Robert Austin of Challock (Kent), An 8-day, longcase clock No.140, the four pillar movement chiming on a single bell, the brass broken arch dial with applied silvered Roman chapter ring secondary dial and date aperture, the case with long trunk door. 30 cm dial width x 48 cm wide x 202 cm overall height x 24 cm deep.Robert Austen/Austin is recorded from 1730-1793, He produced a number of clocks and some are(as is this example) numbered, see page 29 of Watch and Clockmakers of the World, Complete 21st Century Edition, Loomes, Brian. The clock, I am reliably informed was working until very recently when it was no longer wound due to its owner's infirmity. It has its pendulum and corresponding pair of weights, and the movement is clean but not over-cleaned.The winding key fits both trains, the trunk door has a working key but the hood door does not, it is in the unlocked position and happily stays closed even though unlocked.
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Jan van Leeuwen, tätig im 17. Jahrhundert in den Niederlanden, zug.BAUERNFESTÖl auf Holz.59,5 x 84 cm.Auf dem Baumstamm Restsignatur „Ja van Leeuw...“.Gerahmt.Auf einem Dorfplatz nahe einer Kirche herrscht Festtagsstimmung. Während links Männer an Tischen sitzen, Karten spielen und sich lautstark dem Trinken hingeben, umarmen und küssen sich in der Mitte zwei Paare ohne große Zurückhaltung. Rechts schließlich lesen zwei Wahrsagerinnen aus der Handfläche eines verdutzt dreinblickenden Mannes, der gebannt ihrem Bericht lauscht. Hier und da wurden Stände aufgebaut, geschützt von weißen Tüchern, an denen sich die Menge drängt, um sich zu stärken oder zu amüsieren. Bei dieser ungezwungenen Kirmes mischen sich Reiche und Arme. Man begegnet eleganten bürgerlichen Paaren ebenso wie zerlumpten Bauern. Die gesamte Gesellschaft versammelt sich hier an diesem sonnigen Tag, gebadet in goldenem Licht. Mit einem lebhaften und präzisen Pinselstrich gemalt, dessen Spuren man auf den Gesichtern und Kostümen genau verfolgen kann, ist dieses Gemälde von jener Fröhlichkeit und Leichtigkeit geprägt, die perfekt zum Thema passt. Die reiche Palette aus kräftigen und zarten Farben, in der Gelbtöne dominieren, verleiht der Komposition Helligkeit und Wärme. Die Vielfalt der Figuren und die Liebe zum Detail in den Kostümen sind charakteristisch für die Gemälde Van Leeuwens, dessen sorgfältiger Stil seine Einzigartigkeit ausmacht. Das Auge wandert gern von einer Gruppe zur anderen, um diese frischen, anekdotenreichen Szenen zu entdecken. Ein vergleichbares Werk des Künstlers, signiert und datiert auf das Jahr 1637, wurde 2009 bei Christie‘s in Amsterdam versteigert (siehe Auktion, Christie‘s, Amsterdam, 6. Mai 2009, Los 8). Ein weiteres Werk Van Leeuwens wurde bei Christie‘s in London angeboten (siehe Auktion, Christie's, London, 22. April 1994, Los 108).Die Darstellung von Volksfesten ist ein sehr geschätztes Genre in der flämischen und holländischen Malerei. Diese Dorffeste werden üblicherweise mit einer Vielzahl fröhlicher Figuren und detailreichen Anekdoten dargestellt, die uns wertvolle Einblicke in die Bräuche und Gepflogenheiten jener Zeit geben. Da das Fest dem Schutzpatron der Gemeinschaft gewidmet war und an ihm alle teilnahmen, besteht die Menge vorwiegend aus hart arbeitenden Bauern, die hierherkommen, um sich zu vergnügen, aber es sind auch einige wohlhabendere Bürger in kostspieliger Kleidung zu sehen. Obwohl es damals ebenso viele Feiertage und freie Tage wie heute gab – sonntags wurde nicht gearbeitet, und es gab auch dreißig bis vierzig zusätzliche Feiertage – waren die Freizeitaktivitäten überwiegend religiösen Pflichten gewidmet. Die besondere Bedeutung dieser Feste im Alltag erklärt die Beliebtheit dieses Genres ab der Mitte des 17. Jahrhunderts. Als ein verdienter kleiner Meister gehört Van Leeuwen zu diesem Goldenen Zeitalter der holländischen Malerei, das von zahlreichen Werken zeugt, die eine der reichsten und fortschrittlichsten Gesellschaften Europas abbilden. Sein Stil ist von besonderer Lebendigkeit und Sorgfalt geprägt, die ihn von seinen Zeitgenossen abhebt. (1421265) (13) (†)Jan van Leeuwen,active in 17th century in The Netherlands, attributedFARM FESTIVAL Oil on panel.59.5 x 84 cm.Remains of a signature “Ja van Leeuw...” on the tree trunk.The variety of characters and his passion for detail in the costumes are characteristic of van Leeuwen’s paintings, whose meticulous style makes him unique. He captures the viewer’s attention from one group to another to discover these fresh scenes rich in anecdotes. A comparable work by the artist, signed and dated 1637 was sold at auction at Christie’s in Amsterdam in 2009 (see auction, Christie’s, Amsterdam, 6 May 2009, lot 8). Another work by van Leeuwen was offered at Christie’s in London (see auction, Christie’s, London, 22 April 1994, lot 108). These festivals had special significance in everyday life and explain the popularity of this genre from the mid-17th century onwards. Van Leeuwen is a deserving minor master and belongs to this Golden Age of Dutch painting, which testifies to numerous works depicting one of the richest and most advanced societies in Europe. His style is particularly lively and meticulous which sets him apart from his contemporaries.
Bonsai III is an outstanding original mixed media polychrome sculpture by Cuban social commentary artists Alain Guerra and Neraldo de la Paz, aka Guerra de La Paz. The duo has created a budding tree out of discarded clothing tied together to make the trunk, branches, leaves, and flowers. This visually stunning artwork addresses issues of consumerism while showing an interconnectivity between humans via the untwined pieces of recycled materials. Does not include stone pellets that go on the base of the tree. Approximate artwork dimensions: 30"L x 30"W x 25"H. Base dimensions: 40"H x 16.50" dia. This item has a base included. Artist: Alain Guerra (Cuban b. 1968) & Neraldo de la Paz (Cuban b. 1955)Issued: 2008Dimensions: N/ACountry of Origin: Cuba/United StatesCondition: Age related wear.
Edward Delaney RHA (1930-2009) Cathedral Bronze, 90cm high (35½'') Unique, circa 1961Cathedral is a major work of sculpture by Edward Delaney RHA (1930-2009) who is considered one of Ireland’s most important 20th century sculptors. Delaney’s best known works include the 1967 statue of Wolfe Tone and the Famine Family memorial in St Stephen’s Green in Dublin and the statue of Thomas Davis and angels fountain in College Green, opposite Trinity College Dublin. These are all examples of lost-wax bronze castings, his main technique during the 1960s and early 1970s. Cathedral is in a similar vein and emulates the monumental form of these sculptures. Influenced by Celtic art and by European modernism, Delaney’s work is in many public and private collections. He was born in County Mayo and studied at the National College of Art and Design, after which he studied bronze casting and sculpture in Germany. He later received many foreign scholarships and would represent Ireland at foreign exhibitions such as the international Biennales in Paris, Tokyo and Buenos Aires. Delaney gained a reputation not only through Dublin galleries such as Hendriks, the Royal Hibernian Academy and the Solomon, but through showing work internationally. He is also known for his small figurative bronze work, stainless steel sculptures and his drawings and paintings on paper. His work is in the collections of the Irish Museum of Modern Art (IMMA), the Dublin City Gallery the Hugh Lane, OPW, AIB, Bank of Ireland, the Central Bank, the Arts Council of Ireland and the Ulster Museum among others. Cathedral is characteristic of Delaney’s monumental, zoomorphic style and is expressly abstract as well as ‘rock-form’ naturalistic. He developed this dramatic style in tandem with his interest in the standing human and animal form. The sculpture, which has been newly patinated and mounted, is of hollow bronze but heavy, and about four feet high and two feet wide. Large scale works by Delaney rarely come up for sale and they are all unique. There are no editions. The image here shows Cathedral from an RTE still of 1962, with the poet Patrick Kavanagh sitting in front of it. Kavanagh was a friend of the sculptor. In 2009, his son Eamon Delaney published a book about his father and the Irish arts scene of the 1960s and 1970s, entitled Breaking the Mould - A Story of Art and Ireland (2009). In the book, he describes this image as a great moment in Irish modernism -: Irish television, then in its infancy, the modern sculpture and the ‘pastoral to modernist’ poet. He describes how, in the image - which has gone around the world as part of the famous, Writers of Ireland poster - Kavanagh actually resembles the featured sculpture. ‘Kavanagh’s pose is particularly satisfying because Cathedral is such an abstract piece’ Delaney writes. ‘Whatever about the public work, this really is modern, like a section of moon rock with a niche in its side or a gouged out tree trunk. Uncannily, the whole piece resembles the poet himself: solid, grounded and both traditional and modern, recognisable and abstract. He even shares the special quality of Eddie’s work: brute weight rendered tenderly.’ Condition Report: - 85kg - overall condition is very good - 48 x 30 x 90.5cm high
AN INDONESIAN OR INDIAN CARVED HARDWOOD OVAL OCCASIONAL TABLEornately carved with monkeys and tigers to the top, each corner beneath an elephant head with wooden tusks, the trunk extending to form the carved legs and feet with pineapple finial, supported by cross stretcher of four snakes, 56cm high x 67cm wide x 44cm deep
A pair of Derby porcelain models of a Dresden Shepherd and Shepherdess, circa 1755-60, decorated in polychrome, the male figure with an outstretched hand proffering a piece of fruit from a lattice basket, a hound seated to his feet; his female companion holding flowers in her outstretched hand, a lamb at her feet, on a raised scrolling base picked out in green, yellow and purple, 28cm high (restoration) (2)Condition:Shepherd - Old restoration with obvious re-painting around the neck (the head has likely been broken off)Losses to the ends of two figures of the outstretched handRepaired break to the ruff of the sleeve of the opposing arm.Small breakage to one flower on the base. Chips and breakages to the ends of the leaves around the figures.Some wear to gilding and glaze loss around the rim of the basket.Section of leaf bocage missing from the top of the outstretched trunkMinor chips to bows on stockingsSome restoration to hat which is now flaking slightlyShepherdes—The neck break is more obviously repaired. There are several firing cracks near the base, including a crack below the sheep. There are some chips and losses to flowers around the base and heavy losses to the bocage. Breakages to flower petals in hand. Slight firing crack around waist. Hat restored and further chipped.
A metal travelling trunk, inscribed to the lid 'J. A. Dewar, Argyll & Sutherland Highlanders', 30 x 110 x 37cm.Condition Report: Overall worn but ok condition, the inscription to the top has been painted over at some point but is still clearly visible, slight corrosion to the corners, otherwise ok.
A mahogany and brass inlaid drop dial wall clock by 'Bentley & Beck, Royal Exchange, London', mid 19th century, signed painted 30cm dial with twin fusee movement, and shaped base 53cm high Provenance: Property of the late Gabriela Grillo dial repainted. Trunk base door locked (no key present). Backplate signed and numbered No.804. Works for a short time only on winding. Dial winding holes not quite in alignment. Some brass inlay missing.
Henry Bright (British, 1810-1873) Study of a tree trunkcoloured chalks18 x 15.5cm;Study of rocks and branchescharcoal heightened with white18 x 26.5 cm (2)Study of tree drawing: In good condition with no visible signs of foxing or spotting. The drawing looks to have been produced on grey prepapred paper. The paper itself has slightly discoloured, mainly where the sheet has been in contact with the mount. There are also some minor areas of creasing to the corners. The chalk pigment has retained well. Unexamined out of the frame. Frame size: 36.5cm x 33cmThe study of rocks drawing: In overall good condition, however, there is a small tear in the upper section which measures 1.5cm. The drawing looks to have been produced on a grey prepared paper, but this has discoloured in areas, in particular, where the sheet meets the mount. The charcoal pigment has retained well, along with the white chalk pigment. There are no visible signs of foxing or spotting. Unexamined out of the frame. Frame size: 41cm x 49cm
An early 20thC oak longcase clock, by W H Baggaley, dated Nov.1926, West Hallam, the brass break arch dial with silvered chapter ring bearing Roman and Arabic numerals, three train eight day movement with Westminster chimes, the hood with outswept pediment topped with two urns, above a glazed door flanked by two floral carved capped demi pilasters, above a plain and panelled trunk, on a plinth base, with weights, pendulum and keys, 226cm high.
A rare Mary Tourtel original pen and ink with crayon illustration of Rupert Bear and friends, 1932, ‘Edward led the way into the courtyard there’, featuring Edward Trunk leading Rupert Bear and Bill Badger, signed bottom left, M.T., from Rupert Goes Hiking, Daily Express 27th June to 1st September 1932 and M. Tourtel, Rupert Goes Hiking, Rupert Little Bear Library No.17, Sampson Low, Marston & Co. Ltd, London, page 22 —6 ½in. (16.5cm.) x 5in. (13cm.) size of image, framed and glazed; exhibited in ‘The British Art of Illustration 1800-1994, sold by Chris Beetles, St James’s, London
EINSTEIN ALBERT: (1879-1955) German-born theoretical physicist, Nobel Prize winner for Physics, 1921. A very fine, rare Autograph Manuscript Signed, Albert Einstein, one page, 8vo, n.p., n.d. The working manuscript, penned in bold, dark fountain pen ink, features over ten lines of scientific equations and calculations in his hand, with just one line of German text. Signed by Einstein with his full signature at the foot of the page, adding a line of text in his hand, in German, immediately beneath, 'Aus dem Friedhofe begrabener Hoffnungen' (Translation: 'From the graveyard of buried hopes'). Together with Elsa Einstein (1876-1936) Cousin and the second wife of Albert Einstein, married from 1919-36. T.L.S., Elsa Einstein, one page, 8vo, Bayard Lane, Princeton, 20th October 1933, to a lady ('Chere madame'), most probably Juliette Adant, wife of Professor Arthur de Groodt, on the printed stationery of the Peacock Inn, in French. Einstein writes 'C'est avec beaucoup de plaisir que je vous retourne les petits feuilles signes. Mon mari vous remercie pour les aimables lignes que vous lui avez ecris' (Translation: 'It is with great pleasure that I return the small, signed sheets to you. My husband thanks you for the kind lines you wrote to him') and adds that they have only been in America for a few days, observing 'Princeton est une petite Universite d'une grande charme en style anglais, une vraie copie d'Oxford. Nous sommes encore dans un hotel, mais en peu de temps nous demenageons dans une maison, qui est situee excessivement belle au milieu des grands jardins avec une vue splendide. Nous avons loues cette maison pour une demie annee. Nous voulons mener ici une vie surtout calme et tres loin de chaque publicite. Le professeur ne veut rien que faire son travail scientifique' (Translation: 'Princeton is a charming little university in the English style, a true copy of Oxford. We are still in a hotel, but in a short time we will move into a house, which is exceedingly beautifully located in the middle of large gardens and with a splendid view. We have rented this house for half a year. We want to lead a mostly calm life here and very far from publicity. The professor wants nothing but to do his scientific work'), further thanking her correspondent for all of their kindness, and also for offering to keep a trunk and small suitcase in their home until they return next year, 'Je vous remercie de tout mon coeur pour cette faveur. La malle contient des choses, qui sont de grande importance pour moi' (Translation: 'I thank you with all of my heart for this favour. The trunk contains things which are of great importance to me'). Whilst Einstein clearly created many such pages of scientific formulae during his career, they remain highly sought after by collectors, and signed examples are of exceptional rarity. Furthermore, the present example is greatly enhanced by both Einstein's handwritten observation (reflecting on the possibility of what he wished to have achieved with his calculations) and the fine accompanying letter of provenance from Elsa Einstein. Some very light, minor creasing to the page of calculations and a couple of very small, neat tears to the edges, one only very slightly affecting one small part of an equation. VG, 2Juliette De Groodt-Adant (1892-1964) Belgian writer, wife of the Flemish doctor Arthur de Groodt (1883-1952). In March 1933 Albert and Elsa Einstein returned to Europe from America and learned that Hitler had seized power and that the Gestapo had raided their Berlin apartment, confiscating many possessions. Landing in Antwerp, Belgium, Albert Einstein immediately visited the German consulate and surrendered his passport, formally renouncing his German citizenship. At the invitation of Arthur de Groodt and his wife (who counted Rabindranath Tagore amongst their friends) Albert and Elsa Einstein stayed for a few days at Cantecroy Castle before Juliette De Groodt-Adant suggested that they hire two cottages in De Haan, the Villa Savoyarde for the Einsteins and the Maisonette for themselves. The Einstein's stayed in the West Flanders municipality for six months before departing for London in September 1933. On 3rd October 1933, Einstein delivered a speech on the importance of academic freedom before a packed audience at the Royal Albert Hall in London. Four days later he returned to America with his wife and took up a position at the Institute for Advanced Study, noted for having become a refuge for scientists fleeing Nazi Germany. Einstein's association with the Institute at Princeton University would last until his death in 1955.
A GOYARD CANVAS, WOOD, LEATHER AND BRASS MOUNTED TRUNK LATE 19TH OR EARLY 20TH CENTURY A plaque printed to the side of the hinged top 'MALLES GOYARD 233 Rue Saint Honore PARIS MONTE CARLO-BIARRITZ', the base double branded 'MALLES GOYARD 233 RUE ST-HONORE. PARIS', the brass side catches stamped 'GOYARD AINE', the brass lock engraved 'E GOYARD AINE PARIS - 17 - 233 Rue St Honore', the interior calico and linen lined 50cm high, 111cm wide, 56cm deep'Malles' Goyard, refers to the french term 'malletiers' which translates as trunk, suitcase and luggage makers. Goyard, was founded in Paris as Maison Martin in 1792, before becoming Maison Morel and finally Maison Goyard in the 1850s. In 1885 the house changed its name to E Goyard Aîné.
A George III mahogany eight-day longcase clock, Benjamin Peers, Chester, the 13 ¾ inch painted dial with date sector, brass ringed winding squares and subsidiary seconds ring, with rose spandrels and lunar work to the arch, in figured case, the hood with swan neck pediment and arched cornice with 'keystone', on brass mounted fluted pillars, the trunk with figured oval to the door, flanked by fluted pilasters on conforming base and feet, pendulum and weights, 228cm h Minor losses but in good, albeit dirty, unrestored condition
A George III mahogany eight-day longcase clock, William Webster, Exchange Alley, London, the 12in breakarched brass dial with silvered date aperture, subsidiary seconds ring, engraved signature tablet and STRIKE/SILENT ring to the arch, blued steel hands and mask and dolphin spandrels, the movement with anchor escapement, the case with swept pediment, breakarched cornice and brass mounted, stop fluted pillars and pilasters to the hood and figured trunk, on panelled base, pendulum and weights, 247cm h
A George III mahogany eight-day longcase clock, Justin Vulliamy, London, the 12 inch brass dial with matted centre, silvered date aperture, engraved signature tablet and subsidiary seconds ring, silvered chapter ring, replacement blued steel hands, STRIKE/SILENT lever at nine o’clock, the figured walnut case with swept pediment and fretwork, brass mounted stop fluted pillars, the trunk enclosed by a conforming breakarched door, on panelled base, pendulum and weights, 238cm h In the same good restored retail condition as when purchased by a member of the present vendor's family, lately deceased from R G Cave & Sons Ltd of Ludlow, Shropshire in 1982 for £2600. The spring in one barrel broken preventing winding, cheeks strengthened and slightly packed. The movement complete with inverted 'T' shaped plates. The signature tablet secured by pins to the back of the dial plate. Case lightly polished, finials possibly replaced and other smaller restorations. In generally god condition Please note in the interests of full disclosure that a staff member of Mellors & Kirk has an interest in this lot being a relative of the original purchaser, now deceased.
A George III mahogany eight-day longcase clock, Peter John, Bideford, the 12 inch breakarched, engraved and silvered dial with date aperture and subsidiary seconds ring, chinoiserie figure spandrels and TEMPUS FUGIT ring to the arch, the hood with arched pediment and Greek key cornice, on brass mounted fluted pillars, the trunk enclosed by a figured full-length door flanked by pilasters on panelled base, pendulum and weights, 236cm h
The pair of silver elephant ornaments adorned with turquoise, coral, and jade decorations. The tusks are crafted from jade, and the tip of the trunk holds a lotus supporting a jade cup. The elephant's back carries a finely carved cup with shallow lotus-relief decorations. Each side of the cup is embellished with jade rings and further adorned with coral and turquoise accents. Total weight g 2.810.银制大象一对，西藏，十九世纪/二十世纪
A collection of silver jewellery including Egyptian revival. The lot to include two silver Egyptian revival panel bracelets, one with scarab beetle panels and the other having cartouches featuring Hieroglyphics, both having Egyptian marks. A silver and turquoise clay scarab beetle pendant necklace, unmarked however tests as silver. A silver St Christopher necklace pendant, marked silver. A silver and abalone pendant necklace, marked. An early 20th century hallmarked silver and enamel clover brooch pin, hallmarked for Chester, 1914. A silver tree trunk brooch pin, unmarked tests as silver. A silver and carved green stone Kiwi bird brooch pin, unmarked tests as silver. A silver and green stone oval brooch pin, marked silver to verso. A Victorian hallmarked silver chain brooch pin, hallmarked for Birmingham, 1892. A silver and marcasite set pierced wreath brooch pin, marked silver to verso. The lot to also include a white tone metal double rams head cross over ring, unmarked however surface tests indicate silver. Bracelets measures 18.5cm. Brooches measure largest 4.5cm x 0.6cm. Smallest 2.5cm x 1.3cm. Pendants measure 2.3cm x 1.5cm. Scarab beetle pendant 2.7cm x 1.3cm. Ring measures L.5-M. Total lot weight 84.2g. All weights, measurements and sizes are approximate.
SteinbockhornbecherSteinbockhornbecherSalzburg/Augsburg, Anfang 18. Jh.Steinbockhorn, Silbermontierung; umlaufend geschnitzte Szene mit Wagen- und Jagddarstellung; die Silbermontierung am Fuß gemarkt mit Augsburger Beschauzeichen, Meistermarke, wohl "ICT" für Johann Christoph Treffler II, Meister ab 1715 (siehe: Seling, Die Augsburger Gold- und Silberschmiede 1529-1868, S. 503) und auf der Unterseite mit TremolierstichH. 10,3 cmDie kunstvolle Bearbeitung von Steinbockhorn wurde nirgendwo so gekonnt ausgeführt wie in Salzburg während der Barockzeit. Diese Tradition wurzelt im Volksglauben und in der Mystik: Steinbockhorn wurden Heilkräfte zugesprochen. So soll jeder Trunk aus den Gefäßen, gleich Medizin, Gifte neutralisieren und heilsam wirken. Wenig überraschend wurden die aufwendig zu Trinkhörnern, Bechern, Dosen und Amuletten geschnitzten Arbeiten rasch beliebter Bestandteil der wachsenden Kunstkammern. Unser Becher zeigt an der Wandung einen von einem Pferd gezogenen Wagen, auf dem eine Familie sitzt, daneben zielt ein Jäger mit seinem Gewehr auf zwei am Gebirgsgipfel stehende Steinböcke. Der damalige Besitzer des fein gearbeiteten Hornbechers ließ eine passende Silbermontierung in Augsburg, dem bedeutendsten Goldschmiedezentrum, anfertigen. Der Becher ist somit ein wunderbares Beispiel höchster Handwerksqualität.
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