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Click here to subscribeCollection of blue and white transfer printed pottery . consisting of a cheese stand made for J Spicer Dorchester , 30cm , 2 Spode new stone dinner plates 24 cm , an asiatic birds dinner plate , a Joseph Clemenson bowl 15cm and a mustard pot (6)Condition , chip to base of cheese stand , chips to Clemenson bowl footrim , mustard pot has a repair in the top edge and a replacement lid
A selection of carvings and antiquities, to include a carved marble putto, modelled standing, upon a later plinth base, 15cm high, a carved stone fragment of a bust with draped material on later plinth base, 19cm high, a fragment depicting the bust of a lady 5.5cm high, a carving designed as a hand clasping an object on later base, 13.5cm high, and a carved ashanti type figure on later base, 11cm high (5) (at fault)
A Victorian mechanical pencil by Sampson Mordan & Co, the gold coloured pencil with engine turned decoration and three-sided stone set swivel topper, with later added pencil tip, 13.7cm long (at fault), together with a Victorian silver retractable pencil by Sampson Mordan & Co, length of case 7.5cm, and a further selection of silver coloured Victorian and later mechanical pencils (7) (at fault)
A hand-written document issued by clerk Patrick Stone in the matter of the transfer of 94 pounds three shillings and four pennies in Scots money from William Nimmo to William John Wardrops, signed by Stone and dated 1705, with an Invitation to Dinner at the Guildhall on Wednesday November 9th 1825 to be hosted by The Right Honourable William Venables, Lord Mayor Of London, the engraved invitation printed in red ink with red wax Mayoral seal to the top left corner (2) (at fault)
After John Boultbee (British, 1753-1812),'The Durham Ox', Engraving on paper by John Whessell (circa 1760-circa 1840),Printed in colours with hand finished additions,Ppublished by John Day 1802,Printed inscription to lower margin reading 'To The Right Honorable Lord Somerville,This Print is with great respect humbly dedicated, by his Lordship's most obedt. humble Servant John Day. This wonderful Animal is now the property of Mr. John Day of Harmston, near Lincoln, and was March 20 1802, six years old. Subscriptions taken for this Print in the first Year, amounted to two thousand and upwards, from whence the Public opinion of this beautiful Animal may well be ascertained. This Ox is still in a grewing and improving state, and weighs according to the computation of the best judges 30 Score pr. Quarter, which is 300 Stone 14 lb to the Stone',54.5cm x 67.5cm,Framed and glazed (at fault) CONDITION REPORT:The print is framed under glass and has not been removed for inspection. The print surface shows discolouration all the way across the bottom edge. There is further staining, discolouration and darkening across the majority of the print surface, with a small paler area at the top edge. This pale area also shows wear to the paper. The print colours remain relatively strong, but may have faded somewhat over time. The frame shows losses to the moulding around the front edge, and losses to the beaded detail. The gilt finish is rubbed and somewhat discoloured throughout.
* A Medieval heraldic encaustic tile, painted with a shield shaped alms in white against a grey ground, of square form, possibly 14th/15th century, 16.5cm square approx, with a Roman oil lamp, an ancient Greek vessel and selection of further ancient pottery to include a model of pig, 10.5cm long and stone fragments, probably architectural (10)
A selection of carvings and objects of virtue, to include a miniature icon depicting the annunciation, oil on board, indistinctly signed upper left, 10cm x 8cm, mounted to a copper plate (at fault), a carved stone model of a whale, label to base for 'Canadian Eskimo art', 24cm long (at fault) a carved bone tribal figure, 11.5cm high, on a later base (at fault), a carved jasper tribal figure, 9.7cm high, and a further assortment of carvings and figurines (at fault) (8)
Rosenburg of Bath,19th century,Two profile silhouette portraits on glass,One inscribed verso "Robert Haynes" each oval aperture measuring 9cm x 6.8cm,Set to gilt wood frames,Each with trade card to reverse reading "By their Majesties Authority Mr. Rosenberg of Bath, Profile Painter to their Majesties & Royal Family. Begs leave to inform the Nobility and Gentry that he takes most striking Likenesses in Profile, which he Paints on Glass in imitation of Stone that will never fade. Time of Sitting one Minute. Price from 7s. 6d. to £1. 1s. 0d. Family Pieces whole lengths in various Attitudes. N.B. Likenesses for Rings, Lockets, Trinkets & Snuff Boxes",with 'The Happy Sportsman', a reverse painted mezzotint on glass, published by P. Stampa, London 1807, 24.5cm x 34.5cm (at fault) (3) CONDITION REPORT:Both silhouettes are framed under glass and have not been removed for inspection. Both show some darkening to the background paper with a purple tinge visible beneath the silhouette itself. The frames show rubbing and dirt build up to the gilt finish. The back board inscribed 'Robert Haynes' shows a full length vertical split running approximately 1cm in from the right hand side.'The Happy Sportsman' shows cracks to the glass supported by sticky tape and open joints to the corners of the frame.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, 1967.Collage on card.Signed in the lower right-hand corner.Provenance: Maeght Gallery; Private collection.Work referenced in the archive of the Chillida-Leku Museum, in Hernani.Measurements: 32 x 25.5 cm; 57 x 50.5 cm (frame).A renowned international artist, Eduardo Chillida is known worldwide for his immense sculptures; however, he also developed an extensive body of work on paper, a set of pieces that showed the richness of his proposal and the quality of his work. Throughout his successful career, Chillida worked with concrete, steel, stone and marble, but he always considered paper to be "the first thing an artist has access to, the way to enter into art territory, even for a sculptor". In his collages, the artist from San Sebastian made the most of the materials, even going so far as to use burnt paper as a method of artistic expression, thus recalling the rusty tonality of the materials he used in his sculptures.Chillida began his training at the School of Architecture at the University of Madrid, but abandoned his studies to devote himself to football, as goalkeeper for Real Sociedad. As a result of an injury he was forced to give up sport, and it was then that his artistic vocation awoke. He began drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. It was at this time that he began his rivalry with the sculptor Jorge Oteiza, who accused him of plagiarising his work. Both with a work linked to the constructivist tradition, they nevertheless dealt with different themes. In 1951 he returned to San Sebastian for good, and produced his first work in iron, the material with which he would work for the rest of his life. With the idea that art should be accessible to everyone, he produced numerous public works throughout his life, as well as sculptures for museums all over the world. His works dialogue with their surroundings, which is why many of them are already considered emblematic places for citizens, as is the case with the "Peine del viento" in San Sebastian and the "Puerta de la Libertad" in Barcelona. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize (1965), the Rembrandt Prize (1975), the Wolf Foundation Prize for the Arts (1984/85) and the Prince of Asturias Prize for the Arts (1987). He was also a member of the Royal Academy of Fine Arts of San Fernando, a member of the American Academy of Arts and Sciences, an Honorary Member of the Royal Academy of Arts in London, a member of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue National gallery in Berlin.
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