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Lot 371
House of Faberge fig tree from the Imperial Trees collection, issued by Franklin Mint. This ornate decorative sculpture features hand-enameled red fig fruits with yellow accents and finely detailed green leaves, all emerging from gold-tone stems. The foliage is set into a square teal-blue planter with four bracket feet and bas-relief gold-tone garland and wheel decorations on each panel. The base is marked with the Franklin Mint FM insignia and retains a partial Made in China sticker.Dimensions: 3.75"HCountry of Origin: United StatesCondition: Age related wear.
Lot 147
§ Attributed to Niels Otto Møller (Danish, 1920-1982) for J L Møller, a set of eight dining chairs, comprising two carvers and six side chairs, model '80', each with a cream vinyl upholstered seat and a woven rattan back panel, supported on a rosewood frame,59cm wide56cm deep79cm high, 48cm high to seat (8)Article 10 Transaction Specific Certificate No. 25GBA10J9U7SP.Condition ReportStructurally the chairs appear sound. There is some variation in the colour of the wood and sun-staining throughout the chairs commensurate with age and use. Some scratches and stains to the wooden frames. The rattan appears in good overall condition with some minor loosening, loses and marks in places. There is some wear, marks and scratches to the leather seats. There are some surface white marks throughout. Subject to these points, the set of chairs appear in good overall condition, sit firmly, and present well as a set.
Lot 151
§ Danish, a rosewood sideboard, c.1960s, with a bank of three drawers to the left, three drop-down door sections to the centre and right, the top with four drawers with hinged lidded covers, 291cm wide 51cm deep 83cm highArticle 10 Transaction Specific Certificate No. 25GBA109SDLWW Condition ReportThe exterior with scuffs and scratches to the top commensurate with use. The interior with cupboard sections with scratches and marks also. The back left leg is broken and will need restoring, however the unit does still stand upright. The light up mirrored panel on this item has not been PAT tested. Please see additional images.
Lot 247
This 2-piece collectible doll lot from Show Stoppers Inc. features the porcelain doll Trudy's Holiday dressed in a white fur-trimmed winter outfit with ice skates, displayed inside a vintage-style trunk. The trunk opens to reveal her burgundy velvet holiday dress, accessories stored in two small drawers, and a wind-up musical mechanism on the right panel. Trudy comes with her Certificate of Collectibility and was hand-painted by skilled artisans. Also included is a smaller Show Stoppers doll named Pia, wearing a pink lace dress with a floral crown and ribbon. Both items are presented with their original box.Dimensions: Largest item (trunk) measures 10.5"LCondition: Age related wear.
Lot 206
This Mikasa Beach Champ VLS200 volleyball is signed by Olympic volleyball star Logan Tom with the inscription Dream in Gold. The ball is an official FIVB game ball used on the 2009 to 2012 FIVB World Tour and is constructed with soft composite leather and panel styling that meets the highest standards for professional play. Tom is a four time Olympian and one of the most celebrated athletes in American volleyball history. Her signature includes USA and the year 2008, commemorating her Olympic performance. Volleyball measures approximately 8.5"dia. Dimensions: See DescriptionCondition: Age related wear.
Lot 287
A striking pair of handcrafted crystal tumblers by William Yeoward, one of Britains premier glassmakers, renowned for their craftsmanship and timeless design. These tumblers are presented in yellow tinted cut crystal, featuring an elegant vertical panel design with deep notched cuts and polished flutes that capture and reflect light beautifully. William Yeoward backstamp. This item has its original box. Glasses measure: 6.25"H x 3.25" dia. Box measures: 7.5"L x 6.75"W x 3.25"H.Dimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.
Lot 344
Pair of Louis Vuitton slip-on loafers featuring the brand's iconic monogram canvas panel and smooth black leather trim. The uppers are detailed with black leather straps and gold-tone hardware, including a polished buckle embossed with the Louis Vuitton name. The back heel is embossed with "LOUIS VUITTON" and showcases monogram canvas side panels. The interior is lined in black leather and stamped with "LOUIS VUITTON PARIS." Rubber soles are marked "MADE IN ITALY" and embossed with the LV initials. Tongue of one shoe is marked "TD0045 37" in gold lettering, indicating the date code and European size. Size EU 37.Dimensions: See DescriptionCountry of Origin: FranceCondition: Age related wear. As is. Signs of wear visible on the soles.
Lot 201
A framed photograph featuring Magic Johnson in action during his time with the Los Angeles Lakers, wearing jersey number 32. The photo is signed by Magic Johnson in gold ink. Included is a certificate of authenticity from Graphs4U, guaranteeing the authenticity of the signature. The framed display has a rich wood-tone border with a protective front panel.Dimensions: 10.75"L x 12.75"HCondition: Age related wear.
Lot 185
A finely hand-painted Limoges porcelain centerpiece, of French origin, marked Peint la main and Porcelaine Limoges France, model number 3301. This exquisitely decorated shallow footed bowl features vibrant floral motifs in hues of orange, crimson, violet, and green, intricately rendered against a white ground with striking orange borders and stylized scrollwork. The central panel showcases lush chrysanthemums and other botanicals in vivid detail, framed by a wide band of symmetrical floral cartouches. Elegantly mounted in ornate gilt bronze with twin scrolled handles and a finely cast footed base adorned with leaf and berry motifs. The bronze mounts exhibit rich Rococo styling with classical French influences, enhancing the luxurious presentation of the piece. Underside marked in green Porcelaine Limoges France, with red model number 3301 and green script Peint la main (hand-painted). Measures 19.5"L x 5.5"H. Issued: 20th century Dimensions: See DescriptionCondition: Age related wear.
Lot 38
A striking Verlys French opalescent glass vase, dating to the Art Deco period, featuring an elegant leaf and berry motif in deeply molded relief. The vase exhibits a softly glowing opalescence with a milky-white translucence, enhanced by sharply faceted lobes that create a rhythmic, architectural silhouette. Each vertical panel is adorned with subtle botanical detailing, capturing the refined naturalism and geometric harmony that defined Verlys' best work. This sculptural form showcases the impeccable craftsmanship of Verlys, a renowned French glassmaker noted for their limited production decorative pieces made between the 1930s and 1950s. Signed Verlys on the base, this example exemplifies the studio's ability to merge fine French glass artistry with bold Art Deco aesthetics. A superb collector's piece of period design and technical excellence, ideal for display in both classic and modern interiors.Issued: c. 1930Dimensions: 10.5"HCountry of Origin: FranceCondition: Age related wear.
Lot 172
Gorgeous antique stained glass panel featuring a regal crown and cross motif within a lancet arch design. The rich color palette includes deep burgundy, emerald green, amber, violet, and marbled opalescent glass pieces. A heraldic medallion with a crowned cross, embellished with jewel-like red glass rondels, sits centrally within a Gothic-inspired tracery. Surrounding this are intricate floral and scroll elements, all housed in a solid wood frame. Likely crafted in the late 19th to early 20th century, this ecclesiastical style panel exemplifies high craftsmanship in leaded and stained glass, making it suitable for architectural reuse or decorative display. Light wear consistent with age.Issued: Early 20th centuryDimensions: Approximately 37"L x 1.75"W x 79.50"HCondition: Age related wear.
Lot 50
JAMES BOND: GOLDFINGER (1964) - David Frangioni Collection: US 24-Sheet, 1965 - A US 24-sheet poster from the promotion of Guy Hamilton's Bond film Goldfinger. The design of this huge and incredibly rare 24-sheet poster is perfectly suited to the format. A massive image of the famous gold-painted Margaret Nolan (while Shirley Eaton was painted gold in the film it is Nolan who is on the poster) is stretched over roughly 20 feet. Nolan completely dominates the design, with the face of Sean Connery tactfully placed to appease the censors. There are some minor areas of paper loss and a few larger tears on some panels. One panel has red ink on the reverse, which has bled through to the white lettering of "Goldfinger". However, the poster is in very good overall condition. Dimensions (approx.): 275 cm x 610 cm (108.25" x 240.25")Condition: FineArtist: Unknown ArtistAdditional Provenance:David Frangioni is a published author, music businessman, producer, technologist, engineer, philanthropist, and drummer. He has worked with Aerosmith, Shakira, Ringo Starr, Ozzy Osbourne, Robbie Williams, and hundreds more. He is CEO of Modern Drummer Magazine and has several books published, including Clint Eastwood: Icon: The Essential Film Art Collection and Crash: The World's Greatest Drum Kits, both by Insight Editions. Frangioni is considered one of the world's most prominent and knowledgeable collectors of Clint Eastwood memorabilia and boasts an enviable archive of movie posters and memorabilia.VAT Status: Ω
Lot 247
DC COMICS: THE JOKER DEVILS ADVOCATE - Colour Art Panels Signed by Pat Garrahy - A collection of colour art from the DC Comics one-shot The Joker: Devil's Advocate, signed by the book's colours artist, Pat Garrahy.The collection comprises 40 cardboard panels, each featuring images from the story hand-coloured with paint by Garrahy. One of the panels presents the book's front cover image. Garrahy has signed most of the panels in gold-coloured ink, apart from the odd panel that has not been coloured or signed but features the printed outline of its comic images. Laminate sheets adhered to those panels that have been coloured and signed overlay the image and present handwritten annotations in black marker. Dimensions (one panel): 31 cm x 23.25 cm (12.25" x 9.25")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M
Lot 60
JAWS (1975) - Hand-Numbered Limited Edition Screen Print by Laurent Durieux, 2013 - A highly sought-after limited edition alternative movie poster created by artist Laurent Durieux for Steven Spielberg's thriller Jaws. Durieux's unique style is instantly identifiable, with his creations among the most desirable artworks in the alternative movie poster market. This design is one of those most coveted by collectors. It was released in 2013 through Mondo and even attracted the attention of Spielberg himself, who allegedly ordered 25 copies to give to close friends and family.Durieux created this image as a contrast to Roger Kastel's iconic shark design for the original marketing campaign. The postcard-esque scene appears idyllic, yet the black panel on the beach umbrella creates a feeling of unease. Printed by DL Screenprinting, this example is hand-numbered #54/525. Dimensions: 91 cm x 61 cm (36" x 24")Condition: Near Mint+Artist: Laurent DurieuxVAT Status: M
Lot 6
JACOB VAN GEEL (DUTCH CIRCA 1585 - CIRCA 1648) A WOODED LANDSCAPE Oil on panel Signed (lower centre, below frame) 19.5 x 28.5cm (7½ x 11 in.) Painted circa 1636. Condition Report: The panel presents an evenly applied varnish across, as well as a few dirt stains. UV light reveals a few small dotted meticulous retouches in the lower left corner, and a few patches in the foliage to the right border slightly fluoresce, but might be caused by the varnish fading. On a whole, the picture appears to be in good condition. Condition Report Disclaimer
Lot 20
JAMES WARD (BRITISH 1769-1859) A WAGON PASSING A COTTAGE ON A WINDY NIGHT Oil on paper, laid down on panel Signed 'J. Ward' (lower right) 11.5 x 14cm (4½ x 5½ in.) Provenance: Captain Claude Ward-Jackson (the artist's grandson) H. Noel Whiting until 1970 Sidney Sabin, London Private Collection USA until 2007 Condition Report: UV light reveals meticulous retouching as if infills in a slight craquelure. Such kind of restoration is mostly visible to the left border, as well as in the upper right corner, to the stormy sky. There is also a 0.5 cm round retouching on the ground to the lower centre border, and strengthening to the signature. Finally there are two vertical creases near the left and right borders. Condition Report Disclaimer
Lot 164
ELIZABETH HUEY (AMERICAN B. 1971) THE BURNED OVER DISTRICT Acrylic and oil on panel Signed (to stretcher verso) 153 x 183cm (60 x 72 in.) UnframedPainted in 2006.Provenance: Kinz + Tillou Fine Art, New York Condition Report: Apart from some minor losses to the extreme exposed edges, the work appears to be in good original condition.Condition Report Disclaimer
Lot 66
‡ SIR DAVID WILKIE (SCOTTISH 1785-1841) HENRY WARDEN BROUGHT BEFORE FATHER EUSTACE Oil on panel Indistinctly signed (upper right) 36 x 33.5cm (14 x 13 in.) Painted circa 1830. Provenance: William Seguier His sale, Christie's, London, 4 May 1844, lot 96 (110 gns to Pennell) Anonymous sale; Christie's, London, 20 April 1990, lot 62Exhibited: London, British Institution, 1842, no. 38 Edinburgh, Royal Scottish Academy, 1852, no. 42Engraved: C. Fox, 1 December 1830 as the frontispiece to the Waverley Novel, The Monastery, vol. IIinscribed 'Henry Warden brought before Father Eustace / for his preaching of the protestant cause / the judge and the accused met face to face / and in that of both was enthroned the/ noble conscience of rectitude / monastery. Walter Scott'. (on a label, verso)After Sir Walter Scott was declared bankrupt in 1826, his publisher Robert Cadell undertook to issue a complete edition of the Waverley Novels issued monthly in 48 volumes with new notes and introductions by Scott and a series of 96 frontispieces and title page vignettes commissioned by Cadell with many artists approached to contribute. Wilkie contributed the present work, the subject of which is taken from 'The Monastery' (1820) and was engraved in 1830 and also Breakfast at Milnwood (Old Mortality). William Seguier (1771-1843) to whom the picture first belonged, was an artist, Superintendent of the British Institution and first Keeper of the National Gallery. He was instrumental in forming the collections of Sir Robert Peel and the Duke of Wellington, along with the Dutch Old Masters in the collection of King George IV and was appointed by him to be Conservator of the Royal Galleries, a role he also held under King William IV and Queen Victoria.We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.
Lot 11
‡ TOMMASO MANZUOLI, CALLED MASO DA SAN FRIANO (ITALIAN 1531-1571) THE RESURRECTION OF CHRIST Tempera on panel, with an arched top 31 x 16cm (12 x 6¼ in.) (mounted) UnframedProvenance: Possibly Prince George, Duke of Cambridge (1819-1904) (according to an inscription on verso) Private collection, England Sale, London, Phillips, 7 July 1992, lot 47 (as Attributed to Marcello Venusti) There acquired by Richard L. FeigenLiterature: A. Wied, in S. Ferino-Pagden, Vittoria Colonna: Dichterin und Muse Michelangelos, exhibition catalogue, Vienna 1997, p. 477 P. Costamagna, "Continuity and Innovation: The Art of Maso da San Friano," in Continuity, Innovation and Connoisseurship: Old Master Paintings at the Palmer Museum of Art, University Park, Pennsylvania 2003, p. 41 L. Kanter and J. Marciari, Italian Paintings from the Richard L. Feigen Collection, New Haven 2010, pp. 118-121, cat. no. 36, reproducedExhibited: New Haven, Yale University Art Gallery, Italian Paintings from the Richard L. Feigen Collection, 28 May - 12 September 2010, no. 36 This finely executed Resurrection of Christ stands as a compelling example of mid-16th century Florentine painting, embodying the stylistic hallmarks of the late Mannerist period. According to Giorgio Vasari, Maso da San Friano (born Tommaso Manzuoli) began his artistic training in the studio of Pier Francesco Foschi and later worked under Carlo Portelli. While his early training was shaped by these artists, Maso's style also reflects the enduring influence of key Florentine painters such as Pontormo and Andrea del Sarto. His figures are distinguished by their refined elegance and bold, expressive use of colour-hallmarks of the Florentine Mannerist tradition-which lend striking monumentality even to works of relatively small scale.Highly esteemed in his own time, Maso secured prestigious commissions, including two celebrated paintings for the Studiolo of Francesco I de' Medici in the Palazzo Vecchio: The Diamond Mine and The Fall of Icarus, both completed in 1570-71.
Lot 16
SOUTH AMERICAN SCHOOL (17TH/18TH CENTURY) THE BLACK VIRGIN WITH CHILD OF MONTSERRAT Oil on panel 26 x 39cm (10 x 15¼ in.) Condition Report: The wood is bowed and there are a number of surface cracks which are visible in a natural light. There are a number of areas where the paint has started to lift and there is associated loss. This is most prevalent along the lower edge. Some further areas of loss, to the upper half of the panel, appear to have been previously filled in, and this over-paint is visible in a natural light. Surface dirt and craquelure throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and in-filling throughout. Condition Report Disclaimer
Lot 7
‡ NICOLAES BERCHEM (DUTCH 1620-1683) MERCURY BRINGING ARGUS' EYES TO JUNO Oil on panel 48 x 71cm (18¾ x 27¾ in.) Provenance: Sale, Sotheby's Parke Bernet, New York, 3 November 1972, lot 24 Sale, Christie's, 19 April 2007, lot 303, as Nicolaes Berchem (unsold) Literature: Listed in the RKD: https://research.rkd.nl/en/detail/https%3A%2F%2Fdata.rkd.nl%2Fimages%2F227581 Exhibited: New York, Richard L. Feigen & Co., Landscape painting in Rome 1595-1675, 30 January - 23 March 1985, no. 5 Marijke de Kinkelder attributed the painting to the early period of the artist's career, suggesting that its stylistic characteristics are indicative of the developmental stages of the artist's oeuvre. Condition Report: Panel is cradled. Middle joint slightly visible on the surface. Panel presents thin layer of dirt and varnish. Few superficial scratches to varnish, left border and right border as well as a few losses of paint. UV light reveals small 2cm retouch just above the golden throne a few slight retouches to the foliage in the upper right corner and most significantly a thin infilling along the joints at the centre and lower section.Condition Report Disclaimer
Lot 70
‡ SIR DAVID WILKIE (SCOTTISH 1785-1841) THE DEATH OF SIR PHILIP SIDNEY Oil on panel 36 x 25cm (14 x 9¾ in.)Provenance: Commissioned from the artist by Samuel Dobrée (1759-1827), 1818 Thence by descent to his son Bonamy Dobrée (1794-1863), by 1842 Thence by descent to his son Bonamy Dobrée (1818-1907) Thence by descent to his son Bonamy Dobrée, Jr. (1863-1891) Thence by descent to his son Professor Bonamy Dobrée (1891-1974) By whom sold, London, Sotheby's, 19 June 1957, lot 37 There acquired by Harvey Smythe, London By whom subsequently returned to Sotheby's and to Professor Bonamy Dobrée Thence by descent to Georgina Dobrée (1930-2008), London By whom anonymously sold, London, Sotheby's, London, 14 November 1990, lot 62 There acquired by Richard L. FeigenLiterature: S. Dobrée, The Book of Death, London 1819, n.p A. Cunningham, The Life of Sir David Wilkie, London, 1843, vol. II, pp.7-8, 11-13 D. Wilkie, The Wilkie Gallery, a selection of the best pictures of the late Sir David Wilkie, London and New York, 1848, n.p. engraving reproduced W. Bayne, Sir David Wilkie R.A., London, 1903, p.79 H.A.D. Miles et.al, Sir David Wilkie of Scotland (1785 - 1841), exhibition catalogue, Raleigh, 1987, p.85 H.A.D. Miles, Sir David Wilkie 1785-1841, exhibition catalogue, London, 1994, pp. 63-65. cat. no.16Exhibited: London, British Institution, 1842, no. 22 (lent by Bonamy Dobrée) Manchester, Art Treasures Exhibition, 1857, no. 267 (lent by Bonamy Dobrée) London, Grosvenor Gallery, 1888, no. 66 (lent by Bonamy Dobrée, Jr.) London, Richard L. Feigen & Co., Sir David Wilkie 1785-1841, 13 October - 25 November 1994, no. 16Engraved: Abraham, Raimbach, 1819 William Greatbach, circa 1848-50This painting was commissioned by Samuel Dobrée, a distinguished bibliophile and collector of modern masters, who had purchased Wilkie's Letter of Introduction, exhibited at the Royal Academy in 1814. In January 1818 Dobrée asked Wilkie for illustrations for his Book of Death, an anthology of the deaths of more than 200 notable persons drawn from Chamber's Encyclopaedia. As the work was of an historical genre Wilkie suggested Thomas Stothard (1755-1834) as a more appropriate artist, but as this was not forthcoming finally Wilkie agreed to help him.The result was the present painting and The Death of the Chevalier Bayard, though only the present work was used as the basis for an engraving by Raimbach, published in 1819.The present work shows the influence of Titian upon Wilkie at this date in both composition and particularly in colour palette. In 1817 and 1818, Wilkie was copying works by Titian in private collections or on loan to National Gallery and National Galley of Scotland.Sir Philip Sidney, poet and diplomat was appointed Governor of Flushing by Queen Elizabeth in 1585, he was shot during the attack on a Spanish convoy, had managed to ride back to camp, but died from his wounds three weeks later. Wilkie in his depiction of the scene technically shows the moment after he has been shot. Dobrée's source for the death was Chalmers's revised edition of The General Biographical Dictionary, XXVII, 1816, p. 510, 'As Sir Philip was returning from the field of battle, pale, languid, and thirsty, with excess of bleeding, he asked for water to quench his thirst - the water was brought, and no sooner reached his lips than he resigned it to a dying soldier, whose ghastly countenance attracted his notice, speaking these words: " This man's necessity is greater than mine."' The noble moral of Sidney's worthiness, even in death, often quoted.A related drawing was offered Christie's, Scotland, 30 October 2003, lot 8. We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.
Lot 15
FOLLOWER OF CLAES CORNELISZ MOEYAERT THE PROPHET ELISHA AND THE WIDOW WITH HER TWO SONS Oil on panel 39.5 x 51cm (15½ x 20 in.) Painted circa 1650. Provenance: Sale, Auctiones AG, Basel, 26 April 1990, lot 14 (as Anonymous Dutch) Sale, Sotheby's, New York, 5 June 2008, lot 16 (as Dutch School circa 1650) Literature: Listed in the RKD: https://research.rkd.nl/en/detail/https%3A%2F%2Fdata.rkd.nl%2Fimages%2F195540 Please note that this lot description has been updated and is therefore different to the printed catalogue. Condition Report: There is a horizontal crack running the length of the panel at the upper quarter. This corresponds with applied wooden slat supports verso (see online images). Associated, fine in-filling can be seen in natural light. Some light discolouration to the sky, in part caused by a discoloured varnish. There is also some light surface dirt throughout. Rubbing and abrasions to the framing edges with some associated loss. One or two flecks of loss throughout, however these are barely noticeable. Inspection under UV light reveals scattered retouching and in-filling throughout, together with patches of a green cloudy varnish.Condition Report Disclaimer
Lot 117
λ‡ PETER ROSE PULHAM (BRITISH 1910-1956) TROMPE L'OEIL À CLEF Oil on panel Signed with initials and dated 1939-1945 (to centre of right edge) 51 x 76cm (20 x 29¾ in.) Peter Rose Pulham worked initially as a photographer, producing work for Harper's Bazaar in the early 1930s before moving to Paris. He famously photographed Picasso in his studio on the Rue des Grands Augustins in 1936 but became increasingly interested in French surrealism and began painting in the late 1930s, returning to London just before the outbreak of World War II. In 1941, a German bomb hit his studio on Old Church Street in Chelsea, destroying many of his paintings. His later work is heavily influenced by Francis Bacon, with whom he became close friends. Condition Report: There is a small fleck of paint loss to the lower right quadrant, just above the feather. Ultraviolet light reveals retouching to the left hand and lower edges. Otherwise, the work appears to be in good condition.Condition Report Disclaimer
Lot 84
‡ THÉODORE ROUSSEAU (FRENCH 1812-1867) LA MARE AUX BICHES Oil on bevelled panel Signed (lower left) 15.5 x 20.5cm (6 x 8 in.) Painted circa 1848-50. Provenance: Collection Maurice Kann Boussod-Valadon, no. 23235 (Getty Research Institute, Los Angeles) Sale, Wallis & Son, London, 20 October 1894, lot unknown S.P. Avery, London, 1897 Literature: M. Schulman, Théodore Rousseau, catalogue raisonné de l'oeuvre peint, Paris, 1999, no. 411 Condition Report: The work has been re-varnished. Some very fine craquelure however the paint surface appears stable. Light rubbing and abrasions to the framing edges. There is a small patch of brown residue / varnish (approx. 1cm) just below the deer's head. Inspection under UV light reveals no evidence of restoration or repair, however there is a heavy green varnish which may be concealing some overpaint.Condition Report Disclaimer
Lot 95
ATTRIBUTED TO HENRY ALKEN JUNIOR (BRITISH 1784-1851) ON THE SCENT; OVER THE BROOK Oil on panel, a pair 15.5 x 30cm (6 x 11¾ in.) One unframed (2) Condition Report: Unframed: There is a vertical surface crack (which is not visible verso) running through the panel centre left. Associated overpainting is visible in a natural light. Further cracking is visible at the lower left edge, running horizontally above the dog's tail. Additional smaller surface crack throughout together with some craquelure and associated flecks of loss. Rubbing and abrasions to the framing edges, also with some associated loss. Inspection under UV light reveals scattered retouching and in-filling throughout. Overall this work is in need of some restoration and conservation. Framed: There is a full crack (visible verso) running from the lower right edge to the fore horse's tail. A further area of cracking and associated lifting running diagonally through the heads of both sitters on the right hand side. Some light surface dirt and scratching throughout. White blemishes of overpaint to the trees visible in natural light. Inspection under UV light reveals scattered retouching and in-filling throughout. Overall this work is in need of some restoration and conservation.Condition Report Disclaimer
Lot 287
This bold Andrea by Sadek charger plate exemplifies the traditional Gold Imari aesthetic, rendered here in a vivid palette of deep cobalt blue, iron red, and gold. Intricately hand-painted, the central panel features stylized florals surrounded by ornate borders and majestic phoenixes in a rich blue motif. This Japanese porcelain charger is marked with the Andrea by Sadek sticker and showcases the meticulous craftsmanship associated with Imari ware. Made in Japan, it is both a statement piece and a collector's item. Measures approximately 18.25"Dia. Box measures approximately 19"L x 19"W.Dimensions: See DescriptionCondition: Age related wear.
Lot 280
A German clock in a Rococo Revival style wood case with painted floral motifs and ornate brass mounts. The case features a crackle cream finish with hand-painted floral bouquets and curvaceous contours framed in cast brass applique. The round clock face is decorated with raised porcelain-style Roman numerals and an embossed brass center medallion. The 8 day mechanical movement is stamped "Franz Hermle, Germany, 151-080" and includes its original pendulum and winding key. A rear-access hinged panel reveals the well-preserved movement with chime mechanism. Made in Italy stamped. Franz Hermle impressed to the movement. Dimensions: 5.75"L x 11.75"W x 22.75"HCondition: Age related wear.
Lot 8
This striking Val St Lambert crystal obelisk sculpture showcases a masterful interplay of form and light, featuring a tall, faceted silhouette with a hexagonal base and sharply cut surfaces. Inside, a precisely engraved design depicts a radiating sunburst and a symmetrical staircase motif, creating a dramatic optical illusion that changes with the viewer's angle. The reverse includes a finely crosshatched cut panel, and the bottom is etched with the Val St Lambert signature. Crafted in Belgium, this piece exemplifies the technical artistry and clarity for which the historic Val St Lambert glassworks is celebrated.Issued: 20th centuryDimensions: 7"HCountry of Origin: BelgiumCondition: Age related wear.
Lot 306
This dazzling 3-piece crystal set from American Cut Crystal Corp features two square decanters and a rounded footed bowl, all hand cut from Czechoslovakian lead crystal. The decanters are adorned with intricate starburst and crosshatch patterns on each panel, complemented by finely faceted stoppers with vertical cuts for brilliance and grip. The bowl boasts a striking globe form with dramatic radial cutting and rests on three solid glass feet, echoing the Art Deco-inspired symmetry and balance. Each piece exemplifies the precise artistry of hand-cut European crystal and retains the original foil label marked Czechoslovakia Lead Crystal Hand Cut by American Cut Crystal Corp, highlighting its vintage authenticity.Issued: 20th centuryDimensions: 11.50"HCountry of Origin: USACondition: Age related wear.
Lot 1391
*Wilhelmina Barns-Graham (1912-2004) oil and pencil and panel - Glacier Abstraction, circa 1950s and probably painted following a trip to the Grindelwald Glacier, signed in pencil lower right, 45.5cm x 63.5cm, in painted frame.Exhibited: Sheffield Museums, Graves Gallery, Sheffield, December 2018 - March 2019 'Sea, Rock, Earth and Ice'. Included is a letter of thanks to the lender from the curator of the museums. (This lot may be subject to Artist's Resale Right) There is no apparent reference number verso, although it is evident there was a label in place at one time. Basically good original condition, some surface dust and dirt but nothing serious. The frame is very much a home-made affair and almost certainly original. The last few images illustrate the work hanging when in the Sheffield Museums exhibition
Lot 97
Fine Victorian Irish Lord Chancellors Ceremonial Burse (purse) for holding the Great Seal with very ornate gold bullion stump work decoration depicting the crowned 1837-1901 Royal Victorian Arms and VR cypher to central panel with Irish harp, bees and cherub head borders with original tasselled cords to sides, mounted in a glazed ebonised and velvet lined frame 64cm square overall.
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