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Lot 330
Late 50s/ 60s fashions to include a plaid shift dress, an interesting black and white guipure lace dress by Flory of Miami, an olive green Russel Stuart dress with diamond pleated shelf bust, a 1940s wrap around apron or coverall, a navy blue shantung dress, a green skirt with blouse and a classic black cocktail dress with satin bow.(8)
Lot 113
A mid 19th century Scottish bow-fronted mahogany stick barometerAdie & Son, Edinburghthe squared cresting over a stepped top and straight sides to the block base (lowermost moulding missing), the trunk with flame veneer and reeded edge, signed silvered dial with rack-and-pinion vernier operated via an ivory button, to the 26-31inch scale with five engraved weather predictions. 1m (39.5ins) highFootnotes:Adie & Son worked from 58 Princes Street 1835-43; in 1844 they moved to number 50 until 1876. From 1877 to 1880 they worked from 37 Hanover Street.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 115
A fine late 18th century mahogany 'flat to the wall' bow fronted stick barometerHolmes, LondonThe broken swan neck pediment centred by an ivory ball finial over a long flame-veneered trunk with detachable recording knob, bordered by ebony line inlay, terminating in a canted base with applied urn cistern cover, the signed silvered dial with seven weather predictions and scale from 27 to 31 inches, with rack-and-pinion vernier 99cms (3ft 3ins) highThis lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 126
A very rare early 20th century English engraved brass Mystery ClockHarold Carter-Bowles, London In the form of a 'Mysterious Circulator', with an impressive 14.25inch diameter silvered Roman chapter ring with inner dotted border to represent the minutes set on a shaped brass baseplate below VI, the single brass hand pierced to represent an anchor with rope entwined around it at one end, and a three-masted ship hinged at the other, the whole hand pivoted on an upright strut in the form of a mermaid, her arms held aloft to carry the motion work and bevelled gearing emanating from the clockwork movement below - above her head is set a silvered minute ring with repeat signature and finely pierced and engraved dolphins flanking the figure of Poseidon. All set on an ebonised wooden plinth, the uppermost panel of which is richly engraved brass depicting the four seasons with figures sowing, reaping, shooting and finally slipping on a frozen river, twin figures of Chronos overlooking them all, signed at the front Carter Bowles, Invenit et Fecit, London. The spring driven timepiece movement set in the base and wound through an aperture at the front, with carrying handles to the sides, and a hand setting knob to the rear. 49cms (19.25ins) high. Footnotes:Harold Carter-Bowles was born in 1889 in Cheltenham, Gloucestershire. By the time he was 32 he was restoring historically important clocks, including an automaton pagoda clock by James Cox, which is on display in Anglesey Abbey. He would restore several of James Cox's automaton clocks, originally intended for the Asian market, and this may have been a particular interest of Carter-Bowles. He continued to restore and repair clocks for Lord Fairhaven, who owned Anglesey Abbey, even after he set up his own shop in Cheltenham. He also acquired and sold at least one clock to Lord Fairhaven; a large marble sundial-shaped clock by Morris Tobias, which is still on view at the Abbey. Around 1931, he established a shop in Cheltenham, at 6 Queen's Circus, and was described as a watch, clock, and scientific instrument maker. His shop front window was described as being 'always a source of great interest for the many horological curios that were in it'. At some point in his career, he also branched out into the selling of music boxes, though the extent of his manufacture of these remains unknown. In 1936, at an auction held in Stevens Auction Rooms, he purchased the effects of Dr. R. N. Pickering, a well-known horologist, including a number of unfinished movements. One of his career-long associations seems to have been with Courtenay Ilbert, the well-know horological collector, whose collection is now in the British Museum. Beginning in 1950 Carter-Bowles was elected Chairman of the newly formed Cheltenham branch of the British Horological Institute, a position he would hold until 1952, before becoming the branch's Vice-President, which he would remain until his death in 1961. About a month before his death, he donated a parcel of antique horological tools to the British Horological Institute's museum, in order to enhance one of their exhibitions on early horology.The mark on the front plate 'S & F Paris & Londres' is tentatively ascribed to Silber and Fleming, manufacturers of clocks, watches, automata, music boxes, and an assortment of household goods. The company was founded in 1854 by Albert Marcius Silber and Nobel Hutchinson Fleming, at 56 Wood Street, Cheapside London. The offices were later expanded to include Birmingham and Paris; the firm continued trading until about 1898, after which point the firm was liquidated. One of the company's known trademarks was a bow knot with AMS, Silber's initials, in between each loop. However, in their trade catalogues they put 'S. & F. London & Paris' at the bottom of most pages; it is not unreasonable to suggest that this same trademark would be applied to some of their products as well. That the firm was liquidated when Carter Bowles was nine years old does not exclude the movement being from Silber and Fleming; it is known that he would buy out lots of old clock movements, and it is possible that he was able to buy one or a few spare movements at a later date.The only other known alternative company for the trademark is Stauffer, Son, and Co., who are known to have used an 'S. F.' trademark. However, this company had branches in London and Chaux-de-Fonds Switzerland, not Paris, making them extremely unlikely to have been responsible for the movement. Carter-Bowles, H. (1959) 'Pickering Regulators', Horological Journal, Vol. 101 (7), pg. 423-424.Hodgson, B. (2002) 'Visit on 15 June', Antiquarian Horology, Vol. 27 (1), pg. 126.National Trust (2022) Clock Morris Tobias. Available at: https://www.nationaltrustcollections.org.uk/object/514739British Horological Institute (1961) 'Obituary: Mr. H. Carter-Bowles', Horological Journal, Vol. 103 (4), pg. 230.National Trust (2022) Pagoda Clock Henry Borrell. Available at: https://www.nationaltrustcollections.org.uk/object/514745Cowen, F. B. (1961) 'The Secretary's Page', Horological Journal, Vol. 103 (2), pg. 111-112.Ison, R. (1994) 'Register News', The Music Box, Vol. 16 (6), pg. 156.National Trust (2022) The Fairhaven Family. Available at: https://www.nationaltrust.org.uk/anglesey-abbey-gardens-and-lode-mill/features/the-fairhaven-familySilber & Fleming Ltd. (1885) Illustrated pattern-book of furniture, carpets, rugs, linoleums, floor cloths, curtains, window blinds, table linen, towellings, blankets, etc.. London: J.S. Virtue and Co., Limited. Volume II. Birks, S. (2022) Silber & Fleming. Available at: https://www.thepotteries.org/allpotters/10d.htm.(1892-1893) 'Stauffer, Son & Co.', The Watchmaker, Jeweler, Silversmith and Optician Vol. 18, pg. 297Dr. Bevan, P. (2015) The Pagoda Clock at Anglesey Abbey British Inter-University China Centre, University of Manchester and the National Trust. pgs. 16-19.British Horological Institute (1883) 'Trade marks relating to Watches and Clocks', The Horological Journal, Vol. 26 (1), pg. 8. British Horological Institute (1883) 'Trade marks relating to Watches and Clocks', The Horological Journal, Vol. 26 (2), pg. 23.For further information on this lot please visit Bonhams.com
Lot 43
A fine and rare early 19th century French Gilt and Patinated bronze Pendule L'amerique after DeverberieModelled as a seated woman wearing a feathered headdress and skirt, holding a bow and spear, one foot resting on a stylised alligator, its tail wrapped around a palm tree, raised on a 'D' ended plinth base with applied floral festoons over toupie feet, the 4.5 inch enamel Roman and Arabic dial with gilt hands, the drum movement with flattened lower edges to the plates, silk suspension and outside count wheel strike to a bell. 49cms (19ins) highFootnotes:A similar model is illustrated in Pierre Kjellberg's 'Encyclopedie de la pendule Francaise, Les editions de l'ameteur 1997, pages 352 and 353, fig. B and C, while a further example can be seen in Elke Niehuser's 'French Bronze Clocks 1700-1830', Schiffer 1999, page 147, figs 237 and 238 and page 148 fig 239.For further information on this lot please visit Bonhams.com
Lot 57
A good late 18th century mahogany quarter chiming longcase clockJames Allen, LondonThe pagoda top with ball and spire finials sitting on ribbed mouldings, the centre with shaped apron over silk backed sound frets mounted on brass stop-fluted Doric columns over a long door with flame veneer flanked by matching quarter columns on a doubled stepped plinth with applied moulded panel. The 12 inch arched brass dial with strike/silent over a Roman and Arabic chapter ring and scroll spandrels framing the matted centre with recessed seconds and applied arched signature riband. The movement with heavy plates united by five large knopped pillars, the going train with anchor escapement, the original pendulum with brass strip and lenticular bob suspended from a substantial back cock on the backplate, striking the hours on a bell and chiming the quarters on eight bells and hammers. Together with three brass-cased weights 2.55m (8ft 5ins) high. Footnotes:James Allan, also spelt Allen, was born in Forres, Scotland likely around 1739. He seems to have been initially apprenticed to a blacksmith in Forres, and after completing his apprenticeship he moved to London. By chance, he shared a house with a sextant maker, and apparently Allan would assist the sextant maker in the evenings. Allan must have preferred instrument making to blacksmithing, as by 1786 he was making Borda circles, likely with Jesse Ramsden, whom he appears to have remained close to throughout his life. In 1790, he was listed as working at 76 New Gravel Lane, before moving to 12 Blewit's Buildings, Fetter Lane around 1800, where he would remain for the rest of his career. In 1809, he is listed in the trade directories at this address as a 'divider of mathematical instruments'. In 1816, he published his own method for making highly accurate screws and was subsequently awarded a silver medal for his screw making, by the Society for the Encouragement of Arts, Manufacturers and Commerce. This same organisation gave him several awards throughout the years: two gold medals, one for his self-correcting dividing engine (1810) and another for a theodolite of his own manufacture (1815), as well as another silver medal for a new Reflecting Repeating circle (1811). On 3 February 1820, he received another award, of £100, this time from the Board of Longitude for his 'Self-Correcting Dividing Engine' used for the manufacturing of theodolites, sextants, etc. This engine is now in the Science Museum in London. It seems that shortly after this he moved back to Forres, where he died a year later, on 7 September 1821, his obituary being published in the Inverness Courier. James Allan would later be mentioned by Thomas Reid, in his Treatise on Clock and Watch Making: Theoretical and Practical, as a late watchmaker of London and a 'master in the art of dividing mathematical and astronomical instruments'.One of his sons, also James, served an apprenticeship to the well-known instrument maker Charles Fairbone, then worked in Ramsden's shop between 1813-1816, before transferring to Matthew Berge's shop located at 196 Piccadilly. In 1819, he and Nathaniel Worthington, a former apprentice to both Berge and Allan (Snr.) inherited the business on Berge's death, setting up the partnership of Worthington and Allan. Interestingly, James Allan, of 196 Piccadilly, was enrolled at the London Mechanics Institute between June 1825 to March 1826. The partnership between Worthington and Allan continued until 1835, after which point Worthington assumed full control, until his death in 1851. Whether Allan died in 1835, or the partners simply had a falling out, remains unknown.Another son, John, seems to have worked with his father between 1790-1794, before he established himself as a marine instrument maker in Baltimore, having left the UK in 1807. His adverts boasted that all the instruments were made using his father's improved dividing engine.Reid, T (1832) Treatise on Clock and Watch Making: Theoretical and Practical. Philadelphia: Carey & Lea.McConnell, A. (2016) Jesse Ramsden (1735–1800): London's Leading Scientific Instrument Maker. Abingdon-on-Thames: Routledge.de Clercq, P. R. (1985) 'Nineteenth-Century Scientific Instruments and their Makers: Papers presented' Fourth Scientific Instrument Symposium. October 1984.The British Antique Dealers' Association (2022). Worthington & Allan-London. Available at: https://www.bada.org/object/worthington-allan-london-outstanding-flat-wall-bow-front-mahogany-stick-barometer-circa-1820Public Ledger and Daily Advertiser. Friday 25 February 1820Inverness Courier.Thursday 13 September 1821Grace's Guide (2020) James Allan (London). Available at: https://www.gracesguide.co.uk/James_Allan_(London)#cite_note-3 This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 83
A rare second half of the 19th century automata novelty mystery 'Magician' mantel clockThe clock movement by Japy Freres, numbered 839.Surmounted by the standing brass automata figure of an exotic magician with head-dress, impressive moustache, necklaces, tied robe and mules, he is able to raise his arms and is articulated at the base of his neck in order to bow in acknowledgement of his performances. Before him stands a table on turned legs set on the main clock body in gilt and lacquered brass with applied scroll mounts to the front corners over a fancy base. The 3.5-inch white enamel Roman dial with minute track and fancy trefoil hands. The spring driven movement with outside countwheel strike on a bell, the backplate stamped Japy Freres 839 and further signed in gothic script h.A.(sic). Pendulum lacking, ideal for restoration. 40cms (15.75ins) high.Footnotes:This ingenious clock shows the magician apparently making different objects appear and disappear. The interchanging props are a white dice, a red apple and a yellow bun. There is also a blank option in which the object is shown to 'disappear' all together.For further information on this lot please visit Bonhams.com
Lot 34
Garuda is depicted in a standing position with his bird like body, humanoid head and bulging globular eyes. Particular attention has been paid towards the delicate details of the tail feathers. His bird-like muscular legs have a cross-hatched design resembling scales. A pair of rounded wings cover the back of the upper body with his long hair tied in a bow and ending in an upward scrolling curl.
Lot 130
A GEORGE III MAHOGANY DESKIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770On concealed brass casters80cm high, 136cm wide, 60cm deep A GEORGE III MAHOGANY DESKIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770On concealed brass casters80cm high, 136cm wide, 60cm deepCondition Report: There are scratches, knocks, cracks and abrasions.There are losses, restorations and observations including:The shaped tooled leather inset dry, faded and with marks and indentations.The wood and veneers with some tears, cracks, some pitting, repairs.Some fading, pitting, knocks and cracks.The drawers with some splits and tape to the oak linings; the key operates the locks to all the drawers and the door, Some grooves to the carcass from the running of the drawers.The flower in roundel carving of pleasing quality and depth; this carving worn to the kneehole by feet!The doors to the kneehole lacking some beading and with some bowing, possibly rebacked to counter the bow but the timber and hinges look of the period, so perhaps this is not the case.The back of the desk is not veneered. The backboards with some cracks, the outer side of the backboards with vestiges of card.There is some evidence of worm.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Lot 46
A GEORGE II MAHOGANY WINE TABLE OR KETTLE STANDMID 18TH CENTURY62cm high, the top 31cm diameterCondition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: slight bow to top; some knocks to the edge moulding; the turned top with a stepped underside; filler to the area where the screws fix the base to the top; a crack to the underside of the top of one leg where it joins the column.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Lot 126
Taxidermy: A Cased Perch (Perca fluviatilis), dated 1911, a skin mount preserved and mounted within a naturalistic setting amidst reeds and grasses, set above a painted simulated river bed, mounted against a white painted back drop, enclosed within a typical ebonised bow-fronted three-glass display case with gilt border, 58cm by 15cm by 32.5cm, painted legend to front glass centre -"Perch, Caught by J. Hewett, Weight 2lbs 1oz, Jan 3rd 1911, Preserved by the Fountain Angling Club".
Lot 128
Taxidermy: An Early Cased Perch (Perca fluviatilis), dated 16th August 1859, by John Cooper, Radnor St, London, a skin mount preserved and mounted within a naturalistic setting amidst reeds and grasses, set above a pebbled river bed, mounted against a blue painted back drop, enclosed within a typical ebonised bow-fronted three-glass display case, 44.5cm by 12cm by 28.5cm, bearing paper legend to interior upper left - "Caught by Joseph Horton, 16th August 1859, in the Broxbourne Fishery with a single hair line, Weight 1lb 11ozs"
Lot 136
Taxidermy: A Cased Northern Pike (Esox lucius), dated 1988, by Peter Stone, Taxidermist, Oxford, a preserved skin mount within a naturalistic setting amidst reeds and weeds, set above a pebbled river bed, mounted against a graduated blue/green painted backdrop, enclosed within a typical ebonised bow-fronted three-glass display case with gold painted border, gilt painted legend to front glass -"Pike 6lb, Caught by Sam Preest on the River Wye ar Lydbrook, 1988", taxidermist's paper trade label to interior upper right.
Lot 137
Taxidermy: A Cased Common Roach (Rutilus rutilus), dated 1885, by J. Bolton, Taxidermy, 5 Friendly St, New Town, Deptford, a skin mount preserved and mounted within a naturalistic setting amidst reeds, weeds and grasses, set above a pebbled river bed, mounted against a wash painted back drop, enclosed within a typical period ebonised bow-front three-glass display case with verre eglomise border, 44cm by 14.5cm by 26.5cm, bearing hand written paper legend to interior upper right -"Roach Weight 1lb 2oz, from River Medway, taken by Mr Lawes July 5th 1885, preserved by J. Bolton, 5 Friendly St, New Town, Deptford".
Lot 138
Taxidermy: A Cased Perch (Perca fluviatilis), circa early 20th century, a skin mount preserved and mounted within a naturalistic setting amidst reeds and grasses, set above a pebbled and grit covered river bed, mounted against a pale blue painted back drop, enclosed within a typical period ebonised bow-fronted three-glass display case with verre eglomise border, 50cm by 14cm by 32cm,Right eye is cloudy, 29/09/22
Lot 139
Taxidermy: A Cased Pair of Perch (Perca fluviatilis), dated 1942, a pair of high quality skin mounts preserved and mounted within a naturalistic setting amidst reeds and grasses, set above a pebble covered river bed, mounted against a pale green painted back drop, enclosed within a typical ebonised bow-fronted three-glass display case with gilt border, 47.5cm by 14cm by 31cm, bearing ivorine label to interior upper right - "Birmingham Waterways Canal, August 1942, B.A.A".Ivorine plaque within dated 1942 but i feel not of the period, a modern reproduction in the period style, 29/09/22
Lot 140
Taxidermy: A Cased Northern Pike (Esox lucius), by A.J. Bond, Taxidermy, a preserved skin mount within a naturalistic setting amidst reeds and weeds, set above a pebbled river bed, set against a watercolour painted back drop, enclosed within a period style bow-fronted three-glass display case, 76.5cm by 15.5cm by 34.5cm, bearing taxidermist's small paper trade label to interior upper right.
Lot 141
Taxidermy: A Cased Pair of Chub (Squalius cephalus), circa late 20th century, by Something Fishy, Taxidermy, Welling, Kent, a pair of cast Chub specimens mounted within a naturalistic setting of reeds, weeds and grasses, above a pebbled river bed below, set against a pale blue painted back drop, enclosed within a period ebonised bow-fronted three-glass display case with verre eglomise border, 62cm by 13.5cm by 36cm, bearing hand written paper legend to interior upper left - "Caught by R.S. Shreeve, River Avon, October 18th 1927, Total weight 3lbs 1 oz".A Reproduction pair of plaster cast chub, not skin specimens, a high quality decorative re-creation in the period style, 29/09/22
Lot 152
Tete Jumeau bisque head Bebe doll in original size 11 box, French 1880s, with fixed brown glass paperweight eyes, finely painted lashes and feathered brows, delicately painted closed mouth, pierced ears and original long brown wig with ringlets and cork pate, on a fully jointed wood and composition body with paper label ‘BEBE JUMEAU, Diplome d’Honneur’, wearing original ivory cream silk dress with white lace ruffles and blue ribbon sash with bow to waist, lacy bonnet, underclothes, brown socks and white kid leather size 11 Bee stamped Jumeau shoes, in her original gold wooden box with size 11 label and lid, 24 ½” (62cm) tall, (condition: head perfect, some old repaint to right hand).
Lot 67
A fine wooden Noah’s Ark and Animals, German 1880s, brown painted bow bottom ark with pitched roof with painted Dove, sides and ends painted in greys and cream with arched painted windows and decoration, sliding side panel, ark 20 ½” (52cm) long and 12” (30.5cm) high, (condition: paint good, split to one end panel and slight loss to top of hull, together with over 200 various animals and birds including 57 pairs of animals including giraffes, camels, pigs, elephants, lions, deer, cats, dogs and hounds, rabbits, monkeys and many more, 2 pairs of insects, 34 pairs of various birds, 7 people and 24 single animals and birds, (condition: animals generally good, some lacking ears/horns, few lacking a leg and tails, birds in general good paint but many lack a leg or two, Noah and family three lack an arm and two half an arm).
Lot 311
The Narford Hall Chestnut Basket: an exceptional Worcester basket, cover and stand, circa 1768The modelling by John Toulouse, each part moulded with puce florets, the basket with a honeycomb ground, the cover and stand with pierced arcaded borders, the centre of the stand and interior of the bowl with colourful flower panels on a blue scale ground, the twig handles and finials with elaborate modelled flower terminals, stand 26.5cm wide, square marks, the footrim of the basket impressed with initials 'To' for John Toulouse (3)Footnotes:ProvenanceThe Fountaine Collection at Narford HallC Boot, probably purchased at the celebrated Fountaine sales in 1884 (paper label)With Rod JellicoeGerald Moore CollectionJohn Toulouse had created related moulding while at Bow and he probably introduced the shape to Worcester around 1766-68. The modelling of the flowers is typical of Worcester porcelain bearing the To mark, although it is very unusual to find chestnut baskets marked with his initials. This shape is traditionally known as a chestnut basket and this is likely its intended purpose. This name does not appear in the 1769 Worcester sale catalogue, however, and instead several pairs of 'cream basons' with covers and plates are listed. Whichever function was intended, the present lot is an exceptional example with nothing to indicate that it was ever used, other than as the most splendid decoration.For further information on this lot please visit Bonhams.com
Lot 320
A rare Worcester teacup and a saucer, circa 1765-70Decorated in the Giles workshop, with a plain loop handle, painted in two tones of green, black and gold with groups of pointed leaves growing from meandering gilt tendrils, some bearing groups of puce berries, saucer 12.3cm diam, cup with crossed swords and numeral 9 mark (2)Footnotes:ProvenanceBonhams, 2 November 2015, lot 114Gerald Moore CollectionA related design occurs on Bow and Chinese porcelain painted in London during the 1740s and early 1750s, a time when James Giles was working at Kentish Town. See also the similarly decorated Worcester 'Scratch Cross' coffee pot from the Zorensky Collection, sold by Bonhams on 23 February 2005, lot 20.For further information on this lot please visit Bonhams.com
Lot 1447
An Anya Hindmarch pink glitter clutch bag, with gold toned twist clasp and gold flap lining, the nude suede interior with single card pocket, 9 x 6in. (22.9 x 15.2cm.), as new, with original dust bag.. In near mint condition - never used. Clear plastic sticker still in place covering the gold bow logo on back of bag.
Lot 156
A Victorian silver snuff box, George Unite, Birmingham, 1875, of elongated oval form, engraved throughout with foliate scroll decoration, the hinged cover with entwined initials to centre, having cast Cupid's bow thumbpiece, opening to reveal gilt interior, 3 ¾in. (9.5cm.) wide, weight 3.34 tr.oz.. * Very good condition, light wear to gilt interior only.
Lot 1945
A 19th century French ormolu half hour striking mantel clock, the case with a urn finial with removable cover, with ram's masks and foliate swags, on a fluted arched top, fluted side pilasters with pineapple finials and a bow ended base with egg and dart moulded toupie feet, the body inset with Sevres style porcelain mounts and dial on a puce ground, the gilt Roman dial with a central painted panel depicting a putti in flight, the eight day movement signed Henry Bright of Leamington, no. 11877 and striking the hours and half hours on a bell, 13.75in (35cm) high. The minute hand has snapped off and is detached (but present). Porcelain panels all in good condition. Encrusted dirt to case and would benefit from careful cleaning. There is also some wear and tarnishing to the gilt in places. Chip to edge of glass on movement door. Winds, runs and strikes correctly.
Lot 1
The Martyrdom of St. Sebastian: an important German engraved glass panel attributed to the master 'H I', late 17th centuryThought to be Heinrich Jäger, of octagonal shape with bevelled edges, finely wheel-engraved in intaglio with the Martyrdom of St. Sebastian, the wounded semi-nude saint bound to a gnarled tree, his right arm tied at the wrist with rope to a branch above his head, further rope wrapped around the base of the trunk, his body impaled with three arrows including two to his chest and one to his leg, a bow with a broken string together with two broken arrows at his feet, traces of silvering to the reverse, in a carved and ebonised pine 'ripple' frame, the panel 22.2cm high, 16.4cm wideFootnotes:ProvenanceDesmond Coke Collection, Sotheby's, 22 July 1931, lot 14 (part)Private Swiss Collection, BernPreviously thought to be Venetian, this remarkable panel depicts the Martyrdom of St. Sebastian after an original engraving of circa 1600 by Jan Harmensz. Muller (Dutch, 1571-1628), in turn based on the 1594 altarpiece by Hans van Aachen (German, 1552-1615) in St. Michael's Hofkirche, Munich. In the late 3rd century AD Sebastian had been a member of the Praetorian Guard, the personal security detail for Roman emperors. Christians were militantly persecuted by Rome at this time, and Sebastian was caught actively trying to convert several prominent individuals. As punishment, he was stripped and tied to a tree before being shot with arrows, as depicted on the present panel. He was rescued by St. Irene of Rome after being wrongly presumed dead. Unfortunately for Sebastian, he was clubbed to death by order of the emperor shortly after his recovery.The distinctive style of the figure of Sebastian himself, with his square jawline and heavily marked facial features, together with the rendering of his body with a series of soft curved depressions seamlessly merging into one another without the need for much further detailing in the musculature, are characteristics seen in many pieces attributed to the monogrammist 'H I'. His work is discussed in detail by R J Charleston, 'The Monogrammist 'H I': A Notable German Engraver', Journal of Glass Studies, Vol.4 (1962), pp.67-84, who states that this master ranks amongst the best German glass engravers of the Baroque period, particularly in his rendering of the human figure. Figures by this engraver are typically slightly androgynous in appearance, and almost always shown holding their heads in exact profile and their bodies frontally, as is the case here. This characteristic style deviates slightly from Sebastian's pose in the original source print. Two beakers engraved with semi-nude figures of Vulcan and Venus and of Meleager and Venus respectively in a very similar style to the present lot are illustrated by Rainer Rückert, Die Glassammlung des Bayerischen Nationalmuseums München, Vol.2 (1982), p.161, nos.564 and 565. The identity of the monogrammist 'H I', sometimes interpreted 'I H', has been the subject of considerable debate but is traditionally thought to be Heinrich Jäger, a glass cutter and engraver from Reichenberg in northern Bohemia who was active from at least 1690 or earlier. Little is known about Jäger, but he worked in Berlin throughout the 1690s until about 1706, then subsequently in Central Germany. He finished his career at Arnstadt, Thuringia, from circa 1715-20. His engraving style shows little Bohemian influence but has much in common with Gottfried Spiller's Brandenburg works. In 1696 Spiller's wife was recorded as the godmother to one of Jäger's children in Berlin, and he is known to have supplied glass to Charlottenburg circa 1705-06, so he was clearly moving in high circles. No other panels attributed to this engraver would appear to be recorded, but it is possible that it represents an early work undertaken prior to his more complex vessel forms.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 20
An exceptionally rare Dutch engraved armorial moulded-stem 'Friendship' goblet, circa 1720-30The engraving perhaps circa 1750, the generous round funnel bowl decorated to one side with the coat of arms of van Campen, two wings beneath a crowned helmet, crested by three leafy stemmed thistles, the motto 'IN VELAMENTO ALARUM EXULTABO' (I will exult under the cover of your wings) inscribed in diamond-point on a banner beneath, all within an elaborate foliate scrollwork cartouche, the reverse with the biblical kings David and Jonathan in embrace and kissing, Jonathan wearing armour and wielding a bow, David wearing a crown and holding a harp, beneath the Latin inscription 'VITRUM AMICITIÆ' (Glass of Friendship) in diamond-point, on a most unusual spirally twisted four-sided pedestal stem containing a central tear, over a wide conical folded foot, 19.7cm highFootnotes:ProvenanceWith Frides Laméris, 15 April 2013Stephen Pohlmann CollectionThe arms on the present goblet are for the van Campen family of Holland, who became Nobility of the Holy Roman Empire on 29 October 1725. The motto is a variation of Psalm 62:8, a Psalm of David when he was in the wilderness of Judah, making the scene on the other side even more pertinent. For the story of David and Jonathan, see the footnote to lot 21 in this sale. Whilst depictions of David and Jonathan on 18th century glass typically emphasise the platonic interpretation of their relationship, the figures in the highly unusual kissing pose on the present glass may suggest a homosexual interpretation.The engraving on the present goblet relates to a small but distinct group of English heavy baluster glasses with wheel-engraved decoration and diamond-point inscriptions in Latin. One such goblet depicting David and Jonathan, also with the inscription 'AMICITAE' in diamond-point and the only recorded example of the subject on a heavy baluster glass, is illustrated by Dwight Lanmon, The Golden Age of English Glass (2011), pp.140-1, no.41 and was sold by Bonhams on 20 May 2015, lot 31. A 'Liberty' goblet from the same group was sold by Bonhams on 29 September 2020, lot 42. Lanmon states that the quality of the engraving suggests the work of someone trained in the Netherlands, and whilst most Dutch engraved glasses have wheel-engraved inscriptions, the Dutch armorial here would appear to confirm a Dutch hand.The way in which the four-sided moulded stem of this glass has been twisted during manufacture is highly unusual, with only a small handful of related glasses recorded. An example with a domed foot is in the Durrington Collection, illustrated in Roger Dodsworth's catalogue (2006), p.12, no.13. Martin Mortimer in his paper therein, 'Early Glass and Balusters', p.13, states that this rare stem formation is practically never seen. Another example, with a thistle-shaped bowl, was sold by Sotheby's on 12 November 1984, lot 5. See also the Dutch engraved glass with a related spirally twisted stem but of inverted baluster form, sold by Bonhams on 17 December 2008, lot 437.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 21
A rare Dutch engraved mushroom-knopped heavy baluster 'Friendship' goblet, circa 1710The generous round funnel bowl with a solid base, decorated with the biblical kings David and Jonathan gesturing at one another, both wearing classical Roman costume including plumed helmets, Jonathan's bow leaning against a stump and a quiver of arrows at his feet, a spear and shield behind David, beneath the inscription 'DE VRIENDT-SCHAP' (Friendship), set on a wide teared mushroom knop above a teared basal ball knop, over a conical folded foot, 18.2cm highFootnotes:ProvenanceWith Frides Laméris, 20 September 2011Stephen Pohlmann CollectionThe Book of Samuel describes David's ascent to power and the covenant he formed with Jonathan. Famed for his musical ability, David was summoned to play for King Saul. Jonathan, Saul's son, established a close bond with David and gave clothing and armour, including his bow, to Jonathan to formalise the covenant. The relationship between the two men is considered to have been more than platonic and the Old Testament figures were a popular Dutch symbol of friendship. The present glass relates to a small but distinct group of English heavy baluster glasses of very similar size and form with similar wheel-engraved decoration but bearing Latin inscriptions in diamond-point. A very similar goblet from this group also depicting David and Jonathan, inscribed 'AMICITAE', is illustrated by Dwight Lanmon, The Golden Age of English Glass (2011), pp.140-1, no.41 and was sold by Bonhams on 20 May 2015, lot 31. A related 'Liberty' goblet bearing the White Horse of Hanover was sold by Bonhams on 29 September 2020, lot 42.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 227
An early Bow white salt, circa 1750-53Modelled as an upturned shell, set on a triangular base formed of shells encrusted with smaller shells and seaweed, 11cm wideFootnotes:This form was issued in four sizes. A very similar, slightly larger shell salt is illustrated by Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain (1982), p.43, no.42. Another from the Judy and Phelps Bell Collection was sold by Bonhams on 20 November 2019, lot 177.For further information on this lot please visit Bonhams.com
Lot 228
A very rare pair of Bow duck tureens and covers, circa 1755-58Realistically modelled with their heads turned to one side, their wings and tail forming the covers, carefully painted with yellow bills, the drake with puce and green feathers, the duck painted in tones of brown with green flashes, only their collars left in the white, 11.8cm wide (4)Footnotes:ProvenanceWith Simon SperoA single duck from the Geoffrey Freeman collection is illustrated by Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain (1982), no.264 and was sold by Bonhams on 5 December 2007, lot 168.For a pair see Yvonne Hackenbroch, Chelsea and other English Porcelain, Pottery and Enamel in the Irwin Untermyer Collection (1957), col. pl.10, fig.20, where the source is given as George Edwards, A Natural History of Uncommon Birds, Vol.3, pl.157. However, the print shows little similarity to the porcelain model and another as yet unknown source may have been used. See Paul Crane, Nature, Porcelain and Enlightenment: George Edwards and the Chelsea porcelain Birds, ECC Trans, Vol.28 (2017), p.62, figs.78 and 79.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 229
A Bow figure of a Flower Girl, circa 1760Modelled standing on a low scrolled base applied with flowers, a basket of flowers in her left hand, her right hand holding more flowers in the folds of her apron, her pale yellow bodice applied with blue flowers, her skirt painted with puce florets, 15cm highFootnotes:ProvenanceBrenda Dunning CollectionFor further information on this lot please visit Bonhams.com
Lot 230
A pair of Bow figures of Harlequin and Columbine, circa 1760After Meissen originals, seated on low mound bases applied with flowers, Harlequin playing pipes and Columbine a hurdy-gurdy, their costumes delicately painted in bright colours and highlighted in gold, 13cm and 11.2cm high (2)Footnotes:ProvenanceBrenda Dunning CollectionFor further information on this lot please visit Bonhams.com
Lot 231
A pair of Bow models of birds in branches, circa 1765Modelled as two nesting buntings set amongst a profusion of brightly coloured flowers and leaves, two chicks in the tiny nest below, the pierced bases applied with a small dog and a sheep, twig handles to the reverse applied with floret thumbrests, 18.5cm high (2)Footnotes:The handles at the rear and central hole in the boughs suggest that these groups were intended as candlesticks fitted with tole peinte supports. A similar pair mounted in this way is illustrated by Peter Bradshaw, Bow Porcelain Figures (1992), p.161.For further information on this lot please visit Bonhams.com
Lot 233
A Bow candlestick group, circa 1765Modelled as a lady singing from delicately painted sheet music held in her left hand, accompanied by a male violinist who sits beside her, a balustrade to either side, the branches behind them applied with flowers and leaves and supporting three gilt metal candle nozzles, the unusual stepped base finely marbled, 25cm highFor further information on this lot please visit Bonhams.com
Lot 234
A pair of Bow figural candlesticks emblematic of 'Spring' and 'Summer', circa 1760Modelled as a putto and a nymph around a rococo scrolled pillar encrusted with flowers, 'Spring' holding a garland of flowers, the seated putto with a basket of flowers, 'Summer' holding a corn sheaf, the putto sleeping on a bed of flowers and corn, the pillars pierced with holes to receive sconces and picked out in puce and pale blue, 21.2cm high (2)For further information on this lot please visit Bonhams.com
Lot 235
A pair of Bow candlestick figures of 'Dutch Dancers', circa 1765In dancing attitude, she with her hands on her hips, he with his hands behind his back, wearing richly patterned and brightly coloured costumes, the scrolled bases and trunks behind the figures applied with flowers and leaves, 27.5cm high (2)Footnotes:ProvenanceWith Stoner and EvansFor further information on this lot please visit Bonhams.com
Lot 236
Two Bow figures, circa 1760-70One a huntsman with his dog seated at his side, his gun in his right hand, his waistcoat painted with kakiemon flowers, on a plain mound base, 17cm high, the other a lady emblematic of Matrimony, a birdcage resting on one knee, her yellow-ground skirt richly patterned, on a high scrolled base, 21cm high, A mark in blue (2)Footnotes:ExhibitedArt Treasures Exhibition, 1928 (huntsman)For further information on this lot please visit Bonhams.com
Lot 237
A Bow botanical plate, circa 1757-59Of silver shape with a black line rim, painted in 'Hans Sloane' style with a branch of fruiting redcurrants, a curious moth and two smaller flying insects on the rim, 23.2cm diamFootnotes:ProvenanceBonhams, 14 November 2018, lot 341Robyn Robb CollectionPresumably based on the Chelsea prototypes, Bow's distinctive palate of enamel colours transforms the appearance of 'Hans Sloane' decoration. For a closely related Bow example see Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain (1982), p.104, pl.158. A vase also with closely related leaves and an insect is in the Borough of Newham Collection, see Anton Gabszewicz, Made at New Canton (2000), fig.59.For further information on this lot please visit Bonhams.com
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