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Click here to subscribeTunbridge ware - four pieces, comprising a rectangular rosewood paper weight, with central stick ware star, 8cms, a rosewood Tangram box with geometric stick ware lid with a later ivory puzzle, 4.7cms, a white wood cylinder box with stick ware lid, 3.6cms, and a rosewood rib turned cylinder box, the overhanging lid with a stick ware star within a 'jumbled' border, 3.7cms. (4)
A burr birch Tunbridge ware slant top stationery box, the lid with a mosaic panel of a butterfly set within a white wood ground and chequer border, within an outer narrow border of stick ware, compartmentalised interior with original printed fleur de lis paper to lid, split to top, 16 x 9.4 x 13cms max.
Post 1901 3rd East Lancashire Regiment Pouch Badge cast brass, Kings crown wreath with lower scroll. Central sphinx over rose head. 3 rear screw post fitting. Together with a white metal, KC East Lancashire, thimble, swagger stick top ... White metal, Stonyhurst College OTC, thimble, swagger stick top. 3 items.
A Victorian 9ct rose gold baton and sphere bar brooch, steel pin, marked 9ct; a 9ct rose gold amethyst and seed pearl bar brooch, steel pin; a 9ct rose gold and peridot stock pin, with safety chain; a 9ct gold amethyst and seed pearl stick pin, all c.1900, 4.93g gross; a Victorian carved jet stick pin, as a bird in flight (5)
Welsh ash, beech and elm primitive stick backed three legged armchair with scrolled arms, ring turned supports and solid seat. 74cm high approx. (B.P. 21% + VAT) Evidence of possible replacements or restoration particularly to the top rail and some spindles. Seeming sound. From a large Cardiganshire country house. 73cm wide approx.
A silver sovereign case by Miller Brothers, Birmingham 1911, two vacant compartments to interior for one full and one half sovereign, exterior with engraved floral decoration, measuring 52mm x 32mm, together with a small Victorian silver vesta case suspended on a silver trombone link watch chain, a small silver envelope pendant charm, a silver match stick case holder, a silver caddy spoon, a novelty miniature silver chalice, a silver wax seal holder, a silver needle case, and five assorted silver napkin rings, gross weight of group 6.11ozt (14)
A selection of Victorian and later brooches and stick pins, to include a turquoise and cultured pearl set brooch, designed as a heart set with half pearls and turquoise cabochons, set to a yellow metal knot design mount, stamped '15ct' to reverse, 38mm long, a carved shell cameo brooch set to a 9ct gold mount, 38mm x 28mm, together with a pearl set floral cluster stick pin, 62mm long, an enamelled sapphire set example, 57mm long, and an unmarked yellow metal example, 40mm long (5)
Six Royal Copenhagen figures modelled as children, comprising: a boy with a teddy bear (model 3468), printed maker's mark for 1968 to base, 19cm high, a boy sharpening a stick (model 905), printed maker's mark for 1954 to base, 18.5cm high, a boy and a dog (model 782), printed maker's mark for 1975-1979 to base, 19cm high, a girl in a dress (model 2444), printed maker's mark for 1975-1979 to base, 21cm high, a girl seated with a doll (model 1938), printed maker's mark for 1969-1974 to base, 12.5cm high, and a figural group of a boy and a girl (model 406), printed maker's mark for 1992-1999 to base, 17cm high (6)
ALBERTO GIACOMETTI (1901-1966)Tête (recto); Tête de femme (verso) signed 'A Giacometti' (lower right)coloured pencil and pencil on paper14.2 x 10.6cm (5 9/16 x 4 3/16in).Executed circa 1950Footnotes:The authenticity of this work has been confirmed by the Comité Giacometti. It is recorded in the online Alberto Giacometti Database as AGD 4236. ProvenanceB.C. Holland Gallery, Chicago, no. C84-9-4 (acquired by 1994).Private collection.Acquired by the present owner in 2020.'A blind man is feeling his way in the night'- The first line of a poem Alberto Giacometti wrote when asked to write about himself, quoted in D. Sylvester, Looking at Giacometti, New York, 1994, p. 110. Rendered with frenzied, swirling lines of red, blue, black and yellow, the present lot emphasizes an important technique of Alberto Giacometti's late period. Giacometti mastered all media – sculpture, drawing, and painting – but his exploration of the human figure is most obvious in his drawings, which exude the same feverish energy as his sculptures. Tête reveals the artist's confident handling of the pencil, and his expressive ability as a draftsman to reveal his hand and process. Despite his mastery of multiple media, Giacometti declared that 'one has to focus uniquely and exclusively on drawing. If one could master drawing, everything else could be possible' (Alberto Giacometti quoted in J. Lord, Dessins de Giacometti, Paris, 1971, p. 26). Intensely introspective, Tête is a revelation of Giacometti's exploratory genius as a draughtsman.Executed circa 1950, Tête shows an elongated head and neck floating atop a tangled network of sprawling lines against a vast expanse of paper. Detached from its corporeal support, Giacometti's delicate, yet incisive use of line not only gives vigorous definition to the figure's features, but also forcefully builds the perspectival focus, leading the viewer's eye directly to the sitter's haunting gaze. By this time, Giacometti felt he had exhausted the possibilities inherent in his stick-like, ghostly figures of the late 1940s, and he aimed to reclaim a more concrete sense of space. Barely visible under the tangled interplay of lines is a large 'X', crossing just atop the centre of the figure's brow, and again at the centre of the figure's throat. Throughout Giacometti's drawing oeuvre, the artist's fascination with representing visual perception is evident; here, these lines document Giacometti's attempt to situate the sitter's presence in space. His lines, fast moving, intensely layered in some areas while sparse in others, capture the ever-changing spirit of a human being's presence – a materialization of Giacometti's experience of perception. Like his mentor Paul Cézanne, Giacometti returned to the same motif time and again, relentlessly attempting to perceive visible nature and preserving the feeling of what is seen. Giacometti replicates his pencil in the same repetitive movement around the eyes. The outline around the eyes dissolve into a zone that no longer outlines, but rather energizes their centre. Jacques Dupin described these drawings as Giacometti's 'focus' compositions: 'The line is not so much a definition of forms as it is a challenge to them to appear, revealing themselves in the curve. Their frequency and emphasis are heightened as they near the focus' (Jacques Dupin quoted in B. Lamarche–Vadel, Alberto Giacometti, Paris, 1984, p. 94). Giacometti aimed to depict people as visual phenomena, stating that 'heads, figures are nothing but the perpetual movement of their inside, of their outside, they re-make themselves with no pause, they are not a real consistence... they are a moving mass' (Alberto Giacometti quoted in A. de la Beaumelle (ed.), Alberto Giacometti: Le dessin l'oeuvre, exh. cat., Paris, 2001, p. 190). After World War II, Giacometti almost entirely devoted his sculpture to the singular, skeleton-like figure which was an eerie reminder of alienation and loneliness in the aftermath of post-war Europe. His drawings, on the other hand, allowed the artist to move forward – acting as a neutral backdrop for his imagination. While it can be presumed that the present drawing is likely of Diego, the artist's brother who dominated the artist's creative output, Alberto did begin drawing his friends and associates during this time – including the composer Igor Stravinsky, Giacometti's biographer James Lord, and the poet Pierre Reverdy. In these portraits, almost all the sitters face frontally. They are depicted through rapidly applied lines which repeatedly encircle the outward region of the face, while narrower lines divide the sitter's features. In the present work, the sitter's eyes are reinforced by large and heavily drawn circles. Yves Bonnefoy has explained the significance of the figure's head: 'It is already surprising enough to find an artist at the height of his powers, who in the space of three or four years had sculpted some of the major archetypes of modern art and was immediately recognized as such, practically abandoning this type of creation in order to devote himself to the portraits of a few individuals...During this final period, of almost fifteen years, the heads studies were exclusively Diego, Annette, Annetta [the artist's mother], Caroline and a very few other persons, all close friends, which proves that Giacometti had indeed chosen the existence of individuals, the here and now as the chief object of his new and future study; and he instinctively realized that this object transcended all artistic signs and representations, since it was no less than life itself' (Y. Bonnefoy, Alberto Giacometti, A Biography of His Work, Paris, 2012, p. 369). In May 1985, the artist's biographer James Lord wrote: 'Giacometti said that it was by means of style that works of art attain truth, and he added that, while art is interesting, truth alone is of enduring consequence. By main force and long-drawn-out labor he forged a style instantly recognizable as his, and his alone, owing nothing to anyone, and through it he attained his own truth, now bequeath to us all as part of our living heritage' (James Lord quoted in Alberto Giacometti, exh. cat., New York, 1985). Tête bears witness to the artist's intimate relationship with his subject, providing a way for Giacometti to emphasize the intensity of the sitter's gaze and symbolize man's existence in a post-war era.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
An early 20th century French emerald and diamond stick pin by Verger Frères retailed by Lacloche Frères, the two interlocking hoops set with old brilliant-cut diamonds and cushion-cut emeralds, maker’s mark ‘VF’, French assay mark, signed ‘LACLOCHE FRÈRES’, retailer’s case, length of terminal 11.5mm. £500-£600
A RUSSET AND APPLE GREEN ACCENTS JADEITE JADE ‘SHOULAO AND DEER’ GROUPChina, Attributed to late Qing DynastyCarved out of a milky jadeite jade stone with russets and apple green accents, the smiling God of Longevity in loose robes, with the characteristically high domed forehead, the long beard cascading down in fine straight lines, a staff held in both hands suspending a double gourd surrounded by three flying bats, a deer alongside. Offered at auction together with a matching wooden stand carved with flowers.H: 13,2 cm – w: 5,7 cm – depth: 2,2 cmWeight: 262,4 gramsNote: The God of Longevity, i.e. Shou Lao (寿老), also referred to as the "Old Immortal of the South Pole" (nanjixianweng, 南极仙翁) or the "Longevity Star" (shouxing 寿星), is the God of Longevity and is usually shown as a smiling old gentleman with a prominent forehead who holds a walking stick. As his name implies, Shou symbolizes a long life. So is the deer, which is traditionally believed to be the only animal able to find the lingzhi, i.e. the fungus of immortality. The bat (fu 蝠) does symbolize Happiness.赤褐及苹果绿“寿佬与鹿”玉雕中国，归于清朝[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - natural veins and inclusions;- a chip to the end of one bat's wing;- another chip to the back of one bat;- possibly with a chip and polished down to the below.
A CLOISONNE ENAMEL ‘FLOWER’ BALUSTER VASE BY THE STUDIO DE SHENG 德成China, Late Qing to Republic / Minguo periodAdorned in vivid enamels with numerous flowers and birds against a red ground. The below bears the mark De Sheng / 德成 as well as a an old label both inscribed in Chinese Mandarin and French describing the work of the studio.H: 36,2 cmweight: 2000 grams Note: For a detailed discussion of the De Cheng factory in Beijing and their 'very high quality' output starting in the Guangxu reign and continuing through the fall of the Manchu dynasty, see Beatrice Quette, ed., Cloisonné: Chinese Enamels through the Yuan, Ming, and Qing Dynasties, 2011, pp. 28 and 59-60. In the same publication, see p. 299, cat. no. 146: the yellow ground stick.景泰蓝花瓶- 德成工作坊制作中国，晚清至民国时期[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- a few losses of enamels;- UV / black light checked;- a restored part.
A CLOISONNE ENAMEL ‘FLOWER’ BALUSTER VASE BY THE STUDIO DE SHENG 德成China, Late Qing to Republic / Minguo periodAdorned in vivid enamels with numerous flowers against a black ground. The below bears the mark De Sheng / 德成.H: 24,3 cmNote: For a detailed discussion of the De Cheng factory in Beijing and their 'very high quality' output starting in the Guangxu reign and continuing through the fall of the Manchu dynasty, see Beatrice Quette, ed., Cloisonné: Chinese Enamels through the Yuan, Ming, and Qing Dynasties, 2011, pp. 28 and 59-60. In the same publication, see p. 299, cat. no. 146: the yellow ground stick.景泰蓝花瓶- 德成工作坊制作中国，晚清至民国时期[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- little “chips” to the rim notably;- faded gilt to several points including the below;- scratches to the below.
A LATE VICTORIAN GREY SILK TWO PIECE DRESS, with brown silk fringing, the skirt with stains/spotting, together with a cream mohair shawl, two bowler hats by Christys' London and Tress & Co London, a ladies black straw hat, The 'Orb' Make, a cane walking stick with silver mount, a Kangol fabric hat, an Edwardian gilt metal photograph frame with embroidered silk mount, a dressing table tray with embroidered decoration, a small quantity of vintage costume, etc
THREE PIECES OF MID 19TH CENTURY COALBROOKDALE STYLE FLORAL ENCRUSTED PORCELAIN, comprising a wavy rectangular desk stand, the wavy outline with twin shell handles, fitted with a taper stick and two inkwells, all with losses to flowers and leaves, the stand cracked through and with riveted repairs, some losses and restoration to petals, stand length 36cm, one inkwell cracked to base, a small twin handled pedestal bowl, painted front and back with exotic birds, losses to flower petals, cracked and chipped rim, crazed and stained interior, height 8.5cm and a circular inkwell in fitted stand, painted with flowers, extensive losses to petals and leaves, small crack to the underside, diameter 17cm (3) (Condition report: as description)
TWO JAPANESE LACQUERED KISERUZUTSU (PIPE CASE) MEIJI PERIOD, 19TH CENTURY Both pipe cases of muso-zutsu form, the first made of woven rattan and decorated with Hotei carrying his large bundle on a stick, the jovial God of Good Fortune depicted in gold and silver takamaki-e and nashiji and his body in seido-nuri lacquer, the reddish-brown colour imitating copper, a two-character seal mark to the back; the other in wood and stag antler, decorated with Daruma under lines of calligraphy, the Father of Zen Buddhism wearing his typical red robes, signed above the figure, the rim with a stag antler ring carved with key fret and scrolls, 20cm and 21.1cm. (4) Provenance: an English private collection, Somerset.
SEIHO TAKEUCHI (1864-1942) MEIJI PERIOD OR LATER, 20TH CENTURY A Japanese woodblock kacho-e print entitled 'Dancing Monkey' from the series 'Twelve Signs of the Zodiac', the animal depicted in nihonga style holding a bamboo stick, signed and sealed, framed and glazed, 36cm x 49.2cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
A Victorian rosewood stick or cistern barometer, T B Winter, 55 Grey Street, Newcastle, the ivory scales inscribed 10AM YESTERDAY/10AM TO DAY, with verniers adjusted by mother of pearl rosette knobs, mercury thermometer, having pagoda pediment, scroll corbels, hemispherical brass cistern cover with adjusting screw, 103cm h Top of pediment with chip on corner and small square let in repair. Tube empty
A mid 19th Century fruitwood armchair, the triple horizontal stick back set two balls, with solid seat on square taper legs CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
A stick and pierced splat back armchair with solid elm seat on turned front legs CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
Two 18th Century pierced splat back chairs, two stick back chairs and a swing frame toilet mirror CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
Two pairs of leather riding boots, one with wooden trees by Maxwell, Davies Street, London and a shooting stick CONDITION REPORT: Tan top boots marked size 9, black boots not marked but approx size 12 (sole measures 31cm long). Both pairs of boots are in a worn and used condition, the leather is stiff and requires feeding and polishing. Scratches and cracks to both pairs especially over the foot bridge, worse on the tan topped pair which has large areas of damage. Scratches and creasing to the legs of the boots with some possible white paint specks. Both have leather soles that are without holes but well worn, some sagging over the heal to the backs. One of the all black boots has a leg strap missing. Insides to both boots dirty and stained.
A silver mounted walking cane with hoop handle and an ebonised walking stick with a silver top CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
A pair of early 19th Century steel candlesticks with adjusters on turned wood bases, 20cm high and a wrought iron taper stick holder, 24cm wide CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
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![A shillelagh-type walking stick; others, various, 19th century and later, [13]](https://cdn.globalauctionplatform.com/b72a52d0-d842-4ab3-b8ee-add70067c436/c4c40101-440b-4ae0-b639-ade501190c48/468x382.jpg)
