There are 35023 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeArchitecture interest: Architects Journal January - June and July - December 1934 (two volumes) Architecture and Building News January - June and July - December 1935 (two volumes) The Architectural Review volume 24 (1908), 25 (1909) and 28 (1910) Journal of The Royal Institute of British Architects volumes 61-65 (1954 - 58 - five volumes) (12)
An early twentieth century German oak mantle clock in an architectural case on a shaped plinth with egg and dart moulding, the dial flanked by two reeded pillars with semi-circular carved capitals, egg and dart moulding with a deep cornice surmounted by a gabled pediment, tympanum with a shell carved motif, square brass dial with scroll spandrels and silvered chapter ring with upright Gothic Arabic numerals, steel Gothic hands, minute track and bevelled glass, eight-day going barrel movement striking the hours and half-hours on a coiled gong, rack striking recoil anchor escapement, movement stamped Junghens B07, case with a presentation plaque dated 1912. With pendulum.Erhard Junghens founded the Junghans clockmaking company in Schramberg, Germany in 1861, by 1903 the company was the largest clockmaking company in the world. The company still manufactures high quality watches and clocks.
Late 19th century striking mantle clock in architectural walnut case, arched pediment with central leaf carved motif, enclosed by a bevel glazed door, fluted and lunette carved, moulded base, brass dial decorated with floral scroll mounts, silvered Roman and Arabic chapter ring, anchor escapement with twin going barrel 'Lenzkirch' movement stamped 'AUG 1 million, 358398', striking the hours and half hours on a coiled gong, with pendulum and key, H33cm, W22cm.
ALVAR AALTO: A TWO-TIER SIDE TABLE model numbers 75/83 and 915, the black lacquer top and undershelf with curved sides, the Finnish birch frame bent into a closed curve, 59cm high x 60cm wide x 49.5cm deepProvenance: Private Collection, DorsetRecognised today as one of the great masters of modern architecture, Alvar Aalto (1898-1976) was born in Kuortane, Finland. During a long and prolific career, Aalto designed buildings for almost all key public institutions, as well as standardised housing and private homes. One of the co-founders of Artek, Aalto left a legacy with lasting resonance.Aalto’s architecture is distinctively Finnish, strongly individual, and marked by a warm humanity. His buildings derive their aesthetic character from their dynamic relationship with their natural surroundings, their human scale, superbly executed details, unique treatment of materials, and ingenious use of lighting.Aalto began designing furnishings as a natural extension of his architectural thinking. His first modern piece of furniture was created in 1931-32 for the tuberculosis sanatorium in Paimio, FinlandAalto also went on to provide furniture for the Finsbury Health Centre in London, designed by architect Berthold Lubetkin, which has been suggested as the point of origin for the lot offered here.
GROUP MID-19TH CENTURY RUSSIAN ENGRAVED SILVER FLATWARE, various makers and dates, including a Russian silver gilt and niello spoon, Moscow 1844, makers mark AK, bowl engraved with an architectural view within foliate scroll border, spiral twist handle and knop finial, 19cms long, 2.1 ozt; a near pair of niello fiddle pattern dessert spoon and fork with foliate decoration, a dessert spoon with rococo decoration, and a knife with niello handle with foliate decoration, weighable silver appr. 3.2 ozt (5) Provenance: private collection, south Wales Comments: knife handle separated from blade which is corroded, rococo spoon stem repaired and slightly worn decoration and bowl, fork tines slightly bent tips, gilding worn to Russian silver gilt spoon, especially the handle.
Full title: A gilt-bronze niche with an architectural perspective, Italy, 16th C.Description: H.: 12,5 cm - L.: 8,5 cmÊ Provenance: - The Davioud-Larminet collection, Lille, France.Ê Expert: Laurence Fligny.Condition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Full title: Alexandre Raymond, 1924: Vieilles Fa•ences turques en Asie-Mineure et a ConstantinopleDescription: Dim.: 51 x 37 cm (the cover)Ê Imperial folio (360 x 490 mm). Half cloth, boards with illustrated lithogr. title, inside covers and flaps with ornamental decoration printed in gold, green and blue. 12 pp. 40 lithogr. plates in colour, including 4 which are double-page. The first part was long considered lost.Ê Raymond's fine series of plates, which depict ceramics employed in architectural decoration and ceramic artefacts, deals mostly with in situ Iznik and Kütahya ceramics.Ê Ref.: - Sotheby's, London, Oct. 14, 2003, lot 402, for the second volume, where the catalogue note states 'Part 1 was never published. (link available on our website)- Sotheby's, London, Nov. 15, 2011, for a set including both volumes. (link available on our website)- Christie's, London, Sep. 21, 2005, for a set including both volumes, where the catalogue note states 'Sets of the French edition of parts I and II are rare at auction: no copies of either part I alone or parts I and II together are recorded by ABPC since 1975 and only two copies of part II are listed. (link available on our website)Condition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Full title: Italian school, circle of Giambattista Tiepolo, grey-brown wash on paper, late 18th C.: Study of a cow and of four turbaned men's headsDescription: Dim.: 15,5 x 7,5 cmÊ On the front: the drawing is signed on the bottom right. Depicted is a bull, relatable to a drawing in the National Gallery of Art, Accession Number 1983.45.1. (link available on our website) A study of a cow with a study of a bearded man on the back was with Galleria Cortona. (link available on our website)On the back: depicted are four Venetian elder males, with a long beard and typical late baroque head dresses. Tiepolo liked to observe his subjects in daily life scenes before placing them in his religious or iconographical settings.Ê Expert: Cabinet Rene Millet.Ê Provenance: (same for lots 447, 451, 455, 456, 457, 458, 459, 460)- A Belgian private collection.- Acquired in the art market, according to the previous owner all removed from the same late 19th C. album acquired in London.Ê Born in Venice in 1696 to a prosperous merchant, Giovanni Battista (Giambattista) Tiepolo chose to pursue a career in painting. He was taught by Gregorio Lazzarini (1655-1730), studying under him probably c. 1710. In 1717 he was inscribed in the Venetian painters guild as an independent painter. His earliest dateable works, in the Ospedaletto, Venice (1715-1716), do not display the classical compositions and smooth finish characteristic of Lazzarini's paintings, but rather the avant-garde tenebrism of Federico Bencovich (1677-1726) and Giovanni Battista Piazzetta (1683-1754). Much controversy surrounds the course of Tiepolo's development in the next fifteen years in which there are few dated paintings. Knowledge of his activities in the teens and twenties comes mostly from Vincenzo da Canal's biography of Lazzarini (1732), in which the author devoted several pages to the talented pupil whose popularity had soared in the previous decade. During these early years Tiepolo experimented with various styles simultaneously, and recent scholarship based on da Canal's listing of Tiepolo's paintings prior to 1732 has shown that the artist vacillated between the tenebrism practiced by many Venetian contemporaries and a lighter, more atmospheric style. As early as c. 1716 Tiepolo was practicing the art of fresco painting on the terrafirma, a technique reintroduced into the Veneto in the late sixteenth century by non-Venetian artists. His grandest decorative cycle of the period, painted for the Archbishop's Palace in Udine (c. 1726-1729), reveals his interest in Veronese's color and compositions.Ê Tiepolo's frescoes in Udine brought him immediate fame and commissions for further decorative ensembles. In the next ten years he painted and frescoed in palaces and villas in and around Milan, Bergamo, Venice, and elsewhere in the Veneto, the subjects of which derive mostly from ancient history. With the Bolognese quadrattura painter Girolamo Mengozzi-Colonna (c. 1688-c. 1766), who designed his architectural surrounds, Tiepolo revolutionized the art of fresco decoration in Venice by combining the deep perspective of Venetian cinquecento ceiling decorations with a compositional clarity that connected the diverse elements of the design into a greatly expanded pictorial space. Unlike their direct precedents in which forms were arranged haphazardly across the ceiling, Tiepolo's compositions are ordered in zig-zag patterns that expand the illusionistic view into the heavens. By 1740, after conquering towering church ceilings such as the Gesuati, Venice (1737-1739), with this method, he brought figures closer to the spectator in long, low secular rooms by distributing his deeply colored figures along the cornice and contrasting them with increasingly lighter pastel hues in the open skies (Palazzo Clerici, Milan, 1740). In the same years Tiepolo developed as an artist of religious altarpieces, in which he captured counter-reformatory devotional images in a neo-Renaissance format.Ê Tiepolo's fame and prices increased further in the 1740s. He moved several times during his career, always to grander quarters, which he shared with his wife Cecilia, the sister of Francesco Guardi and their nine children. The artist had already rejected an invitation to Sweden in 1736, and now his paintings were being requested in northern Europe. His friendship with Francesco Algarotti (1712-1764), whom he met in 1743, brought him commissions from the Saxon court of Dresden. Although always inspired by ancient history, in this period Tiepolo turned increasingly to representations of antique monuments and dress. At the same time, he took up etching, producing two sets of prints - the Scherzi di fantasia and the Capricci - both heavily laden with antique references.Ê External political forces kept foreigners from Venice in the second half of the 1740s, causing an economic slowdown in the city and compelling Venetian artists to seek employment abroad. Although Tiepolo was so active in this decade that he enlisted the help of his son Giovanni Domenico (Giandomenico, 1723-1804), he nevertheless accepted the lucrative invitation to work for Prince Bishop Carl Philipp von Greiffenklau of Wuzburg in the archiepiscopal palace, where he resided from late 1750 to 1753. There he produced what is considered his greatest triumph, the enormous ceiling fresco in the grand staircase with Olympus and the Four Continents (1752-53). Another son, Lorenzo (1736-1777), less talented than Giandomenico, also accompanied his father to Würzburg as a helper.Ê In the 1740s and 1750s, Tiepolo's expanded repertoire included literary, historical, mythological, allegorical, as well as religious works. He continued to produce masterpieces in both Venice and the Veneto, such as the story of Antony and Cleopatra in the Palazzo Labia, Venice (1746-1747), and the scenes from Tasso in the Villa Valmarana, Vicenza (1757). Commissions from abroad continued: Tiepolo sent works to the kings of France and England and the czarina of Russia. In 1761, King Charles III of Spain requested Tiepolo's services to paint in the newly completed Royal Palace in Madrid. Due to political pressures and in spite of his age and illness from the gout, Tiepolo set off on his last journey in 1762. Although his large ceiling fresco for the Throne Room in the Royal Palace, Madrid (1762-1764) has been criticized as a reworking of earlier compositions, its breadth and sophistication mark it as one of his late successes. His altarpieces for San Juan Baylon at Aranjuez (1767-1769) reveal an old age style of simply presented but deep religious meditation and emotion.Ê About the time of Tiepolo's death in Madrid in 1770, the taste for dramatic allegorical subjects and passionate religious themes had faded throughout Europe in favor of a severe neo-Classical style that reflected the new rationalism of the period. By the end of the century, with the fall of monarchic power and lessening influence of religious institutions, Tiepolo's art was outdated. Even his son Giandomenico had taken up more objectively motivated themes and a realistic style. In spite of this, Tiepolo is recognized today as one of the most brilliant and celebrated artists of the eighteenth century and the last of the great practitioners of the Renaissance and Baroque tradition. (source: National Gallery of Art - link)Condition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
J & A Jump, Old Bond Street, London, bracket clock, 8-day double fuse movement striking on single bell, backplate engraved with maker and number 144, white painted dial with Roman numerals, architectural ebonised case.width 28cm (11"), depth 17cm (7"), height 40cm (16")Condition report: Seat board supported on a modern piece of ply, small section of ebony veneer missing from right-hand side of clock near grill, painted dial with chips to keyholes, Roman numerals re-painted.
A GEORGE II GILTWOOD CONSOLE TABLE second quarter 18th century, The rectangular grey-veined white marble top above a echinus moulding and key pattern frieze, supported by an eagle with spread wings standing on a rocky base, on a square pedestal, restorations, regilt, 91cm high x 143cm wide x 76cm deepProvenance: with Hotspur, London, 1998.The use of an eagle as a support for a table was popularised in England by William Kent (1685/6 - 1748), the remarkable designer of furniture, objects, landscapes and architect. Kent’s designs drew on his decade in Italy from 1709-1719, spent mostly in the studio of the painter G. B. Chiari. On one of these last trips he travelled - at breakneck speed - with his fellow Yorkshireman (both were from the East Riding) Richard Boyle, 3rd Earl of Burlington (1694-1753) who was to provide patronage for Kent throughout his architectural career: Kent rose to the position of Deputy Surveyor of the King’s Works in the Office of Works, the department of the Royal Household responsible for architecture and buildings.Kent’s design for an eagle table support is likely to be derived from designs by Giovanni Giardini, published in Disegni Diversi, 1714 - in particular an elaborate table which featured an eagle with spread wings in the centre. Kent later used this design in an engraved tailpiece for Alexander Pope’s translation of Homer’s Odyssey, 1725-26. The earliest recorded eagle tables of this type were made for the Duke of Beaufort, between 1728-1733 by John Phillips, a carver, who was paid £444 9s 6d for work at Badminton House, Gloucestershire. Thomas Moore wrote to Dudley Ryder in 1734 about “an Eagle frame and Top Carved and guilded in burnished gold” which cost £12 (see catalogue entry to the pair of eagle tables in the Victoria & Albert Museum W.21-1945.1-2). Benjamin Goodison (1700-1767), whose workshop was at the ‘Golden Spread Eagle’ on Long Acre was one cabinet-maker who made furniture designed by Kent at Kensington Palace for George I (eg. the frame for Tintoretto’s The Muses RCIN 7405476) and for Frederick, Prince of Wales, probably at The White House, Kew (designed by Kent). While no eagle tables are known to have been made by Goodison, a pair of eagle tables was supplied around 1725 for Dudley North, at Glemham Hall, Suffolk (see Christie’s London, 12 November 1998, lot 80 - sold £150,000).
TWO CARVED OAK FEMALE FIGURES, PROBABLY ANGELS possibly Flemish, second half 17th century, each depicted with one arm raised to her breast and the other resting on her leg, in loosely draped clothing and with billowing hair, one looking to sinister, the other to dexter, losses to feet and arms, restorations, originally part of a larger sculptural group or possibly the upper part of an architectural setting, one 92cm long, the other 104cm long
A large and extensive collection of Bristol related books comprising of the Annals of Bristol Vol I-IV, Bristol Channel Pleasure Steamers, Bristol and its adjoining Counties, To Build The Second City, Bristol A-Z, Bristol Before The Camera, From Bristol to the Sea, In Search of Bristol, Guide to Bristol Cathedral, History of Clifton, Banksy's Bristol, The Hotwells Story, Sculpture in Bristol, Bristol & Co, The Bristol Landscape, St Mary Redcliffe, an architectural history, Bristol Bombed, The Medieval Art, Achitecture and History of Bristol Cathedral and more.
Y A GILT BRASS MOUNTED EBONY BASKET-TOP TABLE TIMEPIECE WITH SKELETONISED DIALThe movement by Phillips Brothers, London, circa 1840, the case and dial circa 1680The four columnar pillar single chain fusee movement with anchor escapement regulated by lenticular bob pendulum with holdfast over engraved signature Phillips Brothers, 31 COCKSPUR STR'T and number 1123 to backplate, the six inche square gilt brass dial with high-position calendar aperture to the matted centre within applied silvered skeletonised chapter ring incoporating Arabic five minutes within the outer minute track, with fine sculpted steel scroll-pierced hands and small winged cherub mask spandrels to angles, the case with teardrop-centred leaf cast hinged carrying handle to the gilt repousse domed superstructure decorated with Ho-Ho bird and winged putti inhabited pierced scrolling foliate flanked by acanthus leaves to angles, over simple cushion top moulding and scroll-pierced stretched lozenge-shaped sound fret to the upper rail of the glazed front door flanked by slender free-standing Doric columns with gilt caps and bases to angles, the sides with vacant cartouche centred foliate scroll relief decorated repousse sound frets, the rear with rectangular glazed door set within the frame of the case and with further columns to angles, on torus moulded shallow skirt base with gilt disc feet.31.5cm (12.5ins) high excluding handle, 24cm (9.5ins) wide, 16.5cm (6.5ins) deep. The Phillips Brothers are recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in London 1839-69 however online sources suggest that they were at 31 Cockspur Street until 1842. The dial and case of the current lot appear to date from the early 1680's. The case is unusual in having columns at the angles; however there is no evidence in the construction of the case to indicate that they are later additions. Indeed it is likely that these are a 'hangover' from the previous architectural period of table clock design which were phased-out during the second half of the 1670's as spring clocks became smaller and more portable. This most likely coincided with the increasing use of repeat-work which rendered spring clocks useful at night as well as during the day hence a need for increased portability to allow them to be taken upstairs at the end of each evening. The unusual design of the handle can be directly compared to that on a timepiece by John Wise (dating to around 1668) illustrated in Darken, Jeff (editor) Horological Masterworks on pages 82 and 83; whilst the relatively simple cushion mouldings are reminiscent of cases housing movements by Henry Jones (see Dawson, P.G., Drover C.B. and Parkes, D.W. Early English Clocks pages 425-26, Plates 611-12). Another case with closely related mouldings and a basket top (and also with skeletonised dial), this time for a timepiece by James Markwick, is also illustrated in Early English Clocks, on page 428 (Plate 619). Although the movement in the current lot is a 19th century replacement the installation is of very high quality and does not detract from the external appearance of the clock in anyway.
A FINE FRENCH GRANDE-SONNERIE STRIKING AND REPEATING CARRIAGE CLOCK WITH ALARML. Leroy et Cie, Paris, circa 1900The eight-day two train movement ting-tang striking the quarters on a graduated pair of gongs and sounding the hour every quarter hour on the larger of the two, with silvered platform lever escapement regulated by spring split bimetallic balance, the left hand end of the backplate engraved L. LEROY 7 Cie, 7 B'd DE LA MADELEINE. PARIS and the centre numbered 16630 over further stamped number 34494 to lower left hand corner, the circular cream enamel Arabic numeral dial indistinctly inscribed L. LEROY & Cie, Horlogers de la..., Paris to centre and with blued steel spade hands set within a frosted rectangular gilt mask incorporating conforming alarm setting dial to lower margin and with canted surround, the case with hinged reeded carrying handle to the generous caddy-moulded top incorporating projections at the angles for the reeded three-quarter column corner uprights, on stepped cavetto moulded skirt base with concave feet, the underside with three-position strike selection switch labelled SONNERIE/SILENCE/G'DE SONNERIE, with original red velvet lined tooled morocco leather covered outer carrying case applied with pierced silver monogram F. M. V. to lid.16.5cm (6.5ins) high excluding handle, 11.5cm (4.5ins) wide, 10cm (4ins) deep; the leather case 18cm (7ins) high. Provenance: Purchased new by Florence Mary Venables in London around 1900 thence by family descent to the present owner. The firm of 'Leroy et Cie' can be traced back to 1785 when the business was founded by Basille Charles Le Roy at 60 Galerie de Pierre, Palais Royal, Paris. During the Revolutionary years the firm relocated to 88 Rue de L'Egalite before finally settling at Galerie Montpensier, 13 and 15 Palais Royal. In 1828 Basille Charles died leaving the business to his son, Charles-Louis, who continued producing clocks signed 'Le Roy & Fils' until 1845 when the firm was sold to his former employee Casimir Halley Desfontaines; who in turn was succeeded by his son M. George Halley Desfontaines in 1883. In 1888 M. George Halley died leaving the business to his brother Jules Halley who then took-in as a partner Louis Leroy (apparently no relation to the founders of the firm). In 1899 the firm left Palais Royal and moved to Boulevard de La Madeleine where it continued trading in the hands of various successors until well into the 20th century. The current lot would have been made very shortly after L. Leroy et Cie's relocation to 7 Boulevard de La Madeleine in 1899. The robust but restrained architectural style of the case is very much in the 'English' fashion hence it is likely that the clock was made for retail in London; where it was indeed purchased new by the great grandmother of the present owner. Another clock by Leroy et Cie (number 19484) in a closely related case is illustrated in Roberts, Derek CARRIAGE and Other Travelling CLOCKS on page 218 (Figure 13-19).
A FINE AND RARE GERMAN RENAISSANCE GILT BRASS MOUNTED EBONISED CRUCEFIX CLOCK WITH ALARMUnsigned, Southern Germany, circa 1600The horizontal gilt copper and brass rectangular plated movement with four squat Doric column turned corner posts enclosing fusee going train with brass flanged-capped barrel and steel greatwheel driving a three-wheel train with verge escapement regulated by steel balance slung beneath the baseplate, the strike train with standing barrel incorporating fine scroll-pierced walls and steel greatwheel, decorative sculpted steel and brass scrollwork to the release detents, and external countwheel set on the baseplate for sounding the hours on a bell mounted in the base of case, the alarm with small brass-walled barrel and steel contrate wheel for the verge operated hammer sounding on a bell set within in a second tier to the movement above, with conforming corner posts and also containing the motionwork for the extended hour cannon and alarm setting/release work arbor, the case surmounted with gadroon-engraved rotating orb incorporating Arabic hour annular chapters and with down-curved adjustable alarm setting hand to the top of the sphere, over brass crucifix applied with fixed hour hand and mounted with fire-gilt Corpus Christi over small mount cast as the Virgin Mary set onto a cavetto moulded upstand and flanked by cast gilt figures of St. Peter and St. Mary Magdalene, the plinth-form base with tablet panel applied with a winged cherub mask gilt mount to frieze over glazed movement aperture flanked by architectural pilasters adorned with foliate ribbon mounts to front, the sides with projecting scrolls surmounted with finials cast as urns containing fruiting foliage over further leafy mounts and flanked by male mask terms, the rear matching the front except for not having gilt mounts, on cavetto moulded base with pierced brass hinged panel fitted with the hour bell to underside and compressed bun feet.50cm (19.75ins) high, 23.5cm (9.25ins) wide, 15cm (6ins) deep. Provenance: Previously sold at Bonhams, London Fine Clocks 6th July 2016 (lot 22) for £15,000.When considering the potential date of the current lot a cursory survey of dated German Renaissance table clock movements made during the second half of the 16th century reveals that the use of brass within the mechanism became more widespread as the century progressed. Initially brass was employed just for the fusees and spring barrel walls, then also for the movement pivot plates, and finally (by around 1600-20) for the wheelwork as well. With this in mind the current movement (having a mixture of brass and steel wheels in the trains) can be dated to around 1600. The wooden case of the present clock also a little unusual as most clocks of this type appear to have been made with engraved gilt metal cases. However, when considering other clocks with related wooden cases, it would appear that the use of ebony in case work was first adopted in around 1580-90 (see Brusa Guiseppe L'ARTE DELL' OROLOGERIA IN EUROPA plates 163-66 for an early ebony-case clock by Jobst Burgi dated to around 1580-85). This would appear to coincide with the introduction of the Baroque style into classical architecture which first evolved in the northern half of Italy but was quickly adopted by Southern German architects and persisted as a dominant style well into the 18th century. From this it is probably appropriate to speculate that wooden case-making emerged at around this time as the material both leant itself to the heavier more robust visual qualities of the Baroque style as well as the contrast between black and gold adding a heightened sense of drama to the visual qualities of the object. When considering dating evidence the case of the current lot shares very strong stylistic similarities to table clock housing a movement and dial dated 1617 by Johann Sayller of Ulm illustrated in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMOTA 1550-1650 on page 211 (Item 46). The current lot is also particularly noteworthy in that it appears to have survived in fine original condition with no significant alterations or replacements to the mechanism including the escapement which can be best described as being remarkable for clock of this age.Condition Report: Please ask the department for additional imagesCondition Report Disclaimer
A FINE QUEEN ANNE/GEORGE I 'TORTOISESHELL' JAPANNED EIGHT-DAY QUARTER CHIMING LONGCASE CLOCKJohn Faver, London, circa 1715The substantial six pillar triple train bell striking movement with plates measuring 8.75 by 7.25 inches, anchor escapement regulated by seconds pendulum and chiming the quarters on a nest of six graduated bells, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the finely matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with scroll-pierced steel hands and fine mask and scroll cast spandrels to angles beneath arch centred with a convex boss signed John Faver, Gerrat Street, London within herringbone border over Strike/Silent selection switch flanked by conforming cornucopia and scroll cast mounts, the simulated tortoiseshell japanned case with gilt landscape painted domed caddy surmounted box upstand, architectural cornice and floral spray decorated upper quadrants above the glazed hood door with alternating gilt floral and trellis band decoration and applied with three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with floral trail painted throat over rectangular door decorated in raised silver highlighted gilt with a stylised oriental garden trellis landscape populated by an equestrian hunting party under a solar disc, the surround with trellis banded panels alternating with foliate trails and landscape infill, the sides with birds in flight over large leafy sprays, the plinth base decorated with floral still life within conforming trellis panel border over double skirt.257cm (101ins) high, 51cm (20ins) wide, 25.5cm (10ins) deep. A John Faver is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London before 1759. Baillie suggests that 'Faver' maybe an anglicisation of the French name 'Fauvre' and that John Faver may well be connected to Henry Fauvre. Loomes in Volume 2 further notes a date of 1741; it is likely that John Faver had Huguenot roots and was a fine maker with two watches in the collection of the Fitzwilliam museum. The combination of quarter chiming movement and highly decorative, finely proportioned tortoiseshell japanned case results in the present clock being a particularly impressive example which would have been the height of fashion during the second decade of the 18th century.Condition Report: Movement is complete and appears all original with no visible evidence of alteration or significant replacements. Although the going and strike trains are operational the quarter train requires adjustment and the movement is generally in slightly dirty neglected condition hence requires a gentle clean/service before putting into service. The silvering to the chapter ring, seconds ring, calendar ring and signature boss has been cleaned-off at some point otherwise dial is in good original albeit discoloured/dirty condition and retains its original hands. The movement retains its original seatboard which rests directly onto the side uprights of the trunk (cheeks) with no evidence of alteration hence we are of the opinion that the movement and dial are original to the case. The dial however does sit a little low in the dial aperture - this is due to the seatboard sagging due to the substantial weight of the three weights.The case is generally in very good condition with no structural issues or evidence of alteration/significant replacements and would in essence appear to be very well preserved. The decoration is correctly executed using appropriate pigments and gilding and has genuine age hence may well be original; however the lack of overall fading, rubbing, wear and build up of grime on the surface gives a fairly 'fresh' appearance which would lead some to suggest that the case may well have been faithfully redecorated perhaps in the early 20th century. There is/are general losses, cracking and flaking to the finish which on the whole is fairly minor however the trunk door has some localised retouching mainly to the raised areas of gilt just above and to the right of the lenticle and also to the figures beneath. This small amount of touching in appears to have been done a while ago which would support the view that the rest of the decoration has significant age. The panel that forms the vertical face of the box upstand of the hood superstructure appears to be a replacement (the original may well have been fretwork); the quadrants flanking the arch also appear to be replacements most likely also replacing fretwork. These two areas have been decorated to match the rest of the case however on close examination the decoration differs a little in the pigments and gilding. The capitals to the rear quarter columns of the hood appear to be replacements and are not of the quality of those of the front three-quarter columns.The clock has pendulum, three brass cased weights but not case key or winder. The trunk door is currently locked.Condition Report Disclaimer
J Fryer (1808) painting of the Upper Severn, possibly Wales, showing a family with a dog outside a thatched cottage, and two coracles against the wall, 17 x 24cm.Fryer was an architectural artist and his landscape work is rare. This example, from the Canon Smythe collection, has an Alexander Gallery label 10/12/73, No 738 verso
Wrought Iron and Its Decorative Use by Maxwell Ayrton & Arnold Silcock published Country Life 1929 first edition in cloth backed boards with gilt titles (inscribed by author), English Leadwork its Art & History by Lawrence Weaver published Batsford 1909 first edition, Ornamental Timber Gables by A. Pugin Architect 1915 limited edition, loose as issued in printed boards, Plastering Plain & Decorative with 380 illustrations by William Millar 1927 Batsford in dust-wrapper, Recent English Domestic Architecture volumes 1910 & 1911 (Special issues of The Architectural Review) in printed cloth cover plus another (7)
Philip John Thornhill (1875-1903) A folio of 19 architectural pencil drawings of various ecclesiastical interiors and interior monumuments at Wimborne Minster, Chichester Cathedral, Romsey Abbey, Boxgrove Priory, St Peters Dorchester, Salisbury Cathedral, Milton Abbey in Dorset, Fitzallen Chapel in Arundel and Winchester Cathedral, all annotated and signed, average sheet measurements 37 x 27 cmFolio also includes personal papers of the artist relating to his school years to include the second grade art examination in freehand drawing dated 17th June 1886 from the Science and Art department of South Kensington, a certificate of merit dated November 1884 in Drawing from the Society of Science, Letters and Art, a school certificate of merit dated 1884 and some 19th century prints.
Depicting the treacherous Delilah, with scissors and holding to one side the locks of hair she has cut from the kneeling Samson, inscribed on the bench and the wall behind ‘DALIDA’ and ‘SANSON’, the single large shoe in the foreground referring to Samson’s now lost physical strength and size, or it could be the jaw of an ass, a symbol of his previous victories.27.2cm diameter, 5.3cm highFootnote: Note: Nicola di Gabriele Sbraghe, potter and workshop owner (active 1520-1537-8), is acknowledged as the master of the ‘istoriato’ style of maiolica decoration in early 16th century Italy. Consensus describes him as the “Raphael of maiolica painting”.[1] His graceful fluid draftsmanship, lyrical figure drawing, understanding of recessional space, and use of contemporary classically inspired Renaissance architectural views are all characteristic of his style and are well illustrated here. Overall, his knowledge of the work of his contemporary Raphael, who died in 1520, and his circle in Rome, is evidenced by a print by Giovanni Antonio da Brescia, who also worked in Rome at this time [see figure 1]. The print, from 1510-20, is a circular engraved composition in reverse of this subject.[2] Both potter and printmaker appear to have knowledge of an unknown original narrative image of this subject matter, now lost. As is sometimes the case with Nicola, some of the figures in this piece hint of an even more direct knowledge of Raphael’s early work.[3]This dish and other early work by Nicola are related very closely to a monogrammed and dated dish of 1521 with the figure of a seated sovereign, now in the Hermitage Museum, St Petersburg,[4] to a dish illustrating the Calumny of Apelles in the Ashmolean Museum Oxford (dated by Wilson to 1522-3),[5] and to a plate of Venus, Mars, Apollo, and Vulcan now in the Kunstgewerbemuseum Berlin.[6] Above all, however, it relates to an acclaimed service or credenza encapsulating Nicola’s early poetical style made for an unknown client consisting of seventeen surviving pieces donated to the city of Venice by the patrician Teodoro Correr after his death in 1830.[7] This is the largest surviving set of 16th Century ‘istoriato’ maiolica in the world in a single collection. The service, even quite recently, has been described as “one the loveliest achievements of all maiolica-painting”.[8] There may be reasons on grounds of subject matter and style to speculate that this plate may originally have been part of this service.In the 19th century the Correr maiolica service was thought by scholars to have been painted by the Urbino painter Timoteo Viti (1469-1523) and was seen as the jewel in the crown of the Correr collection. The painting style of Nicola’s early work that we have here seems to stylistically reference his work in the broadest sense. Viti, trained in the dynamic humanist artistic background of Bologna under Francesco Francia, is known to have worked with Raphael in the Chigi Chapel in Santa Maria della Pace in Rome circa 1511. As a friend of Raphael, Viti is reputed to have obtained or inherited the most important group of Raphael’s studio drawings and to have brought them back to Urbino after Raphael’s death. He himself died in 1523. Nicola’s knowledge of Raphael’s style of work may in part be due to links with Viti whose workshop in Urbino he may have frequented or where he may have even trained.[9] Giovanni Antonio da Brescia copied and produced his own versions of the work of the Bolognese printmaker Marcantonio Raimondi (1480-before 1538). Raimondi had also trained under Francesco Francia and did more than anything to disseminate Raphael’s ideas in Italy and abroad from about 1510.It is unprecedented for maiolica from this early period of Nicola’s maiolica production to come on the market. [1] A description first coined by Wilson, 1987, p44. For a full catalogue raisonné of Nicola’s output see Mallet 2007, p199-250[2] Bartsch, vol XIII, p70,n.2 (BM reg. 1925,1215.104). We are grateful to the late Michael Bury for suggestions that led to the identification of this source.[3] For example the central figure of the armed philistine echoes in gesture and expression similar to figures round the tomb in Raphael’s early painting of The Resurrection of 1501-2, now in the Museo de Arte de Sao Paulo, Chapman, Henry and Plazzotta, 2004,Cat 21, p110[4] Wilson in Écouen, 2011, p158-9[5] Wilson, 2017, Cat 54, p158-9[6] See Hausmann, 1972, Cat 170, p230[7] All pieces from the Correr service are illustrated in Écouen, 2011 p 164-167[8] Wilson, 2017, p133.[9] Wilson in Écouen 2011, p160 Literature:Bartsch, Adam. Le peintre graveur, Degen, Vienna, 1808-21Chapman, Hugo, Henry, Tom and Plazzotta, Carol. Raphael from Urbino to Rome, exh. cat., National Gallery, London, 2004Écouen 2011. Majolique. La faïence italienne au temps des humanistes, 1480-1530. Exb cat., Musée national de la Renaissance, Écouen, 2011Hausmann, Tjark. Majolika spanische und italienische Keramik vom 14. is zum 18.Jahrhundert (Katalogue des Kunstgewerbemuseum Berlin V1) Berlin, 1972Humfrey, Peter, Clifford, Timothy, Weston-Lewis, Aiden, and Bury, Michael. The Age of Titian – Venetian Renaissance Art from Scottish Collections, National Galleries of Scotland, 2004Mallet, J.V.G. ‘Nicola da Urbino and Francesco Xanto Avelli’, Faenza, 93, no 4-6 2007, p199-250Rev Macintosh Mackay, LL.D. Memoir of James Ewing Esq. of Strathleven, formerly Lord Provost of Glasgow and M.P for that city, LL.D of the University of Glasgow with a series of letters written while on a tour in Italy, Switzerland, &C., &C. Glasgow, 1866.Wilson, Timothy (with the collaboration of Patricia Collins and an essay by Hugo Blake). Ceramic Art of the Italian Renaissance, exh. cat., British Museum, 1987, p44Wilson, Timothy. Italian Maiolica and Europe, Oxford, 2017 With thanks to Celia Curnow for the extensive research and footnote on this lot.
A collection of mainly early 20th century blue and white Delft ware to include a pair of baluster vases with covers, overall floral and band decoration, height 20cm, a pair of flask vases with architectural decoration, foliate decoration verso, a blue and white Delft tile, a large baluster vase with octagonal cover and all-over floral decoration and one other vase.
A quantity of early/mid-20th century blue and white ware to include Willow pattern tureens and oval serving plates, sauce boat, Royal Doulton Robbie Burns commemorative plate, a Copeland Spode Italian bachelor's teapot, one other Copeland teapot with architectural design, a Wedgwood Ferrarr teapot (af) and various other blue and white ceramics.
Late 19th century black slate and marble mantel clock of architectural form, the enamel chapter ring with Arabic numerals, single train drum movement, h29cm w23.5cm d13.5cm, together with an oval wall clock with silvered chapter ring, the case with twin pilasters and glazed door, h37cm w27cm d10cm
P. Roncoroni fecit, a mahogany stick barometer: the silvered dial engraved with usual barometer markings and signed with the maker's name P. Roncoroni, with an opening glazed door, the case having an architectural pediment, visible tube and turned cistern cover, height 98cm.* Notes A P. Roncorone is recorded as working in Basingstoke, circa 1839.
MIXED LOT COMPRISING EARLY 20TH CENTURY SCHOOL STUDY OF A THATCHED BARN WITH SHEEP, OIL ON CANVAS, LATE 19TH OR EARLY 20TH CENTURY BRITISH SCHOOL, UPLAND SCENE WITH RIVER, OIL ON BOARD, 19TH OR EARLY 20TH CENTURY BRITISH SCHOOL STUDY OF A COUNTRY LANE WITH GATE, OIL ON BOARD, UNSIGNED, TOGETHER WITH A FURTHER STUDY OF A CLASSICAL FEMALE FIGURE WITH BABY, COLOURED PRINT IN A ARCHITECTURAL TYPE FRAME
Loading...
