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Lot 1413
A George Jones majolica game pie tureen, cover and liner, circa 1870, of oval shape, the turquoise glazed body relief decorated with suspended nets and trophies of game, the cover with a fox crouched over a dead bird on a bed of fern leaves, indistinct black painted numerals to base, length 25cm (faults and losses).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 278
A French giltwood and upholstered day bed in Louis XVI style, circa 1900, 95cm high, 195cm long, 86cm deep Provenance: Private collection removed from 9, Royal Crescent, Bath Condition Report: The day bed is largely in good condition with fairly taught springs and upholstery. However there has been movement and shrinkage to the frame resulting in some 'wobbliness' notably to the head end. There has been rubbing and some loss to gilded surface to edges and legs Condition Report Disclaimer
Lot 3184
A French painted beech Bergere day bed, circa 1900, with double caned panels, on carved cabriole legs, fitted a later upholstered cushion, suppliers label to base A Hugnet Paris, length 182cm.Condition report: Structurally sound, slight gaps between joints, rubbing to edges, wear consummate with age. One leg with modern repair, damage to cane at feet. Suppliers label on base. Extra images on David Lay website.
Lot 611
A collection of six of children's illustrations; to include, Penny Dale, Tabletop, signed and dated 'Penny Dale 83' (lower right), gouache on paper, 11 x 14cm; Cat and a mouse having a party, initialled and dated 'C.A/ 1990' (lower right), watercolour and pen on paper, 33 x 26cm; children playing in a winter forest - artist proof, signed indistinctly (lower right), blind-stamped 'TR', coloured print on densely textured paper, 32 x 23cm; Dana Kubick, personalised thank you card with a child sleeping, watercolour on paper, 10 x 14cm; S.C Burnside, illustration from Arthur Mee's Children's Treasure-House, inscribed with title and name (lower right), watercolour and pen on paper, 12 x 9cm; four teddies in a bed, inscribed with a personalised message (along the left side), pencil on paper, 12 x 11cm (6)
Lot 530
Bed Linen. A monogrammed French linen sheet, early 20th century, ecru linen sheet, with large embroidered initials 'BN' (18 x 24cm), hand-worked in padded satin stitch and french knots, drawn threadwork to turn-down, hand-stitched hems, occasional small marks, 347 x 224cm (136.5 x 88ins)Qty: (1)Footnote: A high-quality French linen sheet, beautifully stitched and in very good condition.
Lot 533
Bed Linen. A pair of 19th century French linen sheets, 1853 & 1892, 2 ecru linen sheets, each hand-woven from hand-spun yarn, the first with hand-stitched hems and central join, hand-embroidered in cross-stitch in red thread to one corner 'GJ 1853', 230 x 189cm (90.5 x 74.5 ins), the second with machine-stitched hems and hand-stitched central join, one corner hand-worked in red cross-stitch 'CJ 6 1892', some discolouration, large machined patch, 240 x 184cm (94.5 x 72.5ins) Qty: (2)Footnote: Two pieces of early French linen of exceptional quality, of the sort that is becoming increasingly difficult to find. Each sheet is hand-woven from yarn that was hand-spun, giving a quality of texture which can never be reproduced via commercial means, and producing a final product which is amazingly durable. The hand-stitched centre seams are a particular sign of early sheets, as hand-woven fabrics were produced in much narrower widths than could be produced on wide machine looms. These sheets will have been washed many times, and are therefore unsusceptible to shrinking, and they can be beautifully enhanced using vegetable dyes. Each farm in France had its own field of flax, and so these sheets are almost certain to have been spun and woven on the site where the raw material was grown. Such linen formed an important part of a young girl's trousseau, and hence would often be embroidered with the initials of the bride and her betrothed. More rarely pieces of linen would be dated, as here.
Lot 549
Dress. A gown of early 18th century Chinese export silk damask, hand-stitched dress of silk damask, with large pattern of latticework and flowers, including roses and tulips, amongst scattered acorns, in pink on a pale silver-pink ground, open-fronted, with elbow-length sleeves, and tucks on reverse terminating in a v-shape (possibly of later construction, and with alterations), selvedges with double green line (width of fabric 55.5cm), occasional small marks, but fabric robust, skirt lined in cream silk, lining worn, length 142 (56ins)Qty: (1)Footnote: Typical of silk damask designed for the Western market and manufactured in China; this fabric would likely have been woven between 1710 and 1740. For similar silk damask see dress and night gown in the V&A (T.35-1972 and T31.2012 respectively). Such silks were primarily intended for furnishing, and appear in merchants' records as 'bed damasks'; the length of their large pattern repeat was displayed to best advantage in the long drop of bed curtains.
Lot 551
Embroidered panel. A large and important redwork panel, British, circa 1620, embroidered in very fine wool thread dyed with cochineal beetle red, on a cream twilled fustian ground, with all-over pattern of flora and fauna, the former comprising: pomegranates, magnolia flowers, daffodils, harebells, aquilegia, lilies, and the latter: leopards, parrots, stags, squirrels, hounds, hares, and an elephant carrying a three-turreted castle on its back, fine line border to long sides, the outlines worked in stem stitch, with details in seeding, back, running, and lazy daisy stitches, 2 hand-stitched vertical joins with imagery continuous (each of the 3 widths approximately 49cm), hand-stitched horizontal join 35cm up from lower edge (embroidery not continuous), side and lower edges bound with linen tape (that to left hand edge largely frayed), neatly stitch-mounted to a double layer cream backing, with velcro along top edge, some loss to embroidery and consequently pencil outlines visible in places, but stitching largely intact (although renewed in 1 or 2 small areas with pale brown thread), occasional small marks and some perishing of fustian ground (with stitched areas of consolidation), 2 areas of embroidery carefully cut round and re-mounted on new backing (approximately 23 x 9cm and 59 x 16cm), overall size 216 x 149cm (85 x 58.5ins)Qty: (1)Footnote: Provenance: Private Collection.Exhibited: Royal School of Needlework Exhibition, Irish Linen Centre in Lisburn Museum, May 2009-May 2010. The piece has also been displayed at the Royal School of Needlework at Hampton Court Palace on a number of occasions.Redwork embroidery of the early 17th century is rarely offered for sale even in small fragments, and therefore the importance of this large-scale piece - new to the market - cannot be overstated. Redwork typically features detached but lively motifs regularly spaced in an organised design over a white linen or cotton ground, and was usually carried out by women who used it to decorate domestic furnishings such as bedcovers and hangings, cushions, workbags and curtains, as well as articles of dress.This substantial piece of embroidery, and its two companion pieces (see following lot) are likely to have been originally part of a set of bed hangings. Elaborate hand-work was treasured and handed down, and these pieces may have been modified in the 17th or 18th century in order to repurpose and infuse new life into them. Certainly they were subjected to a quite radical alteration, perhaps by a prudish Victorian owner, when the appendages protruding from the dogs were unstitched, in order to protect the sensibilities of the viewer! The outlines of tiny holes where the needle went through the fabric are still clearly visible, testament to a fascinating tale in the history of this panel.The broadly, but not perfectly, repeating design depicts stylised fruit and flowers, mostly of similar size, and a variety of beasts whose dimensions bear no relation to each other. This lack of proportional scale and freedom of distribution of motifs is typical of other work of the time. Both domestic and professional embroiderers took inspiration from pattern books, such as Richard Schorleyker's A Schole-House for the Needle published in 1624, although other publications such as emblem books, herbals, illuminated manuscripts and bestiaries would also have provided imagery which could be copied or modified for transfer onto cloth. Thus the variation found within the all-encompassing term of 'redwork' is wide, each piece reflecting the individuality of the stitcher.The lone elephant shown to the lower left of the panel is an unusual, and therefore unexpected, inclusion, although the elephant and castle motif was widely known at the time. Indeed, in the mid-14th century the symbol was included on the coat of arms of the city of Coventry. The elephant is associated with a number of attributes, including wisdom, loyalty, chastity, strength and power, so perhaps it is not so surprising that the maker here branched out to include such a magnificent creature.Early redwork pieces, particularly of this size, are few and far between in institutions, but there are two notable examples which bear a strong resemblance to the piece offered here: a bedcover held by The Art Institute of Chicago (reference number 1986.988); and a bed curtain housed in The Metropolitan Museum of Art, New York (40.88a-f). Smaller pieces are held by the Royal School of Needlework, the Embroiderers' Guild, and the V&A.
Lot 602
Toile de Jouy. A bedcover made from early 19th century Toile de Jouy fabric, French, bedcover printed in raspberry on a white cotton ground, lined with linen and hand-quilted overall in pale thread, with machine stitching to hem, depicting a variety of scenes with figures in 16th century dress, including a horseman firing a flintlock pistol in the air, a group of figures beseeching a gentleman in a garden, and a mounted horseman with pillion rider and onlookers, some minor wear (mostly to piping), 2 small patches in Toile de Jouy of a different design (29.5 x 8.5cm and 13 x 8cm), lining with holes and some stains, main panel to fit bed 221 x 132cm (87 x 52ins), side panels 46cm (18ins) deepQty: (1)
Lot 312
A SUPERB INDIAN STONE LINGAM, LATE 19TH - EARLY 20TH CENTURYDeemed the purest embodiment of Shiva, the lingam serves as the primary emblem of worship for this Hindu deity. Its aniconic form symbolizes a phallus or a pillar of light. Self-manifested or svayambhu lingas are spawned in the bed of the sacred Narmada River in Western India. Occurring through natural rock formations and erosions, ovoid boulders such as the present lot are considered remarkably propitious.Provenance: From a private collection in southern Germany, mostly assembled between the 1960s and 1980s.Condition: Excellent condition with minor wear.Dimensions: Height 50 cm (excl. stand)With a modern wood stand. (2)Auction result comparison: Compare a related stone lingam, 129.5 cm high, at Sotheby's New York in Indian & Southeast Asian Works of Art on 19 March 2014, lot 21, sold for USD 17,500. A related stone brahmanda, 46 cm high, dated to the 19th century, with a matching bronze tripod stand, was sold in these rooms in Fine Chinese Art, Buddhism & Hinduism on 6 March 2021, lot 748, sold for EUR 16,432.
Lot 233
AN UNUSUAL 'TOAD' BISCUIT WATER POT, QING DYNASTYChina, 1644-1912. Molded as a recumbent toad in a bed of leaves, with the head turned upwards and bulging eyes, the pupils applied in black glaze, its expression amusing. The body finely mimicking warty skin, with a raised round aperture on its back. Glazed in white, the underside unglazed.Provenance: Old Austrian private collection. By repute acquired in the local trade, ca. 1971.Condition: Excellent condition with minor firing flaws, traces of use and old wear.Weight: 170.5 g Dimensions: Height 5 cm清代素燒蛤蟆水盂中國，1644-1912年。蛤蟆仰頭，雙目圓睜，黑釉瞳孔，神態詼諧。身體表面精細地模仿動物本身的皮膚，身下可見花葉，背部有一個凸起的圓形孔。白釉，底面無釉。 來源：奧地利私人老收藏，據説約在1971年購於奧地利當地古玩市場。 品相：狀況極佳，有輕微的燒製瑕疵、使用痕跡和舊時磨損。 重量: 170.5 克 尺寸：高 5 厘米
Lot 101
Italian school, 17th century."Vanitas".Carved and polychrome wood. Brass, bronze and silver.Measurements: 22 x 38 x 11,5 cm,A sculpture is presented in the form of a coffin with the front dominated by a glass that allows the spectator to see inside. In the centre of the piece, a skeleton lies dead on a red and gold bed. Death is not represented in a peaceful way, showing the corpse's passage to eternal life, but is presented in an exacerbated and dramatic way, with a skeleton whose skull has a gesture of terror with its mouth wide open. The body, which is turned so that the viewer can contemplate it more easily, is infested with maggots that crawl all over the bone, coiling around them, even on the face. The presence of the worms, as devourers of flesh, warns the viewer about the temporality of life and of his body as matter, thus delivering a reflection related to eternity and the correct way of life with which the faithful can attain glory.This completely detailed sculptural work, both in the conception of the skeleton and the coffin that preserves it, is part of the genre of vanities, which was so important during the Baroque period. The transience of life was one of the themes that most preoccupied Baroque artists. Vanities denounced the relativity of knowledge and the vanity of the human race subject to the passage of time and death. This genre was particularly popular during the Baroque period, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). In the 17th century, these moralising still lifes became very frequent as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas.
Lot 1030
Sale Item: WALNUT STYLE BED FRAME Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%
Lot 138
EDUARDO ÚRCULO FERNÁNDEZ (Santurce, Vizcaya, 1938 - Madrid, 2003)."Before me I saw clusters of wandering life shining". 1973.Oil on canvas.Signed, titled and dated on the back.It carries a label of the Biennial of Paris, in the frame.Measurements: 162 x 140 cm.; 166 x 144 cm. (frame).A young woman of voluptuous body is lying down, hiding her face under a wavy mane, on a bed covered with quilt printed in red and white. The full moon shines behind the arch of the terrace that opens her room to an exterior of violet lights. This color tinges all the objects in the room, giving them a dreamlike look: intense mauves, cerulean and burgundy tones predominate in Úrculo's palette, varnishing even the woman's naked body. A black and yellow striped curtain provides a studied chromatic contrast, as do the fluffy cushions. These take the form of a female breast, with buttons that simulate nipples, thus accentuating the erotic charge of the composition. Úrculo prints a suggestive turn to American pop art, achieving a work of singular aesthetics, finding a language of his own.Painter and sculptor, one of the best exponents of pop art in Spain, Eduardo Úrculo began painting as a child, without any artistic training, and in 1957 he published his first illustrated strips in the Oviedo newspaper "La Nueva España". Shortly after, he moved to Madrid and began taking classes at the Círculo de Bellas Artes. During these years he earned his living as an illustrator and set designer, and cultivated a painting marked by social expressionism. In 1959 he went to Paris, where he furthered his training at the Académie de la Grande Chaumière. In the French capital he worked as a graphic designer and met Eduardo Westerdahl, whose influence made his painting evolve towards abstraction. However, four years later he returned to figuration and social criticism. In 1967 he made a trip to Northern Europe, and it was then that he first came into contact with American pop. From then on, Úrculo's work will be marked by a realism based on a very vivid coloring and, well into the seventies, by erotic, satirical and critical themes. In the eighties he lived in New York, where he carried out important projects. In 1992 he returned to Paris. In this last period he added to his repertoire the theme of the traveler confronted with the great modern city, an ironic variant of the figure of the romantic overwhelmed by the landscape. This formal evolution could be seen through the numerous individual exhibitions he held around the world since 1959, as well as in anthologies (Centro Cultural de la Villa de Madrid, 1997, and Museo del Grabado Español Contemporáneo de Marbella, 2000). Úrculo is currently present in numerous museums and collections of modern art, including the Museo Nacional Centro de Arte Reina Sofía, the Galleria Nazionale d'Arte Moderno in Rome, the Biblioteca Nacional de Madrid, the Museo de Arte Contemporáneo de Bogotá, the AENA, Testimoni and Fundesco collections, the Museo del Dibujo Castillo de Larrés, the Museo de Arte Contemporáneo de Vilafamés and others.
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63237 item(s)/page