Wales.- Cooper (George) Architectural Reliques; or, the Present State of the most Celebrated Remains of Ancient British Architecture and Sculpture, part 1 (all published), 8 aquatint and etched plates, 5 unrelated plates loosely inserted, original printed wrappers, wear to spine, creasing to extremities, [Not in Abbey], folio, Printed for the Author by J.Barfield, 1808. ⁂ Rare, part of a larger projected series that never transpired, this part covers Llandaff Cathedral in Monmouthshire and the next part was to cover Tintern Abbey.
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George Wharton Edwards (American, 1869-1950)Poetic Allegory, Marjorie In The Spring, the inscribed architectural entablature with verse by Richard Le Gallienne, angel and a sinuous beauty, the whole within a wooded landscape signed, titled and dated 1898, watercolour, gouache and pencil, 45cm x 29cm
A 19th century French Renaissance Revival gilt metal mantel clock, 10.5cm silvered dial inscribed with Roman numerals, twin winding holes, 14-day movement striking on a gong, the arched architectural case with urn cresting and fluted urnular finials, flanked by female herms, acanthus border, scroll feet, 46cm high, c.1880
An early Victorian oak and mahogany longcase clock, 30cm arched painted dial inscribed Wilson, Nuneaton, Roman numerals, painted architectural arch and spandrels, date aperture, thirty-hour movement striking on a bell, the case with swan neck pediment, shaped rectangular door to waist, ogee bracket feet, 222cm high, c.1835John Wilson was working at Nuneaton from 1828 to 1856. [Clocks Magazine XXXIII (3/2010) 27f.].
Antiquarian Book - Jamieson (Alexander), A Dictionary of Mechanical Science, Arts, Manufactures and Miscellaneous Knowledge, volume I only, Henry Fisher, Son and Co, London 1827, illustrated throughout with architectural, technical, scientific and other engravings, quarter calk and marbled boards, 4to
SET OF SIX INDIAN COMPANY SCHOOL MINIATURES 19TH CENTURY on ivory, of oval form in gilt metal frames with labels to verso, depicting various architectural scenes: the Taj Mahal, the Lahore Gate (the Palace, Delhi), Humayun's Tomb, Jama Masjid, Qutb Minar, and Safdarjung’s Tomb (6) 6 x 5cm Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
DUTCH NEOCLASSICAL SATINWOOD AND COROMANDEL VASE STAND LATE 18TH CENTURY of neat size, the square top with a pierced brass gallery above a single frieze drawer over an arched architectural arcade and undertier, raised on square tapered legs ending in brass ball feet 28cm wide, 48cm high, 28cm deep Provenance: Contents of a Belgravia Apartment
AN EXTENSIVE ARCHIVE OF PHOTOGRAPHS AND EPHEMERA SHOWING THE HISTORY AND THE CHANGING FACE OF LICHFIELD, contained in sixteen albums and folders, features buildings, street scenes, changing shop fronts, architectural features, plaques, demolition, new buildings, festivals and events, Bower Day, Cathedral, Darwin House, 1988 Maundy ceremony, etc
Circle of Gennaro Greco (1663-1714) Architectural capriccio with ruins of a colonnade, possibly an antique "Terme" Oil on copper, bears later initials of A.C. lower right, with further erroneous inscription verso attributing the work to Canaletto, 205 x 180 mm. (8 x 7 1/8 in), unframed. Provenance: Private collection, Scotland ⁂ A pair of oil on copper views by Greco, one of which was roughly the same size and composition as the present painting, was offered at Hôtel Drouot, through Leclere (see: Tableaux Anciens et Modernes, 19th December 2009, lot 78, sold for 6,200 euro).
A GEORGE III WELSH OAK LONGCASE CLOCK by Richard Griffith, Denbigh, the 12 ins brass dial set with Roman numerals and sweep seconds dial, chased central decoration with maker's name, twin winding and date apertures and cast floral spandrels, set before a twin weight driven movement striking on a bell, the single glazed door hood with flanking pillars and architectural pediment over a shaped top trunk door with quarter cut side pillars, the stepped trunk base with canted corners and applied front panel, 210 cms high, 48 cms wide, pendulum and weights included (some attention and restoration required)
AN ANSONIA CLOCK COMPANY ARCHITECTURAL STYLE MANTEL CLOCK, the dial set with Roman numerals and worded 'Manufactured by the Ansonia Clock Company, New York, United Stated of America', before a twin wind brass movement, pendulum driven and striking on a gong, pendulum and key included, 38 cms high, 26.5 cms wide
Judaica:- A group of mostly Israeli white metal items, some stamped .800 or .925, some silver-plated and comprising:- a pair of architectural filled candlesticks with Jerusalem scenes, stamped "925"; a pair of hollow dwarf candlesticks stamped "800"; a taper holder stamped "925"; two Hasidic statuettes, one dancing, the other with prayer book and wine goblet; three mezuzah cases, one with scroll; a key-ring with miniature Hebrew book; three skull cap clips stamped "Klynsmith Silver"; an amulet in earlier frame; a parcel-gilt plated paperweight with Jerusalem view; and a plated pill box with House of Lords logo, inscribed "Presented by Lord Janner". (17)
A Russian parcel-gilt silver and niello snuff box, maker's mark D.A.P. (Cyrillic), Moscow, 1844, cover depicting a young man and his dog sleeping amidst foliage, sides and base with architectural views, double scroll thumbpiece, gilt interior, 7 cm. long, wt. 88 gm.Slight wear to niello on cover, exterior gilding is of a pale tone.
Early 19th century French sycamore and polychrome painted workbox, the hinged rectangular domed cover centred by landscape reserve and peripheral architectural reserves, enclosing a fitted interior with conforming decoration and lidded canisters, lidded compartments, the whole raised on lion paw feet, label to interior for Louis et Emily Misson, Peintres, 43cm wide - with various sewing accessories
Regency bracket clock with white painted dial, signed - James Graham, London, eight day double fusee movement with anchor escapement striking on a bell with repeat, in brass inlaid rosewood architectural case with side grilles and handles, on gilt ball feet, 43.5cm high (key and pendulum present) CONDITION REPORT General overall condition good. Movement is relatively clean and appears to be in working order although we have not had it going. Ovement was overhauled in 2008. Dial is worn and scratched, some minor damage around winding holes. Bezel around dial has been refitted. Face glass releasing lock is very stiff. Case is quite good. Metal work is dirty and surface worn in places. Some brass inlay is lifting. Woodwork is dirty and veneer has been repaired around dial
British Royal Family Interest: Two large albums of drawings and plans relating to State visits and Royal ceremonial occasions, c.1970-1986, drawn by Diana Heald, with photographs and blue prints, including preparations for the Royal weddings of 1981 and 1986, each album 45 x 30.5cmDiana Heald was a leading architectural assistant in the Department of Works Special Services, concerned with designs for State visits and ceremonial occasions at Westminster Hall, Buckingham Palace, Windsor Castle, etc.
'British Royal Family Interest': MVO 5th Class medal and silver jubilee medal awarded to Diana Heald, with certificatesDiana Heald was a leading architectural assistant in the Department of Works Special Services, concerned with designs for State visits and ceremonial occasions at Westminster Hall, Buckingham Palace, Windsor Castle, etc.
After Sydney Robert Fleming Jones (British 1881-1966), architectural etching of a London street scene with St Paul's to the background, signed in pencil to the margin by the artist, together with another, similar, with a view down Whitehall from Trafalgar Square, also signed to the margin, 24cm x 14cm and 25cm x 22cm, glazed in wooden frames.
JAMES HENRY SELLERS (1861-1954); a fine Arts and Crafts mahogany, satin wood and ebony inlaid secrétaire desk on stand, the cushion moulded top with checkered strung border and lozenge veneers, with shaped convex sides crossbanded in satinwood with ebony inlaid corners, the secrétaire drawer with fall-front enclosing an incredible detailed inlaid and fitted interior, lined with satinwood and satin birch centred with an architectural barrel backed recess, various drawers, pigeon holes, compartments and pen tray, also set with associated circular silver capstan type inkwell above a base drawer, raised on a stand with four square sectioned tapering legs joined by a platform stretcher and with four brass capped feet, height 110cm, width 94.5cm, depth 59.5cm. Inked paper exhibition label to underside, inscribed 'Partnership in Style, E30, Chapman'.PROVENANCE; James Henry Sellers (1861-1954) to his granddaughter, Betty Ann Sellers, then by descent through the family until purchased at Messrs Bonhams Auctioneers, Chester, November 2011, Lot 867.
General reference including art and architecture - a collection of titles: Newlands, James, Carpenter and Joiner's Assistant , Blackie n.d. (circa 1860), folio full calf refurbished, 111 plates only; Nicholson, Peter, The Student's Instructor in Drawing and Working the Five Orders of Architecture , New (3rd) edition, 41 engraved plates, recent quarter cloth; Wells-Cole, Anthony, Art and Decoration in Elizabethan and Jacobean England , Yale University Press 1997, dj; Harris, John and Gordon Higgott, Inigo Jones: Complete Architectural Drawings , A. Zwemmer Ltd, London 1989, dj; and other general works including: architecture, country houses and art. Provenance: The library of Michael Hurst.
An extremely rare hour-striking night-and-day spring table clock The movement attributed to the workshop of Joseph Knibb, London, circa 1675 and later The eight fully latched tulip baluster turned twin fusee movement with gable-shaped plates measuring 7.25 by 8.125 inches applied with slide-on dust cover to upper edges, the going train with verge escapement regulated by short bob pendulum driving motionwork for both traditional two-handed twelve-hour notation and revolving night hour disc set on a pivot at the apex of the plates, the strike train with outside countwheel and sounding on a bell set behind a circular aperture in the frontplate between the mainspring barrels, now with 10.75 by 8 inch rectangular matted brass dial applied with narrow silvered Roman numeral chapter ring with stylised trident half hour markers and Arabic five minutes within the outer minute track, with pierced and sculpted blued steel hands, the upper section with pierced arched sector to reveal the revolving chapter hour disc painted with gilt stars on a deep blue and ground incorporating two smaller revolving discs each pierced with Arabic hour numerals visible through circular apertures cut within the outer concentric band, the upper margin applied with arched silvered plate pierced with Roman numerals I, II and III for the quarters around a scalloped inner edge with each division denoting the minutes, the margins of the sector aperture and the edge of the dial plate with precise line-scribed polished borders, the purpose made ebonised case with moulded box upstand enclosing tin chimney with flue exiting at the rear over simple moulded cornice and rectangular glazed door incorporating small lozenge pierced sound fret to lower rail and enclosing mask around the dial incorporating strike/silent lever at nine o clock, the sides with rectangular windows set within the lower half beneath aperture for slide-out lamp carrier to right hand side only, the rear with plain rectangular door, on cavetto moulded base incorporating key drawer to right hand side and bun feet, 41.5cm (16.25ins) high. Provenance: From the estate of Michael Hurst. Details in the construction of the current lot, in particular the baluster tulip turned pillars latched to the frontplate, relatively thin/delicate plates and use of the twin-disc system for the night dial would indicate that the movement was made in the workshop of Joseph Knibb. Indeed the general feel of the movement can be compared to that of a contemporary architectural table clock by Knibb illustrated in Garnier, Richard and Carter, Jonathan The Golden Age of English Horology, Masterpieces form The Tom Scott COLLECTION on page 337 and 348-49. Joseph Knibb was born the fifth son of Thomas Knibb of Claydon, Oxfordshire in 1640. He is generally thought to have been apprenticed in around 1655 to his cousin Samuel Knibb in Newport Pagnell, before moving to Oxford circa 1662 (the same year that Samuel moved to London). Joseph initially struggled to trade in Oxford due to restrictions placed by the City authorities which were only relaxed on payment of a fine in 1668. It was about at this time that Joseph Knibb would have issued his copper trade tokens (an example of which was sold in these rooms 10th February 2009, lot 104 for £1,600 hammer) as well looking to undertake work to convert the turret clocks of St. Mary the Virgin and Wadham College to anchor escapement with long pendulum. In 1670 Joseph moved to London handing over the Oxford business to his younger brother, John. The reason for this move was probably to administer the estate of Samuel who is thought to have died by the summer of 1671. Joseph Knibb presumably took on Samuel's former workshop as by 1675 he was recorded as working from 'The Dyal' near Sargeants Inn in Fleet Street. By 1693 he had moved to 'The Clock Dyal' Suffolk Street, near Charing Cross. As Joseph became established in London his work became more individual/distinctive, often demonstrating an inventive and refined approach both in the detailing and specification of the movements and choice of case design. He is perhaps best known for his experimentation with alternative striking such as Dutch, Roman and double-six grande sonnerie as well as long duration clocks. In 1697 Joseph Knibb sold up the London business (presumably to Samual Aldworth, former apprentice of John Knibb of Oxford) and retired to Hanslop in Buckinghamshire where he died in December 1711. Currently there are four documented spring night clocks by Joseph Knibb, one was sold in these rooms on Tuesday 15th September 2015 (lot 197) with the other three being illustrated in Lee, Ronald A. The Knibb Family * Clockmakers pages 151-3. All of these examples are timepieces only and utilise the same ingenious system to indicate the time: The hour numeral traverses the 180 degree arched aperture in the dial plate past minute divisions denoted by small scallops cut into the upper edge and the quarters by large pierced Roman numerals above. This is enabled by having the Arabic hour numerals pierced in two secondary discs applied to the rear of the principal hour disc. As the hour disc revolves (once every two hours) these secondary discs are alternately advanced in one numeral increments via pins to the rear of each engaging with a flag attached to the lower part of the movement frontplate. This system ensures that the next hour appears to the left of the dial as the last disappears to the right (hence requires one of the secondary discs to be pierced with the odd hour-numerals and the other the even). This mechanism can also be seen on a longcase night clock, dating to around 1669, attributed to the Fromanteel workshop which is illustrated and described in Darken, Jeff (ed.) HOROLOGICAL MASTERWORKS pages 90-93. The existence of this slightly earlier clock suggests that this system was possibly developed by the Fromanteels prior to Joseph's arrival in London in 1671. In addition to this twin disc system English makers also utilised two differing mechanisms to denote the hours at night. The first, which seems to be preferred for use in longcase night clocks, is very similar to the twin disc system but substitutes the secondary discs for a linked chain of pierced numeral tabs which are driven by a ten-sided sprocket wheel (an explanation of this system is provided in Robinson, Tom THE LONGCASE CLOCK on page 154). The second alternative system can be seen on three hour-striking night-and-day clocks of the East School including an example by John Hilderson described in Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 513-5 (plates 759-63).
A rare Swiss or South German Renaissance small iron chamber clock Unsigned, first half of the 17th century The two train weight-driven movement with verge escapement regulated by balance wheel contained within the frame, the strike train with countwheel released via single arbor warnless nag s head lifting against a star wheel mounted behind the dial incorporating a friction clutch to allow setting of the hand and with overlift provided by a shaped cam cut with a slot for locking, both trains pivoted between iron vertical bars which locate via tenons into slots cut into a horizontal strip at the base, the top secured with another strip terminating with angled end forged with pierced tenon at the front and integral lug at the rear passing through slots in the uprights and secured by wedges, the polychrome painted iron box-form case with a single lugged bell supported within domed bearer, the front with black ground starburst painted centre and cut steel arrow-shaped hand reading against a cream painted chapter ring with Gothic Roman numerals within architectural panel painted with stylised pilasters flanking a blue shield incorporating trident and circle motif within a red field above the dial, the top with integral scroll pierced fret and the sides with hinged doors secured by sprung clasps, the rear with forged hanging hoop and spurs, (escapement restored), 28cm (11ins) high. Provenance: The estate of Michael Hurst. The general construction and layout of the current lot can be directly compared to a spring-driven example illustrated in Bassermann-Jordan, Ernst von THE BOOK OF OLD CLOCKS AND WATCHES (English version translated by H. Alan Lloyd) on page 203 which is described as probably made in Zurich about 1630-40. The basic construction of the movement frame (formed essentially as a vertical rectangular loop around the movement) has its roots in the earliest form of domestic striking clock and can be directly compared with a clock dating to around 1500 illustrated in Muhle, Richard and Vogel, Horand M. Alte Uhren (Verlag Georg D.W. Callway, Munchen 1976) on page 152 (figure 256). Other related weight-driven clocks are illustrated by Bassermann-Jordan on page 106 (Fig. 80) and in Edwardes, Ernest L. Weight-driven Chamber Clocks of the Middle Ages and Renaissance Plates 31 and 32. The provision of a star wheel behind the hour wheel for strike lifting (rather than via a pin applied to the going train greatwheel) and a friction clutch for setting the hand (without the need to release the escapement and run the going train through) would suggest a date after 1600 (similar details had only really become standardised on English Lantern clocks from around 1610).
A group of early English pattern cast brass clock case mounts Anonymous, late 17th century and later To include two pairs of differing twin cherub and Baroque scroll architectural tympanum mounts, a winged cherub pediment mount, a pair of foliate festoon frieze swag mounts, two differing miniature table clock spandrel mounts, a pair of copper laurel cast table clock door escutcheon mounts, two differing vase finials, two further escutcheon plates, a small figure of a dancing putto and four claw cast lobed bun feet, (20). The majority of patterns present in the current lot are of a type used on some of the most important early English clocks. For example the architectural tympanum mounts can be seen on architectural longcase and table clocks by the Fromanteels and Edward East and the pair of copper door escutcheon mounts are of a type often used by Tompion. The miniature spandrels are particularly rare and very finely finished.
An unusual precision longcase timepiece with duplex escapement and centre seconds Unsigned, late 18th century The four finned-pillar eight-day movement with tall plates and unusual deadbeat duplex escapement utilising two identical escape wheels applied to the same arbor and split anchor with unusual roller pallets regulated by substantial seconds pendulum with braced triple rod and 8 inch diameter lenticular bob, the 12 inch square single sheet silvered brass Roman numeral dial with concentric calendar to inner track and Arabic five minutes to outer track, the spandrels areas with rococo scroll and floral spray engraved decoration, in an architectural mahogany case with triangular tympanum over plain lintel and fluted columns with brass caps and bases flanking the glazed hood door, the sides with rectangular glazed apertures and bargeboards to the rear, the trunk with rectangular crossbanded caddy moulded door over recessed panel fronted plinth base with moulded skirt, 206cm (81ins) high.
A well engineered model of the live steam over crank stationary engine Georgina , built by Mr T.D.Walshaw in 1981 with builders plaque and to the design by Tubal Cain with spoked gun-metal flywheel supported on architectural arch columns with wishbone linkage to single cylinder being 5/8 bore by 1 1/8th stroke, fitted inside steam chest and having speed governor fitted. The model finished in green and red paintwork and mounted on wooden plinth with moulded edge. Total height 26cm. Base 16cm by 18cm. The original full size engines date from around 1840.
A well engineered model of the live steam over crank stationary engine Georgina , built to the design by Tubal Cain with spoked flywheel supported on architectural arch columns with wishbone linkage to single cylinder, inside fitted steam valve and having fitted speed governor. The model finished in green and red paintwork and set on plinth. 17cm x 19cm.
FRENCH ORMOLU AND WHITE MARBLE 'CERCLE TOURNANTS' URN SHAPED, CHERUB MOUNTED MANTEL CLOCK, having horizontal ceramic scales reading in Roman numerals and Arabic numerals, the case bedecked with floral swags and entwined with a serpent pointing to the relevant time on an architectural plinth base, standing on Ormolu feet. 39.5cm high.(B.P. 24% incl. VAT) CONDITION REPORT: Cosmetically appearing in good condition, the marble is rather grubby and with fritts and small chips to the edges in places, appears to have been re-gilded overall, not tested, lacks key.
A CUSHION MOULDED AND CARVED OAK BEAM, 18TH/19TH C in 16th c style, with grotesques and scrolling foliage centred by a cartouche, 185cm l, several other carved oak architectural elements and furniture panels, 17th c and later and a carved and dark stained oak owl novelty lamp base (12) ++As a lot in good condition
A Nepal ghurra wood with a thick black patina, 21cm high, a Nepal wood phurbu, three sceptres of architectural form, one on a stand, a prayer wheel, a bird finial, a carved architectural element with a lion and a carved and polychrome beast end finial. (10) Provenance The David Morris Collection.
Statuary: Pasquale Romanelli: A carved white marble figure of Garibaldi signed P. Romanelli, Firenze 1875 119cm highGiuseppe Garibaldi 1807-1882, was an Italian general, politician and nationalist who played a large role in the history of Italy. He is considered, with Camillo Benso, Count of Cavour, Victor Emmanuel II of Italy and Giuseppe Mazzini, as one of Italy's fathers of the fatherland. Garibaldi personally commanded and fought in many military campaigns that led eventually to the Italian unification. He was appointed general by the provisional government of Milan in 1848, General of the Roman Republic in 1849 by the Minister of War, and led the Expedition of the Thousand on behalf and with the consent of Victor Emmanuel II. Romanelli was a committed patriot who personally knew Garibaldi and fought with him in the war of Independence from the Austrians in 1848-1849. For further information go to www.summersplaceauctions.comProvenance: Sotheby's Sussex Garden Statuary and Architectural Items, 26th September 1989, lot 525. Now being sold by a direct descendant of the sculptor.
Statuary: Pasquale Romanelli: A carved white marble figure of Rebecca at the wellcirca 1870signed P. Romanelli, Florence 105cm high Pasquale Romanelli 1812-1887 was a pupil of Luigi Pampaloni and Lorenzo Bartolini in Florence. He took over Bartolini's studio after he died. He became a very prominent sculptor creating many public monuments in Italy and exhibited his work in both Paris and London. He was well known for his sensuous sculptures of allegorical, biblical and mythological figures of women. His son, Raffaello Romanelli and grandson, Romano Romanelli were also renowned Italian sculptors.Provenance: Sotheby's Sussex Garden Statuary and Architectural Items, 25th September 1990, lot 337. Now being sold by a direct descendant of the sculptor.Pasquale Romanelli was born in Florence on May 28, 1812. As was still often the custom then, he entered an apprenticeship in a studio producing sculptures in alabaster, studying in his free time and reading every book he could procure. Alabaster, Or Castellina marble, being much softer to carve than other marbles, makes a very good material with which to begin. Pasquale made such progress that soon he joined the apprentices in the studio of Luigi Pampolini, who trained him in the skills of working statuary marble. He was rapidly promoted to assisting the master in the carving of the statues of 'Arnolfo di Cambio' and of 'Filippo Brunelleschi', now placed in the Cathedral Square in Florence.Pasquales' skill was such that the already then famous Lorenzo Bartolini, professor of sculpture at the Academy of Fine Art, invited him to enter his studio in Borgo San Frediano, and to attend his courses at the Academy too. He became Bartolinis' most gifted pupil, and certain commissions were passed to him to do. Pasquale worked on the statue of Francesco Ferruci, placed then in a niche of the Loggiato of the Uffizi Gallery. He soon opened a studio of his own.In 1840 Pasquale exhibited his work entitled 'The son of William Tell'. The sculpture alluded to the desire of the people for independence. It met with such success that it was subsequently given a prize at the New York Exhibition of 1854 and also at the 1861 first Great Italian Exhibition, which followed the Unification of Italy in 1860. The statue was bought by King Vittorio Emanuele II.Alongside his love of art, Pasquale Romanelli had a passionate love for his country. He became a member of the revolutionary groups that urged the war of independence from the Austrians. He had enrolled in the volunteers to fight following their defeat in 1848 and 1849 he was forced, with the rest of them, to go into hiding in the wild country of Maremma.It was not until calm reigned again in 1850 that he had been able to return to Florence to continue with his sculpture. In the same year Lorenzo Bartolini died. Pasquale acquired the studio in Borgo San Frediano, and it was to him that was entrusted the task of completing the several great monuments that were unfinished at the time of Bartolinis' death. These included the immense monument to Prince Nicola Demidoff, a complex work with many figures besides that of the Prince. Pasquale went on to create works of this own such as ' The Genius of Italy', 'Italy Deluded', exhibited at the Exhibition in Paris, but for the moment too politically sensitive in 1859, and thus before unification, for exhibiting in Italy. Infact 'The Genuis of Italy' arrived in Paris with its legs broken. It had been vandalized by Pasquales' enemies and Pasquale subsequently refused to sell it at any price so it has remained in the possession of his heirs to this day.After Unification, Florence became the capital of the new Italy for a few years, and commissions flowed. Pasquale received numerous commissions from America and form England. He opened a Gallery on the Lungarno Acciaioli where completed works could be sold direct to the public, including all those travelling on the Grand Tour.Pasquale won various prizes. In 1863 he made the monument to Fossombroni at Arezzo, in 1864 the monument to Count Alessandro Masi for the Certosa of Ferrara. In 1868 he too, was appointed Professor of Sculpture of the Academy of Fine Art of Florence.Amongst his works were 'The boy Washington', bought by Principe Amadeo, portraits of Vittorio Emanuele II, of Prince Albert consort of Queen Victoria. He also made a portrait of Bartolini as part of the monument erected on Bartolinis' tomb in the church of Santa Croce. Pasquale died in 1887.
Garden Statuary: Gertrude Spencer-Stanhope: A rare H.H. Martyn and Co lead figure of Panearly 20th century79cm highGertrude Spencer-Stanhope (1857-1944) was an English sculptor and painter. She was the niece of John Roddam Spencer-Stanhope and the cousin of Evelyn Pickering de Morgan, both of whom were noted pre-Raphaelite painters. She exhibited paintings during the period 1886-1909 at both provincial and London galleries, but is known to have produced perhaps only three sculptures including this model which was cast in both bronze and lead by H.H.Martyn of Cheltenham. The three - a female nude, A Pan and a lyre playing Orpheus were allocated to Barnsley Metropolitan Borough Council for display at Cannon Hall Museum housed in her former family home. The works are regarded as fine examples of the small-scale domestic bronze that was popular in late 19th century Britain, and are notable also because women rarely had the opportunity to work as sculptors at the time.The firm of H.H Martyn was established in Cheltenham in 1888 and by the 1920's employed over 1000 craftsmen as wood and stone carvers, modellers of decorative plaster, sculptors, artists in wrought iron, large and small scale casters in all metals, fine furniture makers and artists in Stained Glass. They were appointed Architectural Decorators to His Majesty the King in 1916 for work at Buckingham Palace and Windsor Castle. The company were involved in many architectural and interior projects including the Speakers Chair and dispatch Boxes for the House of Commons, St Paul's Cathedral Pulpit; and the façade of Selfridge's Oxford St, to name but a few. Their foundry was responsible for a huge variety of commissions, from the screen and gates originally at Marble Arch to the over life size bronze figure of Sir Winston Churchill by the sculptor Oscar Nemon, commissioned for the London Guildhall. The company also fitted out the first class areas of over 100 ships including The Titanic and Canberra, as well as the Queens Mary and Elizabeth for the Cunard line. Early in the First World War, their craftsmen were called upon to turn their hands to aircraft production, leading to the establishment of the Gloster Aircraft Company in 1917.They enjoyed a close connection with the Bromsgrove Guild, whose founder Walter Gilbert later worked for H.H. Martyn and produced a range of garden sculptures and ornament in bronze, lead and composition stone including these examples in which the quality of casting is comparable to the work produced at the Bromsgrove Guild. Provenance: The Hearne, Charlton Kings, Cheltenham home of Alfred W Martyn Managing Director of H.H.Martyn & Co from 1917 to 1939 and thence by descent.Literature: The Best, H.H. Martyn and Co, Specialists in Architectural Decoration and The Gloucester Aircraft Company, John Whitaker, Promenade Publications, 1985, a copy of which is included with this lot.

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