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Lot 459
A French Louis XV style giltwood canapé - 19th century, the cloud-shaped, caned back with carved curled ribbon decoration and tied bow cresting, over a caned seat with a loose cushion, upholstered in the original tapestry depicting a dog in a landscape below an arch of flowers, raised on four stop-fluted tapered legs with foliate capped, turned feet. (87 cm wide x 85 cm high.)
Lot 175
A late 19th-century diamond pendant/brooch in a concentric floral design set with old cut diamonds, with a removable diamond bow bail, the brooch with a total estimated diamond weight of 3.00ct, measuring 63mm x 37mm including bail, with removable brooch fitting to the reverse, convertible from brooch to pendant. Total weight 19.6 grams.
Lot 213
GASTON LA TOUCHE (FRENCH 1854-1913) L'ARRIVÉE DE LA PRINCESSE Oil on cradled panel, painted on gold ground Signed, inscribed 'STC' and dated '1911' lower right 311.1 x 191.8cm (122¼ x 75½ in.)Provenance:Le Transatlantique 'France'. Collection Henri Cangardel, Chairman of the Compagnie Generale Transatlantique French Line. Private Collection, by descent. Private Collection, London. Exhibited:St Cloud ( Paris), Musée des Avelines, 16th October 2014 - 1st March 2015, Gaston La Touche, Les Fantaisies d'un peintre de la Belle EpoqueVersailles, Château de Versailles, Revival 1867-1937, 19th November 2019 - 15th March 2020 Literature:Henri Frantz, Gaston La Touche 1854-1913, London 1914, p. 19. Louis Rene Vian, Arts d'ecoratifs a bord des paquebots francais 1880-1960, Paris 1992, p. 48 and 49. Selina Baring Maclennan, Gaston La Touche. A Painter of the Belle Epoque, Antique Collector's Club, UK 2009, p. 71, illustrated p. 73, pl 71, illustrated in colour. Musée des Avelines, Gaston La Touche, Les Fantaisies d'un peintre de la Belle Epoque, Saint-Cloud 2014, illustrated p. 91. La Touche could not have received a more appropriate commission than this large panneau decoratif for the First Class Dining Room of the liner France. A major exhibition of 323 works at the Galeries Georges Petit had firmly established his reputation in 1908 and this commission came a few years later in 1911. The four funnel France was built in St Nazaire, France in 1911 and was the most lavishly decorated liner of the day - it accommodated 517 First Class passengers from a total of 1623. Known as the "Versailles des mers" or the "Chateau de l'Atlantique", the decor throughout was opulent gilded Louis XIV, expressed so grandly in the two tiered First Class Dining Room with its magnificent sweeping staircase ending in the centre of the salon - indeed, it was said that no self respecting woman would enter by any other way. It was for this staircase that La Touche painted this panel. Throughout his life he had had a love affair with the Palace and gardens of Versailles: painting several large canvases of beautiful women alighting from carriages and stepping into brightly coloured barges and gondolas. As early as 1895 he painted a suite of Quatre Saisons for the Salle de Mariage in the Mairie at St Cloud and it is here that La Touche used the format for this panel in his depiction of Spring. To echo the opulence of its setting, he has the viewer looking up at the central figure as she is helped from her carriage towards a waiting barge, complete with musical ensemble - she appears to be of royal standing as her entourage bow to show her status.The France was sold in 1933 and broken up by Dunkirk Breakers in 1934 - the whereabouts of this painting were unknown until its discovery 25 years ago. Photograph: French Line, S.S. "France", Interior, Dining Salon,1924. [Byron Company (New York, N.Y.)][ 93.1.1.11467] Museum of the City of New York. Condition Report: Please note that the present lot has been shot with and without the frame, but the frame has been photo shopped in place as was in pieces and was not built around the picture. This may not reflect the actual fitting of the frame, which may need building and is not guaranteed to fit properly. The painting presents a few scattered losses of paint at the borders and a generally sparse craquelure which has though been covered by restoration. UV light, in fact, reveals numerous fillings in the cracks that have widen across the whole surface, most noticeable in the background area of the sky, and on the carriage. Furthermore, there are extensive restorations on the lower centre part of the panel, such as on the back of the musician at the centre, or on the water of the fountain; such restorations can be up to 10 cm of width. Numerous restorations are also present on the vessel, in the leaves of the tree, and on the head and dress of the lady at the centre. Condition Report Disclaimer
Lot 74
THOMAS FRYE (ANGLO-IRISH 1710-1762) PORTRAIT OF A LADY Oil on canvas, feigned oval Signed and dated `1755' (lower right) 75 x 61cm (29½ x 24 in.) In an elaborate Rococo frame Thomas Frye was an Irish portrait painter. As a boy in Ireland he was influenced by artists such as Rosalba Carrera. In 1735, he travelled to London with Herbert Stoppelaer (active 1730 - 1775). There he studied under John Brooks of Battersea Enamel Factory. During his career Frye painted the portraits of many members of London society including Jeremy Bentham (1760), and Henry Crispe of the Custom House (1746), as well as for royalty with his later portraits showing the influence of Hogarth, including Frederick, Prince of Wales in Garter Robes (1741). The present lot was painted in 1755, a relatively late work for the artist. In 1744 Frye took out a patent for the manufacture of artificial soft-paste porcelain, which by 1749, had received the backing of the Peers family and was in full production at the Bow Porcelain Factory. By 1759 however, the prolonged exposure to the environment of the factory furnaces had taken its toll on Frye's health. He died of consumption in 1762. Condition Report: The canvas has been lined. Rubbing and abrasions to the framing edges. Stretcher marks visible. Craquelure throughout. Some light scuffs and surface scratches. Inspection under UV reveals scattered retouching and infilling throughout, but this is particularly concentrated to the sitter's face. Measurements including frame: 112 x 85cmCondition Report Disclaimer
Lot 20
Christian Dior and Givenchy-A vintage Dior branded sheer wrap in beige with turquoise and pink bow design to the border having hand sewn edges, 70" x 28" together with a vintage Givenchy multi striped silk scarf with hand-rolled edges, 30" x 30". Location:Condition:No pulls, tears or stains to Dior. No pulls or tears, small stains to branded name area of Givenchy-see additional photos.
Lot 7
Gucci-A ladies black silk off the shoulder and full length evening gown, European size 40 having bow detail to shoulder and long sash tie to the right hand side waistline , thigh height slit to right hand side together with a brown Gucci dress carrier and branded coat hanger A/F. Location:Rail
Lot 150
A group of hats to include a Battersby school boater size 6⅞, a RWAFF wide brim felt hat, 4 straw hats, a Lock & Co brown felt ladies hat with bow and an HMS Illustrious navy peak cap together with 10 vintage wooden trouser hangers, a pair of gold plated sunglasses without temple arms in case 3 vintage leather briefcases to include Antler and a vintage brown suitcase A/F. Location:RAB
Lot 52
A mixed lot of jewellery to include a seed pearl bow bar brooch, stamped 15ct, 45mm long, 3.3g, a 'J' bar brooch, stamped 750 to reverse, 2.6g, a pair of cameo earrings stamped 375, 3.0g, an unmarked yellow metal citrine brooch, an unmarked topaz brooch, a Maltese cross lava cameo pendant and gilt metal chain and a fine chain with clasp indistinctly stamped 9k, (7)
Lot 110
Three items of jewellery to include an early/mid 20th century round white paste set dress clip, indistinctly stamped 935, 35mm diameter, a white metal and paste set bow brooch, unmarked, and a contemporary white metal ring, (3) A silver and white paste round dress clip, a white paste and white metal bow dress clip and an unmarked white metal ring (tests as silver)
Lot 342
FRENCH LOUIS XVI GILT BRONZE AND WHITE MARBLE MANTEL CLOCK BY LEPINE CIRCA 1780 the white enamel dial with black Arabic numerals and Arabic quarter markers, signed in puce ‘Lepine, A Paris’, the white marble pendule d’officer style case with beaded door with rose branch bow swag below, surmounted by a figure of winged Cupid descending on billowing clouds to greet a figure of Venus with two doves between them, mounted on a white marble inverted breakfront plinth base with acanthus moulding, the front with a classical frieze of putti, on front toupie feet flanked by two pairs of column base feet, the twin barrel movement with silk suspended pendulum and outside countwheel, striking on a bell, the backplate signed ‘Delaruelle AParis’ 32cm wide, 39cm high, 14cm deep There is a limited corpus of known Lepine clocks from the same period with a similar composition to the present clock, all featuring a pair of gilt bronze figures representing allegories of love flanking the case incorporating doves. A similar model, signed Lépine, can be seen in the collection of the Residenzmuseum, Munich, another housed in identical case can also be found at Château de Fontainebleau [See Hans Ottomeyer and Peter Pröschel, “Vergoldete Bronzen”, 1986, p. 248, pl. 4.6.13]. That model also features an allegory of Cupid, this time in the guise of a putti, descending from the opposite side. The modelling and chasing of the clouds is nearly identical to the present clock and the framing of the figures around the case is similar. Another similar model, signed Lépine, resides in the Collection of the Louvre Museum, Paris, and came from the collection of Queen Marie-Antoinette [See P. Kjellberg, La pendule française du Moyen-Age au XXe siècle, Les Éditions de l’Amateur, 1997, p.251 (pendule C) et 246 (pendule A), Archives nationales O13510)]. That model represents the “Return of Love" and shows figures of a winged putti offering a dove to a young maiden arranged in a similar posture around the clock. Both of those signed Lepine examples have very similar dials to the present clock, with the style of both the Arabic numerals and the signature near identical.Jean-Antoine Lépine (1720-1814), was one of the most important Parisian clockmakers of the second part of the 18th century. He was appointed clockmaker to both King Louis XV and Louis XVI, to whom he supplied a large number of clocks to the Palais royaux. Lépine was also patronised by the French aristocracy as well as the Spanish, British and Swedish royalty. Lépine initially worked as an “ouvrier libre”, then became a master on March 13, 1762, and taking over the stock of his colleague Caron, who held the title of Horloger du Roi et du Garde-Meuble de la Couronne. Having settled in the rue Saint-Denis in 1756, the place Dauphine in 1772, the rue des Fossés Saint-Germain-l’Auxerrois in 1777, and then the rue des Vieux-Augustins during the Revolutionary period, Lépine led one of the most productive and renowned workshops of the reign of Louis XVI. He was also very aware of integrating scientific excellence with aesthetic beauty and thus only used cases by the finest bronziers such as Jean-Baptiste and Robert Osmond, Etienne Martincourt and Jean-Rémy Carangeot as well as the ébénistes Balthazar Lieutaud and Nicolas Petit and also employed the services of the gilders Noël, Martin and Henry. Lépine’s attention to detail also included the dial face, his early dials only had Arabic numerals for the hours and minutes. This was one of Lépine’s specialities, which he continued to use until about 1789 when he reverted back to the more usual combination of Roman and Arabic numerals.In the late 18th century there were two clockmakers named De La Ruelle that were active in Paris. The first being André De La Ruelle (born in 1740), was apprenticed in 1754, registered his letters of mastery on October 13, 1762 and set up his workshop on rue Saint-Martin from 1772 to 1789 (See P. Verlet, Les bronzes dorés français du XVII siècle, Paris, 1999, p. 435). The second, Nicolas De Là Ruelle, seems to have started his career at the end of the reign of Louis XV and set up his workshop successively in Enclos des Quinze-Vingt, rue Croix des Petits-Champs and rue Richelieu at the Revolution.
Lot 106
19TH CENTURY the arched back plate above a grate with four serpentine bars and pierced apron, the tapered square legs mounted with urn finials; together with a GEORGE III NEOCLASSICAL CAST IRON FIREBACK, late 18th century, of rectangular form with a trophy of a flaming torch and quiver of arrows suspended from a bow, within a beaded border and corner rosettes (2) firebasket 97cm wide, 58cm high, 49cm deep; fireback 63cm wide, 71cm high
Lot 621
A Bow figure of a dancing shepherdess, c.1752-55, holding the edge of her patterned skirt, a lamb recumbent at her feet, raised on a pad base applied with flowers, a little good restoration to her left hand, 14.6cm.Provenance: the Roger and Patricia Daniels Collection. Purchased from a private collector in Sydney during the 1970s.
Lot 618
Three English porcelain plates, c.1755-60, one Longton Hall and painted with colourful birds within a border of moulded strawberry plants, one Bow, of octagonal form and painted in famille rose enamels with flowering plants and work, the last Richard Chaffers (Liverpool) and moulded with flowers over radiating bands, the Longton Hall broken and riveted, 23.3cm max. (3)Provenance: the Roger and Patricia Daniels Collection.
Lot 776
A Meissen mantel clock, late 19th century, a putto with a bow and quiver holding a torch, seated by a quadrangular timepiece decorated with applied garlands of flowers and oak leaves above a dial surrounded by a laurel garland, the pierced surmount with two pigeons, all raised on a quadrangular classical footed base decorated with a guilloche border centred with an acanthus leaf, blue crossed swords mark, incised 'F.36' to the base, some damages and repairs, 30cm high.
Lot 622
A pair of white-glazed Bow figures of Harlequin and Columbine, c.1755, each seated on a low rocky stump applied with flowers, Harlequin playing the bagpipes, Columbine seated with a hurdy-gurdy on her lap, some restoration, traces of cold painting, 13.2cm. (2)Provenance: the Roger and Patricia Daniels Collection. The cold-painted decoration is an unusual feature.
Lot 612
An early Bow footed sauceboat, c.1748-52, of silver shape, painted in famille rose enamels with flowering peony sprays issuing from rockwork, the interior rim with a band of flowerhead panels reserved on a green trellis border, all raised on three paw feet, 18cm across.Provenance: the Roger and Patricia Daniels Collection. Acquired in England during the late 1990s.
Lot 623
A Bow figure of an abbess, c.1755-58, seated and reading from a large prayer brook inscribed 'Vanitas Vanitatum', her left hand outstretched, her right foot extending from the hem of her robes, a little restoration to her foot and left hand, 14.8cm.Provenance: the Roger and Patricia Daniels Collection.Patricia entertained the strong notion, perhaps based on the nun's manly features, that this particular figure was of the actor David Garrick in a cross-dressing role. She discussed this in her Bow Porcelain book in a chapter titled 'Let the Porcelain Speak'.
Lot 730
An early Bow white-glazed teapot and cover, c.1753-55, the small globular body applied with sprigs of flowering prunus, with an unusual Bow cup with an angular handle in the St Cloud manner, and a small Bow mug or coffee can, all decorated with differing prunus sprigs, some damages to the mug, 17.5cm max. (4)
Lot 617
Two Bow blue and white plates, c.1750-55, one painted in a paler blue with the Broken Scroll pattern, the other octagonal and painted with flowering plants and rockwork beside an ornamental fence, the rim with three floral vignettes, painted numeral 32 to the base of the latter, 23cm. (2)Provenance: the Roger and Patricia Daniels Collection.
Lot 613
Three Bow coffee cups and a can, c.1750-55, variously decorated in famille rose enamels with flowering peony, lotus and other plants beside rockwork and willow, one cup with a narrow panelled border, 6.5cm max. (4)Provenance: the Roger and Patricia Daniels Collection. These cups were purchased prior to Pat writing her book on Bow porcelain, as an illustration in the subtle differences in decoration and body during this period.
Lot 624
Two English porcelain knife handles, c.1752-55, of pistol form, one Chelsea and moulded with leafy tendrils issuing from a single flower, the other Bow and moulded with formal foliate scrolls and shell motifs, one blade missing, 27cm max. (2)Provenance: the Roger and Patricia Daniels Collection. Pat acquired these handles as comparison pieces between the two factories.
Lot 391
Edwardian Court Dress Sword 31 1/2 inch, double edged, narrow blade. Etched Kings crown ERVII cypher and foliage scrolls. Etched maker's panel "J.R Gaunt & Son Ltd Late Edward Thurle. 53 Conduit St London". Gilt brass crossguard with scroll decoration. D shape knuckle bow with floral decoration. Urn pommel with matching decoration. Contained in its black leather scabbard with gilt throat mount. Chape absent. Complete with its gilt cord and wire sword knot ... White braid and material frog and shoulder strap.
Lot 351
German Third Reich Officer's Sword 31 1/2 inch, single edged, slightly curved, plated blade with large fuller. Forte with "W.K.C." trade stamp. Gilt brass crossguard with central eagle and swastika langet. Stirrup knuckle bow with oak leaf decoration. Matching pommel and backstrap. Black composite grip with twist wire binding (one break to wire). Contained in its black painted steel scabbard.
Lot 252
Mahogany inlaid trayEdwardian, the central inlay depicting an artist's palette, a scroll, a bow and a music sheet, the surrounding inlay in the form of flowers and foliage, the tray of kidney form, with a brass pierced gallery and curving handles, 66cm wide x 35.5cm deep x 7cm high The gallery and wood with potential denting. With small chips. With signs of wear consistent with age and use.
Lot 544
An early to mid 20th Century burr walnut D end dining table in the Georgian style, the top with single extra leaf and carved edge over a plain frieze on carved cabriole legs to scroll feet, 178 cm long x 105 cm wide x 74 cm high, together with a matching bow fronted sideboard with three drawers flanked by two cupboard doors, 182 cm wide x 62 cm deep x 131 cm high and four 18th Century style walnut dining chairs with Prince of Wales feather carved backs over leather upholstered drop-in shaped seats on shell carved cabriole legs to claw and ball feet, 50 cm wide x 102 cm high and a pair of Victorian rosewood framed dining chairs with upholstered back panels and seats
Lot 280
A taxidermy stuffed and mounted Roach attributed to Cooper, in naturalistic setting and three sided glazed bow-fronted display case with verre eglomise decoration, inscribed to front glass "Roach 2lbs 4 oz Caught by Mr Barrett at Bures on 5th March 1955", 50.5 cm wide x 14.2 cm deep x 29 cm high
Lot 492
An oak Utility type draw leaf dining table, a brass topped Benares type table on folding base, 59 cm diameter, an oak joint stool in the 17th Century style, a walnut and bow fronted bedside cupboard, a mahogany circular coffee table on cabriole legs to claw and ball feet and a Victorian upholstered footstool (6)
Lot 227
JULIA WEIGALL "Young lady in white chemise and blue cape with gold mounted garnet pin her hair in a bow" watercolour on ivory, oval, signed and dated 1863 lower right within a pierced and engraved gilt metal frame and glazed rosewood outer frame, image size 11 cm x 9 cm, over all size 16.5 cm x 14.4 cm (Ivory ref no 6CBP5TZM)
Lot 393
LATE 19TH CENTURY ENGLISH SCHOOL "George Johnston" study of an older gentleman with high forehead in black bow tie and jacket, portrait study on photographic base within a gilt frame, 20 cm x 15 cm together with two colour prints "The Piper of Dreams" 16.5 cm x 12 cm and "Windflowers" 14 cm x 10.5 cm
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