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Lot 59
GYPSY FORTUNE TELLING,a glass crystal ball, raised on a three-pointed patinated bronze base, modelled as three men supporting a disc on their shoulders, base 16cm diameterball 10cm diameter21cm highCondition report: The glass sphere with an apparent internal fracture causing a distortion. No external signs of damages.
Lot 506
FOLK ART STEAM LOCOMOTIVE,mid-19th century with later additions, a scratch-built bronze and brass steam locomotive model, of tubular form, raised on four six-spoked wheels, with various brass tubes and supports, 27cm wide9cm deep23cm highCondition report: Wheels lose. Remnants of earlier paint to sections. Scratches and marks, dents occurring throughout. Rust to the coal hatch.
Lot 120
A SECOND WORLD WAR AIR MINISTRY BATTLE OF BRITAIN DATED 'SCRAMBLE BELL'English, with foundry marks & dated 1940, by repute from RAF LeemingCast in bronze bell-metal, marked with crown and A.M. 1940 to one side, with clapper and rope attached to the underside13in (33cm) high, 11in (28cm) max. diameterFootnotes:Station or 'scramble' bells like the present example would have been used on British airfields by the RAF during the Second World War. Ringing the bell would signal the threat of incoming enemy aircraft and to get planes into the air.The Dates on Air Ministry bells relate to the commissioning date of the aerodrome that the bell is dedicated to.For further information on this lot please visit Bonhams.com
Lot 124
OF COLLECTORS' INTEREST: A late George II carved mahogany drop-leaf table1755-1760, the oval top above a plain arched frieze, on opposing C-scroll, rocaille and acanthus clasped cabriole legs with foliate scrolled ears, terminating in claw and ball feet, 54cm wide x 116cm deep x 74cm high, (21in wide x 45 1/2in deep x 29in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. The offered drop-leaf table is illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. III, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 26, p. 220. It is even noted in the Dictionary as being 'from Mr Ralph Edwards' and is dated therein to circa 1750.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to aid the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he... 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 125
OF COLLECTORS' INTEREST: A William and Mary walnut, oyster veneered and sycamore banded chest1690-1705, the top with an ovolo edge and inlaid with concentric roundels and pollard oak, flanked by two circular tablets and quarter spandrels, above two short and three long graduated oak-lined drawers, on later (probably 18th century) bracket feet, 96cm wide x 59cm deep x 92cm high, (37 1/2in wide x 23in deep x 36in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. Significantly, the offered chest is illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. II, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 29, p. 40. It is even noted in the Dictionary as being 'from Mr Ralph Edwards' and is dated therein to circa 1715, although it perhaps more accurately belongs to a slightly earlier era which is essentially 1690-1710.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to aid the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than no... 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 127
OF COLLECTORS' INTEREST: A George I giltwood and gilt gesso girandole or mirrorCirca 1725, the bevelled plate within a rosette-embedded and entwined strapwork moulded surround, surmounted by a shaped shallow-relief carved acanthus and punched pediment carved with foliate wrapped volute scrolls and two opposing eagle busts, centred by an overlapping scallop shell cresting, with a similar shaped apron centred by a scallop shell mounted with two later brass scrolled candle arms, 127cm high x 78cm wide.Footnotes:ProvenanceThe present mirror formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings on the wall is the offered mirror, which is located above the chimneypiece. An original of this striking photograph is available for the eventual buyer of this lot. A further image of Edwards whilst he was in Venice is also on our website. This mirror appears illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. II, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 51, p. 332. The mirror is even noted in 'The Dictionary' as belonging to 'Mr Ralph Edwards' and is dated there to circa 1715, although it is perhaps more realistically circa 1725 in line with more modern analysis of such pieces.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph... 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 128
OF COLLECTORS' INTEREST: A Regency mahogany Pembroke tableThe top with a reeded edge above one frieze drawer, on ring turned tapering legs terminating in castors, 53cm wide x 87cm deep x 73cm high, (20 1/2in wide x 34in deep x 28 1/2in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor.A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to aid the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history. LiteratureN. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316 & 319.... 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 129
OF COLLECTORS' INTEREST: A George II painted pine dummy board1720-1750, the shaped board decorated with an elegantly attired young lady holding a fan in one hand, later reduced in height, 94cm high.Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor.A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history. LiteratureN. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316 & 319.... 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 131
OF COLLECTORS' INTEREST: A late George II carved mahogany concertina-action card table1755-1760, the hinged crossbanded top enclosing a baize playing surface, above one mahogany-lined frieze drawer, on four scallop shell and bellflower clasped cabriole legs each carved with C-scroll ears and scrolled foliate spandrels, 87cm wide x 42cm deep x 71cm high, (34in wide x 16 1/2in deep x 27 1/2in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor.A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history. LiteratureN. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. ... 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 134
A pair of mid 19th century gilt bronze figural five light lustre candelabraprobably Americaneach with two pairs of elaborate acanthus scrolling arms issuing baluster urn nozzles and palmette collars centred by a similar upper nozzle and collar and raised on foliate baluster and classical figural support and stepped square base, all hung with facetted flat rectangular beaded lustre drops, 56.5cm high (2)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 137
A pair of 19th century French gilt and patinated bronze and white marble figural garnituresprobably originally candlesticksformed as winged putti supporting floral and fruiting baskets on their hands and standing on beaded and laurel wreath mounted fluted half columns, raised on re-entrant cut corner plinth bases, 28cm high, 10cm wide (2)For further information on this lot please visit Bonhams.com
Lot 142
A pair of gilt and patinated bronze figural three light candelabraprobably late 19th / early 20th century, the design partly after the 1805 Château de Saint-Cloud modelsformed as classical maidens clad in symmetrically draped robes with gilt amulets and sandals, their braided coiffures supporting anthemion cast vase nozzles and holding aloft similar palmette and imbricated cast tapering torchiere nozzles in each hand, the tapering square pedestal bases with rams head corner mounts and with various dancing maiden and flambe brazier mounts to the sides, raised on winged griffin supports and shaped platform plinth bases, 86cm high (2)Footnotes:The present candelabra bear similarities to a pair of figural candelabra which were originally at the Château de Saint-Cloud and which were mentioned in the inventory of 1805. However the offered lot differ as they without the upper more elaborate candle branches and the supporting figures are also without wings.Literature: Marie-France Dupuy-Baylet, 'L'Heure, Le Feu, La Lumiere Les Bronzes Du Mobilier National 1800-1870', Dijon 2010, Fig. 2, pp.'s 28-31.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP 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 145
A late 19th century French patinated bronze figure of 'Hadrian's' Faunafter the Antiquethe nude youth draped with an animals pelt and playing a fife, leaning on a plinth stamped with an A. Collas Reproduction Mechanique pastille, 39.5cm highThis 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 149
A late 19th / early century Neapolitan verdigris patinated bronze figure of the seated Mercuryafter the antique with Chiurazzi, Napoli foundry markthe nude god seated on a rusticated base, 49cm highThis 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 152
A pair of late 18th / early 19th century patinated bronze miniature busts of Emperorsprobably Italian, one looking to dexter, poaaivly depicting Julius Caesar and inscribed to the rear DEWT, the other looking to sinister possibly depicting Galba inscribed IGRON?, both mounted on gilt bronze circular socles and raised on elongated rouge griotte marble pedestal columns and circular white marble and integral bases,, the former, 17cm high, the latter, 17.5 respectively on 63 and 63.5cm high37cm high .For further information on this lot please visit Bonhams.com
Lot 165
A pair of late 19th / early 20th century French patinated and gilt bronze figural six light figural candelabrain the Empire stylethe five rope-bound foliate scrolling trumpet branches with male mask head and acanthus cast decoration, fitted detachable drip pans, all issuing from quiver of arrows central sections with detachable flambe finials to the upper nozzles and supported by winged classical maidens, each standing on Siena marble square pedestal with applied figural and laurel wreath mounts and raised on foliate cast stepped square bases, 70cm high overall (2)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 166
After Giambologna (Italian, 1524-1608): A large patinated bronze figural group depicting Nessus and Deianiraprobably late 19th / early 20th centurythe centaur on rearing hind legs carrying away the young nude maiden in with his right arm, on naturalistic base raised on a beaded edged marble oval plinth, 78cm high overallThis lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP 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 178
A pair of late 19th / early 20th century French gilt bronze mounted and beige onyx pedestalsthe square moulded plateau tops on four slender column supports with composite Corinthian capitals, raised on moulded square footed plinth bases, 104cm high overall (2)For further information on this lot please visit Bonhams.com
Lot 186
A set of four gilt and patinated bronze and frosted and etched glass twin-light Colza style lampstwo bearing facsimile Messenger & Son's makers and Jones, Lows & Ball of Boston retailers markseach lamp with central vase finial on baluster support and cylindrical stepped socle and shallow square base, the angled plain arms glass shades, 51cm high overall (4)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 188
A pair of Victorian cut-glass gilt bronze and white marble cornucopia vasesthe scrolling flared vase sections with undulating scalloped rims issuing from rams-head and acanthus scrolling mounts, raised on rectangular plinth bases and foliate scrolling feet, 23.5cm high (2)For further information on this lot please visit Bonhams.com
Lot 190
An early 20th century gilt bronze mounted mounted mahogany bracket clockin the George III style, the dial signed Grant of Fleet Street, Londonthe rectangular case with swept caddy top and pinecone finials, the sides with formalised scrolling and figural arched sound grills below oval drop ring carrying handles, the corners with applied female term and shell and floriate pendant mounts, the door with pierced sound foliate sounds grills to the top corners, the silvered arched dial with 6.5' silvered Roman chapter ring with outer Arabic five minute track and engraved centre, the arch with engraved Strike/Silent subsidiary dial. set within acanthus scrolling spandrels, the brass twin fusee four pillar movement with anchor escapement and engraved backplate striking on a bell, with pendulum, 55cm high 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 227
A pair of late 19th century Continental gilt bronze mounted porcelain twin light girandolesthe twin scrolling candle arms with acanthus cast drip pans issuing from female mask-heads, the cartouche backplates painted with Arcadian harbour-side scenes scenes with figures on horseback to the foreground and ships in the distance, the elaborate borders with swag, tassel and quiver of arrow crestings, 50cm high X 31cm wide approximately (2)For further information on this lot please visit Bonhams.com
Lot 229
An Austrian gilt bronze mounted and ebonised table casket with inset enamelled plaquesprobably late 19th / early 20th centuryof rectangular form with the hinged lid, the moulded caddy top with sliding cover enclosing a shallow well surmounted by a gilt bronze figure of Europa seated on a bull on domed base inset with mother of pearl ovals, the interior well fitted a lift out divided tray, the moulded base fitted a frieze drawer, on ogee bracket feet, the whole inlaid with elongated rectangular enamelled panels depicting classical and mythological figural scenes, (29cm high, 31cm wide, 22cm deep)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 243
A pair of French late 19th century and later gilt bronze mounted and Chinese famile rose porcelain regulator oil lampsthe two part vase bodies typically enamelled with reserves of figures within garden settings and birds, flowers and butterflies within dense floral foliate borders, the sides with lions mask and tassel hung drapery handles, the pierced upper galleries below acid etched frosted shades and clear glass chimneys, on laurel cast cut corner rectangular bases, later fitted for electricity 69.5cm high (2)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 250
A pair of 19th century patinated bronze miniature oil lamps on pedestal standsin the Regencey styleof classical form with swans head scrolling handles, and chain hung finials, raised on reeded slender column and knopped supports, above scrolling tripartite hoof feet interspersed with pierced anthemion aprons, one with missing cover, 52.5cm high overall (2)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 255
A pair of late 19th century French gilt bronze, champleve enamel and Algerian green and brown onyx pedestal columnsin the Moorish stylethe square moulded plateau tops above shaped foliate scrolling borders with pendant corners, the central plain column supports set between similar foliate pendant scrolling borders and with applied foliate bosses, the foliate cast gadrooned socles set on canted shaped square footed bases with applied triangular foliate corners, one damaged and repaired120cm high, 34cm x 34cm overall. (2)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 276
A French 'Empire revival' gilt bronze mounted mahogany extending dining tablethe table essentially late 19th century but with a replaced extending mechanism and two later leavesWith an elongated oval top, on six columnar legs each mounted with engine turned gilt bronze mounted collars, with one period leaf and two later leaves, extended: 312cm wide x 147cm deep x 78cm high, (122 1/2in wide x 57 1/2in deep x 30 1/2in high)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 301
A pair of decorative bronze and marble pineapple lamp basesthe bulbous fruit with leafy finials supported on tripartate bases about a central cylindrical support on corresponding moulded platform bases, fitted for electricity, 74cm high including shade fittings (2)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 306
Cyrus Edwin Dallin (American, 1861-1944): A rare patinated bronze equestrian figure entitled 'Appeal to the Great Spirit' presented to the Rt. Hon. David Lloyd George whilst visiting the USA in October 1923depicting a Native American Indian (Sioux) chief seated on his horse wearing a feathered headdress and with outstretched arms, raised on a naturalistic rectangular base, signed and dated,C.E.Dallin 1913 and with circled 'C' copyright mark, the end of the base inscribed GORHAM CO FOUNDERS ma OXC, and one side also numbered #122, 22.5cm highFootnotes:Provenance:Presented to the Rt. Hon. David Lloyd George during his trip to the USA in October 1923.Gifted to Frances Louise Stevenson (1888-1972), personal secretary, mistress and confidante to David Lloyd George and later in 1943, Mrs Frances Lloyd George, subsequently Countess Lloyd George of Dwyfor, CBE, after the death of Lloyd George's first wife Dame Margaret in 1941. Thence by descent to Jennifer Longford, née Stevenson (1929-2012), daughter of Frances Stevenson and possibly (now generally assumed) David Lloyd George.Thence by descent to the present owner and vendor in 2012.David Lloyd George:David Lloyd George, 1st Earl Lloyd-George of Dwyfor, OM PC (British, 1863-1945) was a British statesman and Liberal Party politician from Wales who had a long and distinguished political career in Britain. He initially served as Chancellor of Exchequer, later Minister of Munitions and then Minister of War before becoming Prime Minister between 1916 and 1922, when he ousted his then party leader Herbert Asquith. As the last Liberal to serve as Prime Minister, he held the office during the final two years of the First World War and led the British delegation at the 1919 Paris Peace Conference where he was principal negotiator. The conference subsequently saw the signing of 'The Treaty of Versailles' by the 'Big Four' which aside from Lloyd George for Great Britain, included the US President, Woodrow Wilson, the French Prime Minister, George Clemenceau and the Italian Statesmen, Vittorio Emanuele Orlando. However, Lloyd George's tenure as Prime Minister ended in 1922 after the Conservatives withdrew their support from his coalition government. Lloyd George visited the United States and Canada in the autumn of 1923. Accompanied by his wife, Margaret, their youngest daughter, Megan and his private secretary, A. J Sylvester, the purpose of the tour was to personally thank both countries for their help during the Great War and was a resounding international success. A contemporary British Pathe newsreel clip entitled 'Welcome, Lloyd George!' from October 1923 (available to view online), documents the arrival of the Welsh statesmen and politician to great acclaim. It includes footage of the huge street parades that were held in his honour and captions to the silent film include 'Biggest crowds in New York streets since homecoming of US', '(U.S.) Troops greet the 'Wizard of Wales' and 'Bombarded by hundreds of cameramen.'A further contemporary Pathe Gazette newsreel clip from later that month entitled 'In Minneapolis' - 'L.L. G.' meets Sioux Chief - 'Two Eagle' – eagle in peace, eagle in war' (also available to view online) further documents Lloyd George meeting and accepting gifts from the Chief and other elderly statesmen of the Sioux tribe and this can be viewed under 'Ll G Sioux Chief Aka Lloyd George – Sioux Chief (1923)'Lastly a black and white documentary photographic image (available to view online at www.bonhams.com) from this same meeting at Minneapolis illustrates the meeting of Lloyd George and Chief 'Two Eagle' and other members of the Sioux tribe and was used in the New York times, published 23rd October 1923 entitled 'Lloyd George on the warpath: the British War Premier' A possible explanation for why Lloyd George came to visit Minneapolis and why he was presented with the current lot which depicts a Sioux warrior can be confirmed in a historical biography of the Sioux physician Charles Ohiyesa Eastman and his Euro-American wife Elaine Goodale by Gretchen Cassel Eick, entitled 'They Met at Wounded Knee – The Eastmans' story'In the biography, Eick comments that in 1922 the US Secretary of the Interior appointed Charles Eastman to a national advisory 'Committee of One Hundred' to make recommendations to the President on Native American policy. 'The 'Committee of One Hundred' proposed reversing the policy of banning (Native) Indian dances and ceremonies. It recommended providing scholarships to allow (Native) Indians to attend public schools and colleges whilst improving the health conditions on reservations, all positions Charles Eastman advocated'.Eick then pertinently comments 'That year (1923) Eastman organised a reception for David Lloyd George.. who wished to meet some American (Native) Indians. Charles made sure that Lloyd George's wish was more than fulfilled'.Eick then confirms that at the meeting which took place on October 15th 1923 'Eastman led a delegation from the Cheyenne River Reservation to the Madison Hotel, Minneapolis, where they presented the Prime Minister (Lloyd George) with a peace pipe, headdress and an honorary Lakota name. The prime minister's adoption by the tribe was recorded on film, and President Calvin Coolidge wrote to Eastman that it was the most memorable part of Lloyd George's American visit'Cyrus Edwin Dallin: Cyrus Edwin Dallin was an American sculptor who created more than two hundred and sixty works during his career in a variety of subjects and was also an accomplished painter and an Olympic archer. However, he is best remembered for his heroic-scale public tributes in honour of America's indigenous peoples. As a child, Dallin was close to Ute families who lived on the nearby Springville settlement, and he had a deep respect for their culture and history. Because of this he was profoundly disturbed by the crimes he witnessed being perpetrated against them and other native tribes by the US government. As such his sculptures were intended as admiring personal reflections and social and political comments on their resilience in the face of ongoing subjugation. The offered lot of 'Appeal to the Great Spirit' is a reduction of the monumental group located in front of the Museum of Fine Arts, Boston, Massachusetts which is arguably Dallin's most famous work. It was exhibited at the National Sculpture Society in 1908 and awarded a gold medal at the Paris Salon of 1909 before being finally unveiled in Boston in 1912. Dallin confirmed that the piece depicted a mounted Sioux chief engaged in prayer with a higher power after defeat by the U.S. Army, commenting that he had captured the moment when the chief had made his'final appeal to the Great Spirit' after 'his signal of peace...had been rejected'. It was the fourth and final work in a series of equestrian sculptures that Dallin completed between 1890 and 1909 which he collectively called 'The Epic of the Indian'. In the first quarter of the twentieth century over four hundred authorised small-scale bronze casts of 'Appeal to the Great Spirit' were produced in three different sizes, this cast being the smallest size. Literature:Frances Lloyd George 'The Years That Are Past', Hutchinson, 1967Roy Hattersley 'The Great Outsider David Lloyd George', Little Brown Book Group, 2012For details of Lloyd George's visit to the USA and meeting with elders of the Sioux tribe in Minneapolis, see the following historical biography of Sioux physician Charles Ohiyesa Eastman:Gretchen Cassel Eick, 'They Met at Wounded Knee – The Eastmans' story', University of Nevada Press, Reno & Las Vegas, 2020, chap. 2For examples of similar Dallin works in different edition sizes see the following references:Rell G. Francis, 'Cyrus E. Dallin: Let Justice Be Done', Springville, Utah,... For further information on this lot please visit Bonhams.com
Lot 336
A pair of 19th century French patinated and gilt bronze candlesticks, later converted to lampbasesthe integral waisted nozzles with scalloped edge fixed drip pans on composite slender vase and reeded pedestal shafts, raised on circular bases with milled borders, together with a pair of taupe pleated fabric lamp shades, the bases later fitted for electricity, 25.5cm high (4)For further information on this lot please visit Bonhams.com
Lot 337
A pair of 19th century French patinated and gilt bronze candlesticks, later converted to lamp basesthe acanthus cast urn nozzles, raised on reeded tapering column supports with milled borders and waisted socles, on fruiting vine cast circular bases, together with a pair of taupe pleated fabric lamp shades, the bases later fitted for electricity, 28.5cm high not including fitments (4)For further information on this lot please visit Bonhams.com
Lot 340
Jules-Bernard Gélibert (French, 1834-1916): A bronze model of a bloodhound entitled 'Druid'the seated dog on naturalistic oval base signed Jules Gélibert and with inscribed PEYROL foundry mark, mid-brown patination, 34.5cm high Footnotes:Primarily known as a painter, Gélibert won medals from 1869-1900, including bronze medals at the Expositions Universelle of 1889 and 1900.The vogue for animalier portraiture in France in the late 19th century was encouraged by royal patronage and is illustrated with Carpeaux's celebrated portrait of the Prince Imperial with his dog Nero, Frémiet's depiction of Napoleon III's hounds 'Ravageot' and 'Ravageole' along with the present lot.The subject, 'Druid' was a favorite pet of Charles Louis Napoleon Bonaparte (d.1873) who became Napoleon III in 1852. Another Peyrol cast of this same subject inscribed 'DRUID S.A.J. le Prince Napoléon' is illustrated by Christopher Payne's reference'Animals in Bronze, Woodbridge' (1986, p. 215, pl. D45). where the author describes it as an 'immensely sensitive and rare portrait' This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP 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 345
A third quarter 19th century French gilt bronze and porcelain panel inset clock garniturein the Troubadour style, the movement signed and numbered Leroy & Fils A Paris, 5673the domed pedestal clock case with chain hung finials, figural warrior and pierced decoration, the panels and the 3.5' sectional Roman dial painted with historical military trophies, the footed base centred by an oval portrait of a warrior, the brass twin train movement with outside countwheel striking on a bell, with pendulum and winder, the matching three light candelabra with chain hung covers to the nozzles centred by figures of warriors holding armorial banners, on composite baluster supports and corresponding footed bases, 37.5cm high (3)For further information on this lot please visit Bonhams.com
Lot 351
A late 19th century French gilt bronze and champleve enamel four glass mantel clockthe movement stamped Japy Freresthe swept rectangular domed top with formalised floriate decoration beneath a leafy baluster and foliate finial, the front corners with caryatid supports, the rear corners with slender inverted baluster supports, below lobed knopped spire finials, the gadrooned plinth base on lobed disc feet, the 3' flowerhead dial with Roman numerals, the brass twin train movement stamped CR with Brocot type suspension striking on a bell, with flowerhead pendulum, 35.5cm highThis 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 353
After Pierre Jules Mêne French, 1810-1879): A patinated bronze equestrian group of 'Vainqueur'modelled as a Derby jockey leading his horse, on naturalistic moulded oval base signed P.J. MÊNE 1866 and integral title VAINQUEUR!!!, 35.5cm highFootnotes:This model was listed as No.13 in Mene's catalogue and a lifetime cast is illustrated in Jane Horswell, Les Animaliers, Antique Collectors' Club, 1971. p. 151.For further information on this lot please visit Bonhams.com
Lot 355
A pair of late early 20th century gilt bronze and white marble urn lamp basesin the Louis XVI stylethe inverted pear shaped bodies with waisted swept necks and acanthus and stiff leaf borders, each with twin rams head mask handles, united by fruiting garlands, the acanthus and pendant husk decorated fluted socles with laurel bases raised on beaded and floriate roundel decorated re-entrant cut plinth bases with applied griffin plaques on toupie feet, the twin light fittings with floral finials fitted for electricity, together with a pair of cream shades 75cm high overall (4)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 357
A pair of impressive nine light gilt bronze and verde antico marble torchieresprobably mid 20th century in the Napoleon III Empire revival stylethe multi scrolling flowerhead and foliate scrolling arms arranged in two gradated tiers above a spiral baluster upper section with frosted glass flambe shades, the tapering inbricated cast column supports and waisted socles raised on verde antico marble clad rectangular pedestals with applied floriate garlanded urn bracket mounts, and foliate case moulded shallow plinths, fitted for electricity, 150cm high approx (2)This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP 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 358
A French late 19th century Empire revival gilt bronze mounted mahogany bureau a gradin together with a closely matched French late 19th/early 20th century bergerethe bureau dating to 1875-1890, the bergere circa 1900the superstructure comprising six raised short drawers (locked) flanked by two vertical locking bars, each drawer with a palmette pattern-stamped ormolu surround centred by a lotus-leaf flowerhead within a gilt bronze scroll, honeysuckle and stylised foliate adorned lozenge tablet, the gilt-tooled leather inset top above one long and two short frieze drawers, over two short drawers flanking the kneehole, each drawer with a palmette pattern-stamped surround, mounted with two entwined laurel wreaths and an interlocking Roman martial trophy comprising two addorsed hatchets, fasces di combattimento, a spear, sword and anthemion foliage, on four scrolled gilt bronze mounted winged griffin monopodiae legs terminating in lotus-leaf headed lion paw sabots, the reverse with a horizontal honeysuckle, palmette, lotus-leaf and stylised foliate mount centred by a classical mask, each end mounted with a winged allegorical female figure standing upon a sphere, the bergere approximately: 69cm wide x 53cm deep x 84cm high; the desk: 162cm wide x 82cm deep x 121cm high, (63 1/2in wide x 32in deep x 47 1/2in high) (2)Footnotes:A related Empire revival bureau a cylindre together with its matching bergere, circa 1880, sold Sotheby's, New York, 14 April 2008, 19th Century Furniture and Works of Art, lot 282. Whilst another Empire revival cylinder bureau sold Bonhams, New Bond Street, 16 October 2019, The Contents of a 19th Century Baltic Villa, lot 87. Both of these have similar gilt bronze mounts and pattern cast mounted drawer surrounds to those on the offered lot, with comparable griffin monopodiae as well.It is interesting that the present model, unlike these related cylinder bureau examples, is in 'bureau a gradin' form which tends to be a slightly rarer type of desk furniture produced during the late 19th century in France.Of additional note is a virtually identical Empire revival bergere de bureau to the offered version which sold Christie's, New York, 27 August 2014, Interiors, lot 439.This lot is subject to the following lot symbols: Ω TPΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.TP 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 374
An impressive late 19th / early 20th century French gilt bronze four light candelabrumin the Louis XIV tastethe three acanthus scrolling arms with fruiting finials, supporting scrolling foliate nozzles above leafy collars, the elaborate central tripartite support below fruiting garlands and fringed lambrequins and a further corresponding nozzle and collar, raised on a foliate cast composite scrolling platform base with beaded mask head roundels, drilled and later fitted for electricity, 101cm high including fittingsThis 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 375
After Alfred Emile O'Hara Nieuwerkerke (French, 1811-1892): A patinated bronze equestrian portrait figure of William I, Prince of Orangethe sitter depicted clad in armour with feathered hat and ruff, holding a scroll, the horse raised on oval base and corresponding shallow cream marble plinth, 84cm high overallThis 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 386
A pair of French gilt bronze and tole peinte three light bouillotte lamps and shade together with a tole peinte lamp base with card shadethe former with scrolling hunting horn candle arms, issuing from a vase and milled and engine turned dished base, the upper section with adjustable red shades with urn finials, the latter of urn form with gilt rams head mounts, the red body with gilt line decoration together with a matching red card shade, fitted for electricity, the pair of lamps, 62cms high, the single lamp 86cm high including shade (6)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 388
A pair of 19th century French patinated bronze moderator oil lampbasesthe slender baluster necks below pierced elongated guilloche galleries, the bulbous bodies with elaborate foliate cast twin handles raised on corresponding scroll footed bases, later fitted for electricity, together with a pair of cream pleated shades, 44.55cm high (not including fittings and shades), 78cm high overall (4)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 389
A late 19th century patinated bronze figure of a female muse, probably Euterpein the Neo-Grec stylethe classical female figure seated on a low draped stool with a scroll of music on her lap, inscribed F.Moreau., 38cm highThis 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 392
A late 19th century French patinated bronze figure of Diana The Huntresscast by Barbedienneher hand resting on the head of a leaping stag, on rectangular base, the rear marked F.BARBEDIENNE FONDEUR and with A Collas 'Reduction Mechanique' pastille, 50.9cm high overallThis 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 396
After Claude Michel Clodion (French, 1738-1814): A late 19th/early 20th century carved marble figural mantel clockthe case inscribed D'apres Clodionthe case carved as a reclining female nude, lying on a skin rug, her arm resting above the 3.75' floral enamel Arabic dial set within a gilt foliate bezel, the brass twin train movement striking on a bell with pendulum, 32cm high, 53cm wide, 25.5cm deepFootnotes:In 1776 Claude-Michel, known as Clodion, embarked on the highly ambitious project of executing a series of interior designs for the architect Alexandre-Théodore Brogniart (d.1813) for the luxurious interiors at the Hôtel de Besenval in Paris. The Salle de Bains, ultimately completed in 1782, featured a pair of palatial limestone reliefs depicting Venus and Cupid and Leda and the Swan and Pan Pursuing Syrinx, two pairs of vases, and a large fountain of the present reclining nude, titled Vue de la Naïade allongée, dite La Source (A. Poulet, Clodion: 1738-1814, Paris, 1992, pp. 248-251).Proving to be an enduring image, La Source was creatively fitted as a clock by the 19th century's preeminent ébénistes and bronziers. Most interestingly, François Linke produced the model in at least two versions, including a bronze and white marble edition similar to the present lot (C. Payne, 'François Linke: The Belle Epoque of French Furniture', Woodbridge, 2003, p. 352).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 397
A late 19th/early 20th century gilt bronze and verdi antico marble figural clock garniturein the Empire style, the dial signed J.G.Girod, Madridthe rectangular plinth case with applied ribbon tied laurel wreath and crossed spear mounts, surmounted by a herm bust of a philosopher, possibly depicting Socrates, flanked to one side by the figure of Athena, on rectangular plinth base and milled bun feet, with 3.5 i' Roman enamel dial, the brass twin train movement with Brocot type suspension striking on a bell, with pendulum, the garniture candelabra with four acanthus scrolling candle arms, issuing from tapering rectangular pilaster supports with laurel wreath and applied lyre mounts surmounted by herm busts of Mercury, on corresponding square footed bases, 46cm high overall (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 399
A late 19th century French bronze and marble mantel figural clockthe movement stamped Vincentithe case depicting a charioteer, pulled by two rearing horses on a marble base with an applied bronzed plaque inscribed 'Alibert A Paris, 1855', the 3.5' dial (chapter ring replaced) set in the wheel, the twin barrel movement striking on a bell now mounted to the inside of the rear door, with pendulum and key, 39cm high, 49cm wide, 15cm deepThis 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
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