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Lot 436
FRANZ XAVIER BERGMANN (Austrian, 1861-1936) cold painted bronze - Arab Warrior with Flintlock, cast as an Arab standing wearing a red cap and white headdress, brown cloak over striped blue robe, striped sash securing his sword, priming his rifle, powder flask and musket ball sack slung at his right hip, foundry mark and numbered 678(4?), 18.5cms highProvenance: private collection North WalesComments: sash bent, paint wear, musket slightly bent.
Lot 412
ROBERT GLEN (American, b. 1940) limited edition (4/6) bronze - camels drinking from a trough, signed and dated 1986, 39h x 48w x 31.5cms d, on black marble plinth.Provenance: private collection PembrokeshireAuctioneer's Note: Born in Kenya in 1940, Robert Glen’s interest in art and natural history began at an early age. At sixteen years old, he was accepted to serve an apprenticeship in taxidermy at the renowned studio of Coloman Jonas in Denver, Colorado. It was then that his interest in sculpture was born. Returning home after three years of training, he began a transition from taxidermy to sculpting animals in the European tradition of animaliers, working in various media before casting his first bronze in 1970. Since then, Robert Glen’s work has met with great success. His sculptures reside in many private collections including those of the late Queen, the Aga Khan, and the late Kenyan President Jomo Kenyatta. He has also held many one man shows in the USA, Canada, UK, Monte Carlo, Spain and South Africa. Robert Glen's public commissions include one of the largest equestrian sculptures in history, 'Mustangs of Las Colinas', in Texas.Comments: natural verdigris patina, very good overall.
Lot 421
PAIR OF LATE 19TH CENTURY FRENCH FIGURAL TABLE ORNAMENTS, L. Oudry et Cie., electroplated bronze, modelled as classical dancing maidens with cymbals and with a flower, both stamped to base and with numerals 2573, tallest 25.8cms (2)Provenance: private collection South WalesComments: some plating rubbed
Lot 437
FRANZ XAVIER BERGMANN (Austrian, 1861-1936) cold painted bronze - Nubian Musician, cast as a musician playing a tambourine, standing wearing a cloth turban, web-like chest ornament, red and white pleated kilt tied with red sash, foundry mark to base and numbered 3260 to rear, 18.5cms highProvenance: private collection North WalesComments: paint wear.
Lot 448
ASSORTED ANTIQUE WEAPONS & ARMOUR, comprising two European stilettos, thought to be 17thC. Italian and Flemish, 28 and 31cms long; a Victorian medieval-style armour piercing dagger, 26cms long, a section of armour, 15cms wide; a small bronze sword guard, 8.5cms wide; and a piece of chain mail by Raymond Bartell,15 x 14cms, (5)Provenance: Raymond Bartell Collection, keeper of Arms & Armour to William Randolf Hearst; Private Collection Vale of Glamorgan; thence by descent.Comments: minor rusting, daggers with old labels.
Lot 438
AFTER ARTHUR JACQUES LE DUC (French, 1848-1918) bronze - tethered horse and a terrier, cast by Thiebaut Freres, on naturalistic base signed LeDuc and with the Thiébaut foundry cachet, 44.5cms highProvenance: private collection Rhondda Cynon Taf County BoroughComments: harnesses loose, possibly incomplete
Lot 135
A small pair of Directoire agate and gilt bronze urnsLate 18th / early 19th centuryThe turned urns with swept circular socles raised on column pedestals and square plinth bases with milled collars, 7.5cm wide, 7.5cm deep, 21cm high (2.5in wide, 2.5in deep, 8in high) (2)Footnotes:ProvenanceGalerie J.Kugel, Paris, February 1997.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 142
A pair of 19th century gilt bronze urn shaped cassolettesIn the Louis XVI styleWith reversible sconces above lion-mask handles issuing swagged garlands, on square plinths and lion paw feet, 9cm wide, 9cm deep, 23.5cm high (3.5in wide, 3.5in deep, 9in high) (2)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 145
A small fine Transitional ormolu mounted tulipwood, purplewood, fruitwood and marquetry breakfront commodeMade by Pierre Macret, third quarter 18th century The brèche violette marble top above two drawers sans traverse simulating three drawers inlaid with flowering branches, the canted angles with gilt bronze filled fluting headed by neoclassical chutes and rosettes, on square tapering legs and sabots, bearing three stamps for ..MACRET, together with traces of a fourth obliterated stamp, 84cm wide x 44.5cm deep x 89cm high, (33in wide x 17.5in deep x 35in high)Footnotes:ProvenanceChristie's, London, 12 December 1985, lot 149;Bernard Baruch Steinitz, Paris. LiteraturePierre Kjellberg, Le Mobilier Français Du XVIIIe Siècle, 1989, ill. p. 541.Pierre Macret, ébéniste suivant la Cour from 1756.Macret was born in 1727, married at the age of 20 and in December 1756 became marchand-ébéniste privilégié du Roi suivant la cour et conseils de sa majesté, replacing the widow of Latz. The records of the marchand-mercier Lazare Duvaux reveal a debt of 1169 livres to Macret by December 1758. At the same time he worked with the marchand Darnault. Newspaper advertisements reveal that he worked in the rue Saint Honoré in the hotel d'Auvergne, close to Saint-Roch, in 1763. The marquis de Marigny, Directeur des Bâtiments, bought 1890 livres worth of furniture from him in 1770. In 1771 Macret changed his status and became marchand-mercier in Paris. He was fournisseur ordinaire des menus-plaisirs du Roi from 1764 to 1771. In accordance with his new status he chose a more comfortable house in the rue Saint-Honoré, in April 1772. It was a strategic choice, his new home being close to Dulac, Poirier and Granchez, which furthered his business. Shortly before 1772 he delivered 1222 livres worth of furniture to the Dauphine Marie-Antoinette, and the marquis de Monconseil, father of princesse d'Henin, had ordered furniture valued at 4690 livres.Macret's works are exhibited in many museums including the Nissim de Camondo, Paris; the Château de Versailles; the Cleveland Museum of Art; Hillwood House, Washington D.C. and The Metropolitan Museum of Art, New York.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 For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 182
A good early 19th century French gilt and patinated bronze mantel clockLe Comte, ParisDepicting a youth standing with his arms raised supporting the drum shaped case, beads about his neck and a quiver of arrows over his shoulder, his left foot slightly raised at the heel, set on a circular concave socle applied with floral swags and masks within beaded edges, on lion paw feet. The 3.5 inch white enamel dial with minute track, Arabic quarters and Roman hours under delicate leaf-form blued steel hands, signed LeComte a Paria enclosed by a cast and beaded bezel.The movement with circular, flat-bottomed plates, silk suspended pendulum and outside countwheel strike on a bell. Ticking and striking. With the pendulum and a winding key. 43cms (16.5ins) high.Footnotes:Possibly Charles le Compte of Paris, Master in 1785 and working from Quai des Ormes 1789-1820.Comparative LiteratureP. Kjellberg, La Pendule Française, 1997, p.348, fig.A where reference is made to a preparatory drawing for this model signed 'Deverbery et Cie' in 1799.See also the catalogue for the Musée François Duesberg, Mons.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 184
A good early 19th century gilt and patinated bronze figural mantel clockVuidepot a ParisDepicting a woman driving a chariot, her hair tied up in a fashionable coiffure and wearing a low cut dress, a crop and reins in her hands, the horse leaping forwards, an attendant boy standing on a sprung platform to the rear, the wheel with six spokes, all set on an ormolu base with engine turned finish over a patinated plinth and cast leaf-and-berry feet. The white enamel chapter ring set within the rim of the wheel with Arabic quarters, minute track and Roman hours signed below XII Vuidepot a Paris. The circular movement with silk suspended pendulum and outside countwheel strike on a bell. Ticking and striking. With pendulum and a winding key. 33cms (12.5ins) high Footnotes:Vuidepot is recorded as a clockmaker working in Rue St-Martin, Paris in 1812. See Tardy, Dictionanaire des Horologers Francais, page 648.Comparative LiteratureP. Kjellberg, La Pendule Française, 1997, p.345, fig. E.See also the catalogue for the Musée François Duesberg, Mons.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 185
A magnificent early 19th century French ormolu and marble mantel clock with dial by Duboisson, pin-wheel escapement, centre seconds and date. 'The Harvest Chariot'Cochard, sucr. de Ch Le Roi, A Paris. The dial by Duboisson. Surmounted by the seated figure of Ceres on a chariot holding a thyrsus staff entwined with grapes and vine leaves; to the back of the chariot a faun holds a ewer and bunch of grapes above her chalice, to the front a standing cherub urges on a pair of harnessed lions; all raised on an inverted breakfront variegated green marble base with applied medallions flanking floral vases on turned feet. The 5 inch white enamel dial with outer date ring - each day of the month set within a gilt 'jewelled' border with green enamel highlights framing the minute band with Arabic quarters and Roman hours, signed below VI Dubin., tapering blued steel date hand and centre seconds hands, gilt pierced and engraved hour and minute hands. The large circular movement with pin-wheel escapement mounted on the backplate, the pendulum crutch with fine-screw beat adjustment, and outside countwheel strike on a bell. Ticking and striking. With pendulum and key. 64cm wide x 17cm deep x48cm high, (25in wide x 6 1/2in deep x 18 1/2in high)Footnotes:Comparative literatureTardy, La Pendule Française, 2ème Partie: De Louis XVI à nos jours, Paris, 1962, p. 197.E. Niehüser, French Bronze Clocks, Schiffer Publishing, Pennsylvania, 1999, p. 241.E. Dumonthier, Les Bronzes du Mobilier National - Pendules et Cartels, Paris, pl. 40.Together with a Valuation Report from M.Toebosch dated 12 October 1995.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 196
A FRENCH GILT AND PATINATED BRONZE MANTEL CLOCK DEPICTING A PAIR OF LOVERSParts early 19th century, parts 20th century.The later figures each wearing a headdress and feather skirts, the man with a bow and arrow, his companion holding a pineapple and wearing beaded necklaces and standing with her back to him, leaning into his embrace and gazing into his eyes, both standing on a patinated rocky outcrop with applied gilt foliage and flowers, raised on a bow-ended plinth with cast panel depicting a burning torch, on six turned feet. The signed 5 inch white enamel Roman dial with minute track including Arabic quarters and good matching gilt hands framed by an engine turned bezel. The twin spring barrel movement with circular plates, silk suspension and outside countwheel strike on a bell, the pendulum bob in the form of a pair of flaming hearts pierced by an arrow. Ticking and striking. Together with a winding key. 55cms (21.5ins) high.Footnotes:ProvenanceSegoura Antiquaires, Paris 1996. The drawing for this model by De Verberie dated 1799 is held in the Cabinet d'Estampe of the Bibliotheque Nationale, Paris. Comparative literatureH. Ottomeyer and P. Proschel, Vergoldete Bronzen, 1986, ill. 5.15.29P. Kjellberg, La Pendule Française, 1997, pp.356-357, fig. B - C.J-D. Augarde, Les Ouvriers du Temps, Antiquorum and the Trustees of the Wallace Collection, p. 158, fig.125.Ramon Colon de Carvajal, Catalogo de Relojes del Patrimonio Nacional, (1987), Madrid, p. 120.Saleroom notices:Please note, the estimate of this lot is £8,000 - 12,000.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 197
An exceptional late 18th century French gilt and patinated bronze pendule à cercle tournant timepiece dated 1780Lepaute, ParisThe case surmounted by a 5 inch spherical gilt globe engraved with a map of the world and displaying the time at the equator via twin horizontal rotating bands, the uppermost with 12 white enamel five-minute Arabic cartouche numerals, over 24 larger Roman cartouche numerals (12 with black numerals on a white ground to denote daytime, 12 with white numerals on a black ground to denote night-time), the globe draped in a midnight blue metal cloth studded with brass stars, a flying cherub below holding a flaming torch to indicate the time; all supported on a crisply cast Corinthian reeded column on an octagonal base. The rectangular movement set within the column and accessed via a door to the font, with pin-wheel escapement driving a vertical arbor via a contrate wheel up into the globe, the striking via an outside countwheel strike on a bell. Signed along the lower edge LE PAUTE. H.ger DU ROI APARIS 1780. Together with a winding key and Insurance Certificate from J. Kugel, Antiquaires, Paris dated 1996. 16 wide x 16 deep x 42 high (6in wide x 6in deep x 16 1/2in high)Footnotes:The Lepaute family is rightly regarded as one of the foremost horological dynasties working in 18th century France. Perhaps the best known member is Jean-André Lepaute (also spelled Le Paute), born in 1720 in Thonne-la-Long, a small town in north-eastern France. Lepaute was one of nine children, who were supported by their father, a farrier. Lepaute served his horological apprenticeship in the nearby town of Carignan, before moving to Paris in 1740. He immediately established a workshop, which was evidently prosperous as he encouraged one of his younger brothers, Jean-Baptiste, to join him in 1747, around which time the workshop was well known for making turret clocks. Two years Jean-Andre married Nicole-Reine Étable de la Brière, who was a celebrated astronomer and savant. In 1759, she helped to predict the path of Halley's Comet and was described as 'a human calculator'. She was also responsible for any horological calculations needed in the workshop (e.g. pendulum oscillation, etc.). Two years after his marriage, Lepaute invented a clock which worked with only one wheel; he presented this to Louis XV, receiving the commendation of Horologist to the King. He also developed modifications to the double virgule escapement in 1753 although this caused controversy when another horologist, Pierre Augustin Caron, insisted he was the original maker. The Academie Royale des Sciences initially agreed that Caron was the original inventor, though this decision was later reversed and both were deemed to have created the escapement independently of one another. In 1755, the elder Lepaute published his Traité d'Horlogerie, with Nicole-Reine helping with the calculations. He was named maître in 1759, with Jean-Baptiste becoming maître in 1776, and he became increasingly involved with the Galeries du Louvre, where both he and Nicole-Reine had lived since 1756. Around this time, he appears to have left Jean-Baptiste to manage the workshop. Throughout this period Nicole-Reine continued to publish astronomical papers and contribute chapters to astronomical books, including a widely circulated table in 1764 for the calculation of the solar eclipse occurring on 1 April. In 1774, Jean-Andre Lepaute formally retired from the workshop, and both he and Nicole-Reine moved to St. Cloud. He died in 1788, a year after his wife. Jean-Baptiste retired in 1789, leaving the workshop to his two nephews, both of whom were trained horologists. Jean Baptiste died in 1802, though the Lepaute workshop carried on under first the two nephews, and then their descendants, until 1952. The Lepautes supplied clocks to some of the most prestigious sittes, including the Luxembourg Palace in Paris, the Palais Royal and the Military Academy in St. Hubert, among others. In addition to turret clocks, the workshop produced a multitude of mantel clocks, usually with a figural bronze case, often featuring characters from Ancient Greek or Roman mythology. A version of the globe clock was offered for sale from their workshop in 1766 for 2,500 livres; one of the costliest mantel clocks they produced at that time. Literature A Chapiro, La Montre Française. Paris: Éditions de l'Amateur, 1991.Tardy, Dictionnaire des Horlogers Français, 127th edition, Aubenas: Lienhart et Cie, 1972.P. Garcelon, Nicole-Reine Lepaute (1723-1788), 2022. Available at: https://pg-astro.fr/grands-astronomes/le-grand-siecle/nicole-reine-lepaute.htmlUniversity of St. Andrews School of Mathematics and Statistics, Nicole-Reine Etable de Labrière Lepaute, 2008. Available at: https://mathshistory.st-andrews.ac.uk/Biographies/Lepaute/Comparable literature J-D. Augarde, Les Ouvriers du Temps, Antiquorum and the Trustees of the Wallace Collection, p.26, fig.12. A similar case but with patinated column was sold Christies, New York, Dalva Brothers: Parisian Taste in New York, 22 October 2020, lot 171.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 198
A very fine and impressive late 18th century French gilt and patinated bronze mantel clockDeverberie & Comp. Invet. Fecit, Paris. 'The Huntress'The central woman seated on a tasselled cushion and wearing a matt and burnished feather headdress and skirt, strapped sandals and beads at her neck and arms, in her left hand she carries a large gilt bow, a quiver of arrows sit over her back and a faithful hound eagerly awaits by her side; held aloft on a sedan chair by four boys walking forwards with joined hands, all mounted on a plinth with beaded edge, the frieze applied with interlaced hunting horns framing busts of boar, dogs and a stag, raised on hairy paw feet. The five inch white enamel dial with outer minute track, each quarter hour marked in Arabic numerals, each hour marked with a Roman figure and gilt star, under matching pierced hands. The large circular movement with silk suspended pendulum and large outside countwheel strike on a bell. Ticking and striking. With pendulum and a winding key, 58cms (22.5ins) highFootnotes:Comparative literatureP. Kjellberg, La Pendule Francaise, 1997, p.354, fig.A.See also the catalogue for the Musée François Duesberg, Mons.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 202
A pair of Empire gilt and patinated bronze retour d'Egypte garniture vases and coversEarly 19th century The slender urn bodies with scrolling palmette and maskhead handles and anthemion scrolling mounts, the flared necks similarly with leafy floral mounts, the palmette cast covers with fruiting knopped finials, the stiff leaf and bullrush lower sections on milled socles, raised on tapering square plinth bases with entwined dolphin and trident and Medusa maskheads and scrolling corners, raised on paw feet, 12.5cm wide, 12.5cm deep, 39.5cm high (4 1/2in wide, 4 1/2in deep, 15 1/2in high) (2)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 204
A very rare mid-18th century French ormolu grande sonnerie striking mantel clock of two-week duration, with alarm and repeatEtienne Lenoir, a Paris. The case attributed to Robert Osmond. The case surmounted with an impressive urn with berry finial and laurel swags, over a pierced waist set with musical trophies, the sides cast with berries and acanthus leaves and silk-backed sound frets, all on an elaborately shaped base with heavy cast foliate scrollwork. The 5.25 inch white enamel Arabic and Roman dial signed Etienne LeNoir A Paris under elaborately pierced gilt brass dragon hands and the tapering steel alarm-setting hand, all framed by a well cast bezel. The triple spring barrel movement contained within two separate pairs of brass plates, the upper movement of tapering form, with anchor escapement, pull repeat system and large numbered outside countwheel, linked via a vertical rod to the lower set of plates set in the base of the clock to control the repeat and alarm functions, with larger engraved outside countwheel. The upper backplate engraved Etienne Le Noir AParis No. 454. Ticking, striking, operational alarm and repeat. Together with a delicate silk suspension pendulum. 32cm wide x 18cm deep x 49cm high, (12 1/2in wide x 7in deep x 19in high)Footnotes:Provenance The Collection of Mcihael Cory-Wright, Esq;Christies, London, 11 June 1998;Gilbert de Vries, Horlogerie de Collection Ancienne et Contemporaine, Paris, November 1998. ExhibitedTEFAF, Basel and sold with accompanying paperwork including a Certificate of Cultural Property dated December 1998 and instructions. Etienne Lenoir (also spelled Le Noir) was born in Paris in 1660 to a horological family. His father, Simon, was a horologist, and Etienne's grandfather, Jean (or Jehan) was Horloger du Roi in 1552. Etienne, perhaps unsurprisingly therefore also became a horologist, though the details of his apprenticeship are unclear. It is likely however, that he was apprenticed to his father. He married Marie-Anne Gamonet in 1696 and they had two children, Pierre-Etienne, born in 1698, and Etienne, born a year later. Etienne senior was known to have made turret clocks, as well as making a varied output of gold and silver watches, marquetry clocks, and bronze figural mantel clocks, among others. He died in 1739.Etienne Junior would become a horologist as well; he married in 1717 and was recorded working out of Goldsmiths' Quay in 1743 and was still recorded as late as 1778. His son, also named Pierre-Etienne and born in 1724, was an accomplished horologist and worked with his father in Goldsmiths' Quay. It appears that Pierre joined his father in business around 1743, shortly after Pierre's marriage that year. Unfortunately, both father and son signed their work 'Etienne Le Noir' which makes distinguishing the work quite difficult. Their workshop was known simply as 'Le Noir' and it would continue trading until 1820. Pierre-Etienne has been recorded as late as 1791, but it is unclear when he or his father died. The Lenoir dynasty was associated for generations with quality and extravagance and included everything from an elaborate bronze elephant automaton clock to a delicate gold repeater pocket watch.Tardy, Dictionnaire des Horlogers Français, 127th edition, Aubenas: Lienhart et Cie, 1972.An identical clock case by Robert Osmond, minus the foliate scrolling to the base is illustrated in H. Ottomeyer and P. Proschel, Vergoldete Bronzen, 1986, p.542, fig.1.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 28
An important Italian Baroque ormolu mounted pietra dura inlaid ebony casketAttributed to the Grand Ducal Workshops, Florence, and probably under the direction of the sculptor Giovanni Battista Foggini, early 18th centuryThe five pietra dura panels each inlaid with lapis lazuli, Siena and other hardstone and marble foliate scrolls issuing flowers, including tulips and carnations mounted with a polished slate ground and framed with an ormolu moulding, the corners of the hinged cover mounted with pierced acanthus scroll cartouches, the pietra dura panels to the sides further framed with trailing foliate scrolls, the angles mounted with acanthus scrolls headed with bellflowers and raised on ormolu scroll feet, the interior opening to reveal a walnut lined compartment, with key, 31cm wide, 41cm deep, 27cm high (12in wide, 16in deep, 10 1/2in high) Footnotes:ProvenancePrivate European Collection.Kollenburg Antiquairs BV, where purchased 6 July 2020.ExhibitionKollenburg Antiquairs BV, TEFAF Maastricht, 2020.Related LiteratureWolfram Koeppe and Annamaria Giusti, Art of The Royal Court, Treasures in Pietre Dure from the Palaces of Europe, exhibition catalogue, The Metropolitam Museum of Art, New York, July-September 2008, Yale University Press, New Haven, n.54; Jewellery box, pp.198-199.Alvar Gonzàlez-Palacios, Il Tempio del Gusto, Milan, 2000, pp.467-493.Alvar Gonzàlez-Palacios, Las Colecciones Reales Espanolas de Mosaicos y Piedra Duras, exhibition catalogue, Museo Nacional del Prado, pp.107-118.Simon Swynfen Jervis, Pietre Dure Caskets in England, Furniture History Society, XLIII, 20079, pp.245-265.Annamaria Giusti, Pietre Dure and the Art of Florentine Inlay, London, 2006, n.64, p.83.This magnificent Florentine casket, richly mounted with superb pietra dura panels can be firmly attributed to the Grand Ducal workshops, and was most probably made under the supervision of Giovanni Battista Foggini (1652-1725), who was director of the workshops under Duke Cosimo III (1670-1723). The spectacular creations of the Galleria dei Lavori, which was originally founded by Ferdinand I Medici in 1588, were admired in all the courts of Europe, and were often offered as diplomatic gifts by the Medici. Louis XIV even consciously tried to create his own version of the Galleria dei Lavori as he imported Italian craftsmen such as Domenico Cucci when he founded the Gobelins workshops in 1667. Foggini played a remarkably active role as director of the Medici workshops, supervising every detail of the works of art produced. This is demonstrated by a fascinating series of drawings by him in the Giornale of the workshops, for caskets and gilt-bronze mounts, executed towards the end of his career (circa 1713-1718), now in the Gabinetto Disegni e Stampe in the Uffizi, Florence (see González-Palacios, op. cit.,vol. I, pp. 41-4, and vol. II, pp. 54-60, figs. 57-77).A comparable Baroque Florentine pietra dura (in relief) and gilt bronze mounted ebony jewel casket was sold at Bonhams, San Francisco, Fine European Furniture and Decorative Arts, 28 October 2013, lot 1519 and another casket also attributed as coming from the Grand Ducal workshops in Florence, was sold at Sotheby's, Milan, A Milanese Cabinet Collection, 13 June 2016, lot 36 as well as the ebony veneered and pietra dura inlaid casket at the Royal Collection acquired by George IV, collection number 11895 and a jewellery box attributed to Giovanni Battista Foggini held at the Minneapolis Institute of Art, collection number 777 on view in gallery 310.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 30
A pair of Louis XV ormolu mounted Chinese crackle glazed ewersThe porcelain 18th century, the mounts possibly by Jean-Claude Duplessis, mid-18th centuryThe baluster 'Ge-type' vase bodies rising from slightly splayed feet to slender waisted necks, the exterior covered with a blue-grey glaze suffused with cracks, the acanthus scrolling handles cast with bull rushes, the lip mounts with rocaille acanthus sprays, on scrolling footed bases, minor losses to bull rushes to the handle of one vase, 17.5cm wide, 14cm deep, 31.5cm high (6 1/2in wide, 5 1/2in deep, 12in high) (2)Footnotes:十八世紀 仿哥窯瓶一對（嵌十八世紀中期或为吉恩-克勞德·查姆貝蘭·迪普萊西所作鎏金銅飾）Provenance Rosenberg & Stiebel, New York, 1984.Galerie Michel Meyer, Paris.來源Rosenberg & Stiebel，紐約，1984年Galerie Michel Meyer，巴黎Related LiteratureRosenberg & Stiebel, New York, Elements of Style: The Art of the Bronze Mount in 18th and 19th Century France, exhibition catalogue, April-June 1984, no.13, fig 12.Jean-Claude Chambellan Duplessis (1699-1774)Duplessis was a sculptor, ceramics modeller, bronzier and artistic director of the Vincennes and Sèvres Manufactory. From 1752, he assisted his father in creating models for the porcelain manufactures. On 12 June 1765 he became maître fondeur en terre et sable, having, as was customary at the time, mastered the disciplines of drawing and sculpture. Duplessis' illustrious career is mainly recognized today for having perfected the rocaille symmetrisé style. One of the most talented and influential designers and bronziers of his day, only a few pieces can be firmly attributed to him, including a pair of ormolu braziers commissioned by Jean-Baptiste Machault d'Arnouville for royal presentation in 1742 to the Ambassador of Turkey, one of which is today conserved at the Topkapi Palace Museum, Istanbul.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 67
A rare pair of Russian ormolu, jasper, agate and cornaline mounted pot pourri vasesSt Petersburg, late 18th / early 19th century, the jasper and agate components probably German and 17th century, some matched Of elaborate shallow cusped pedestal bowl form, with fantastical winged bird handles, the bowls of slightly varying shapes, the interlaced and foliate pierced swept covers with foliate acorn finials, the pedestals with similar collar mounts, the gilt bronze bases with channelled and foliate motifs, most probably associated, with trade label inscribed J.Kugel and numbered 60955, 17cm wide, 14cm deep, 33cm high (6 1/2in wide, 5 1/2in deep, 12 1/2in high) (2)Footnotes:ProvenanceGalerie J.Kugel, Paris, February 1997.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 68
A rare pair of Russian gilt bronze and cobalt blue porcelain pot pourri vases, incorporating elements of design from the coat-of-arms of Paul 1st, Tsar of Russia (1754-1801)St Petersburg, late 18th centuryThe pedestal urn bodies with double-headed winged eagle handles, the pierced girdles above medallion order mounts, the domed covers with fruiting stiff leaf and crown and cross finials, the lobed leafy socles raised on re-entrant cut corner square bases, the porcelain with internal underglaze marks (one lid fully restored, the other lid with minute restoration), 12.5cm wide, 9.5cm deep, 24.5cm high (4 1/2in wide, 3 1/2in deep, 9 1/2in high) (2)Footnotes:ProvenanceGalerie J.Kugel, Paris, February 1997.This pair of pots pourris, apparently unique examples in Russia, are directly inspired from Sèvres porcelain vases. The ormolu mounts clearly display all of the attributes of Paul 1st while highlighting the Maltese Order Cross. The celebrated Order of Malta, created during the 12th century, installed itself in Malta in 1530. It is in 1798, after Napoleon's siege of the island that most of the members of the Order fled to Russia. Paul 1st soon became the protector of the Maltese Cross Order and, just after being crowned, he returned to St Petersburg wearing the crown of the Grand Master of the Order of the Chevaliers de Saint-Jean de Jérusalem. From that moment onwards, the Maltese Cross was always present alongside his Imperial Coat-of-Arms. It is likely that this pair of pots pourris is a commission from the Emperor himself, but no supporting archival documents have yet been able to reveal the precise destination of these works of art. It is conceivable that they would have been planned to decorate the chapel of the Order of Malta in the Palace Vorontsov in St Petersburg.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 69
A pair of malachite and gilt bronze tazzeNorth European or Baltic, circa 1820The dished circular tops on tapering swept circular pedestals with milled borders and shallow square bases, the rectangular pedestals on stepped square shallow plinths with foliate cast borders, 19cm wide, 19cm deep, 26cm high (7in wide, 7in deep, 10in high) (2)Footnotes:ProvenancePatridge Fine Arts, London, 12 June 1998.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 70
A matched pair of Russian ormolu mounted and engraved glass tazzeEarly 19th century The tripod supports with foliate griffin head terminals on scrolling florette feet united by garlands on tripartite platform bases with inset milled panels, the bases with Russian paper labels translated Assembly Vyacheslav Gavrilovich, Ulyaaninsky, in Moscow, the dished circular tops engraved with ribbon tied floral garlanded wreaths, the bronze supports with later alterations, one of a slightly smaller size, the glass tops associated, one glass top as found, 19.5cm diam., 20cm high (7 1/2in diam., 7 1/2in high) (2)Footnotes:ProvenanceComte Viatcheslav Gavrilovitch Oulianoff, Moscow.Galerie J.Kugel, Paris, where purchased probably 1997.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 71
A pair of Empire ormolu and cut-glass surtout de table by Pierre-Philippe Thomire (French, 1751-1843)Paris, early 19th centuryWith hand cut hobnail glass bowls on lappet and acanthus leaf cast supports terminating in lion paw feet on a plinth base, both signed THOMIRE A PARIS to the plinth, the glass bowls associated, 21.5cm wide, 21.5cm deep, 31cm high (8in wide, 8in deep, 12in high) (2)Footnotes:Pierre Philippe Thomire, fondeur-ciseleur, was the foremost bronze maker at the time of Napoleon the First.For a comparable pair of ormolu and cut-glass tazze made by Pierre-Philippe Thomire see Christie's, London, Important European Furniture and Sculpture, 6 December 2007, lot 111.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 73
A pair of French gilt bronze three light bouillotte LampsIn the Empire styleThe scrolling trumpet arms with griffin's head finials and flowerhead terminals issuing from reeded slender baluster supports, the upper central stem supports with ring handles and adjustable arrow fitments supporting red tôle shades, the dished circular bases with engine turned borders, fitted for electricity, of recent manufacture, 41cm wide, 41cm deep, 62 cm high (16in wide, 16in deep, 24in high) (2)This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 90
An important Louis XIV ormolu mounted ebony, fruitwood, sycamore, boxwood and bone inlaid floral marquetry large bureauMost probably by Renaud or Aubertin Gaudron, circa 1690-1700The black embossed leather writing surface enclosed by a profusely inlaid border including grotesque masks, birds, flowers and insects above a central frieze drawer flanked by four drawers with conforming inlay and with bone florettes flanking the ormolu escutcheons, and opposing dummy drawers on eight cabriole legs and gilt bronze cloven hoof sabots, the sides inlaid with floral filled baskets, sold together with the book, Chefs d'Oeuvre des Marqueteurs by Pierre Ramond which discusses the bureau plat in great detail, 180cm wide x 80.5cm deep x 78.5cm high, (70.5in wide x 31 1/2in deep x 30 1/2in high)Footnotes:ProvenanceGalerie G. Sarti, Paris;Salomon Stodel, Amsterdam.LiteraturePierre Ramond, Chefs d'Oeuvre des Marqueteurs, Des Origines à Louis XIV, Paris, 1994, where written up over 3 pages (p.23-25). J.N.Ronfort and J.D.Augarde, Paris, 9 November 1994, Très Exceptionnel Bureau en Marqueterie de FleursAubertin and Renaud GaudronRenaud Gaudron, Menuisier Ebéniste Ordinaire du Roi is the son of Aubertin Gaudron, Maître Menuisier Ebéniste who was working most probably for Philippe, duc d'Orléans, brother of Louis XIV and active from circa 1641. Talented and successful, Renaud Gaudron inherited a flourishing business in 1691. A few years before, in 1686, Renaud Gaudron had already taken over from the deceased Pierre Golle as one of the main suppliers of the Garde-Meuble de la Couronne. In order to fulfil the demand, he was assisted by his brother, Nicolas (Gaudron le Jeune) who was Menuisier-Ebéniste in Versailles, and had a successful workshop. As a contemporary of André-Charles Boulle producing similar marquetry pieces, Aubertin Gaudron (active circa 1670-1700) is intrinsically linked to him in the production of marquetry furniture. Both cabinet-makers were inspired by the rich Dutch floral designs of artists such as Jean-Baptiste Monnoyer and Nicolas Beaudesson, of which André-Charles Boulle owned many studies of flowers and birds.According to a comprehensive study of the present lot by J.N.Ronfort and J.D.Augarde, the authors interestingly mention that Renaud Gaudron would have delivered 28 different floral marquetry pieces of furniture to the Garde-Meuble de la Couronne between 1688 and 1713. This comprised various types of tables, bureaux, commodes and guéridons. Marqueterie de Fleurs au Naturel It is under the influence of Flemish artists that floral marquetry gradually became the most important decorative style used on furniture during the first half of the 17th century. The initiators of this pictorial art were both Pierre Golle and Léonard van der Vinne in Florence. André-Charles Boulle, established in the galeries du Louvre from 1672 soon became the most sought artist of his time. An interesting description of a marquetry commode delivered by Gaudron for the Château de Compiègne relates closely to the present one, described as: 'marqueterie de bois de plusieurs couleurs fond d'ébène orné au milieu d'un vase rempli de fleurs pose sur un bout de table et un masque grotesque au-dessous, le reste rempli de rinceaux, fleurs, oiseaux et papillons au naturel' (AN 01/3308). The grotesque masks can also be seen on a similar commode in the Musée des Arts Décoratifs in Paris (CLUNY 11762), as well as on another commode possibly by Gaudron, sold at Bonhams, London, 9 July 2015, lot 26 (£52,500 inc. premium).The small contrasting inlays flanking the escutcheons of the present lot can also be found on a commode from the Wildenstein Collection, sold at Christie's, London, 14-15 December 2005, lot 115 (£84,000 inc. premium).For an illustrative comparison of a late Louis XIV floral marquetry and ebony commode, see P. Kjellberg, Le Meuble Français et Européen du Moyen Age à nos jours, Paris 1991, p 92.'Bureau à travailler' The term 'bureau' as we interpret it today appears only a few years after the beginning of Louis XIV's reign. Before that, the term applied equally to what we now refer to as commodes. For example, the celebrated commodes which André-Charles Boulle delivered to Louis XIV's bedroom at Trianon in 1708 (now in Versailles) were then called 'bureaux'. Gaudron delivered various commodes which he called 'grandes tables en bureau garnies de trois grands tiroirs' to the Garde-Meuble de la Couronne in 1695, 1697 and 1698. The bureaux as we conceive them today were first described in the 1670s. The celebrated cabinet maker Pierre Gole delivered 'un bureau en cabinet d'ébène à fleurs et pièces de bois de rapport' on 4 February 1671. Another bureau of closely related form with eight legs, was delivered by the cabinet maker Michel Campe in 1674 as per its description in the Journal du Garde-Meuble. It is described as being veneered in floral marquetry against an ebony ground. Our bureau 'à caissons' is particularly important due to its very large size for the period. Only very few similar bureaux at that time measure between 'cinq et six pieds de long' (162 to 194cm). The bone inlay has been examined by Dickie Zebregs from Zebregs&Röell Fine Art and Antiques who has confirmed it is bone and not ivory.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 For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 745
Six albums by Pink Floyd , Manfred Mann Roxy Music, ELP, Robert PalmerPink Floyd: Dark Side Of The Moon G/Fold VG/VG Harvest SHVL 804Manfred Mann's Earthband: The Roaring Silence EX/EX Bronze ILPS 9357Roxy Music: Siren EX/EX Island ILPS 9344Roxy Music: Flesh + Blood lyric inner EX/EX EG Polydor POLH 002Emerson Lake and Palmer: Trilogy G/Fold VG/EX Manticore K43505Robert Palmer: Addictions Volume 1 dbl lyric insert VG/VG Island ILPS 9944
Lot 264
TWO CHROME LADY CAR MASCOTS, BONHAM'S CAR SALE CATALOGUES & OTHER AUTO RELATED EPHEMERA ETC, the mascots include a winged lady, 18cms H approx., signed to the back 'H Payen' and a nude diving lady, 11.5cms H, stamped 'AEL' verso, other items include a Schrader balloon tyre gauge, 9.5cms L, a small unmarked bronze figurine of a reclining nude female reading a book, 9.5cms L, a Shell collection booklet, a 1988 Ford Cars catalogue for October / November, a 1931 copy of the highway code ETCProvenance: private collection Conwy
Lot 83
WWI ITEMS, LATER BADGES & MEDALLIONS ETC, to include a large handkerchief, the four corners with patriotic images and national anthems for allied rulers, 49 x 49cms square, copy white metal 1813-1914 iron cross, bronze medallion with the words for Service in National Emergency, May 1926, 5cms diam., in original fitted case, jubilee medallions, along with a silver and possibly gold mounted Vale of Clwyd & District Football Association medallion, 3.5cmsProvenance: private collection Conwy
Lot 5
A Georgian bronzed silhouette and pearl lace pin, the silhouette portrait, facing right, of a young man with curled hair, high collar and lace cravat, with detailing in bronze paint, mounted in a border of half pearls, the back with glazed panel of plaited brunette hair, pin with C clasp. Length 27mm. 7.33gCondition ReportGenerally good condition for age. There is a little dirt under the glazing of the portrait; also around the base of the pearls.The pearls are not very round, but all have good lustre.The pin is bent and has some free play.
Lot 169a
Geslellschaft der Freunde des Vaterlaendischen Schul-und erziehungs Wesens, 1805-1905 bronze medallion. Interesting German / Austrian medallion for Society of Friends of the Fatherland School and Education System 1805-1905, front depicts a mother and baby with child next to a scene of children being told a story. Reverse reads “Curio”.
Lot 170
Royal Life Saving Medallion, a cased hallmarked silver ‘ The Royal Life Saving Society Award of Merit ‘ awarded to J . Wilkinson 1931 in Royal Life Saving Society box (medal weighs approx. 12.5g), Alongside; cased Bronze Royal Life Saving Society medal awarded to J. Wilkinson 1930 & loose bronze medals awarded to H. Hurn (Oct 1923), H.M Thompson (May 1924) & SM James (x2). Total medals 6. (6)
Lot 170a
Small selection of six interesting medallions / medals to include; a 1897 Strood Allotments 2nd for Marks shield medallion awarded to T. Sykes, First World War Adolphe-Max-Bourgmestre-De-Bruxelles bronze medallion, 1902 Coronation Medallion, 1937 Coronation Medallion, Queen Victoria ‘In commemoration of her record reign’ medallion 1897 Mayor of Chorley and Road Operators Safety Council 10 Years Safe Driving medallion. (6)
Lot 186
Collection of commemorative medals with cased Cunard Queen Elizabeth final voyage silver and bronze medal twin set with certificate number 112 of 500, 1975 EEC gold plated silver proof, HMS Belfast silver medal, 1925 The Confectioners Bakers and Allied Traders Exhibition bronze medal in Mappin & Webb box and silver Worcestershire County Council medal.
Lot 41
East Germany, large collection of boxed East German medals to include; Medal for Excellent Performance in the Fighting Groups of East German Police Medal for Excellent Service (x4), The Working Class (x2), Medal of Merit of Organs of the Ministry of the Interior – Bronze (x9), Medal of Merit of the Combat Group of the Working Class (two sets of three), Medal for faithful Service in Fighting Groups of the Working Class (full set x2, further duplicates), East German Shooting badges, Combat of the Working Class, NVA East German Army Service Medal (x12), German Hero of the Working Class Medal (x2), NVA badge, Five Years of Collective German Soviet Friendship Medal, East German Sports badges, enamels etc, cap badges, exemplary labour badges, fighting troops badge, NVA badges etc. Many many medals. In hard fitted case.
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