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Click here to subscribeMendini & Guerriero, Alchimia, Shelf Angoliera from Ollo CollectionA. Mendini & A. GuerrieroAlchimiaDesign about 1988Standregal Modell Angoliera aus der Ollo Kollektion. Entwurf um 1988. Farbiges Laminat, Holz, eine Seite mit goldfarbenem Blattmetall. 221 x 24 x 43 cm.Literatur: Mario Bellini, Das internationale Design Jahrbuch 190/91, München 1990, Abb. S. 57.
Ettore Sottsass, one of two Prototypes Shelf FactotumEttore Sottsass, 1917-2007BeluxDesign 1979Prototyp des Regales Modell Factotum. Entwurf 1979. Holz, farbiges Kunststofflaminat. 230 x 66,5 x 48 cm. Bei diesem Objekt handelt es sich um einen von zwei Prototypen die von Belux hergestellt wurden. In dieser Ausführung ging das Regal nie in die Serienproduktion. Das Objekt stammt aus der privaten Sammlung Urs Richner, ehemaliger Geschäftsführer der Firma Belux und Kumewa.
"Christ". Large chased and gilded copper figure with champlevé enamel. Limoges. France. Romanesque. 13th century. Due to its dimensions, 22,5 x 18 cm, it must have been the central figure affixed to a large processional cross. Christ alive, crucified, covered with a large loin cloth in ultramarine blue and turquoise tones, with a crowned head and glass eyes. This is a Romanesque depiction of Christ, who appears glorious and triumphant before death, with the head held high, not leaning, and with open eyes. The knees are bent and the naturalness of the torso augers the beginning of what would be the gothic model of the suffering Christ. There is a comparable example kept in the Musée d'Art et d’Archéologie in Senlis, France, which is still affixed to its original cross. (https://musees.ville-senlis.fr/Collections/Explorer-les-collections/Rechercher-une-oeuvre/Musee-d-Art-et-d-Archeologie/Christ-en-croix) As the museum mentions in the index card, both Christs show the characteristics of Limoges craftsmanship "opus emovicense" according to the expression used in the Middle Ages to define the objects made in enamelled champlevé copper in the Limoges workshops: champlevé enamel in ultramarine blue has been used on the loincloth and on the suppedaneum, the shelf on which Christ’s feet rest, although in this case the enamel has not been preserved, and there is fine chasing on the torso.
NO RESERVE Surtees (Robert Smith) Mr Sponge's Sporting Tour, first edition in book form, first state with dedication to Lord Elcho, half-title, hand-coloured engraved frontispiece and 12 plates by John Leech, numerous illustrations, book-label to pastedown, occasional splitting at gutter, some light toning, hinges cracked but holding firm, original pictorial cloth, gilt, lightly rubbed and soiled, spine sunned with ends chipped, slight shelf-lean, 1853; and 4 others by Surtees, uniformly bound in half morocco, 8vo (5)
Millais (John Guille) The Life and Letters of Sir John Everett Millais, 2 vol., half-titles, photogravure frontispieces and 7 plates, numerous illustrations, pencil portrait of Millais on card by Sir Leslie Ward, initialled and dated June 1869 pasted to title verso of vol. 1, bookplate of Nathaniel L. Cowan, very occasional splitting at gutter, scattered spotting to plates and endpapers, Millais related ephemera and newspaper cuttings loosely inserted, also tipped-in to rear pastedown, some hinges cracked but covers holding, original decorative cloth, gilt, lightly rubbed at extremities, corners and spine ends bumped, vol. 1 with slight shelf-lean, t.e.g., 1899; and a letter from Millais to "Duke", dated March '92, 4to & 8vo (3)⁂ An unrecorded example of the work of a 17 year old Sir Leslie Ward, artist and caricaturist later known as "Spy". Ward's artist parents were familiar with Millais, who was instrumental in bringing a young Ward to the attention of Vanity Fair in 1873. Millais' letter is to an unknown recipient, possibly the Duke of Westminster. He explains that 'my youngest son has written a book on game birds illustrated by him also', referring to John Guille Millais' Game Birds and Shooting-Sketches, published in 1892.
NO RESERVE Ellroy (James) L. A. Confidential, signed presentation inscription from the author "Wombat blood drips!" on half-title, promotional flier and newspaper clippings loosely inserted, jacket with short nick and creasing to head, New York, 1990 § Deighton (Len) An Expensive Place to Die, "Top Secret" folder with documents loosely inserted, slight shelf-lean, jacket spine sunned, rubbing to spine tips and corners, 1967, first editions, original boards, dust-jackets; and 5 others, thrillers, 8vo (7)
NO RESERVE Le Carré (John) The Honourable Schoolboy, 1977; Smiley's People, jacket spine a little sunned, 1979 § Forsyth (Frederick) The Odessa File, ink ownership inscription to endpaper, 1972, first editions, original boards, shelf-lean, dust-jacket, light rubbing and creasing to head and foot, 1972; and c.55 others, similar, 8vo (c.60)
A 17th century design oak duodarn, rectangular top above a panel door, two short drawers and a pair of further panel doors, applied with geometric moulding and enclosing a shallow shaped shelf, carved throughout with leafy lunettes and stylised flowerhead bosses, skirted base, bun feet, 147cm high, 143.5cm wide, 56cm deep
A 19th century gilt metal mounted Boulle and ebonised credenza, slightly oversailing serpentine top applied with egg-and-bell husk edge above a central panel door enclosing a shelf, flanked by glazed vitrine doors, each enclosing two further shelves, divided and flanked by herm brackets, shaped plinth base, 111cm high, 207cm wide, 49cm deep, c.1870
A 19th century gilt metal mounted Boulle and ebonised enclosed side cabinet, hipped rectangular top above a deep frieze applied with stiff leaves and a pair of panel doors enclosing a shelf, flanked by canted angles applied with female herm brackets, 121.5cm high, 134cm wide, 51cm deep, c.1870
A 19th century porcelain and gilt metal mounted kingwood banded and marquetry bonheur du jour, canted rectangular superstructure with a pair of panel door applied with oval porcelain plaques painted in the manner of Sèvres with flowers, enclosing a shelf, the lock stamped Hobbs & Co, London, above two small drawers, the projecting base with a folding writing surface and a long frieze drawer, French cabriole legs, 137.5cm high, 85cm wide, 56cm deep, c.1870
A George III mahogany bureau bookcase, dentil cornice above a blind fretwork frieze and a pair of astragal glazed doors enclosing three adjustable shelves, the base with a fall front enclosing a tooled and gilt writing surface, small drawers and pigeonholes, above a pair of panel doors, the left enclosing two drawers, the right a shelf, skirted base, bracket feet, 209.5cm high, 80cm wide, 52cm deep, c.1800
A late Victorian mahogany display cabinet, by Collinson & Lock, stamped and numbered 5109, in the manner of Bruce Talbert, dentil cornice above a marquetry capital and a pair of glazed doors enclosing a shelf, the lower half with a pair of geometrically moulded panel doors, reeded apron, open undertier, square legs, 173.5cm high, 67cm wide, 33.5cm deep, c.1890
A Sheraton period mahogany and satinwood bonheur du jour, the superstructure with arched half-gallery above a shelf, niche and five small drawers, the projecting base with a long frieze drawer fitted with a baize lined slide and stationery divisions, ring handles, circular escutcheons with beaded border, above a simulated nulled apron, tapered square legs, 129cm high, 77.5cm wide, 46.5cm deep, c.1780
An Aesthetic Movement Anglo-Japanese drawing room or parlour corner display cabinet, swan neck pediment above a pair of mirror-back open shelves, flanked by glazed vitrtine doors, each enclosing a shelf, the base with a pair of Shibayama panel doors enclosing a shelf, flanked by further open shelves, open undertier, turned forefeet, 210.5cm high, 122.5cm wide, 81cm deep, c.1890
An Edwardian rosewood and marquetry drawing room or parlour cabinet, broken-arch pediment flanked and centred by turned finials above an upper gallery, an arrangement of mirrors and a pair of glazed vitrine doors, the projecting bow centre base with two short drawers and a pair of rectangular doors, each enclosing a shelf, centred by galleried niches, inlaid throughout with urns and sinuous leafy stems, turned feet, 244cm high, 136.5cm wide, 46.5cm deep, c.1905
A George III mahogany bureau bookcase, moulded cornice above a pair of doors enclosing a shelf, fall front enclosing a small door, small drawers, pigeonholes and 'secret' compartments, above two short and three long graduated cockbeaded drawers, bracket feet, 227.5cm high, 120.5cm wide, 53cm deep
A Louis XV Revival gilt metal mounted Vernis Martin corner vitrine display cabinet, shaped top with scrolling acanthus cresting above a three-quarter serpentine glazed door enclosing two glass and one plum fabric lined shelf, the lower panel painted with young siblings on a swing, 195cm high, 74cm wide, 65cm deep, c.1900
A POKERWORK AND INLAID MAGAZINE RACK H 69cm together with an ebonised adjustable stool bearing a Urquhart & Adamson Cabinet Makers, Liverpool plaque to the underneath H 41cm, a mahogany rectangular stool H 43cm x W 46cm x D 44cm and mahogany wall hanging display shelf H 71cm x W 65cm x D 16cm
EMERSON, Ralph Waldo (1803-1882). Nature. Boston: James Munroe and Company, 1836. 12mo. Original purple-rose cloth embossed with coral-like branches, blocked in blind, title gilt-lettered on upper cover (repairs to spine ends, spine slightly leaned, some minor soiling); folding case. Provenance: Mercantile Library Association New York (stamps on title and contents leaves, a few shelf marks).FIRST EDITION, second state with p.94 correctly numbered. EMERSON'S FIRST BOOK and, a fundamental work of the Transcendentalism movement, one of 1,500 copies printed, which were issued in bindings of varying cloth and designs, offering as many as 75 different binding combinations. BAL 5181 (binding cloth G, frame B, no priority); Myerson A3.1.a (binding cloth 2, stamping B). Property from the Annette Perlman Trust
GASPAR, Nicolas. Tratado, e arte de Arismetica para fazer hum perfeyto Cayxeyro. Edited by Manuel de Figueiredo. Lisbon: Bernardo da Costa de Carvalho, 1716.12mo (149 x 98mm). Contemporary vellum (recased, upper cover a little discolored and with old library shelf stamp). Provenance: early inscription on title; Agost. Descalc de Coimbra (stamps on title). Gaspar 's major work was originally published in 1516, but here edited and amended by Manuel de Figueiredo. Tipped into this copy at front is a printed broadside containing Pope Clement XI 's writ in favor of libraries Breve ad favorem bibliothecarum dated 23 January 1721.Selections from Antiquariat Botanicum, Dr. Eugene Vigil
Estate of Jeremy Bulloch - Star Wars - Boba Fett - Bulloch's personally owned 1/1 scale replica presentation Boba Fett helmet. Highly detailed fibreglass replica, complete with padded interior and realistic weathered exterior. Movable rangefinder. Presented to Bulloch by the original maker, and features a plaque inside that reads ' Jeremy Bulloch '. Mounted on a custom made helmet stand, which has been signed on the base by the artist with notation reading 'This is a custom made helmet stand by myself. Only two of this paint style exist and the other is on a shelf in my home! Mr Bulloch - Please Enjoy!' The base features Mandalorian carvings and painted in the same colour scheme as the helmet. This helmet can be seen being worn by Bulloch in several pictures and interviews conducted in his home.
A CHINESE MOTHER OF PEARL INLAID HARDWOOD CABINET, with two large doors opening to reveal a central shelf with two drawers, each door with three carved panels depicting various figures, animals and beasts - the borders with inlaid mother of pearl foliate decoration, the cabinet raised on four square form legs, 123cm high, 115cm wide, 57.5cm deep.
A late Victorian/Edwardian painted satinwood cabinet on stand, painted with scrolling foliage, paterae and twin handled urns, inlaid with boxwood and stringing and rosewood cross-banding, the shaped pediment above a dentilled cornice, over two glazed doors, enclosing a painted interior with two adjustable shelves, the projecting base with a frieze drawer, flanked on each side by a projecting circular corner, over tapering, fluted circular legs, united by 4 stretchers, supporting a central oval undertier, raised on turned feet, 111cm wide x 55cm deep x 222cm highGeneraly ok. Lacking finials. Minor chips, dents and scratches, including returns of cornice and the back side corners of the base of the top. Some small fine hairline cracks on the top of the base. Lacking some small sections of satinwood veneer on edge of the top of the base section, including 2cm and 1,5cm sections on front and two 2cm sections and a 1.5cm section on the right side and a 3.5cm and three 2cm sections on the left circular projection. Right glazed door slightly warped in the centre. This can be closed and locked, but needs to be pressed firmly.Minor restoration, including some rosewood cross-banding on drawer and later shelf supports, possibly interior paintwork.
An early 19th century oak press cupboard, with bone kite-shaped escutcheons, the cavetto cornice above two panelled doors, enclosing one shelf, the projecting base with three frieze drawers above two double panelled doors, enclosing one shelf, raised on extended stiles, 120cm wide x 46cm deep x 171cm highOk.Some restoration, but nothing visible, other than small evidence of previous handles. Turned handles later, but covering some old positions, pine planks forming the top, hidden by the cornice later, as are the shelves, but not the exterior.
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