as part of the same commission. The likely explanation is that the Douglases and their young son, newly arrived in India as a family, were staying in the Dacca household of Jane's half-brother, Suetonius Grant Heatly. According to Suetonius Grant's nephew, Henry Green (son of William and Temperance Green) nephew, Heatly 'never married but formed a connection with a native of the Country, a thing of frequent occurrence at that time in India by whom he had several children whom he educated well and provided for -a daughter of his Mary was sent to England for her education' (Green/Heatly family historical archive, Cornell University Library). Suetonius Grant Heatly appears to be the clear candidate to commission portraits of his half-sister and her son, as well as an intimate portrait of his bibi at the same moment from Renaldi at Dacca in 1789. Indeed, Suetonius Grant had a history of patronizing the European artists working in India. He was painted by Arthur William Devis in a group portrait with his sister Temperance and his Indian servants in Calcutta, c. 1786 (3). His brother, Patrick Healty (1753-1834), who also served in the administration of the East India Company was painted by Zoffany in India (Yale Center for British Art, New Haven)... Click here to read more.
A Regency giltwood fire screen in the manner of Thomas Chippendale the Younger, first quarter of the 19th century, the uprights with Egyptian herm finials and carved with stylised harebells, holding an adjustable frame enclosing a pile fabric panel, probably Savonnerie, depicting a golden pheasant and parrots in a wooded landscape and indistinctly signed, raised on splayed end supports united by a shaped anthemion and rosette-carved stretcher, and terminating in claw feet and castors,65cm wide55cm deep152cm high This is almost certainly one of the pair illustrated in the Drawing Room and the Green State Room at Holkham in H A Tipping and C Latham, 'English Homes', 1909, pp.394 and 396 respectively.In Holkham's archives, the earliest possible mention of the pair of fire screens is in an 1842 inventory, described as 'two carved and gilt fire screens, embroidered centres'. In the 1909 inventory, they are described as 'Aubusson pile tapestry, exotic birds after Buffon' and both were together in the South Dining Room at this point.Further still, the 1967 inventory mentions 'A Regency gilt framed cheval fire-screen, in the Egyptian taste...the rectangular panel filled with parrots and a golden pheasant in a wooded landscape in Savonnerie pile fabric signed ‘Cant’ the screen bearing a trade label inscribed to Jo [sic.] Smith, apprentice and successor to the late Mr Harewood [sic.] of Conduit Street, carver and gilder and looking glass and picture frame maker'. In 1794, John Smith was apprenticed to William Hurwood (fl.1780-92), carver and gilder of 18 Conduit Street, London, for a premium of £20 ('A Memoir of the author [John Smith] by his grandson', 'Connoisseur', 1903, vol.5, p.214). He set up in business soon after the end of his apprenticeship in 1801. His early trade label simply described him as 'J. Smith, Carver & Gilder, Looking Glass Manufacturer, and Picture Frame Maker, 98 Swallow Street, near Conduit Street' (example on John Hoppner's 'George IV as Prince of Wales', Wallace Collection, London).The pile fabric panel of exotic birds was probably based on a cartoon made for the Savonnerie manufactory in Paris, based on a similar panel housed in the Metropolitan Museum of Art, New York. The panel, attributed to Thomas Moore (c.1700-1788) was - according to the museum - woven in England and probably by Thomas Whitty (1713-1792) at Axminster (accession number 64.101.1155).Condition ReportSmall areas of loss to the gilding the carpet panel in good order, free from damages and still in strong colour, small areas of loss to the gesso harebells, chips to the feet, adjustable sash mechanism oporational. Please see additional images for reference.
Thailand or Laos 18/19th Century A bronze seated monk (the venerable monk Phra Malai) Gilt bronze This sculpture depicts Phra Malai seated in bhumisparsimudra with his left hand holding the remains of his monastic fan, and wearing a thin sanghati (monastic robe) with a narrow sash over the left shoulder, with extensive traces of gilding. For a bronze seated Buddha in similar style, cf. p. 243 in S. Lopetcharat, Lao Buddha: The Image and its History, Bangkok: Siam International Book Company, 2000 Provenance: A private German collection; Jonathan Tucker Dimensions: 12 in. (H) x 9 in. (W) x 5 in. (D)
A Chelsea bonbonniere, c.1760, modelled with a putto feeding wine to a reclining infant Bacchus draped in grapevine, the pair draped in a sash inscribed 'Le Vin Nouse Ramine' (Wine refreshes us), with gold mounts to a hinged hardstone base, the interior painted with flowers including heartsease, 4.6cm high.
A BOX OF ASSORTED COSTUME JEWELLERY AND ITEMS, to include a gold tone 'Monet' floral brooch, chains, brooches, earrings, rings, imitation pearl necklaces, hair slides, a pink jewellery box, charm bracelets, a boxed perfume atomiser, boxed book mark, decorative enamel egg pendants, two Masonic aprons, a Masonic sash and medal with ribbon, sunglasses, Stratton lipstick combo compact, cigarette case, an EPNS cigarette box, a gold plated Maruman Halley electronic gas lighter etc
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