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Lot 035214
Konvolut Weißporzellanfiguren, Rosenthal, 20. .Jh., Kernstück: Kaiser Friedrich der Große zu Pferde, Kunstabt. Selb, Modellnr. 1529, Ausf. 1934/35, auf der Plinthe sign. (Louis) Tuaillon (1862-1919) , H. 32 cm, Pferdeohr min. best., dazu: 3 Figuren bestehend aus 2 friederizianischen Gardisten u. Friedrich des Großen, Entw. Gustav Oppel, je am Sockel monogrammiert, 1930er Jahre, Stab Friedrichs best., H. ca. 17 cmCollection of white porcelain figures, Rosenthal, 20th century, centerpiece: Emperor Frederick the Great on horseback, Selb art department, model no. 1529, molding 1934/35, signed on the plinth (Louis) Tuaillon (1862- 1919), H. 32 cm, horse's ear slightly damaged,with 3 figures: 2 Frederickian guardsmen and Frederick the Great, designed Gustav Oppel, each monogrammed on the base, 1930s, Frederick's stick dam ., H. approx. 17 cm
Lot 155049
Paar grosse Porzellanfiguren, Sitzendorf, 2.H.20.Jh., galantes Paar, Gärtner mit Stock und Körben mit Obst und Blumen, Geflügelhändlerin mit Gans, Hahn und Taube, Goldstaffage, H.ca. 30 cmPair of large porcelain figures, Sitzendorf, 2nd half of the 20th century, gallant couple, gardener with stick and baskets of fruit and flowers, poultry seller with goose, rooster and dove, gold staffage, H.ca. 30 cm
Lot 120
17 Haustelephone, ab ca. 1900 1) 2 x Citophone, Handapparat mit Einsprechtrichter. - 2) England, rundes Holzgehäuse, Mikrophon mit Einsprechtrichter, Dosenhörer mit Aufhänge-Öse. - 3) USA, für 12 Anschlüsse, Eichengehäuse, Mikrophon mit Einsprechtrichter, Bell-Typ-Bakelithörer. - 4) 2 x Dumoulin, Frankreich, rundes Walnußgehäuse, Handapparat in Form einer Eiskugelzange. - 5) Unbezeichnet, für 4 Anschlüsse, Nußbaumgehäuse, Handapparat ohne Kabel. - 6) Société Industrielle des Téléphones, Paris, Gehäuse aus Kunstmarmor, Handapparat in Form einer Eiskugelzange. - 7) 2 x Lindholm, Stockholm, Handapparate mit Sprechtasten. - 8) Unbezeichnet, Sockel mit Wurzelholzfurnier, Glocke, Mikrophon mit Halterung für den Dosenhörer. - 9) USA, grün lackiertes Metallgehäuse, Doppelglocke, Mikrophon mit Einsprechtrichter, Dosenhörer. - 10) Unbezeichnet, Nußbaumsockel, Glocke, Handapparat mit Sprechtaste. - 11) Aktiebolaget Monofon, Stockholm, für 6 Anschlüsse, Handapparat in Form einer Eiskugelzange. - 12) Unbezeichnet, Nußbaumsockel, Glocke, Handapparat mit Sprechtaste. - Und: 13) Ericsson, Handmikrophon in Stabform. Start Price: EUR 240 Seventeen Intercom Telephones, c. 1900 onwards 1) Two by Citophone, handset with speaking horn. - 2) England, circular wood case, microphone with speaking horn, can receiver with suspension eyelet. - 3) USA, for twelve connections, oak case, microphone with speaking horn, Bell-type bakelite receiver. - 4) Two by Dumoulin, France, circular walnut cases, ice cream scoop-shaped handsets. - 5) Unmarked, for four connections, walnut case, handset without cable. - 6) Société Industrielle des Téléphones, Paris, simulated marble case, handset in the shape of an ice cream scoop. - 7) Two by Lindholm, Stockholm, handsets with push-to-talk buttons. - 8) Unmarked, base with burr- wood veneer, bell, microphone with holder for the can receiver. - 9) USA, green-lacquered metal case, double bell, microphone with speaking horn, can receiver. - 10) Unmarked, walnut base, bell, handset with speaking key. - 11) Aktiebolaget Monofon, Stockholm, for six connections, handset in the shape of an ice cream scoop. - 12) Unmarked, walnut base, bell, handset with push-to-talk button. - And: 13) Ericsson, handset in the shape of a stick. Start Price: EUR 240
Lot 370
Radioempfänger Ingelen Geographic 39W, um 1938 Elektrotechnische Fabrik Ing. Ludwig Neumann GmbH, Wien. 5 Röhren, Langwelle, Mittelwelle und Kurzwelle, Netzbetrieb (110-240 Volt), eingebauter Lautsprecher, magisches Auge, Abstimmanzeige mit Glimmstab, Skala mit Länderbezeichnungen, aufleuchtende Punkte der eingestellten Sender, Holzgehäuse (sehr kleine Fehlstelle am Furnier), komplett mit Röhren und Rückwand. Start Price: EUR 450 Ingelen Geographic 39W Radio Receiver, c. 1938 Elektrotechnische Fabrik Ing. Ludwig Neumann GmbH, Vienna. Five tubes, long wave, medium wave and short wave, mains operation (110-240 volts), built-in loudspeaker, magic eye, tuning indicator with glow stick, scale with country names, illuminated points of the set transmitter, wood case (very small chip on veneer), complete with tubes and back panel. Start Price: EUR 450
Lot 7
AN 18TH CENTURY STYLE MERCURY STICK BAROMETER the brass plate engraved Mich Rutherford, Hawick and dated 1763, with glazed case above rosewood and satinwood chequered inlay, 97cm high (PLEASE NOTE THAT DESCRIPTION HAS BEEN UPDATED)Condition Report:Barometer is in a good general condition consummate with age, there are some losses to veneer
![A silver topped walking stick and a set of two sterling silver golf ball markers contained in leather case. [2]](https://cdn.globalauctionplatform.com/9cd3f285-1f65-470e-9a93-ae5300905704/f9301e96-ef42-4ba6-a670-ae53010f89df/468x382.jpg)
Lot 4263
Late 19th/early 20th century Black Forest Bear stick stand, the standing on his back legs with a front paw extended, H90cm W33cm D42cm Approx.PROVENANCE; A collection of Black Forest carvings from a local deceased estateCondition Report: Stand in bears paws is roughly screwed in and has been repaired.Splits around base.Old worm damage.Metal dish in base is slightly out of shape.General wear and tear consistent with age and use.There is a hole in the top of the bears head, about 2.5cm wide and 1.5cm deep. We do not know what it is for.
Lot 4450
George III mahogany stick barometer, the broken triangular pediment over a silvered dial inscribed Tagliabue & Torre, No. 294 Holborn, London, with thermometer, above a circular reservoir cover, 96 cm highCondition Report: Some loose and re-glued moulding to the top, dial tarnished, tube fixing on stem with parts missing, some cracking to the veneers, reservoir cover being held in place with old tape. No bubbles in the mercury.
Lot 66
A Pair of Edward VII Silver Candlesticks, by James Charles Jay, Sheffield, 1903, each on stepped square base with gadrooned border, the fluted stems terminate in Corinthian capital form socket, with detachable gadrooned sconce, filled, 16cm high (2)Condition report: Numerous dents to both. One stick is splitting where the column meets the base.
Lot 489
A large retro vintage mid 20th century carved wooden Tiki multi tier Lazy Susan buffet / serving stand comprising of a carved pineapple cocktail stick holder to top with lower gallery tier and two graduating revolving circular trays with removable dishes. Label present. Measures approx; 84cm tall.
Lot 1
RACHEL JONES (B. 1991)Spliced Structure (7) 2019 signed and dated '19 on the overlapoil, oil stick and oil pastel on canvas190.3 by 250.3 cm.74 15/16 by 98 9/16 in.Footnotes:ProvenanceThe Sunday Painter, LondonAcquired directly from the above by the present owner in 2019A commanding and vivid canvas, Rachel Jones' Spliced Structure (7) is a masterwork that is enlivening to behold, demonstrating an exuberance and painterly confidence that intensely stitches together ideas of identity and corporeality. Across passages of fervid reds and greens, laid down with spirited flourishes of oil stick and paint, Jones' intensive strokes reveal grinning teeth that emerge from a luscious surface. One of the most highly sought-after artists to emerge in recent seasons, Spliced Structure (7) is a sterling example by an artist who continues to go from strength-to-strength, following her recent solo exhibitions at Thaddaeus Ropac in London [SMIIILLLLEEEE], and the Chisenhale Gallery [say cheeeeese] that will run until June 2022.A graduate of the Royal Academy Schools – an institution that counts Issy Wood and Michael Armitage amongst its alumni – Jones' is one of a nascent generation of artists who have injected vigour and soul back into the painterly medium. This is resplendently clear in the present work not only in the vivacity of Jones' mark-making, but also in the ideas that underpin her practice at large. The body is Jones' primary subject, and yet the figure remains starkly absent. It becomes an abstraction, an interiority that the artist translates into an all-encompassing composition – filling and consuming the spectator's gaze. In this way, the mouth has emerged as a motif of great significance in Jones' works, pictured as the opening to an internal landscape that the artist illuminates with each gesture, kept at bay behind a grill of ivory teeth. 'I am very interested in placing my history and my relationship to painting within the work. It's really meaningful to have people interrogate those ideas and to think about them. [...] you can make artwork from a place of feeling, and that's enough of a reason to make something, because I think that's the truth of it,' Jones has commented: 'Anything that's produced, it comes from some sort of desire or a need, and all of those things are emotional and physical reactions in our body' (the artist in: Amah-Rose Abrams, 'Meet Rachel Jones, an Ascendant Painter Whose Jitteringly Electric Paintings Have Captivated Viewers in London and Collectors Worldwide', news.artnet.com, 3 January 2022). Painting to Jones is a wholehearted, embodied activity, executed with feeling and intent that can only truly emerge from a reconciliation between body and psyche. To gaze upon Spliced Structure (7) is to engage with Black British womanhood, with Black joy, with the Afro-Caribbean and diasporic communities across London and the UK. It does this, however, without leaning on didacticism as a narrative method. The painting is pure experience: it is about the internal experience of its author, as that relates to the outward experience of the work's spectator.A patchwork of scumbled paint and sketched oil stick over lucid primary colours, the present work is filled with sumptuous details and passages that draw the eye into its surface, evoking the intensity of Joan Mitchell canvases. Most recently celebrated at the Hayward Gallery exhibition Mixing It Up: Painting Today, an exhibition that placed Jones alongside Peter Doig, Jadé Fadojutimi, Lisa Brice, Somaya Critchlow, and Hurvin Anderson, amongst others, her influence and public acclaim is ever-growing. Her multimedia commission at the Chisenhale Gallery promises to further and deepen her prominence as one of the leading artistic voices today.With works residing in the collection of the Institute of Contemporary Arts, Miami; the Arts Council Collection, UK; the Museum of Fine Arts, Houston; the Tate collection, UK; and the Hepworth Wakefield, Jones is one of the most exciting and desirable artists to public institutions and private collections alike. Spliced Structure (7) is a monumental and impressive painting that captures Jones' practice at its most vibrant and ambitious.This lot is subject to the following lot symbols: AR TPAR 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
Lot 10
ANDRÉ BUTZER (B. 1973)Ohne Titel 2006 signed; signed and dated '06 on the reverseoil on canvas139.9 by 119.9 cm.55 1/16 by 47 3/16 in.Footnotes:This work will be included in the forthcoming catalogue raisonné being prepared by the André Butzer Archive.ProvenanceGalerie Guido W. Baudach, BerlinPrivate Collection, EuropeSale: Kunsthaus Lempertz, Auktion 960: Zeitgenössische Kunst, 2 June 2010, Lot 686Acquired directly from the above by the present ownerOhne Titel, 2006 is a signature work from André Butzer's early figurative series depicting arguably the artist's most iconic character, the Wanderer. Instantly recognisable, the misshapen figure looms out from the canvas filling the entire plane in a cacophony of bright colour and texture. Paint is applied in generous swathes, with ribbons squeezed directly from paint tubes to the Wanderer's chest creating a chaotic storm of coloured grids that is played out across the surface whilst thick lashings of impasto to the Wanderer's face appear as if the flesh is slowly melting. The over-inflated head features three swollen protuberances on each side of his face, like old fashioned whiskers, and large gawking eyes that stare out as if entranced. The absence of a neck and the strange long arms contrasted against the short legs defy the natural proportions and physiognomy of the graceful human form favoured by artists over the centuries. Here, the figure is an antithesis to the romanticised notion of elegance and is rather a representation; a character of Butzer's Science-Fiction-Expressionism and inhabitant of his fictional outer space universe NASAHEIM, a term that takes inspiration from NASA and is derived from the German word 'heim' which translates to 'home'. Despite his otherworldliness, the Wanderer also possesses overtures of friendliness and an air of humanity, perhaps best expressed through his awkward yet amiable smile and resemblance to familiar cartoon characters.Underpinning Butzer's practice is a strong foundation based around mass culture. Pop iconography and titles such as Chips Und Pepsi und Medizin (Das Glück) from 2003 alongside the more sinister inscriptions of 'nuclear assault' in Schutztod (Teil 1), 1999, refer to Butzer's childhood in Cold War Western Germany in the 1970s. As Hans Werner Holzwarth articulates: 'The new gods have brought Mickey Mouse, Coca-Cola, potato chips, Star Wars. They also bring the promise of death by atom or blood sugar.' (Hans Werner Holzwarth in: Lutz Eitel (Ed.), André Butzer, Cologne 2021, p. 6). American cartoons and in particular the world of Walt Disney would have a profound impact on Butzer's career. Disney's early animations with their propensity for slap stick comedy juxtaposed against a comedic violence are frequent sources throughout his oeuvre. Indeed, the Wanderer possesses the over exaggerated features and wears the same white gloves as seen on the beloved character Mickey Mouse. Drawing upon modern masters including Edvard Munch, Henry Matisse and Paul Cezanne, and influenced by such contemporary icons as Albert Oehlen and Gerhard Richter, Butzer reinterprets the past by recycling and reusing in a continuous sequence of examination and renewal. In the various depictions of the Wanderer, one is often reminded of Munch's masterpiece The Scream from 1903. Set against an expressionist landscape, the agonised face of the main character in Munch's painting resembles the foreign features of the Wanderer traversing NASAHEIM, evident in such works as Auf der Kleinen Wiese, 2003. 'There is nothing worse than being contemporary. But I actually see myself as a radical traditionalist, otherwise you can't really do anything new. I continue what others have started.' (the artist in: Lutz Eitel (Ed.), André Butzer, Cologne 2021, p. 150). Born in Stuttgart in 1973, Butzer's celebrated paintings combine European Expressionism with the themes of Popular Culture and mass consumerism, creating his own distinct aesthetic of brightly coloured figures and cosmic landscapes through to the minimalistic black and white compositions. The earlier works executed in the 90s often employ a darker palette with tones of grey and black, with figures that are rendered in a more ethereal and ghost-like interpretation. Whilst Butzer continues to employ this monochromatic palette throughout his career, it was the introduction of bold hues and gaudy exuberant tones as evident in the present work, that has cemented Butzer firmly within the canon of contemporary art. Highly sought after internationally, Butzer's works can be found in the esteemed collections of the Art Institute of Chicago, Chicago; Denver Art Museum, Denver; Kunsthalle Emden, Emden; LACMA Los Angeles County Museum of Art, Los Angeles; Miettinen Collection, Berlin; Taschen Collection, Los Angeles; and the Rubell Family Collection, Miami.This lot is subject to the following lot symbols: * AR* 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.For further information on this lot please visit Bonhams.com
Lot 214
TWO MILITARY SWORDS AND OFFICERS SWAGGER STICK, a Royal Artillery officers sword by Henry Wilkinson Pall Mall, London, with etched blade, length being approximately 82cm, straight with the inscription to the blade in a scrolled cartouche A Cunningham, a USA made Civil War period sabre, blade length approximately 88cm blade marked U.S. 1864 AGM, the sword was made by the C Robey Company of Chelmsford Mass, the opposite side of the blade is marked with the arched Robey maker mark, ornate brass cross guard etc with leather and wired grip, blade rusted no scabbard, a WWI era Swagger stick with white metal Crest for the South Lancashire Regiment
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