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Lot 28
Mariano Salvador Maella (Valencia, 1739 - Madrid, 1819)‘Immaculate ConceptionOil on canvas.79 x 49 cm.This is most certainly a preparatory painting, finished in detail, for the large canvas for the altar of the chapel of San Antonio in the church of San Francisco el Grande in Madrid. Another preparatory work, ‘The Immaculate Conception’ (P007602) by Maella, circa 1787, is on display in the Museo del Prado in room 89. With the exception of the dimensions (142 x 74 cm), everything else is identical.Consequently we have referred to the description given by the Prado on its website:‘The composition is configured in three interdependent registers in order to highlight the main image of the painting. The upper space is occupied by the Eternal Father, surrounded by angels who appear to support him, accentuating his marked foreshortening and constituting a kind of canopy of figures in the manner of a determining apex of Divine Grace. Below, the Virgin, dressed in the traditional attire - a blue mantle billowing behind her and a white tunic - raises her eyes to heaven and crosses her hands over her breast. The angels in the lower area carry some traditional symbolic elements such as lilies, a mirror and a rose, and partly conceal a terrestrial sphere on which an ophidian glides, almost segmented by the emerging horn of a lunar crescent. It bites into the apple of original sin and seems to be strangely chased away by an angel in the lower right corner, who holds the necklace of the royal order in his hands.Maella perfectly combines the two tonal ranges, relying on cold or warm use of colour, depending which is most useful for his particular vision, while distributing the details by harmonising them through successions of parallel or zigzag diagonals, in order to obtain the impression of dynamism, underlined by the attitudes of all the figures, except for the Virgin, who provides the calm note in the midst of a formulation that is little less than centrifugal on the whole.’Reference bibliography:- Museo del Prado. (s.f.). "La Inmaculada Concepción". https://www.museodelprado.es/coleccion/obra-de-arte/la-inmaculada-concepcion/61db14cb-c75f-4904-8e15-9eed097917e2
Lot 50
French school. Nancy. 18th century. Attributed to the Guillot Brothers' workshop..Nativity scene with dressed wax figures. ‘Crèche en Cire Habillée’,Diorama measurements: 57 x 70 x 41 cm.Showcase dimensions: 67 x 75 x 53 cm.Diorama, and small showcase. Framed with a golden frame, the showcase contains a religious scene with figures made of wax, paper, cloth, mirror, moss and remains of shells representing a Nativity scene comprising the Virgin Mary, Saint Joseph and the Child and around them the Three Wise Men, shepherds, washerwomen, angels holding palm leaves and cherubs' heads between mountains decorated with paper flowers, animals and bushes in the background.The delicately painted figures wear clothes in the style of the court of Louis XVI, delicately embroidered with brocade, silk and muslin fabrics. The figures in the diorama are of different sizes, which, when placed on different planes, creates perspective.This remarkable work of exquisite detail is typical of those made in the 18th-century city of Nancy, famous for ‘Cires habillées’ or ‘dressed wax figures’. These wax figure scenes from Nancy are presented in lined cardboard boxes or wooden cases decorated with shells, beads, crystals, mirrors and other materials such as moss, wood or straw, etc. Mostly religious figures were made, but also secular ones, both in relief and in the round figures.According to specialists in this type of object, Nancy's wax figures were small dolls with heads, arms and limbs made of hard wax and a padded body, the eyes were made of glass and were completed with natural hair and eyelashes. As for the other components of this type of work from Nancy, including this example, the background and decoration were created with coloured paper, ribbons, sparkles, pieces of fabric, braids and lace and some natural materials such as wood or shells. To fix all the elements in the correct place, the characters and clothes were sewn onto the bottom of the box.The workshop of the Guillot Brothers (Nicolas and François) was the best known of Nancy's wax artists. Their workshop produced creations that were highly prized by the French elite of the 18th century.This example is closely related to some of the creations by Guillot Brothers' workshop, exquisite pieces that are kept in several European museums. Reference bibliography:-Aptel, Claire; Hochart, Brigitte et Choux, Jaques. Les cires habillées nancéiennes : tableaux de cire et d'étoffes, Nancy : Éditions du Musée Lorrain, 1989, 72 pages.-Cugy, Pascale; Letourmy-Bordier, Georgina et Selbach, Vanessa. « Les "estampes habillées" : acteurs, pratiques et publics en France aux XVIIe et XVIIIe siècles », Perspective 1, 2016, p. 163-170.-Letourmy Georgina et De Los Llanos, José. Le siècle d’or de l’éventail : du Roi-Soleil à Marie-Antoinette, Dijon : Éditions Faton, 2013.-Malherbe Anne, «La Vierge au voile», Labyrinthe 4, 1999, p. 59-72.-Chaidron Meggy, « Honore l'Éternel avec tes biens » : Les cires habillées, œuvres de dévotion privée. Catalogue de Expositions temporaires, Les objets insolites nº 4. Erasmus House Museum, Bruselas, 2024.Catalogue de l’exposition Cires de Nancy, paradis de cires et d’étoffes
Lot 166
A Hasselblad 500C/M Medium Format Film Camera, black, body G, mirror and advance works, has been hand-painted gloss black on the back plate, obscuring the serial number, with a Carl Zeiss Distagon f/5.6 60mm lens, chrome, barrel F-G, optics F-G with light dust and haze, and a Carl Zeiss Planar f2/8 80mm lens, which has been hand-painted gloss black, and does not focus correctly, with a waist level finder, G and an eye-level finder, also hand-painted black, three film backs all with hand-painting on the interface plate, some filters and a hand grip.
Lot 75
A Group of 35mm Cameras, comprising a Pentax Spotmatic F, silver, body G, shutter works, with a Meyer-Optik Domiplan f/2.8 50mm lens, barrel G, optics F-G with a light fungus patch, a Pentax MG, silver, body G, shutter jammed, mirror is up, with a smc-Pentax-M f/2 50mm lens, barrel G, optics F-G with haze, a Pentax ME Super, silver, body G, shutter jammed, mirror is up, with a smc-Pentax-M f/1.7 50mm lens, barrel G, optics F-G with haze, a Chinon CM-4, black, body G, shutter works, with an auto-Chinon f/1.9 50mm lens, barrel G, optics F-G with haze, and a Minolta Vectis S-1, grey, body G, untested, with two lenses, a Minolta 22-80mm zoom, and a Minolta 25-150mm zoom, barrels G, optics G.
Lot 164
A Pentax ME Super 35mm SLR Camera Outfit, silver, serial number 2510831, silver, body G, mirror stuck up, not further tested, with power winder, a smc-Pentax-A f/2.8 28mm lens, barrel G, optics G, a smc-Pentax-M f/2 85mm lens, barrel G, optics G, a smc-Pentax-M f/1.7 50mm lens, barrel G, optics G, a Bell & Howell f/4-5 70-210mm macro zoom, barrel VG, optics G, and a smc-Pentax-M f/4 75-150mm zoom, barrel VG, optics G, a hood and some filters, all in a fitted aluminium case.
Lot 403
Classic Microscopy - Beck London Model, English, c.1960, engraved to the limb 'BECK LONDON, LONDON MODEL 34758' the microscope finished in grey with all chromed fittings, plano-concave mirror focusing substage, large full circuit stage, tripple nosepiece objectives & eyepiece. Provenance: from a member of the Quekett microscope club and kept as a working instrument
Lot 237
An early 19th-century figured satinwood bonheur du jour of inverted breakfront form, the "D" shaped back with a pierced gilt metal galley on a raised superstructure housing a rise-and-fall mirror panel, above a single-shaped frieze draw, with applied gilt brass moulding and fittings throughout, supported by well-drawn square tapering legs with brass socket castors. 60 cm wide x 46 cm deep x 81 cm overall height, 65.5 knee clearance.A private estateThe top has an old crack that has a glue and fabric repair to the underside of the top. The brass gallery is a little dented at the back right-hand side.The drawer runs as expected the frame has a bar below that doesn't look period to the item but I cant see why it has been applied as the frame seems quite firm.
Lot 285
An early 19th-century carved wood and gilt gesso circular convex wall mirror, with a spread eagle surmount suspending a crystal sphere over a frame with gilt ball detail, and ebonised slip flanked by a pair of scroll candle sconces with prismatic drop lustres and olive branch valance. 104 cm high x 74 cm wideBasically period but fully re-gilt (premium/bronze powder in lacquer)Some slight signs of shrinkage to the frame The mirror plate is in good order, possibly replaced.Please see the extra images as requested.
Lot 284
In the manner of Gumley & Moore, a rectangular George I/II carved wood and gilt gesso looking glass (wall mirror) with openwork shell mantle with scroll ear pieces with matted and burnished strapwork relief ground, with a scroll apron set with a bold "Dublin" shell boss, fitted with an old but not original mercury mirror plate of good colour. 67 cm wide x 125 cm overall heightAn established private collectionSigns of the sites of the brass sconces, perhaps never fitted.The plate is not the original but is an old mercury plate that has a pleasing grey tinge to the metal and some small areas of sparkle and degradation, but still reflects well.
Lot 322
A pair of 1920s mirrored wall candle sconces, with twin brass scroll arms, 45.5 cm x 29 cm.Qty: 2No major damage evident. Some silvering to the edge of the plates, more on one mirror than the other. The applied 'star' is missing on one of them. Some surface scratches to the glass visible, as shown.
Lot 246
1960s 'Waldybag' evening bag in painted cream silk, fitted with a Stratton compact, lipstick case and mirror, with integral chained coin purse in cream silk, painted overall with dense bouquets of flowers, printed mark, together with a vintage Elmar Designs (New York) black velvet, feather and netting fascinator, approx. 15cm diam.
Lot 209
A tortoiseshell and gilt metal boullework mantel clock, 19th century, French, the white enamel dial with Roman numerals, 32cm high together with a giltwood wall mirror, 19th century, in the Baroque style, 28cm wide 44cm highProvenance: The property of the late Baron John Mauger Langin Condition ReportClock) The enamel dial is heavily cracked. With pendulum. Ticks but cannot be guaranteed to continue for a prolonged period. Mirror) The surmount is heavily cracked. Marks to the mirror plate.
Lot 38
A silver and tortoiseshell dressing table set London 1921, with pique work floral decoration, comprising four glass dressing table jars, the largest 11.5cm high, three brushes, the largest 22.5cm high, and a mirror, 26cm high (8)Condition ReportLosses to the tortoiseshell and silver on the mirror. Lifting to the silver on the brushes. Cracks and re-gluing to one glass jar.
Lot 188
AN OTTOMAN REPOUSSÉ SILVER MIRROR WITH FLORAL BOUQUET AND CORNUCOPIA Istanbul, Ottoman Turkey, late 19th - early 20th centuryOf oval shape, with a typical scalloped, flower-collared profile, with a tapering, bulbous handle, the reverse of the silver mount chased in high relief with a Westernised floral triumph with a dense bouquet issuing from a stylised cornucopia, surrounded by foliage and volutes, the mount rim on the front engraved with a frame of stylised shell and star motifs, stamped with a now-rubbed tughra mark, possibly the one of Sultan Abdulhamid II (r. 1876 - 1909), the last Ottoman sultan, next to two small sah marks.31.3cm high 31.3cm high Qty: 1
Lot 187
AN OTTOMAN SILVER MIRROR SET WITH TURQUOISE AND GARNETS Ottoman Turkey or Eastern Provinces, 19th centuryOf circular shape, with a typical scalloped, flower-collared profile, the reverse of the silver mount encrusted with high-collar settings in-filled with several beads made of turquoise, garnets, glass, and coloured paste, displayed as lobed petals issuing from a central filigree medallion with rosettes and beads, the mount rim of the front enhanced with a circular crown of rosette roundels.27cm diameter Mirrors were pivotal tools in Turkish hamams (public baths) and played a primary role in the Ottoman bathing routine. Often mounted on silver, the present lot, set with various coloured beads, departs from the more classical and standard look of Ottoman mirrors with repoussé mounts, two specimen of which can be seen in this sale (lots 188 and 189). The encrusted decoration is much more in line with armorial paraphernalia, such as shields and helmets, than functional objects, suggesting perhaps that it was a special commission or the original owner's vaunt of his higher social rank. 27cm diameter Qty: 1
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