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Lot 1
Kenneth Potts for Royal Worcester limited edition bronze of a Red Setter with plaque to base and signed certificate No 5 (The vendor informs us that despite the original production run being 25, it was cut short to just 5 castings. This example was purchased directly from Royal Worcester. All information by repute)
Lot 28
A CONTINENTAL BRONZE CANDLESTICK, in 17th century style, with raised circular candle socket over a turned and facetted baluster column and domed base. 32cm high; together with a renaissance style bronze lamp, with turned centre column and domed circular base and supported on recumbent lions. 41cm high. (2)
Lot 431
***PLEASE NOTE: ESTIMATE SHOULD READ €4,000 - 6,000***AN 18TH CENTURY FRENCH BOULLE WRITING TABLE, by Vitell, the top with inset leather scriber within a cast egg and dart banding, decorated with panels of faux tortoiseshell and brass inlay with side frieze drawer raised on square tapering legs, 82 x 49cmSold by Christie, Manson & Woods, London. Property of Major-General Sir George Burns, North Mymms Park, 24th September 1979, Lot 296Jack Bailey Collection, Gloucestershire, EnglandThis gilt-bronze and boulle-mounted writing table previously formed part of the great collection at North Mymms Park, Hatfield, Hertfordshire. Built at the end of the 16th century, the estate was purchased in the early 1890s by Walter Hayes Burns, brother-in-law of J.P. Morgan, who made modifications to the house to accommodate the his growing collection of art and furniture. The table stood in the library before being sold in 1979 by Walter’s son, Major-General Sir George Burns, a decorated British army officer and president of the North Mymms Cricket Club for over sixty years.Boulle marquetry, the technique of inlay in brass and tortoiseshell, had been perfected in France by the celebrated ébéniste to Louis XIV André Charles Boulle (1642 -1732), and its use continued throughout the eighteenth century on some of the finest French furniture. André Roubo’s L’Art du Menuisier, published in Paris in 1775, offers the most detailed account of the method Boulle and his followers used. He described how the preferred tortoise-shell was in fact that of a turtle from the seas around the island of Quimbo. The shell was prepared for cutting by a complex process of boiling it, clamping it into moulds and polishing one side whilst continually watching for shrinkage. The shell, together with the brass and pewter inlay was then cut after a tracing, the three combining to produce the elaborate designs which characterize such work.The present table is executed in contre partie and stamped VITEL. He is recorded as a manufacturer of furniture in boulle marquetry, guilloche mouldings and ormolu mounts, as well as a restorer of objects of art and curiosity. In 1838 Vitel had premises at 30 rue Saint-Jean-de-Beauvais, followed by 37 rue de la Montagne-Sainte Geneviève in 1840-41, and finally at 17 rue des Fossés-Saint Vicor until 1864.1Rather than being a slavish copy of a table in an earlier style, Vitel has created, by a fusion of Louis XVI-inspired neoclassical elegance and Louis XIV period baroque detailing, a table of notable originality and presence. Such creations were extremely popular in the first part of the 19th century among the British aristocracy and collectors such as George IV, William Beckford and George Watson Taylor. The fact that it formed part of such a notable patrician English collection leads one to speculate that it was a custom Parisian piece for the English market.Footnotes:1. Ledoux-Lebard, Denise. Les Ébénistes Parisiens Du Xixe Siècle. 1795-1870. Leurs Œuvres Et Leurs Marques, Etc. (seconde Édition Revue, Corrigée Et Considérablement Étendue.). pl. CXXVIII. Paris, 1965, 1965. 550.
Lot 185
AIMÉ-JULES DALOU (1838 - 1902)La Brodeuse (The Embroiderer)Bronze, 29cm high, dark brown PatinaSigned and numbered 12/12; stamped with foundry mark'CIRE/C.VALSUANI/PERDUE'Aimé-Jules Dalou was a French sculptor working in the mid-19th century amidst the country’s revolutionary politics and a rising realist style in art. In hindsight there is a tendency to overly equate the art of this period with the contemporary political climate. However, Dalou readily eschewed the recognition of the academy by repeatedly refusing the Prix de Rome - a highly sought after accolade for artists at the time - despite the fact that it guaranteed commissions. Like most nineteenth-century French artists he began his training in the École des Beaux-Arts, where he studied for three years. His earliest works reveal the mastery of craft and design with highly detailed anatomy that would go on to characterize his entire oeuvre. La Brodeuse was made a year before he was exiled from Paris. Similar to many other artists and avant-gardes, Dalou was affected by the fall of the Second French Empire in 1871. He relocated to London, returning to Paris in 1879 following the end of a long period of political unrest within the Third Republic. Dalou’s career continued to grow during his exile, spending his time as a portrait sculptor, unlike other contemporary artists such as Courbet whose reputation was destroyed following his association with revolutionary politics. Completed in 1870 La Brodeuse was the sculptor’s first public success and lauded by critics when exhibited at the Salon in the same year. This present example is an interesting insight into the work - stylistic and thematically - that Dalou would go on to produce for the following decade. The smaller sculptural works such as the La Brodeuse express an increasing interest in the simple tasks of modern life. The main focus of the work centres on the woman’s hands, a sense of tension which seems to imply a taught thread. Dalou’s modelling of the seated seamstress with her head bent forward reflects an almost silent reverie at her task. Dalou’s representation of working class society always contains an element of dignity captured with beautifully observed detail. Dalou was a consummate draughtsman preparing preliminary sketches for his sculptural works, with this work cast after one of these large groups of esquisses. The bronze medium cast in the lost wax process requires an incredibly high-level of skill and craftsmanship. It is also immensely labour intensive requiring multiple individuals to create an exact replica of the original plaster cast made by the sculptor. This work was produced by the Valsuani Foundry as indicated by their mark on the base. The company was established in 1899 by brothers Claude and Attilio Valsuani who had learned their trade while employed at the Hebard foundry. The workshop was located in the southwestern suburbs of Paris in commune of Chatillon, casting mostly small works for various artists primarily using the lost wax technique of casting, ‘cire perdue ’. In 1905 they relocated to a more central location on the Rue des Plantes . They cast works for artists including Renoir, Paul Troubetzkoy, Matisse, and Gaugin. Claude Valsuani died in 1923 in his native Italy but his son, Marcele took over the running of the foundry and continued to produce extremely fine detailed bronzes until the 1970's.
Lot 200
A RARE GERMAN 16TH CENTURY WHEEL LOCK RIFLE, the octagonal steel barrel fitted with an inlaid bronze sight, the cherrywood stock fully extending to the muzzle and profusely inlaid with engraved bone depictions of angels, nymphs, foliate bands and lion masks, the butt with a panel depicting Adam and Eve and the expulsion from Eden, together with Cain and Abel, dated 1584. 109cm longNB: See Peter Finer catalogue 1996, No.70 for a similar stockwork, most probably by the same hand.Provenance: Clay P. Bedford Collection, Scotchdale, USA.Wheel locks are amongst the earliest and most ingenious methods of ignition system in antique firearms, coming to prominence in the early 16th century until the middle 17th century. The main centre of production was Germany, although they were popular in Italy and France. The lock employs a serrated metal disc which is linked by a chain to a powerful V spring. The wheel has a protruding steel shank which, when turned, compresses the main spring.Wheel locks could be made in any size, however the skill and craftsmanship required made them very expensive weapons. As a consequence, they are usually highly decorative and elaborate as a way of displaying their owner's great wealth and taste, as is evidenced in the example above. This hunting rifle has a rifled barrel. The grooves visible at the muzzle extend down the length of the barrel and have a twist as they extend. This spins the ball gyroscopically, stabilising the projectile and producing a more accurate shot.Rifling was invented sixty-four years before this rifle was made in 1520 by a Nuremberg armourer by the name of August Kotter. This system, however, was expensive and was not widely in use until the mid-19th century and the advent of the industrial age.
Lot 166
A Royal Mint silver medallion 'Westminster Abbey 900th Anniversary' and a similar bronze medallion, both cased, a silver medallion Prince Charles Investiture 1969, a silver 1986 Royal Wedding medal, a gilt metal Tower of London medal, a Pobjoy Mint 1976 silver Montgomery Crown medal, a John Pinches silver 1972 Silver Wedding medal and others.
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