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Click here to subscribeA trio of Chinese porcelain figures of Elders, to comprise a seated figure holding a book, damage to hand, with beard, H 33.5cm, another modelled with arm aloft holding an object, and the other modelled with arm aloft for holding an incense stick, also with beard, H 31cm all brightly decorated with enamels (3)
A small group of Le Creuset and other kitchen ware - comprising a Le Creuset rectangular baking dish, 33.5 x 21.5cm; a Waterford Colorcast cast iron skillet; two Le Creuset stoneware utensil pots in black and white glaze, 15cm high; a Le Creuset stoneware covered mini-casserole dish, black glazed, 9.5cm diameter; a Bodum Chambord stove-top espresso maker; and a German SKK cast aluminium non-stick casserole dish with glass lid, 36.25 x 22.2cm. (7)
A collection of porcelain, china and glass - including two Tiffany & Co for Celebrity Cruises circular covered boxes; a pair of Soviet figures of ladies carrying samovars, 12.6cm high; a quantity of modern Chinese porcelain plates and bowls with stands; a pair of Chinese porcelain soy sauce flasks and a matching cocktail stick holder; a small cut glass candle holder; a 1930s Japanese porcelain part-coffee service; etc.
Arne Vodder (1926-2009) for Sibast of Denmark, a teak rocking chair - maker's labels to inside of rear seat rail, the concave bar top rail over a stick back and angular arms with upswept terminals, over a concave seat in the original brown upholstery, on turned tapered supports and chamfered rockers, 56.5cm wide, 95cm high.
A Selection of Small Cold Painted Cat Bronzes, in the Austrian manner, comprising: - a cat holding two kittens, a cat chastising a kitten with a stick, a cat on a terrier's back, a cat with a jockey's hat mounting a terrier with saddle and bridle, a cat sawing wood, and a cat playing violin, two cats each with milkmaid's yoke tallest 4ins high, all appear to be unmarked (8)
A Diamond Set Stick Pin, set with three .25ct diamonds and three smaller diamonds in the shape of a shamrock, total diamond weight approximately 0.75ct, total gross weight 3.4g Note: Metal unmarked but tests as platinumThe item presents in good overall condition showing wear commensurate with age and moderate usage. All the diamonds appear to be free from any visible sign of damage and are securely set. We are unable to comment on the clarity of the diamonds as we are not qualified to grade stones. We are unable to comment on the age or origin of the item. Prospective bidders are strongly advised to study all images closely prior to bidding.
A Victorian Cold Painted Cast Iron Stick Stand in the Coalbrookdale Manner, modelled as a heron holding a coiled serpent with detachable twin shell drip pan 21ins wide x 30.5ins high, with diamond registration mark to heron and drip panImages are within the attached Dropbox link https://www.dropbox.com/scl/fo/ogyqrm8jy15yfcwzl4xn3/ALk5ctsS2NVN7s3iS1-G47o?rlkey=g1mdth5j1mcmzkdnqihd3rbjk&st=i01ptp8s&dl=0
A Small Selection of Greyhound/Dog Related Items, comprising - a silver marcasite brooch of two racing greyhounds, 55mm x 20mm, a silver brooch depicting three standing greyhounds, 40mm x 20mm, a silver-coloured metal stick pin in the form of a greyhound's head, gross weight 18.7g, and a 9ct gold stick pin in the form of a pug dog, gross weight 5g
Two Stick Pins, comprising - one in the form of an enclosed bee on yellow metal pin (tests as 14ct gold), 90mm in length, and one other smaller, in the form of a painted greyhound head, on yellow metal pin (tests as 14ct gold), 50mm in length The bee is reverse carved into the pieces at the head of the stick pin
A Quantity of 9ct Gold Items, comprising - a rope twist chain, 840mm in length, one odd earring, a champagne bucket charm, a propelling pencil, a moon and owl stick pin, a damaged bar brooch, a small scorpion pendant, and a wire-bound tooth, total gross weight 44.4gThe split ring is split not hinged, it does test as gold. It measures 36mm in diameter overall not including the hoop at the top. There appears to be nothing missing from the lot. There are 9 items in the photo and 9 items in the lot. Prospective buyers are strongly advised to study all condition report images carefully prior to bidding.
Four Cold Painted Bronze Cat Groups, in the style of Franz Bergman (1861-1936) comprising - a cat standing on its hind legs holding two kittens, 2.25ins high, stamped 'Geschutzt', a pair of cats - one lying prone on a bench whilst the other canes him, 2ins high overall, unmarked, a pair of cats embracing on a bench, 1.85ins high, unmarked and a cat seated on a chair with a napkin around his neck, whilst the other cat wields a cut throat razor, 2.5ins high overall, unmarkedScattered wear/loss to paint (notably to faces). Loss to the upper natural left of cat with stick. 0.25ins chip to back edge of bench with cat lying on it.
A Small Quantity of Brooches, comprising - two 9ct gold stick pins, each mounted with an Essex crystal, one painted in the form of a greyhound's head, the other in the form of a lion's head, total gross weight 12.5g, and a small white metal diamond set brooch in the form of the letter C, total gross weight 2gThe Greyhound Essex crystal is approximately 19mm diameter and the lion is approximately 18mm in diameter. Prospective bidders are strongly advised to study all images closely prior to bidding.
This limited edition lithograph commemorates the Florida Panthers' inaugural NHL game on October 12, 1993, at Miami Arena against the Pittsburgh Penguins. Created by artist Denis Periera, the artwork features a fierce panther gripping a hockey stick-shaped ticket, symbolizing the birth of the franchise. This piece is hand-signed by Panthers owner H. Wayne Huizenga and artist Denis Periera and is numbered 16/199. The display also includes two original game tickets from the historic first game and additional artistic elements from the event. Professionally framed with blue and gold matting and housed in a dark wood frame, this is a must-have for Panthers fans and NHL memorabilia collectors.Artist: Denis PerieraIssued: 1993Dimensions: 31.5"L x 43"HCountry of Origin: United StatesCondition: Age related wear.
This limited edition lithograph, commemorating the Florida Panthers' inaugural NHL game on October 12, 1993, is an exclusive collector's piece. The artwork, created by Denis Periera, depicts the team's fierce panther mascot gripping a hockey stick-shaped ticket. It is hand-signed by the entire 1993-94 Panthers team, including H. Wayne Huizenga (owner), Roger Neilson (head coach), Lindy Ruff (assistant coach), and players such as John Vanbiesbrouck, Scott Mellanby, and Brian Skrudland. The lithograph is numbered 40/40 and features an authentic game ticket from the Panthers' first-ever game against the Pittsburgh Penguins at Miami Arena. It comes with a Letter of Authenticity from SportPads, Inc., listing all signatories. Professionally framed with blue and gold matting, this is a rare and historic piece of NHL memorabilia.Artist: Denis PerieraIssued: 1993Dimensions: 31.5"L x 43"HCountry of Origin: United StatesCondition: Age related wear.
An early 20th century novelty walking stick. The ivory handle carved as a greyhound's head, with glass eyes, having a 9ct gold plated collar with repousse decoration, marked '18 PG', L106cmThis lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission reference: XG3MG1RY
Sebastián López de Arteaga (Seville, 1610 - Mexico City, 1652)"Our Lady of Villaviciosa".Oil on canvas.104,5 x 83 cm.The painting “Our Lady of Villaviciosa” represents the Novo-Hispanic Baroque work attributed to Sebastián López de Arteaga, a painter originally from Seville who worked in Mexico in the 17th century. Arteaga, trained in the Spanish pictorial tradition, had contact with the great Baroque tenebrists such as José de Ribera and Caravaggio, which strongly marked his style and allowed him to bring pictorial sensibility that emphasized realism, theatricality and visual impact to Latin America. This can be appreciated in Our Lady of Villaviciosa, where the chiaroscuro and expressiveness of the violinist evoke the aesthetics of the great Spanish painters of the 17th century.Sebastián López de Arteaga stands out as a key painter in the transition from Mannerist to Baroque painting within New Spain. The comparison with Arteaga's “Doubting Thomas”, preserved in the Museo Nacional de Arte of Mexico, is pertinent, as both paintings share directed light, with faces emerging from the penumbra and a composition centered on the gestures of the figures. Just as in the painting of St. Thomas, where disbelief is manifested in the intense observation of Christ's wound, in Our Lady of Villaviciosa, the violinist shows an expression of admiration directed at the Virgin, reinforcing the mystical dimension of the scene.Since the sixteenth century, the worship of the Virgin Mary was fundamental in the viceroyalty of New Spain for evangelization and the construction of a Catholic identity. Images of the Virgin Mary, especially those associated with specific advocations such as Guadalupe, Remedios or Villaviciosa, were used as symbols of protection and faith for the indigenous and mestizo population, thus facilitating the integration of local beliefs with European Christianity. The invocation of the Virgin of Villaviciosa has its origins in the Iberian Peninsula, where she is venerated both in Portugal and Spain. Worship of this advocation spread to Latin America through the colonizers and missionaries, who brought with them images and miraculous stories of the Virgin of Villaviciosa. However, the adaptation of this devotion to a Novo-Hispanic context is evident in this painting, where clear signs of syncretism and cultural reinterpretation are observed, incorporating elements of indigenous and mestizo iconography.This is reflected, for example on the mestizo features of the Virgin and Child, with clearly darker skin. The chromatic palette, which presents more vibrant and warmer colors than those found in European paintings, reflecting the influence of the local environment and the access to indigenous pigments.Most notably, there are decorative elements that integrate indigenous symbols in an attempt to make the image more accessible to local worshippers.For example, the floral ornaments and jewels that decorate the Virgin's clothing present a mixture of European motifs with indigenous stylistic elements. The flowers used have a design closer to Mexican flowers, such as cempasúchil (Mexican marigold) and other species native to Mexico, suggesting a local reinterpretation. These flowers have a cultural and spiritual significance in indigenous traditions, especially in festivities such as the Day of the Dead.Other curious decorative elements are the two ornaments in the shape of eagles that appear on the upper part of the Virgin's mantle, which seem to have a red plume, a detail that could refer to Mexican traditions, where the eagle was a symbol of power and a sacred figure for the Mexicans, representing the god Huitzilopochtli.Finally, one of the most remarkable details in the painting is the hanging jewel on the lower part of the Virgin's dress, which shows an unusual design related to the tradition of the "flying stick", an indigenous ceremony practiced in the Totonacapan region of Mexico. The design of this jewel is reminiscent of the structure of the flying stick ritual, where participants spin around a pole in a ceremonial dance.In this painting, beyond the technical treatment, the iconography reinforces its devotional function. The presence of the violinist and the bull in the foreground introduces an everyday scene that enriches the pictorial narrative. These elements refer to a pastoral scene, in which the music and the presence of the animals suggest a miraculous manifestation of the Virgin in a humble context.On the other hand, it is worth mentioning the parallelism between this painting and the Virgin of Loreto by Juan Correa, which allows us to contextualize the evolution of this type of iconography in Novo-Hispanic art. Although Correa adopts a more decorative style, the similarity in the chromatic choice and in the structure of the mantle suggests a continuity in the way of portraying the Marian invocations in Mexico.In conclusion, the painting can be dated to the second half of the 17th century, within the period in which Arteaga consolidated his work in Mexico. Its comparison with Doubting Tomas and with Correa's Virgin of Loreto reinforces its importance as one of the paintings that most represents the adaptation of Spanish Baroque in New Spain. Provenance:-House of Albornoz, Extremadura, Spain, and also established in New Spain, Mexico.-By family descent over centuries to Mrs. Blanca Carrillo de Albornoz Muñoz de San Pedro. Spain.-Private collection Spain acquired from the above family through the art trade in 2019. Reference bibliography:- Arroyo Lemus, E. M. (2004). "Pintura novohispana: Conservación y restauración en el INAH: 1961-2004". Instituto Nacional de Antropología e Historia (INAH).- Brading, D., Buxó, J. P., & Lafaye, J. (2004). "El Pegaso o el mundo barroco novohispano en el siglo XVII". Ediciones Turner.- Burke, M. (1992). "Pintura y escultura en Nueva España: El barroco (Arte Novohispano)". Fondo de Cultura Económica.- Rodríguez Gutiérrez de Ceballos, A. (1990). "Sebastián López de Arteaga (1610-1656): Un pintor sevillano en Nueva España". Fundación Universitaria Española.- Rodríguez Prampolini, I. (1994). “Sebastián López de Arteaga y la introducción del tenebrismo en Nueva España”. Anales del Instituto de Investigaciones Estéticas, UNAM, 59(17-34).- Sepúlveda, C. (2010). "El arte novohispano. Nueva Escuela Mexicana". Secretaría de Educación Pública.
Panini Mexico 1970 World Cup sticker album This was the first debut album that started the worldwide Panini football sticker collecting craze. The album from 1970 is in good condition and comes complete with all stickers. The 1970 World Cup saw England arrive in Mexico as world champions. However, the magic of 1966 was not to be repeated, with England losing to Germany 3-2 in the quarter finals and not returning to the competition until 1982. The album features legends of English football, including Bobby Moore, Gordon Banks, Bobby and Jack Charlton and international stars such as Germany’s Franz Beckenbauer, Portugal’s Eusébio and Pelé from 1970’s winning team, Brazil. The 1970 World Cup saw England arrive in Mexico as world champions. However, the magic of 1966 was not to be repeated, with England losing to Germany 3-2 in the quarter finals and not returning to the competition until 1982. The album features legends of English football, including Bobby Moore, Gordon Banks, Bobby and Jack Charlton and international stars such as Germany’s Franz Beckenbauer, Portugal’s Eusébio and Pelé from 1970’s winning team, Brazil. Collection features 288 stickers and cards with a 50 page softcover sticker album on Italian language. All 16 teams that played in tournament appear in the sticker book. The combination of self-adhesive peel off stickers and cardboard cards is what makes Panini Mexico 70 quite unique. All the players and teams have been printed on thick cardboard cards which can be put into the album by using glue or a scotch tape. Posters and flags are produced as self adhesive stickers. Stickers and cards are not numbered at the back. To stick them you have to check the name of a player inside the album which can an exhausting process. Collection has been printed in Italy, but has been distributed in the United Kingdom as well. Panini Mexico 70 – 1970 World Cup Album general info Album size : 230 x 240 mm Album : 50 pages Stickers size : 36 x 53 mm Cards size : 53 x 75 mm Language : English Publisher : Panini Modena
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