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Lot 64
A William IV Style Four Poster Bed: The mahogany foot posts adorned with spiraling reeds and carved lotus-petal bulbs. The bed dressed in a champagne silk canopy with shaped pelmets edged in fringed braid, curtains to the head and sides, and a gathered valance. The mattress covered in a crewel-work bed spread stitched in pale blue wools on an ecru linen ground. 80 ins (203 cms) high, 61 ins (155 cms) wide, 85 ins (216 cms) in length (Takes a standard king size mattress 5 ft wide and 6 ft 6 ins long (150 x 198 cm).*
Lot 297
‘…I saw the Queen being handed the wrong cakes…’ DU MAURIER DAPHNE: (1907-1989) British Author. T.L.S., Daphne, four pages, 8vo, Menabilly, Par, Cornwall, 16th August 1962, to 'My dear' (Foy Quiller-Couch). Du Maurier proclaims 'What a typical arrival! Be sure to see all fires are extinguished when you go to bed, and that the doors and windows are locked against burglars' and adds 'I have written my name under yours in Castle Dor, and have returned the book'. She continues to recount a visit from Queen Elizabeth II, 'Well, the Queen..I was so exhausted…from doing 26 vases of flowers the day before that I had lost my nerves when the moment came. I must say, it was rather splendid to see the big Rolls drive slowly up to the front door bearing the Royal Standard, and the Queen, a radiant figure in white, seated within. That was really the best of it. The actual hour passed very quickly really, but nobody hardly touched the enormous spread of tea I had prepared, and out of my eye I saw the Queen being handed the wrong cakes by Angela, and she even got a non-matching plate at one moment instead of the Rockingham! The nice Prescotts helped us, she chatting informally away to Prince P[hilip] about schools, and Colonel Prescott reviving old Grenadier memories with the Queen. The entourage seemed endless (actually we were 14) and disposed themselves about the Long Room, and old Sir Edward Bolitho spilt his tea, and was the only one to munch, and enjoy, a split with cream! The house had been scrubbed, and better scrubbed (I found Mr. Burt, 81 a few days before, washing down the Long Room mantle piece with Jeyes fluid!!) and so much tidied away that none of us have been able to find a thing since. No, I wore neither hat nor gloves, thank goodness. I wrote and asked a lady-in-waiting I knew, and she said "Not at an informal tea in one's own house." My relief was enormous. I haven't a hat to my name, tho' I could have borrowed gloves, and Flave had actually sent down a handsome white bag from Harrods, which I suggest we all borrow in time of need. Anyway, it's a good thing done, and I think the G'sman [Guardsman, her husband Frederick Browning] was very pleased at the honour shown….' Du Maurier also writes of children, 'I still wish they were better at amusing themselves and had more imagination. Paul, who is apt to be scared at bedtime, looked at me as if I were mad when I told him that Kits also used to be rather nervous, but was all right when he had a group of small Indians called Black Wolf and Laughing Thunder on his bedside table to guard him, along with a small soldier on one knee called Terry. "If you like", I said, "I will see if there are any Indians left in the playroom drawer." "But they aren't real", answered Paul, and I saw it was no good. My word, those toy Indians were as real to me as they were to Kits - the "Guarders" we always called them. It is a pity that children seem so factual these days, and I don't see why it should be anything to do with men whirling round in space.' and concludes by briefly referring to her own work, 'I have finished my Glass-Blowing book, and the publishers in England and U.S. very pleased with it. I was afraid they'd find it dull'. A small tape stain to the upper corner of the first and final pages, only very slightly affecting one word of text and not the signature, VG Foy Quiller-Couch - daughter of British writer Arthur Quiller-Couch (1863-1944), and a life-long friend of Du Maurier. Indeed, Du Maurier was accompanied by Foy Quiller-Couch when she became inspired with the storyline for her novel Jamaica Inn. In 1930, apparently around the time of the present letter, the two ladies were staying at Jamaica Inn and went riding on Bodmin Moor. They became lost in bad weather conditions and apparently sheltered for some time in a derelict cottage on the moor but were eventually led back to Jamaica Inn by their horses. Frederick Browning (1896-1965) British Lieutenant-General of World War II, deputy commander of the First Allied Airborne Army in Operation Market Garden, 1944. Husband of Du Maurier from 1932. Comptroller and Treasurer to Princess Elizabeth from 1948-52 and later Treasurer in the Office of the Duke of Edinburgh.
Lot 74
Near Eastern Syro-Hittite Ceramic Chariot 1180-700 BC. A terracotta chariot model comprising a D-shaped bed with lateral stub axles and vertical frontal plaque; the bed with central discoid socket and driver figure before, rope detailing to the sides; the plaque with incised tree motifs to the rear face, looped yoke to the upper edge with central roundel; forward face of the plaque with two goddess figurines flanking a square aperture, point detailing to the faces and bodies, arms spread. 305 grams, 12 cm (4 3/4"). From an important London collection, acquired in the 1970s. TimeLine Auctions Ltd arranges printed catalogue rostrum Auctions, eAuctions and Timed Auctions where we offer antiquities, ancient artefacts / artifacts, antiques, collectibles, coins, medals and books for public sale. Fine condition; repaired.
Lot 38
Early 20th century hand worked bed spread and pillow spread worked in a cream cotton lace and ribbon work on a net ground with central extensive flower and leafage panel 205cm x 198cm and drop panel 45cm x 125cm, matching pillow bolster panel, 78cm x 200cm possibly American (2) and a Chinese cream silk table cloth
Lot 6293
Pottier and Stymus dining suite(lot of 14) Important American Renaissance Revival dining suite by Pottier and Stymus, New York, for Alfred A. Cohen`s Alameda, California estate ``Fernside``, executed in white oak, the extension dining table having a marquetry frieze flanked by the burlwood border centering the 10 leaves, above a pedestal base having relief carved lion figural mounts, the supports having acanthus detail terminating on carved paw feet, and rising on four baluster turned legs having banded leaf detail at the shoulder terminating on casters, (retains the original servant`s bell) 29.5``h x 17`4``w (extended) x 65``d, the twelve chairs each having full relief carved lion head finials above the leather padded backs and rising on turned legs, consisting of two armchairs 43.5``h x 23.5``w x 24``d, and ten side chairs 41``h, the sideboard (table leaf cabinet) having a relief carved 15`` wild boar medallion centering the later granite top above the two drawer case having an open gallery surmounting the fold down single door opening to the slotted interior used for table leaf storage, verso stenciled 4428/Pho/Cohen. Provenance: 1957-2012 Property from the collection of Raul A. Pena, thence by family descent ``Fernside`` The Estate of Alfred Andrew Cohen and Emilie Gibbons Cohen, The Cohens Alfred Andrew Cohen was born in England, July 17, 1829. After reversals of family fortunes he left Exeter Academy and went to work for a London solicitor. He immigrated to Canada in 1843, then to Jamaica, and finally in 1849 to Sacramento, California, arriving via Panama. Settling in San Francisco he married Emilie Gibbons, daughter of former Wilmington, Delaware, residents Martha Poole and Dr. Henry Gibbons. The Cohens had four sons and three daughters. Cohen`s business activities were varied. He engaged in railroad and ferry enterprises with William Ralston and Darius Ogden Mills, two of California`s early taste-makers. In 1857 he was admitted to the practice of law by the California Supreme Court. Cohen had several dealings with Central Pacific Railroad representing both defendants and plaintiffs. It had been said he was so successful in winning cases against the railroad that the owners made peace with him and hired him as their counsel. Cohen died in 1887 in Nebraska in route from Washington D.C., where he had been representing Central Pacific before the federal railroad commission. Newspaper accounts have estimated the value of his estate to be $5 million. His widow Emilie Cohen continued to live at Fernside until her death in 1925. The Estate and House Fernside, located in Alameda, an island community in San Francisco Bay southwest of Oakland, was acquired in the mid- 1850`s. A map dated September 9, 1859, shows the estate/working farm to be 110 acres and five buildings, including the residence, a substantial Gothic Revival structure. Over the years, buildings were added to the estate, including an elaborate stable built in 1870 for prize thoroughbred horses and a bowling alley building. In 1872 buildings began for a new grand ``Italianate`` house of some 52 rooms. Wright and Sanders, the architects, were noted for their churches, institutional buildings and the San Francisco home of Mark Hopkins. On March 24, 1897, a fire began in the building`s tower and spread quickly until the house burned to the ground. When it was found there was insufficient water to save the home, firemen and volunteers concentrated on removing furnishings, decorative objects, and bric-a-brac from the ground floor of the burning building. The Interiors The insurance papers together with interior photographs by Eadweard Muybridge and the Cohen`s third son, Edgar, give an idea of the interior fittings. Furnishing took place from occupancy in 1874 to 1888 (shortly after Cohen died). The photographs and invoices tell a story of continual change and upgrading. Herter Brothers, Pottier and Stymus, W. & J. Sloan and other New York and California firms supplied items for the house. In a letter dated October 15, 1874, Cohen mentions Mr. Schastie (likely George A. Schastey) in reference to the dining room of the house. The reference implies Schastey was on site at the house. Why the Cohen`s used more than one firm and the extent of the involvement of the firms is not clear. Likely, the strong personalities of both A. A. and Emilie G. Cohen were a factor. THE DINING ROOM. None of the Fernside post fire documents on the dining room are known to exist. The four photographs of the Dining Room in the VPCO`s collection at the Cohen/Bray House, give different views of the dining room. Two of the pictures likely Muybridge photo`s found in a family album show the table & chairs. A latter photo by Edgar Cohen, a noted California photographer, shows the dining room and the table leaf storage cabinet in more detail. The original upholstery is apparent in this photograph. This leather upholstery is still found on the back of the chairs. The forth picture shows the table and four chairs in the building converted to a residence for Mrs. Cohen after the main house burned in 1897. Of interest is a paragraph in a letter from A. A. Cohen to his wife Emilie Gibbons Cohen, dated October 15, 1874. I quote as follows: ``Dear Em, {in pencil added to the letter ``cover kept``} I learned this morning for the first time from Schasteys man that he sent a Red Marble slab for dinning room sideboard instead of Egyptian Green as I ordered. This is very provoking as the carpet for that room was changed to Green to suit the marble. I telegraphed to Will today to tell Schastey that I do not wan the red marble---- I do not want the red marble---- It will be out the question using a green carpet with the red marble. If the marble is retained I do not know what can be done except we change the carpet and use in the dining the carpets original intended for that room but which we afterwards concluded to use in the library. When you get this telegraph me what you think we had better do. If necessary I can get a new carpet for either library or dinning room & use the one we may put aside for the 2nd floor bed rooms. I have shipped the billiard room carpet it is intended that the [ballgrio ?] shall run across the mantel there is a nice border with it. I think now we will leave here on the morning of Nov. 3rd stopping one day at Niagara and one day at Chicago which I expect will bring us home on Nov. 12.`` [Note: these letters have been typed and numbered. FERNSIDE, SATURDAY EVE. JUNE 17, 1876] Schastey is known to have worked with Pottier & Stymus The leaf cabinet is known to have a replaced marble top when acquired by the current owners family. At president the history of the dining set after her death in 1927 is not known. An Overview of Pottier and Stymus From its inception in 1859, the Pottier and Stymus firm quickly rose to prominence as one of the nation`s most elite decorating and cabinetmaking firms. They retained their position at the forefront of American decorating firms well into the 20th century. August Pottier emigrated from France in 1847, gaining employment with the E. W. Hutchings and Son firm in New York City. During his tenure with Hutchings, Pottier apparently became acquainted with the cabinetmaker Gustave Herter, who would also become prominent in the emerging custom decorating field. In 1853, the two formed the short-lived Herter, Pottier and Company. By the end of the decade, Pottier was working with Rochefort and Skaaren as general foreman, where William Stymus was foreman of the upholstery room. Following the death of Rochefort, August Pottier and William Stymus assumed control of the business, forming their own partnership, Pottier and Stymus, in 1859. Shortly after its inception, the firm secured a number of important commissions, most notably to design and furnish the rooms occupied by the Secretary of the Treasury in 1863, and the Navy Department (1861-64). During t
Lot 11
*§ SEREBRIAKOVA, ZINAIDA (1884-1967) Sleeping Nude (Katya) , signed and twice dated 1934, once indistinctly. Oil on canvas, 65 by 80 cm. Provenance: Anonymous sale; The Russian Sale, Sotheby’s London, 10 May 2000, Lot 65.Acquired at the above sale by the present owner.Private collection, Europe.Authenticity of the work has been confirmed by the experts A. Kiseleva and I. Geraschenko.Related literature: For another version of the same composition, see Zinaida Serebriakova (1884-1967), Syseca, Malakoff, 1995, p. 15.The present work by Zinaida Serebriakova is an undoubted masterpiece among her famous nudes. Here the artist deploys a distinctive freedom and fluidity in her development of a classic theme in world art - the depiction of a sleeping sitter. Taking up the imagery of the sleeping Venuses of the Venetian masters, the nymphs of Boucher and the bathers of Cabanel and Renoir, Serebriakova does not reduce her model to some anonymous heroine of ancient mythology, rather, it is the “stolen moment” that interests her, catching a young girl, languid and flushed from sleep, at her most natural and without artifice. It is notable that the model here was the artist’s 22 year-old daughter Katya, her favourite sitter since the 1920s.We need only cast our minds back to the celebrated 1923 work in the Peterhof Museum, Katyusha on a Blanket, with the figure of the sleeping child sprawling across a vivid blue background, which initiated a whole series of similar works. Later too, in the best works of Serebriakova’s Petrograd and Paris periods we encounter this same, invariably smiling, mischievous young thing. Undressed and standing by the bed (Katyusha Nude, 1922); leaning on the balustrade, head thrown back and draped in a red shawl (Nude Leaning on Balustrade, 1929); sleeping, arms spread theatrically, amidst a mass of red and blue drapery (Nude, 1928); or lying peacefully on the bed-sheets (Nude, 1927). Yet the particular characteristics of the scene and the degree of finish in each of these works are always different, governed by whatever challenge Serebriakova has set herself. Thus the picture now offered for auction, painted with an extraordinarily free hand and splendid understanding of the female form, is among the most developed and finished of the artist’s works. Serebriakova achieves an overarching harmony in the composition, finding equilibrium between volume and linear rhythm and introducing colour and variation with the drapery. The delicate light effects and the warmth of the skin tone are particularly enhanced by the background of plain green cushions and the busily patterned blanket and rug hanging on the wall behind. Intoxicated by her ravishing model, Serebriakova creates an unreservedly sensual image of the naked young woman, accurately capturing the complex pose with a supple contour line and conveying the delicate, graceful sinuosity of her body. According to Alexander Benois, who in his letters often wrote admiringly of Serebriakova’s “peerless nudes”, this magnificent painting, full of internal movement, is animated “not by a generalised sensuality but by something specific, which we recognise from our literature, from our music, from our personal experiences. This is truly the flesh of our flesh. Here is that grace, that comfortable languor, that cosy, domesticated side to Eros - all of which are actually more alluring, more subtle and sometimes more perfidious, more dangerous than what Gauguin found on Tahiti and in search of which blasé Europeans left their pampered life at home and set off in the footsteps of Pierre Loti, across the whole of the white, yellow and black world” (Alexander Benois, Khudozhestvennye pis’ma, 1930-1936. p. 175).This Sleeping Nude from 1934 is a kind of summation of Serebriakova’s many years of experimentation and study in the genre. It combines an expressivity in the silhouette with painterly accomplishment in the brushwork allowing us to confidently assert that this represents one of the peaks of Serebriakova’s distinctive style.
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