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Lot 412
THREE BOXES OF BOOKS, METALWARES, CERAMICS, OAK CASED MANTEL CLOCK, etc, including two canteens containing Old English and beaded pattern EPNS cutlery, both incomplete, a cased pair of Pathescope 10 x 50 binoculars, crested china bust and cannon, the oak cased eight day clock with gong strike, four pictures, etc (three boxes, two canteens, four pictures)
Lot 263
A framed and glazed original letter from The Parsonage, Shiplake, Oxfordshire, dated 30th December 1769 regarding a disease in London that appears to lead to the destruction of old books! 25 x 17; together with a small framed and glazed etching of The Church, Shiplake; and a metal bust of woman with headdress, height 32 cms. Estimate £20-40
Lot 2413
Byzanz/Gold - Goldsolidus 1.H. 9.Jh.n. Chr./ Konstantinopel, Av: Frontale Büste des Theophilus, Rv: Frontale Büsten Michael II. und Constantinus, vz-, 4,02g Gold rau. Byzantine Empire/Gold - Gold Solidus 1. Half of 9th cent. AD / Constantinople, Obv: Frontal bust of Theophilus, Rv: Frontal busts of Michael II and Constantinus, EF-, 4,02g gold rough.
Lot 2416
Römisches Kaiserreich - Denar 2.H.1.Jh.n.Chr., Av: Büste des Titus mit Lorbeerkranz n.r., IMP TITVS CAES VESPASIAN AVG PM , Rv: Männliche Gestalt auf Rostrasäule, TR P (...)MP XIIII COS VII PP, ss, deutlich berieben, Kratzer, Tönung, Prägeschwäche 3,24g Ag rau. Roman Empire - Denarius 2.Half 1st cent. A.D., Obv: Bust of Titus with laurel wreath, IMP TITVS CAES VESPASIAN AVG PM , Rv: Male figure on rust column, TR P (...)MP XIIII COS VII PP, VF, clearly rubbed, scratches, toning, weak strike, 3,24g Ag rough.
Lot 138
dating: circa 1600 provenance: North Italy, Elegant set, composed of morion, bust and complete brassards. Morion with skull in one piece, comb of medium height, with border with twisted engraving, two bands with fullers on sides, an iron plume-holder on the back, a row of rivets at the skull base, with brass rosettes, brim with hemmed edge, remains of enameled numbering inside. Breast-plate carved in Pisan style, with smooth bands alternated with other engraved with braided rinceaux and with medallions with various characters, the main one with knight in a battle, Master of the Castle emblem right under the neckline, traces of gilding. Back-plate decorated in Pisan style as well, with theme of various characters and two portrays in circular medallions that look at each other, loin-guard with remains of edge. Two-plated gorget with remains of engravings in Pisan style and roped neckline and with twisted engraving. Seven-plated pauldrons (one with four restored lower small plates), with decorative bands and medallions. Complete brassards, engraved en suite with pauldrons. Knuckle-shields without fingers, with beautifully engraved braided rinceaux and medallions on cuffs with elegant effigy of antique warrior and a lady. On a fine, wooden mannequin with embossed and painted head, provided also with old dress, in embroidered fabric (worn), decorated in style.Height as shown circa 112 cm. The breast-plate bears the well-known mark of the Master of the Castle of the Three Towers, a gunsmith whose name is not known, probably of Milanese origin, who towards the end of the 16th century marked a large production of armour. Most of his production was carried out for the Dukes of Savoy. See the detail of a breast-plate photographed on page 191 (n. 36, cat. n. 20) in the volume 'Museo Poldi Pezzoli, Armeria I' catalogue of the relative museum. See also 'L'Arte dell'Armatura in Italia', pages 473-474. height total with base circa 190 cm.
Lot 142
dating: circa 1600 provenance: Augsburg, Composed of a cavalry helmet, bust complete with gorget, breast-plate and back-plate, complete brassards and knee-cops. Helmet with skull in one piece, with medium-height comb, with roped engraving on the border, raisable visor with a slot for a comb in the center, eye-slots with strongly relieved prominence, opening knob; ventail with double row of ventilation holes and remains of double lines, beaver with release button for ventail; a row of brass rivets at the skull's base, iron plume-holder on the back, neck-guard and nape-guard both of single plate with edge with a recessed band and file-roped border with downward turn, two-plated upper border with dotted festoons and double outline. Neck-collar with four front and back plates, the upper ones with a thick twisted rope, the others all with festooned upper edge, dotted and with double line. Fully enclosed arm defenses with articulated couters with large epaulettes with brass rivets, file-roped border and cusped upper edges; all the articulated plates of the brassards carved en suite with the gorget and helmet. Beautiful breast-plate, strongly ribbed in the center and with well evident tapul, engraved with a scene with an armed man, fully dressed and armed with a rapier is kneeling intent on praying devoutly the effigy of crucified Christ; both figures with traces of gilding, a cartouche above the knight with letters 'RUBR'; well visible Augsburg stamp under the thick file-roped neckline. Gussets with festooned borders en suite with other elements, pauldron small-plates with a thick roping en suite with neckline. Back-plate with two culet plates with festooned border. Front loin-guard with two plates provided with long knee-cops of thirteen elements, removable. Protection plates of the cuissard, all with upper border with dotted festoons and with double outlining. Articulated knuckle-shields with scaled fingers and back carved en suite with the other elements. Later leather strings but of old production anyway. Mounted on a wooden exhibition support.Height as shown circa 138 cm. This fine armour carved en suite is documented in 'Zeitschrift für historische Waffen', Dresden 1912-1914, as 'Ein Augsburger Trabharnisch'. height total with base circa 195 cm.
Lot 156
dating: late 17th Century provenance: Brescia, Interesting, straight, double-edged blade of hexagonal section, lenticular first part, engraved on both sided with floral motifs and chiselled at the base with a bust in the center of an arm trophy. Iron hilt (small parts missing), finely decorated with silver floral motifs. Horn, embossed grip. length 95 cm.
Lot 360
dating: late 18th Century provenance: Torino, Smooth, round, juxtaposed, 10 mm cal. barrels, featuring gold decorations on a dark ground, with rib; sighted tang; roman locks engraved with floral motifs; slightly sculpted, briar-root stock with engraved, silver mounts, butt-plate with bust; at the back filigree inlays. Iron ramrod. length 20 cm.
Lot 370
dating: mid-18th Century provenance: Senigallia, Round, 12 mm cal. barrels, with square base, decorated with a frame and a brass-inlaid bust, engraved with floral motifs, with rib signed 'P. MORETTA', nozzle with brass ring; engraved tangs. Beautiful locks, signed 'G.TORSIANI SENOGAGLIA' and engraved with figures, snakes and floral motifs on a dark ground. Wooden, full stocks, slightly embossed and provided with brass mounts, with remains of gilding, engraved with floral and geometrical motifs. Wooden ramrods with iron cartridge extractors. Small damages and parts missing. Provenance: Prof. Giorgio Bini CollectionSotheby's sale, 5/6 November 1973, lot 100 page 41.Literature: Illustrated in 'The Journal of the Arms & Armour Society', Vol. III, No.1; June 1974, page 19, plate XXIX.Exhibition: Catalogue of the 'Mostra delle Armi da Fuoco Anghiaresi e dell'Appennino Tosco-Emiliano, Anghiari', 11 August - 15 September 1968, nr. 197 with text and illustrations. length 48 cm.
Lot 65
An Italian early 19th century 'Grand Tour' specimen marble and hardstone table top on a George IV mahogany and parcel gilt console tablethe specimen marble top circa 1810, the console table circa 1825The rectangular marble top inset with a grid of one hundred and thirty six squares each inlaid with a different marble or hardstone including malachite, breche violet, alabastro, porphyry, lapis lazuli, Sicilian jasper, Spanish brocatello, onyx, portor and verde antico, on two acanthus clasped and C-scroll carved lion bust-headed front monopodia terminating in paw feet, with panelled rear stiles, on a concave plinth base, 134cm wide x 67cm deep x 90cm high, (52 1/2in wide x 26in deep x 35in high)Footnotes:A comparable specimen marble and pietra dura table top to the offered lot, which was dated late 18th/early 19th century, sold Christie's, New York, 17th October 2003, Important English Furniture, lot 21.This type of specimen marble table top is characteristic of the taste for Italian slabs, often collected by British gentlemen whilst undertaking their 'Grand Tour' of Europe. In the eighteenth century, Palladian architects were influenced by the Italian fashion for marble topped pier tables. Many of these items were ordered by English collectors and returned to their homeland where they had the bases made for these highly prized tops.One of these patrons of the Italian workshops was the connoisseur Patrick Home (d.1808) of Wedderburn Castle and Paxton House, Scotland, who appears to have purchased a quantity of high quality tops in around 1771 in the first year of his Grand Tour. A similar marble table top, inset on a stand made by the Edinburgh cabinet-maker William Trotter, is illustrated in F. Bamford, A Dictionary of Edinburgh Furniture Makers, 1660-1840, Furniture History Society, 1983, pl. 55A. A further related example is believed to have been acquired by Edward, Viscount Lascelles (d.1814) for Harewood House, Yorkshire and subsequently sold, The Humphrey Whitbread Collection, Christie's London, 5 April 2001, lot 412.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 66
A 'half set' of six late 18th century Italian patinated and parcel gilt bronze busts of Roman Emperorsprobably Roman and by Francesco Righetti (1749-1819) each clad in drapery on circular-waisted soccles below integral cartouche plaques, inscribed: AVGVSTVS, CALLICVIA, GALBA, OTHO, VESPASIANVS and TITO ,the smallest 29cm high, the largest 31cm high. (6)Footnotes:ProvenanceProperty of an important Spanish noble family, El Retiro, Churriana, Málaga, SpainRelated LiteratureDESCRIPCION DE LA CASA DE CAMPO DEL RETIRO DEL CONDE DE VILLALCAZAR. MALAGA, 1814, pp. 8-9 The entry in the 'Gallery of the Emperors' stating 'Among the works of sculpture, there is a bust of Vitellius in bronze of great merit, and six more heads, which are Augustus, Caligula, Galba, Otho, Vespasian and Titus.', the later six heads apparently being the 'half set' of busts which constitute the present lot with the first head being a larger and separate but perhaps related bust of Vitellius -now lost.Comparative LiteratureFrits Scholten [ed.], Willem van Tetrode, sculptor, exh. cat., Rijksmuseum, Amsterdam / Frick Collection, New York, Ansterdam / New York, 2003, p. 116, no. 6Bertrand Jestaz, Copies d'antiques au Palais Farnese: Les fontes de Guglielmo della Porta', in Melanges de l'Ecole Francaise de Rome: Italie et Mediterranee, vol. 105, 1993, 1, pp. 7-48, esp. pp. 30-41, figs. 17-28Charles Avery, Soldani's mythological bronzes and his British clientele, in Sculpture Journal, XIV, 2005, pp. 8-29The tradition of producing sets of roughly half life-size busts depicting Suetonius's series of Twelve Roman Emperors began with a dozen (27cm. high) made in bronze for oval niches on the front of an elaborate wooden studio-cabinet - with other statuettes - by Willem van Tetrode (c. 1525-1580). A Dutch immigrant - as part of his journeyman years as a sculptor / bronze-founder - he had travelled to Florence (to work with Cellini) and then on to Rome, with Guglielmo della Porta. In the latter's post-mortem inventory of 1575, a dozen emperors are listed and they are thought to have been based on a set of life-size marble busts carved by Tomasso della Porta for Alessandro Farnese. The details of their cuirasses and the fall of their togas are more carefully differentiated than those on the present series, but the bases are simpler, having only small squarish cartouches below with indications of their names, e.g. 'N' for Nero (unlike the present, elaborate, baroque, cartouches with their full names given in relief in capital letters).No other sets by Tetrode are known, but - following the trail of Tetrode's later return to his native Netherlands - a silversmith in Delft, Thomas Cruse (who died in 1624) owned a number of Tetrode's models, among them sets of piece-moulds for twelve emperors. Such an artist might well have fashioned the then 'modern' curlicues round the name-labels shown on our set and spelt out their names for 'northern humanist collectors'.The famous Florentine sculptors seem not to have indulged in series of small emperor-busts during the long post-Michelangelo period, which was otherwise dominated initially by Bandinelli and Bandini (whose sculptures and busts of the Medici closely resembled ancient ones) and by the Flemish immigrant Giambologna (1529-1608). Nor have any been attributed to his followers in bronze, the two Susinis or the two Taccas, whose work stretched far into the 17th century.One has to wait until early in the following century evidence for the further distinct production of such busts in series of a dozen, with their empresses too, this time in Florence once more: a letter of 22 November 1707 from the Grand-ducal Chamberlain to the Medici Grand-dukes, Lorenzo Magnolfi, who also acted as a high-level art-agent for grandees, furnishes the names of three pioneer patrons among the British for Soldani in the role of sculptor. It was addressed to one of them, Sir John Perceval of Burton, County Cork, later Earl of Egmont (1683-1748), who spent six months in Italy while on his Grand Tour: 'you may order Messrs Arundel and Bates to reimburse me for the said heads, and for the busts and statues you did order to Signor Massimilano Soldani which are already done and packed up; and there are twenty four heads and three statues, and I hope you will be pleased with them since they are very well done ...'. Judging from this bald description, as well as from Perceval's intention expressed elsewhere that his works of art be for 'the use of an accademy (sic) of painters which he purposed to forward the erecting in Ireland', one might infer that they were after ancient prototypes. The high, even, number of twenty-four indicates probably that a set of the usual 'Twelve Caesars', with their wives, was being supplied. Soldani did indeed produce a few accomplished life-sized, highly polished busts after the antique, but so high a number suggests that these were not life-size. Disaster befell both of Perceval's shipments. They were captured by French privateers in 1707 and 1709, the spoils presumably being fed into the art market in France, unless they were melted down to make cannon. No such busts on a reduced scale - suitable for the tops of desks, cabinets or bookshelves in British libraries - are known. Thereafter, with the advent of Neo-classicism and the ever-increasing flood of adolescent British boys - steeped in the Classics, owing to the need to help create a new British Empire, the equivalent of Rome's - the onus of producing such attractive and eye-catching sets of emperors reverted to Rome. By the 1790s, ingenious goldsmith/bronze-founders in the Eternal City were producing pseudo-antiquities in commercial quantities and distributed printed price lists of their product. One from Francesco Righetti - in the international diplomatic language of French - included, among his 'Bustes avec leur Base Doree, en tout, hauts d'un palme, cinq onces', an item, 'Les douze Cesars a 12 sequins l'un' - or 144 sequins for the set. Their height - in Roman palms and inches - was therefore the same as the present series, while their surfaces and patina were meant to imitate antiquities, such as were then being excavated in Pompeii and Herculaneum: this clinches the probability that they date from the second half of the 18th century and were made in Rome. Righetti may well have fallen back on older models from the late Renaissance or early Baroque periods, such as have been described above, in order to produce his set speedily and economically.For further information on this lot please visit Bonhams.com
Lot 87
Italian School, early 18th century: A carved marble bust of a maiden, probably depicting Venus or an allegory of lovepossibly attributable to Giovanni Baratta (Italian, 1670-1747)her head turned to dexter, her loosely tied coiffure with long trailing chignon, dressed with a jewelled diadem, her shoulders clad in drapery, wearing a ribbon tied heart locket, raised on a later square socle and column pedestal, the bust 74.5cm high, the plinth 88cm high, 162cm high overall.Footnotes:ProvenanceFormerly the property of the Duke of Aveyro, thence by descentEl Retiro, Churriana, Málaga Spain, the present lot removed prior to the sale of the villa and private walled courtyard garden from an exterior façade wall, adjacent to the famous national gardens and partlandBy repute and family tradition thought to be by the hand of the architect Juan Bautista Sachetti (Italian, 1690-1764) and possibly a work originally intended for the Palacio Real, Madrid.The handling of the face and drapery to the offered lot is reminiscent of examples of heads and torsos of angels and female figures by sculptors working in the manner of the celebrated sculptor Alessandro Algardi (Italian 1598-1654). Although Sachetti was evidently commissioned to provide marble sculptural ornaments during his tenure working on the Placio Real, it is possible that the the present lot may have been commissioned by his master, the architect Filippo Juvara (Italian, 1678-1736). As Juvara is known to have commissioned a large body of sculptural and architectural elements including two reliefs of Minerva and Mars for the Royal Palace of La Granja de San lldefonso in Segovia, Spain from the sculptor Giovanni Baratta (Italian, 1640-1747) it is possible that the offered lot may have originated from the same source . In addition Sachetti also worked at Segovia so doubtless would have come into contact with Baratta and as such he may subsequently have worked with him on his later commission at the Palacio Real. Related LiteratureEl Retiro, Inventario, 6th May 1966, Listed on the main Staircase, No. 93 'A lady with a diadem of pearls in marble' - which may be the bust of Venus before she was moved to the exterior facade wall OR No. 94 'A lady with a diadem and bodice for a masque' perhaps a pair for the current lot, now missing or since weathered away in the garden. Photographs of the bust in the private walled garden at the villa are featured in the following publications:Blanco y Negro, Madrid, 25 April 1970, ref. El Retiro (Malaga), p.6Country Life, 12 January 1984, ref. Day-Trip to a Spanish Garden- I, pp. 74-76This 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 88
Italian School, early 18th century: A carved marble bust of Marspossibly attributable to Giovanni Baratta (1670-1747)looking slightly to dexter, the moustachioed god wearing a helmet with grotesque mask head and plume, his shoulders clad in drapery, his right shoulder with lions mask, raised on rectangular waisted socle, the bust 93.5cm high, together with a modern marble column plinth 97.5cm high 191cm overall. (2)Footnotes:ProvenanceFormerly the property of the Duke of Aveyro, thence by descentEl Retiro, Churriana, Málaga SpainGiven that the present lot has a near provenance similar to bust of Venus, lot 87, with the exception that the bust of Mars is always thought to have been displayed in the house in the staircase hall and not the garden, it is plausible that this bust may also be attributable to the hand of Giovanni Baratta (Italian, 1670-1747) and may have come to the villa as a pair, via the source of the previous lot. In addition the subject of Mars used in a pair of relief carved medallion plaques of Minerva and Mars which he created together with a group of sculpture and architectural elements for the Royal Palace of La Granja de San ildefonso in Segovia, Spain. Related LiteratureEl Retiro, Inventario, 6th May 1966, Listed on the main Staircase, No. 92 'A Warrior in a cuirass and helmet as well as a mask on his shoulder' which is presumably the bust of Mars.Please see footnote on lot 87 for additional information on this lot.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 27
A rare late 18th century relief-carved lime wood panel depicting a vase of flowers, signed and dated Putman 1790possibly an allegory relating to the Declaration of the Rights of Manthe finely carved flowers including roses, ranunculus, narcissus, poppies and lilac, the vase decorated with a frieze depicting Britannia and Plenty flanking two oval pendants - one with a brazier on a plinth, the other with a cockerel standing on a reeded plinth with a laurel wreath to the base, the pedestal foot resting on a platform scattered with four coins or medallions, three decorated with portrait bust, the last vacant, two busts bearing striking resemblances to Benjamin Franklin & the Marquis de Lafayette, the whole supported by four recumbent lions and centred by a sea serpent,, signed and dated to the left hand bottom corner fecit . putman . Sculp . 1790, later mounted in a glazed and carved and parcel gilt rectangular box frame, the panel, 55cm x 38cm, the frame, 71cm x 53cm Footnotes:The Declaration of the Rights of ManThe Declaration of the Rights of Man and of the Citizen (Déclaration des droits de l'homme et du citoyen de 1789) is a human rights document which originated from the French Revolution and was enacted by France's National Constituent Assembly in 1789. Inspired by the philosophers of the Enlightenment, the Declaration was the fundamental statement of the values of the French Revolution and had a major impact on the development of popular conceptions of individual liberty and democracy in Europe and worldwide. Drafted by the Abbé Sieyè, the Marquis de Lafayette, and Thomas Jefferson it was subsequently included in the beginning of the constitutions of both the Fourth French Republic (1946) and the Fifth Republic (1958). The Declaration, the Magna Carta, the 1689 English Bill of Rights, the 1776 United States Declaration of Independence, and the 1789 United States Bill of Rights, hugely influenced part of the 1948 United Nations Universal Declaration of Human Rights.For further information on this lot please visit Bonhams.com
Lot 3
Attributed to Frans Pourbus the Elder (Bruges 1545-1581 Antwerp)Portrait of a lady, bust-length, in black costume with a white lace collar and headdress oil on panel42.2 x 32.4cm (16 5/8 x 12 3/4in).Footnotes:ProvenanceThe Collection of Mr and Mrs F. Springell family, before 1960, by descent toMrs G.B. Springell, by whom offeredSale, Sotheby's, London, 9 March 1983, lot 9 (as Attributed to Frans Pourbus the Elder), where purchased by the present owner's late fatherExhibitedManchester, City Art Gallery, Exhibition of Works of Art from Private Collections in the North West of England and North Wales, 21 September- 30 October 1960, no. 55 (lent by Mr and Mrs. F. Springell, according to a label on the reverse)For further information on this lot please visit Bonhams.com
Lot 73
VICTORIA'S DIAMOND JUBILEE MEDALQueen Victoria's Diamond Jubilee Medal, PRESENTED TO JOHN CHARD V.C., WITH AN ACCOMPANYING LETTER, silver, 30mm., depicting Queen Victoria, bust wearing crown and veil, with the text 'VICTORIA D.G. REGINA ET IMPERATRIX F.D', and on reverse 'In Commemoration of the 60th Year of the Reign of Queen Victoria 20 June 1897' within a garland of roses, shamrock and thistles, with original blue and white ribbon; together with accompanying autograph letter signed by Fleetwood J. Edwards to John Chard, enclosing the medal at the request of the Queen, with a lengthy note referring to the Queen, Chard's Victoria Cross, and his health, 4 pages, with the original envelope addressed to Chard in Edinburgh, Windsor, 11 July 1897; and an issue of the John Chard Medal, with accompanying correspondence, gifted to John Chard's nephew Lt. Col. W.W. Chard in 1954 (small quantity)Footnotes:THE VICTORIA DIAMOND JUBILEE MEDAL PRESENTED TO JOHN CHARD. Fleetwood J. Edwards, Keeper of the Privy Purse to Queen Victoria, sent the medal with an accompanying letter noting '...You know the great interest that the Queen takes in learning of your progress and she has just desired me to send you one of her Jubilee medals which she feels you may like to have in commemoration of her 60th anniversary of her reign', and in reference to Chard's earlier Victoria Cross medal notes that the Jubilee Medal 'is more peaceful than those with which you will wear it and the coming of which in days gone by gained universal admiration specially from your brother officers who like myself felt proud of the honour you did the corps...'. The medal was posted from Windsor to 'Colonel Chard' in Scotland, where he was serving as royal engineer of the Perth sub-district, on 11 July 1897. At the time he was seriously ill with cancer, which led to his death whilst staying with his family at Hatch Beauchamp, near Taunton on 1 November that year. The Queen sent a laurel wreath to his funeral.Provenance: John Chard V.C., R.E.; by descent to the present owner.For further information on this lot please visit Bonhams.com
Lot 100A
French 19th Century Napoleonic Silver Snuff/ Trinket Box of stunning quality, having the raised bust of Napoleon to the lid, with beautiful decoration to the sides, and further to the lid; all the hallmarks are well struck and still clear, with the French showing the Fleur-de-Lys and the letter P for Paris, the English Assay/ London import mark 1893 William Moering. All aspects of condition are wonderful; silver weight 84.25gms, diameter 2.75nches (6.9cms)
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