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Lot 102
λ DUNCAN GRANT (BRITISH 1885-1978) A PAINTED TABLE The central roundel painted with stylised flowerheads and leaves within simulated marble and green borders 65 x 49.5 x 49.5cm (25½ x 19¼ x 19¼ in.) The present work most likely dates from the 1940s or 1950s. See next lot for the design for the roundel. Grant's interest in the decorative arts began very early in his career and became an integral part of his artistic output. In 1913, he co-founded The Omega Workshops along with Roger Fry and Vanessa Bell with the aim of breaking down the barriers between so-called fine and decorative art and bringing art into everyday life. So began Grant's long association with design and decoration. As well as fuelling the imagination, Omega provided an alternative source of income for many artists of the day, particularly fellow members of the Bloomsbury Group, including Virginia Woolf, Clive Bell and Ethel Sands. Omega produced a wide range individually designed and produced items ranging from furniture, ceramics, murals, stained glass and textiles. Although The Omega Workshops closed in 1919 due to financial troubles, Grant's interest in the decorative arts was now firmly part of his artistic oeuvre. In 1918, along with Edward Wolfe, he was commissioned by John Maynard Keynes to decorate the doors, fireplace and shutters of the first floor sitting room at 46 Gordon Square. Again in 1920, Keynes commissioned Grant, this time alongside Vanessa Bell, to produce eight panels for his residence at Webb Court, King's College, Cambridge. When Vanessa Bell rented Charleston farmhouse in East Sussex in 1916, the house and its interiors become a canvas on which Grant and Bell could express their creativity. Tables, chairs, bookcases, walls, lampshades, headboards - all became covered with the inimitable swirling designs of the two artists. The present table and associated design (lot 103) most probably date from the 1940s or 1950s and demonstrate Grant's continued interest in furniture design into later life. We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Please see lot 103 - the design for this table top.There are abrasions, nicks and craquelure across the paint surface on the table top commensurate with age and use. There are isolated areas of paint separation to the surface and general surface dirt. Some of the blocks to the underside of the table.Please see the additional condition report photographs as a visual reference of condition.Condition Report Disclaimer
Lot 103
λ DUNCAN GRANT (BRITISH 1885-1978) DESIGN FOR ROUNDEL Pencil and watercolour 46.5 x 46.5cm (18¼ x 18¼ in.) Grant's interest in the decorative arts began very early in his career and became an integral part of his artistic output. In 1913, he co-founded The Omega Workshops along with Roger Fry and Vanessa Bell with the aim of breaking down the barriers between so-called fine and decorative art and bringing art into everyday life. So began Grant's long association with design and decoration. As well as fuelling the imagination, Omega provided an alternative source of income for many artists of the day, particularly fellow members of the Bloomsbury Group, including Virginia Woolf, Clive Bell and Ethel Sands. Omega produced a wide range individually designed and produced items ranging from furniture, ceramics, murals, stained glass and textiles. The present lot is a pencil and watercolour design for Lot 102, as a preliminary design for the painted table top. We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Executed on cream wove paper, not laid down. A repaired tear to the centre of the lower edge, approx 2cm long.. The upper right corner and right hand edge with restored tears and creases. There are creases running through the centre of the work, both horizontally and vertically where the sheet appears to have been folded into quarters in the past. Further creasing to the sheet throughout, notably to the upper right corner. There is staining and smudging throughout, in particular two brown stains to the lower right quadrant and grey smudging, most probably original to the work, to the centre circle. Framed under glass.Condition Report Disclaimer
Lot 24
A GEORGE II RED AND GILT JAPANNED LONGCASE CLOCK STEPHEN ASSELIN, LONDON, CIRCA 1725 The eight-day bell-striking movement with 12 inch brass break-arch dial applied with mask and foliate spandrels, a silvered Roman and arabic chapter ring, matt centre and subsidiary STRIKE/SILENT selection dial to the arch, signed on a silvered plaque 'Step. Asselin LONDON' the gilt and polychrome decorated red japanned case with chinoiserie landscapes, a domed caddy surmount 258cm high, 50.5cm wide, 26cm deep Provenance: Christie's, London, Property From A European Noble Family, 10th November 2005, lot 40, where purchased by Robert Kime Formerly at Docker Nook and Warwick Square, see Alastair Langlands, Robert Kime, Francis Lincoln Limited, London, 2015, p205Stephen Asselin is recorded working in London from around 1700. He is not recorded as becoming a member of the Clockmaker's Company which suggests that he was most likely a Huguenot immigrant.   Condition Report: Movement is essentially in working condition however mechanism is dirty/dusty hence a clean/service is required. Notches cut the 3 o'clock edges of the plates indicates that an alarm mechanism was once fitted that is no longer present. Otherwise movement appears complete and all-original. The dial in in original albeit in dirty/neglected condition. The centre shows evidence of being fitted with an alarm disc (curved cut-outs to the seconds ring and signature plate). The areas of silvering are now very thin presenting as almost brass in colour. The right-hand corner of the plate has evidence of being bent and re-straightened; the dial foot behind also has a small loss to the tip (section above the securing pin hole). The right-hand mount to the arch is missing a fin from the dolphin. The hour hand has been repaired; the minute hand and selection pointer to the arch are replacements. The seatboard is original to the movement which rests on blocks applied to the case uprights (cheek); the presence of these blocks suggests that the movement and dial re not original to the case. The dial sits a little wonky (leans to the right) hence some adjustment to the blocks will be required to level it.The case is very original retaining old surface in essentially untouched condition. The hood is in good original condition with notable faults limited to blind fret panels missing from the quadrants above the break-arch pediment and some historic worm damage. The rear of the superstructure is interestingly backed with old thick paper inscribed in ink with random Iberian text. The trunk and base are in very fine original condition with faults limited to some very slight localised flaking to the raised decoration; the finish can be best described as fine patinated old original surface with pleasing degree of age-related wear, discolouration and fading. The backboard is in fine condition and the skirting is also original albeit with historic worm damage and a small scarf repair to inner panel to the rear left hand corner. The left-hand side has some slight shrinkage cracking towards the rear edge; the lock to the trunk door is a replacement.Clock has pendulum, a pair of modern cast iron weights a crank winder and a case key. Condition Report Disclaimer
Lot 277
WILLIAM BURGES (1827-1881), A RARE SILVER AND ENAMELLED PEDESTAL CUP FOR BARKENTIN, LONDON 1877 The rim engraved 'To H Curzon Esq., in recognition of his services to The Arts Club 1878', the centre of the bowl champlevé enamelled with a mythical creature and HC, the circular pedestal foot champlevé enamelled with mythical creatures 9cm (3 1/2in) high 286g (9.2 oz) Provenance: Henry Curzon Esq. (1939-1891) Purchased by A.Tilbrook from Woolley and Wallis from whom purchased by Robert Kime Literature:G.A.F. Rogers, The Arts Club and its Members, London, 1920.J. Mordaunt Crook, William Burges and the high Victorian dream, London, revised edition 1981.ed. J. Mordaunt Crook, The Strange genius of William Burges, 'art-architect', 1827-1881: a catalogue to a centenary exhibition organised jointly by the National Museum of Wales, Cardiff, and the Victoria and Albert Museum, London, Cardiff, 1981. Judy Rudoe, Decorative Arts 1850-1950, A Catalogue of the British Museum Collection, 1994 This rare silver and enamel pedestal cup is one of five silver 'mazer bowls' designed by William Burges (1827-81) for his friends at The Arts Club. They were made by the silversmith Barkentin & Krall, London, renowned for their richly decorated metalwork that revived 'lost' techniques as well as ornamentation associated with medieval objects and are probably those listed against 8 February 1878 in Burges' Estimate Book for 12 August 1875 to 30 March 1881 (Mordaunt Crook, pp. 316; 412, f/n 25). Detailed drawings of the cups, including the French Gothic enamel motifs that encircle the stems, form part of Burges' album of designs entitled Orfevrerie domestique held in the Royal Institute of British Architects (15-16; RIBA 12863). Another 'mazer bowl' of near-identical design, was made in maple wood with silver and enamelled mounts for Burges himself (now in the British Museum 1981,0603.1). Each cup has an individual enamel boss inside the cup with a monogram together with an engraving around the rim denoting who the cup was made for. The cup offered here was for Henry Curzon (1839-91), an architect with offices in Lincoln Inn Fields, and a member of The Arts Club from 1865-94 (Rogers, p. 68). The other silver cups were for: Alex Rivington, A.C. Bell, B. Frere and R.W. Edis, who were either fellows of the Institute of British Architects or the Society of Arts (op. Cit., p. 412, f/n 25). The silver cup for Alex Rivington sold Sotheby's, New York, 4 June 1998, lot 126, and the one for A.O. Bell sold JS Fine Art, Banbury, 24 October 2015, lot 32 (for £27,500). Some of the enamel decoration was common to both the set of five cups and Burges own cup: the narrow band of black squares is annotated in Burges' design, 'this goes round all the cups'; a butterfly and diaper pattern between each quatrefoil is marked 'this is common to all' (RIBA 12863). An entry in Burges' Estimate Book notes the higher cost of the silver cups to those made of maple wood 'if silver bowls instead of maple £12. 10s.'. Maple cups cost £10. 10s. However, the entry for the silver bowls was later annotated on 1 March 1878: '5 cups complete in silver for £50' (Victoria and Albert Museum, Ms. 86.88.52). Condition Report: Maker's marks obscured, rest are clearSlightly wobblesMinor play to the stem where the stem and bowl are bolted together, with a slight gapBowl rim misshapedEngraving crispEnamel in good conditionSome pittingLight scratches and wear commensurate with age and useCondition Report Disclaimer
Lot 306
λ VANESSA BELL (BRITISH 1879-1961) STILL LIFE OF NARCISSI, CHARLESTON Oil on canvas Indistinctly signed with initials and inscribed (verso) 38 x 25cm (14¾ x 9¾ in.)With thanks to Gavin Kingcome Photography for providing the photograph of Vanessa Bell & Duncan Grant's studio at Charleston Farmhouse in East Sussex which shows the floral decorated teapot still sitting on the mantlepiece today. Provenance: The Adams Gallery, London Sotheby's, London, 6 November 2007, lot 30, where purchased by Robert KimeThe present work was most likely painted in the early 1950s in Grant's studio at Charleston, the vase being on the high mantelshelf (where it can still be seen today in the same position, now with reduced spout). Pheasant-eye narcissi were a favourite of Bell's.We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Not relined. Light horizontal cracking across the surface most notable to the upper left quadrant. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
Lot 366
λ DUNCAN GRANT (BRITISH 1885-1978) WOODLAND Oil on board 64 x 45cm (25 x 17½ in.)Provenance: Leicester Galleries, London Private Collection, Sir Michael Sadler (acquired from the above in 1930) Christie's, London, 6 June 2003, lot 20, where purchased by Robert Kime Exhibited: London, Leicester Galleries, The Camden Town Group, February 1930, no. 30 The present work was probably painted in September 1912 when Grant was staying with Clive and Vanessa Bell at Virginia Woolf's rented property, Asheham House, in the Sussex Downs. If 1912 is the correct date, then the picture was painted in the year Grant was still a member of the Camden Town Group (he showed one painting in the 2nd of the Group's exhibitions, December 1911). Woodland was the only work by Grant selected for the retrospective of the Group in 1930 at the Leicester Galleries and presumably came from the artist. It certainly has affinities with landscapes of 1912 by Spencer Gore and also by Harold Gilman. The geometrising of the foliage and ovoid forms are characteristic of Grant's painting at this period and were to become a hallmark of his cubist-influenced works of 1913. We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Light surface dirt. The board is slightly bowing. Water damage to the board lower edge at left side. Some rubbing to the extreme edges of the board. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
Lot 30
Local Interest - Iliffe (Richard) and Baguley (Wilfred), Victorian Nottingham: A Story In Pictures, The Nottingham Historical Film Unit, Nottingham 1970-1977, twenty volumes, bound as five volumes, Hammond T W, Nottingham Past & Present, fifty reproductions of Crayon drawings, printed J H Bell, 1926, Wesleyan Sunday School magazines, 1860-1863, four bound year volumes, others Tennyson's works etc
Lot 408
A 19th century town crier's bell of Tenbury interestOf typical form with turned lignum vitae handle, the brass collar inscribed 'James Gent, Bellman, Tenbury', 30cm high, together with a similar hand bell32cm high. (2)Footnote:James Gent is recorded as the Town Crier of Tenbury, Worcestershire, active in 1880.
Lot 450
A French neoclassical gilt metal mantel clockLate 19th century, the case surmounted by an urn, the 88mm black enamel dial with gilt Roman numerals, set on a black marble base, the eight day movement striking on a bell, with pendulum and giltwood stand.39cm highCondition:Swag from finial vase has broken off but is present. General minor signs of age and use to case. Movement not currently running. Has pendulum but no key. Giltwood stand is showing general visible wear.
Lot 379
Deux verres à jambes en verre spiralé et filet rouge. Probablement France, vers 1765Two colour twist wine glasses, probably French, circa 1765With bell bowls on stems with red cores within opaque white twists, over conical folded feet.For further information on this lot please visit Bonhams.com
Lot 22
Entertainment collection of 20 signed white cards. Signatures such as Neil Fox, Robert Elms, Ian Hislop, Simon Dee, Donal MacIntyre, Debbie Greenwood, John Leslie, Ross Kelly, Eric Knowles, Tania Bryer, Katie Adie, George Alagiah, Anna Maria, Mark Austin, Richard Bacon, Alice Beer, Martin Bell, Jennie Bond, Fiona Bruce and Michael Buerk. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Lot 26
Entertainment collection of 20 signed white cards. Signatures such as Alastair Stewart, Jerry Springer, John Suchet, Charles Wheeler, Richard Whitmore, Nicholas Witchell, Martin Bell, Sir Robin Day, Peter Snow, Clive James, Jonathan Ross, Mobeen Azhar, Reggie Yates, Tim Smith, Clive Warren, Johnnie Walker, Paul Vaughan, Mark Steel, Nina Myskow and Moira Stuart. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Lot 279
THE ROLLING STONES; 45rpm single, 'Honky Tonk Woman', on Decca, signed to paper sleeve by Mick Jagger, Bill Wyman, Charlie 'Boy' Watts, Keith Richards, Mick Taylor, Madeline Bell, and Nicky Hopkins, also verso Chris Jagger and Jimmy Miller.Condition Report: - We have not authenticated these signatures, please satisfy yourself as to the veracity of the item prior to bidding.
Lot 82
A French marble and ormolu mounted clock garniture, the white enamelled dial set with Arabic numerals, stamped to the reverse of the movement 'JS' and '57290', striking on a bell, height 42cm (3).Condition Report: - Please note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on www.adampartridge.co.uk/services/postage-shipping/
Lot 164
A FRENCH NAPOLEON III ORMOLU AND WHITE MARBLE MANTEL CLOCK IN EMPIRE STYLE, MID-19TH CENTURYthe brass eight day drum movement striking on a bell, the backplate stamped with initials 'GMP 177', the circular white enamel dial with Roman numerals, the case decorated with a classical philosopher teaching a young boy with books and scrolls, with pendulum and winding key39.3cm high, 41cm wide, 17cmm deepProvenanceKenneth Neame: An Enduring Legacy.Purchased Gutlin Clocks and Antiques, Kings Rood, London.PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
Lot 187
A FRENCH ORMOLU CARTEL CLOCKIN LOUIS XVI STYLE, 19TH CENTURYthe brass eight day movement with an outside countwheel striking on a bell, the circular enamel dial with Roman hours and Arabic seconds, signed 'Beliard Fils a Paris', the case with an urn surmout and decorated with a lion's mask and pelt with rams heads and cone pendants80cm high, 41cm wideProvenanceKenneth Neame: An Enduring Legacy.Purchased Netherhampton Salesroom, 5th April 2013.PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
Lot 300
A GEORGE IV SCOTTISH MAHOGANY LONGCASE CLOCKBY JAMES HOWDEN OF EDINBURGH, C.1830the brass eight day movement with arched plates and with an anchor escapement striking on a bell, the 13in silvered circular dial with Roman numerals and subsidiary seconds and date dials, signed 'James Howden, Edinburgh', in a flame figured panelled case, with a circular hood, with two weights and pendulum208.5cm high
Lot 302
A GEORGE III MAHOGANY BRACKET CLOCKBY JOHN ILBURY, LONDON, C.1765-70the brass eight day twin fusee repeating movement with a crown wheel escapement striking on a bell, with a bob pendulum and four knopped pillars, with a foliate engraved backplate, the brass dial with a silvered chapter ring, with black Roman hours and Arabic minutes, with a date aperture and inscribed 'John Ilbery / London' to the matted centre, beneath a strike/silent dial to the arch, the caddy top case with a brass handle with pine cone finials, with pendulum and winding key46.5cm high
Lot 316
A FRENCH WALNUT AND GILT METAL MOUNTED MANTEL CLOCKLATE 19TH CENTURYthe brass eight day movement with an outside countwheel and striking on a bell, with an engine turned dial with black Roman numerals, the arched case with a laurel leaf border and egg and dart rim, on bun feet43cm high ProvenanceThe Collection of Jean Louis Chameroy (1946-2020).PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
Lot 317
A FRENCH BRASS FOUR-GLASS MANTEL CLOCKLATE 19TH / EARLY 20TH CENTURYthe brass eight day movement striking on a bell, the backplate stamped 'A 1', 'G & B' and 'Made in Paris', the enamelled circular dial with Roman numerals, the case with bevelled glass panels and cut glass corner columns and panels32cm high, 20cm wide, 15.5cm deepProvenanceThe Collection of Jean Louis Chameroy (1946-2020).PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
Lot 318
A FRENCH EMPIRE GILT AND PATINATED BRONZE MANTEL CLOCKPOSSIBLY BY DEVILLAINE, EARLY 19TH CENTURYthe brass eight day movement with an outside countwheel and striking on a bell, the backplate stamped '8 * 1' and '420', on an enamelled dial with black Roman numerals, the case surmounted with books titled 'Phys. Tom 3' and 'Astro Tom 1.' the front with a cockerel flanked by flaming torches, with a bronze figure of Athena resting on the books, the rouge marble base with a frieze of putti emblematic of the Arts, with pendulum70cm high, 42cm wide, 17.5cm deepProvenanceThe Collection of Jean Louis Chameroy (1946-2020).PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
Lot 319
A FRENCH ORMOLU AND MARBLE MANTEL CLOCKEARLY 19TH CENTURYthe brass eight day movement with an outside countwheel and striking on a bell, the enamel dial with black Roman hours and Arabic minutes, the case surmounted by Venus and Cupid beside a brazier, on a plinth with further scenes of Venus and Cupid, on a marble base and turned feet48cm high, 37.5cm wide, 16cm deepProvenanceThe Collection of Jean Louis Chameroy (1946-2020).PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
Lot 320
A FRENCH MARBLE AND GILT METAL MOUNTED MANTEL CLOCKEARLY 19TH CENTURYthe brass eight day movement with outside countwheel and striking on a bell, the backplate stamped 'PLANCHON, PARIS', on a domed enamelled dial with back Arabic numerals and inscribed 'Levol a Paris', the arched marble case surmounted by an urn and applied with further gilt and coppered metal mounts, with key and pendulum33cm high
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