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Lot 1349
Rokoko-Schauvitrine aus dem Besitz von Königin Marie von HannoverHolz, geschnitzt, gefasst und vergoldet. Flacher, geschweifter und schauseitig eintürig verglaster Korpus, umgeben von reliefplastischen Rocaillen. Oberhalb vorkragendes Profilgesims mit Palmettenfries sowie zentrale, plastisch bekrönte Monogrammkartusche "MR". Unterer Abschluss aus gegeneinander gestellten Blattvoluten. Bordeauxrote Samtauskleidung. H. 60 cm. 50 cm x 10 cm.Provenienz: Aus einer Privatsammlung in Brandenburg, ersteigert auf der Auktion "The Royal House of Hanover/Das Königshaus von Hannover", Sotheby's, Schloss Marienburg, 5.-15.10.2005, Unter zusätzliche Lose: Lot 5595.A small gilt wood Rococo style wall cabinet frome the Royal House of Hanover.Deutsch. Mitte 19. Jh.
Lot 1353
Biedermeier-Sekretär Eschenholz, furniert und teilw. ebonisiert. Gerader, hochrechteckiger Korpus auf schlanken, ausgestellten Füßen. In der gegliederten Front drei Schubladen unterschiedlicher Größe sowie abklappbare Arbeitsfläche, flankiert von eingestellten Karyatiden. Dahinter gestaffelte Facheinteilung mit Geheimfächern. Dem Korpus entsprechende Deckplatte. H. 145,5 cm. 96 cm x 43,5 cm.A Lower Saxony ashwood veneered and partly ebonized Biedermeier writing cabinet.Niedersachsen. Um 1820.
Lot 1371
Biedermeier-Chiffonière Nussbaum, furniert sowie teilw. ebonisiert. Gerader, hochrechteckiger Korpus auf konischen Vierkantbeinen. In der gegliederten Front sieben Schubladen unterschiedlicher Größe, teilw. flankiert von eingestellten Halbsäulen mit reliefierten Basen und Kapitellen. Gering überstehende Deckplatte. Rest. mit Erg.; H. 153 cm. 47,5 cm x 38,5 cm.A South German walnut veneered and partly ebonized cabinet. Restored with later additions.Süddeutsch. 19. Jh.
Lot 1484
Louis XVI-Zylinderbureau Mahagoni, furniert sowie Einlagen und Profile aus Messing. Gerader Korpus auf konischen Vierkantbeinen. In der gegliederten Front breites Kniefach sowie vier Schubladen unterschiedlicher Größe. Oberhalb bombierter Zylinderverschluss sowie ausziehbare Arbeitsfläche mit goldgeprägter, olivfarbener Ledereinlage. Dahinter gestaffelte Facheinteilung. Korrespondierender dreischübiger Abschluss mit gering überstehender Deckplatte aus sog. Rouge Royal Marmor. H. 120,5 cm. 128 cm x 65 cm.A mahogany veneered French Louis XVI writing cabinet with profiles of brass.Frankreich. 19. Jh.
Lot 1492
Empire-Klappsekretär Nussbaum, furniert. Gerader, hochrechteckiger Korpus, flankiert von eingestellten Halbsäulen auf gerundeten Füßen. In der gegliederten Front vier, teilw. vorkragende Schubladen unterschiedlicher Größe sowie abklappbare Arbeitsfläche. Dahinter gestaffelte Facheinteilung. Deckplatte aus anthrazitfarbenem, hell gemasertem Marmor. H. 141,5 cm. 98 cm x 43 cm.A French walnut veneered Empire writing cabinet.Frankreich. 1. Hälfte 19. Jh.
Lot 1584
Repräsentativer Friderizianischer Aufsatzsekretär Meisterstück à trois Corps. Nussbaum und Nussbaummaser, auf Eichenholz funiert sowie Holz, geschnitzt, gefasst und vergoldet. Applikationen aus feuervergoldeter Bronze. Dreiseitig bombierter Korpus, flankiert von breiten Ecklisenen auf schmaler Profilzarge und gewulsteten Füßen. In der gegliederten Front drei breite, mehrfach gegenläufig geschweifte Schubladen. Korrespondierendes Schreibelement mit bombierter, schräggestellter und abklappbarer Arbeitsfläche. Dahinter gestaffelte Facheinteilung. Hoher Aufsatz, flankiert von volutenartig auslaufenden Ecklisenen mit korinthischen Kapitellen. In der Front zwei große, umlaufend profilierte Türen. Geschweift ansteigendes, mittig hoch aufgeworfenes Kehlgesims. Flächendeckend breit gerahmte Furnierfelder, von Bandeinlagen begrenzt. Transportetikett Eisenbahn-Directions-Bezirk Magdeburg Berlin sowie bez. 63H und 83H. Mit blauer Kreide bez. 1779. H. 235 cm. 135 cm x 74 cm.Das Möbel folgt in seinem Aufbau der, von der Berliner Tischlerzunft vorgeschriebenen Form eines großen Schreibschrankes, mit dem ein Geselle sein Können zur Erlangung des Meistertitels unter Beweis stellen konnte.Stiegel, S. 55, Abb. 14 sowie zur Formensprache: Kreisel II, Abb. 755.Provenienz: Aus der Sammlung des Magdeburger Bankiers Eugen Julius Alenfeld und Elsa Josephine Alenfeld; Auktion Rudolph Lepke, Berlin, 24 April 1936, Lot 157; Sammlung Frieda Hinze/Elisabeth Rhode, Berlin; Auktion Grisebach, Berlin, Die Sammlung Rhode Hinze, 3./4. Juli 2015, Lot 3106; Deutsche Privatsammlung.A large representative Berlin walnut on oakwood veneered Rococo writing cabinet.Berlin. Um 1760.
Lot 1606
Großer Rokoko-Aufsatzsekretär à trois corps Nussbaum, furniert und teilw. reliefplastisch geschnitzt sowie reiche Marketerie aus unterschiedlichen, teilw. grün gefärbten Edelhölzern wie Rosenholz und Ahorn. Seitlich konkav eingezogener Korpus, flankiert von gerundeten Pilastern auf blattreliefierter Zarge und geschwungenen Füßen aus eingerollten Voluten. In der gegliederten Front drei breite, mehrfach geschweifte Schubladen. Gering überstehende, gekehlte Deckplatte als Auflage für schräggestellte, konkav eingezogene und abklappbare Arbeitsfläche. Oberhalb korrespondierender Aufsatz mit zwei bombierten Türen, flankiert von Pilastern mit korinthischen Kapitellen. Geschweift ansteigendes Gesims mit durchbrochen gearbeiteter Rocaillebekrönung. Erg. Inneneinteilung aus Eichenholz. Flächendeckend breit gerahmte Furnierfelder aus unterschiedlichen Marketeriedekoren und Parkettierungen, von Bandeinlagen begrenzt. Rest. mit Erg.; H. 237 cm. 155 cm x 65 cm.A large South German walnut veneered Rococo top mounted writing cabinet with rich marquetry. Restored with later additions.Franken. 18. Jh.
Lot 1632
Barock-Kabinettschrank Holz, ebonisiert sowie teilw. vergoldet. Palisander und Ebenholz furniert sowie Einlagen aus graviertem Zinn. Profilierter, zweischübiger Zargenkasten als Träger für rechteckigen Korpus mit gestuft ansteigendem oberen Abschluss. In der gegliederten Front zwei Türen mit Füllungen aus Flammleisten sowie vollplastisch gestalteten Puttenköpfen. Innen gestaffelte Facheinteilung aus zentraler Tabernakeltür, umgeben von diversen Schubfächern unterschiedlicher Größe sowie aufwändige Marketerie mit Darstellungen der Caritas sowie Allegorien von Glaube und Hoffnung, begleitet von üppigen Volutenmotiven mit Eichhörnchen und stilisierten Greifen. Unterhalb erg. Gestell mit vollplastisch gestalteten Putten und zweischübigem Zargenkasten. Ges.-H. 176 cm. 97 cm x 48 cm.Abgebildet in: "Märchentraum Hasselburg", S. 55.Provenienz: Sammlung Andreas Beurmann, Grüner Salon, Gut Hasselburg.A South German ebonized Baroque cabinet with inlays of pewter. Stand added later.Augsburg. 18. Jh.
Lot 1636
Renaissance-Kabinettschrank auf Stollen sog. Studiolo. Nussbaum und Nussbaummaser, reliefplastisch geschnitzt und furniert. Holz, in Maseroptik gefasst. Gerader, hochrechteckig angelegter Korpus mit segmentartigen Seitenfüllungen, dreiseitig flankiert von vollplastisch gearbeiteten, gestuft angeordneten Pilasterfiguren auf profilierter Zarge aus Wellenband. In der gegliederten Front leicht zurückgesetzte Kabinetteinteilung aus profilgerahmten Schubfächern unterschiedlicher Größe sowie drei architektonisch gegliederten Türen. Dahinter diverse kleine Schubfächer. Oberhalb breites Gesims mit Zahnfries sowie zentraler, bekrönter Kartusche und plastisch gearbeiteten Putten. Gering überstehende Deckplatte. Unterhalb erg. Gestell aus gekanteten, blattreliefierten Balusterbeinen. Ges.-H. 175 cm. 105 cm x 51 cm.Vgl. Rosa, Abb. S. 41.Provenienz: Sammlung Andreas Beurmann, Gut Hasselburg.An Italian carved and veneered walnut Renaissance cabinet. Stand added later.Italien. Toskana. 16./17. Jh.
Lot 1673
Spanischer Bargueño sog. Reisekabinett. Nussbaum und Eisen. Teilw. polychrom gefasst und Einlagen aus graviertem Knochen. Gerader, querrechteckig angelegter Korpus mit seitlichen Griffen, flächendeckend belegt mit ornamental durchbrochen gearbeiteten, stoffhinterlegten Beschlägen. Abklappbare Front als Verschluss für aufwändige Facheinteilung aus zentraler Tabernakeltür sowie diversen, architektonisch gegliederten Schubladen unterschiedlicher Größe, teilw. mit verdeckten Fächern. Eingelegte, ornamentierte Reserven aus unterschiedlichen Wildtieren, Vögeln und stilisierten Landschaften. Unterhalb erg. Gestell aus gedrehten Balustersäulen und kannelierten Balusterstäben sowie breiten, reliefierten Stegen. Erg.; H. 146,5 cm. 107 cm x 42 cm.Abgebildet in: "Märchentraum Hasselburg, S. 55.Provenienz: Sammlung Andreas Beurmann, Grüner Salon, Gut Hasselburg.A Spanish walnut and iron cabinet with decorations of bone. Additions.Spanien. 16./17. Jh.
Lot 1982
Großer Sammlungsschrank im viktorianischen Stil Sonderanfertigung. Mahagoni, furniert. Gerader, rechteckiger Korpus auf Profilsockel. In der gegliederten Front sieben breite Schubladen unterschiedlicher Größe, flankiert von flachen Pilastern. Hoher, zweitürig verglaster Vitrinenaufsatz mit Einlegeböden aus Glas sowie vorkragendem Profilgesims. Seitlich jeweils drei flache, ausziehbare Sammlungsvitrinen für Miniaturen. H. 235 cm. 108 cm x 52 cm.A large German mahogany collection cabinet for miniature paintings.Hamburg. Robert Bornhold GmbH. 1980.
Lot 1986
Großer Louis XVI-Klappsekretär Eschenholz. Gerader, querrechteckig angelegter Korpus auf flacher Profilzarge und gesägten Füßen. In der gegliederten Front vier breite Schubladen unterschiedlicher Größe sowie ausziehbare Stützen für schräggestellte, abklappbare Arbeitsfläche mit kassettierter Füllung. Dahinter gestaffelte Facheinteilung. H. 108 cm. 117 cm x 58 cm.A German ashwood Louis XVI writing cabinet.Deutsch. Ende 18. Jh.
Lot 818
Vollständiges Ensemble vier monumentaler Elementenvasen von MeissenAus der Serie "Vier Elemente" von Meissen. In Form einer Schenkkanne. Über ovalem Fuß bauchiger Korpus mit abgesetztem, eingezogenem Hals und volutenförmig geschweiftem, reliefiertem Ausguss. Seitlich jeweils plastische Henkel in Gestalt eines Drachens, aufsteigender Schilfblätter, eines Ährenbündels und aufgeplusterten Tuches, bekrönt von einem schwebenden Putto. Reliefierter bis vollplastisch modellierter Dekor aus verschiedenen mythologischen Figuren, Putten und Tieren, die vier Elemente Feuer, Wasser, Erde und Luft repräsentierend. Auf der Schulter und der Wandung verkörpert durch die römischen Götter Vulkanus mit Blasebalg, Neptun mit Dreizack in Begleitung von Delphinen, Nereiden und Hippokampen bzw. durch den Faun für den Wald und Diana für die Jagd sowie durch Juno mit Zepter, begleitet von einem Pfau als ihr Attribut. Der Fuß und die obere Randzone flächendeckend mit Flammen- bzw. Rocaillen, Seealgen- bzw. Muschel-, Eichenblatt- sowie Federreliefs. Die mittlere Wandung beidseitig mit szenischer Darstellung. Die Vase des Feuers zeigt das verheerende Geschehen eines lodernden Waldbrandes mit fliehenden Waldtieren zwischen grünen Eichenblättern bzw. einen Vulkanausbruch in bergiger Landschaft bei Sonnenaufgang. Die Vase des Wassers mit wellenförmig reliefierter Meeresoberfläche und schauseitiger Darstellung einer Schiffsflotte. Die Vase der Erde mit grüner, von Bergketten durchzogener Landschaft unter blauem Himmel sowie Rehen, Bären, springenden Hunden bzw. die Luft mit großen, zwischen reliefplastisch bauschigen Wolken fliegenden Kranichen, Enten und einem Adler. Ausguss und Fuß umzogen von reliefierten Rocaillen, Schilfblättern, Eichenblättern und Federn. Am Kannenhals gestreuter Dekor aus Blüten, Salamandern, Libellen, Käfern bzw. Schmetterlingen auf weißem Fond. Feine polychrome Malerei mit Goldrand. Entw. Johann Joachim Kaendler, um 1741/42. Rest.; Schwertermarke. Meissen. 19. Jh.; H. 63 cm - 67 cm.Die Urausführungen der Elementenvasen in Weißporzellan waren Teil einer fünfteiligen Garnitur, die als zentrales Stück eine prächtige Deckelvase mit dem schauseitigen, lorbeerbekränzten Profilporträt des französischen Königs Louis XV (1710 – 1774) und einem allegorischen Bildprogramm als Lobpreisung auf Frankreich enthielt. Sie waren als Geschenk des Kurfürsten Friedrich August III., Sohn August des Starken, an den französischen König gedacht, um die Allianz zwischen beiden Ländern zu stärken. Aufgrund der veränderten politischen Lage infolge des Österreichischen Erbfolgekrieges (1740 - 1748) blieben die vier Elementenvasen allerdings am Dresdner Hof. Aufgrund des technischen und risikoreichen Aufwands in Bezug auf die Herstellung wurden mehrere Ausführungen bzw. Sätze der Elementenvasen hergestellt. Heute sind sie in neuer Repräsentation im rekonstruierten Porzellankabinett im Dresdner Residenzschloss zu sehen.Vgl. Loesch, Kat. The porcelain cabinet, S. 87ff., Abb. 2, 5; Staatliche Kunstsammlungen Dresden, Inv.-Nr. PE 7789.A complete ensemble of four splendid monumental jug-shaped porcelain vases representing the four elements Fire, Water, Earth and Air with mythological figures, rich applied and painted decoration. Restored. Crossed swords mark.Meissen. 19. Jh.
Lot 6505
Keman, Georges Antoine -- Miniatur Portrait eines braunhaarigen Mädchens, in einem Park sitzend, ihr blauer Hut geschmückt mit Bändern und Rosen, in türkisblauem Kleid mit weißem Rock, ihr weißes Fichu mit Buchstaben "D" als Brosche, ihr linker Arm auf einen Blumenkorb gelehnt. Mittig rechts auf dem Baumstamm senkrecht aufsteigend signiert "Keman".Aquarell und Gummiarabikum auf Elfenbein. D. 6,2 cm. In vergoldeter Kupferfassung in vergoldetem Bronzerahmen. Um 1785/1790.Miniaturen dieses elsässischen Künstlers sind von großer Seltenheit. Ein ähnliches Frauenbildnis befindet sich im Cabinet des Estampes et des Dessins, Straßburg. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lot 57
A fine George III satinwood, yew wood, palmwood crossbanded, sycamore and marquetry commode attributed to Ince and Mayhew (active 1758/9-1804)Circa 1780The moulded rectangular top centred by a yew wood oval medallion bordered by paterae-filled lappets and an outer band of stylised laurel leaves on a calamander ground within a broad satinwood crossbanding, the frieze drawer above a pair of cupboard doors with circular vase-filled medallions and flanked by leaf carved and fluted engaged columns, the sides with further vacant circular medallions, the slightly outset base-moulding on leaf carved and baluster turned feet, with palmwood crossbanding, pearl motif bandings and stringing throughout, traces of the original ebonised finish to the mouldings, 128.5cm wide x 63cm deep x 89cm high, (50 1/2in wide x 24 1/2in deep x 35in high)Footnotes:ProvenanceReputably previously from the collection of The Metropolitan Museum of Art, New York.Acquired by Hotspur Ltd., London until sold at The Grosvenor House Antiques Fair, 10th June 1988, £70,000. A copy of this Hotspur invoice is available to view.The present lot relates to certain documented English Neoclassical commodes in the Louis XVI taste associated with the Soho, London cabinet making partnership Messrs. Ince & Mayhew. Their unifying characteristics are engaged fluted columns of a distinctive design to the front corners and ebonised mouldings to the tops and aprons. Arguably pre-eminent among these is an example almost certainly supplied by the firm to George Finch, 9th Earl of Winchilsea and 4th Earl of Nottingham for Burley-on-the-Hill, Rutland circa 1773-1775, sold Christie's, London, Simon Sainsbury: The Creation of an English Arcadia, 18 June 2008, lot 250. Aspects of the offered lot are paralleled on the Rutland commode comprising the almost identical engaged columns to the front corners, the profiling of the mouldings to the top and base and the use of an ebonised finish to the latter. Furthermore, the subtly concave front to the frieze drawer and doors is also featured on the Rutland commode. The Swallowfield Park commodes, sold Christie's London, Important English Furniture, 9 June 2005, lot 250, also represent an important pair of cabinets belonging to the aforementioned group which are of a serpentine configuration with marquetry including similar (possibly yew wood) laurel bound top medallions. These were possibly supplied to Charles, 1st and last Earl Whitworth (1752-1825) and by descent to his sister and thence by descent to Swallowfield Park (see also Lucy Wood op. cit., P. 213, fig. 201). Other related cabinets include a chest of drawers sold Sotheby's, Arts of Europe, 12 May 2015, lot 186 and a serpentine chest, sold Christie's London, The Collector: English Furniture, 22 May, 2019, lot 59. The oval medallion to the top of the offered commode features the use of yew wood, a timber identified as 'possibly unique to Mayhew and Ince among London cabinet makers of this date' (C. Gilbert, The Dictionary of English Furniture Makers, 1660-1840, Leeds, 1986, pp.'s 589-593). The firm supplied a veneered yew wood commode to Sir Brook Bridges of Goodnestone Park, Kent, that was exhibited in Treasures from Kent Houses, Royal Museum, Canterbury, September-October 1984, no. 57.The firm of Ince and Mayhew (active 1758/59-1804) were best known for their skilled innovative use of marquetry. Their earliest known commode decorated solely with marquetry dates from as early as 1764. They were also the first to produce semi-elliptical commodes through their involvement with the Countess of Derby's Etruscan commodes for which they were employed by Adam in 1774. Ince and Mayhew's mature Neoclassical marquetry depended upon a vocabulary of large scale motifs, such as urns, tripods and swags, 'coloured and boldly inlaid upon contrasting fields [and] subtle foliage inlaid in different woods'.Comparative LiteratureR. Edwards and P. Macquoid, The Dictionary of English Furniture, rev. edn., 1954, vol. II, p. 52, fig. 56L. Wood, The Lady Lever Art Gallery: Catalogue of Commodes, London, 1994, p. 213, fig. 201.H. Roberts and C. Cator, Industry and Ingenuity: The Partnership of William Ince and John Mayhew, 2022, p. 311, pl's. 165-166 and p. 326, pl's. 213-214.For further information on this lot please visit Bonhams.com
Lot 30
An early Victorian porcelain and ormolu mounted rosewood and tulipwood jewellery coffer on stand or coffre a bijoux attributed to Johann Martin Levien (1811-1871)Circa 1845, an identical model forms part of the Royal CollectionThe quarter veneered box superstructure mounted with five oval Sevres style porcelain plaques painted with a trio of putti and four pairs of putti, variously allegorical of viniculture, geography, astronomy, literature, music and fire making, each plaque set within a shaped C- and S-scroll, floral, foliate and rocaille panel mount, the superstructure comprised of a hinged top enclosing a velvet lined interior, above a cavetto leaf mounted panelled frieze, with canted floral clasped angles, over a re-entrant panel mounted hinged fall front enclosing two pigeon holes, two short mahogany lined tulipwood veneered drawers and one shelf, on a stand with a shaped apron mounted with four oval Sevres style painted porcelain plaques, each within a ribbon tied entwined twin oak leaf branch and oak leaf wreath mount, on keeled cabriole legs each headed by a floral swagged, paterae embedded scrolled corbel, beaded and acanthus clasped mount, with guilloche cast chutes terminating in scrolled foliate sabots, approximately: 54cm wide x 49cm deep x 110cm high, (21in wide x 19in deep x 43in high)Footnotes:An identical model of jewellery cabinet on stand (referred to as a coffre a bijoux in French), which is dated 1846 and is also, as with the present lot, attributed to Johann Martin Levien, forms part of the Royal collection, see www.rct.uk, RCIN 169.Although Levien is famed for his furniture executed in assorted exotic specimen woods, the latter of which were predominantly sourced from New Zealand, the vast majority of his work was in fact made from more traditional timbers. And this seems to have been the case for his output in French styles, particularly those in the Louis XV taste as with the offered model and the Royal comparable. The latter coffre a bijoux, along with the above example, are representative of the endorsement of Queen Victoria and Prince Albert, especially during the 1840s, for French-inspired pieces. The modified or updated Louis XV (or Rococo revival) style was evidently the one preferred by the Royal couple at that time. The porcelain plaques on both of these jewellery cabinets, which are painted in the Sèvres style with scènes galantes, birds and flowers within gilded cartouches, are almost certainly of English manufacture, for more information please refer to Victoria & Albert: Art and Love, 2010, London.Johann Martin LevienLevien was born in Barth on the Baltic coast, in what is today part of Germany. During his youth he was apprenticed to a cabinet maker there before travelling extensively across Europe. Following a trip to Brazil in 1837, Levien took the decision to set himself up there as both a cabinet maker and dealer responsible for making and selling pieces comprised of or incorporating a wide array of exotic timbers. However, the trade in this area evidently proved too competitive at that time in South America and represented too difficult a prospect for the young Levien. Consequently he chose a different course, specifically by boarding an English ship destined for New Zealand in 1840. By the end of the following year, Johann Martin had established a new furniture enterprise in New Zealand. Also, even in what was a relatively brief period, the diligent cabinet maker had greatly expanded his collection of exotic specimen wood samples. And although clearly prospering there, in 1843 Levien moved once again, but on this particular occasion to England. Interestingly he would never return to New Zealand thereafter.His career and renown progressed so rapidly in London, that in hardly any time after his arrival there, Levien was able to set up workshops at New Zealand Company on Broad Street, as well as develop the main room at this location as a space in which to properly display his firm's impressive 'wares'. His most notable clients tended to be affluent and aristocratic, whilst on occasion they were even members of the Royal family, tending to be either from the British or Prussian courts.Included among Levien's most important and illustrious patrons were figures such as: the Prussian ambassador, Christian Charles Josias von Bunsen (later Baron von Bunsen); Frederick William IV, King of Prussia; Baron von Stockmar, Baron Rothschild, Stewart Marjoribanks, Lord Ilchester, John Abel Smith, Lord Ingestre and of course most significantly Queen Victoria.In 1846 a Royal appointment was bestowed upon Levien and this honour was triumphantly announced by 'The London Sun' only a couple of weeks afterwards in the following way: 'We are happy to announce that Her Majesty has been pleased to confer upon Mr Levien the appointment of cabinet-maker to Her Majesty, in token of the very elegant specimens of workmanship made by him... Her Majesty the Queen was the first to patronise him. And he has secured great favour with Her Majesty by his workmanship, his skill, and his woods.'A mere two years later, in 1848, Johann Levien was awarded both a gold medal and a further Royal appointment, albeit on this occasion from the King of Prussia. In fact that year was an especially successful one for Levien's business since they were doing well enough to re-establish themselves at the exclusive and highly sought after 10 Davies Street address, located in Grosvenor Square. Subsequently Levien submitted four pieces to the famous 1851 Great Exhibition.Despite his prolific output and widespread renown, only a very small number of stamped or documented examples of Levien's furniture are known to exist or remain. This seems particularly odd considering the fact that by the time the cabinet maker retired and subsequently sold the firm in 1868, hundreds of works must have been produced in his name. Although it does seem extremely likely that the vast majority of his output was almost certainly left unsigned or unmarked, whilst a great deal of it also went on to be later sold by retailers such as R. Lucas & Co.This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
Lot 19
A mid Victorian ormolu mounted figured burr walnut, ebonised, tulipwood crossbanded, purplewood banded, yew wood, stained sycamore and marquetry breakfront low cabinetCirca 1865, possibly by Holland and SonsWith projecting front angles, inlaid with scrolled strapwork and stylised foliage including acanthus, palmettes and bellflowers, the pair of central re-entrant panelled doors mounted with lotus-leaf moulded surrounds and sunflower paterae angles, each door inlaid with a ribbon tied floral and foliate embellished musical trophy, one trophy including bagpipes, a flute, recorder, panpipes, bow and a ewer, the other incorporating a mandolin, hunting horn, oboe, drum, triangle and a goblet, enclosing two long adjustable shelves, flanked by two glazed doors enclosing four short adjustable shelves, interspersed with four flute inlaid pilaster angles, each surmounted by a Bacchus mask mount wearing a grape and vine headdress, on a plinth base with paterae mounted angles, terminating in six large ring turned feet, approximately: 220cm wide x 55cm deep x 110cm high, (86 1/2in wide x 21 1/2in deep x 43in high)Footnotes:A comparable credenza to the present lot, also dated circa 1865, sold Christie's, London, 12 November 2020, The Collector: Live, lot 298. This example, which is attributed to Holland and Son, has similar Neoclassical (or more accurately Greek) revival inlay, matching and contrasting timbers, closely related ormolu mounts and almost identical placing of the mounts on the carcass.This lot is subject to the following lot symbols: TPTP 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 77
A French late 19th century ormolu mounted rosewood and Vernis Martin serpentine meuble d'appui in the Louis XV styleStamped: 'T. Vincent'The shaped moulded marble top with projecting eared angles, above one long and two short scrolled acanthus and foliate C-scroll embellished panel mounts to the frieze incorporating a long central secret catch-activated and spring loaded frieze drawer, over a rocaille, C- and S-scroll, floral and acanthus cast cartouche shaped mount, encompassing a moulded door surround inset with a Vernis Martin panel decorated with an 18th century fete galante comprising two small groups of courtly figures dressed in elegant attire, enclosing two adjustable shelves, flanked to each side by a similar cartouche shaped panel mount, interspersed with four shell, oak leaf, scroll and acanthus mounted keeled angles, with chutes terminating in rocaille, C-scroll and foliate clasps, over a shaped ovolo apron terminating in four square section cabriole legs each mounted with acanthus scroll sabots, the carcass top stamped: 'T. VINCENT', the panelled back with an old paper label bearing a now illegible ink inscription, approximately: 132cm wide x 53cm deep x 119cm high, (51 1/2in wide x 20 1/2in deep x 46 1/2in high)Footnotes:The present lot is stamped: 'T. Vincent' but, although several cabinet makers with the surname of Vincent are documented as working in Paris during the 19th century, unfortunately their Christian names remain unknown. However, individuals or firms bearing the surname Vincent appear to have been based at the following locations from 1839 onwards; 24 rue des Tournelles; 17 rue de la Croix in 1844; rue Jean-Robert between 1846 and 1850; 65 rue des Gravilliers in 1853; 22 rue des Tournelles in 1856 and 16 on the same road from 1860. It is not obvious whether these addresses are successive ones relating to one specific ebeniste called Vincent, or they perhaps represent a mixture of different businesses operating more or less contemporaneously, D. Ledoux-Lebard, Le Mobilier Francais du XIXeme Siecle, 1989, Paris, p. 616.French 19th century meubles d'appui which incorporate Vernis Martin panels are often by or attributable to some of the most renowned cabinet makers of the period such as Henry Dasson, Joseph-Emmanuel Zwiener, Francois Linke, Paul Sormani and Louis-Auguste-Alfred Beurdeley. And although it is not clear which Vincent was responsible for making the offered lot, it is evident that this particular work is of very high quality, and thus was undoubtedly executed by a firm of some significant repute within this particular field. These cabinets tend to be in either the Louis XV or Louis XVI style, and the above is clearly in the former vein.Arguably the two most notable 19th century figures who produced some of the finest pieces of this type of furniture were Henry Dasson and Joseph-Emanuel Zwiener. Examples of such meubles d'appui which have sold at auction include: one by Henry Dasson, sold Christie's, London, 19 March 2009, 19th Century Furniture, lot 177; one by Zwiener sold Christie's, London, 14 November 2019, lot 563; another Zwiener version sold Christie's, New York, 17 October 2017, The Collector, lot 79; a model attributed to Zwiener, Christie's, New York, 24 October 2006, 19th Century Furniture, lot 491; another attributed to Zwiener, Christie's, New York, 22 October 2010, 500 Years: Decorative Arts Europe, lot 318; and also a further cabinet sold Christie's, New York, 15 April 2011, 500 Years: Decorative Arts Europe, lot 160.A Dasson grand meuble d'appui with an impressive central classical scene in Vernis Martin is illustrated in C. Mestdagh, l'Ameublement d'Art Francais, 1850-1900, Paris, 2010, fig. 282, p. 240 whilst a narrower example by Zwiener appears in D. Ledoux-Lebard, Le Mobilier Francais du XIXeme Siecle, 1989, Paris, p. 645.This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
Lot 54
A George I japanned and engraved gilt brass mounted cabinet on a later standThe cabinet: 1710-1725, the stand probably late 19th/early 20th centuryDecorated with assorted figures, exotic birds, boats, pagodas, waterways, trees and foliage, the pair of doors enclosing an arrangement of ten drawers of various proportions, on a pierced and entwined S-scroll carved stand terminating in chamfered square section legs and moulded block feet, the back with old depository labels, the cabinet: 99cm wide x 51cm deep x 92cm, including the stand: 106cm wide x 55cm deep x 176cm high, (41 1/2in wide x 21 1/2in deep x 69in high)Footnotes:ProvenancePurchased Christie's, London, 8 June 2021, Julians Park and Six Private Collections, lot 177 in which sale it had been described as forming part of 'Property from an East Anglian Country House'.This lot is subject to the following lot symbols: TPTP 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 28
A George II walnut armchair1750-1755, either made by the firm of Wright and Elwick or executed by Paul SaundersThe shaped beaded and scrolled acanthus wrapped toprail carved with a central sunflower head, with volute scrolled and acanthus clasped arms, above a shaped, foliate scroll carved and channelled seat frame centred by a shell and acanthus spray, on bellflower pendant, scrolled and foliate adorned cabriole legs terminating in scroll feet, with an old metal plaque which reads: 'ANTIQUE FURNITURE FROM NORMAN ADAMS LTD., 8-10 Hans Road, London, SW3', approximately: 71cm wide x 74cm deep x 96cm high, (27 1/2in wide x 29in deep x 37 1/2in high)Footnotes:ProvenanceThe present lot was previously with Norman Adams Ltd., most likely during the 1970s and also into the early 1980s, from which period the metal plaque applied to its seat rail appears to date.The same model of chair sold Christie's, New York, 25 October 1986, Fine English and Continental Furniture, lot 54. Much more recently, an identical pair of these chairs (possibly part of the same set originally as the offered example) sold Christie's, London, 20 May 2021, The Collector, lot 32. It seems highly probable that the partnership of Wright and Elwick, active from 1748 and based in Wakefield, West Yorkshire, was responsible for the making of the present chair. Also it is interesting to note that Richard Wright, who formed one half of this impressive duo, had earlier on worked alongside Paul Saunders (1722-1771). The latter of whom was one of the most significant cabinet makers (and notably chair makers) who flourished in England during the 1750s and 1760s. Saunders also served as Tapestry Maker to His Majesty the King, whilst being based at 'The Royal Soho Manufactory, Soho Square'. During the early part of his career he operated with George Smith Bradshaw (1717-1812), who was then much like a business partner of his. Together they took over, circa 1755, the workshop of William Bradshaw, which was based at 59 Greek Street, also in Soho, and at the same time acquired the stock and pattern books already there. As a consequence of this, there are many similarities among the contemporaneous design elements and motifs employed by Wright and Elwick, Saunders and indeed Bradshaw as well.An example of this shared visual vocabulary is the acanthus carving to the legs of the above chair which appears, albeit slightly varied upon each individual model, on seat furniture produced by all three of the aforementioned makers. These include; a set of four armchairs with tapestry upholstery which were evidently provided for Chesterfield House, London by Bradshaw but are today housed at the Metropolitan Museum of Art, New York, and which feature in G. Beard, Furniture Maker and Tapestry Weaver Metropolitan Museum Journal, Vol.37, 2002, p.168, fig. 1; two sets of dining chairs (1755-1758) made by Saunders on behalf of the 1st Earl of Leicester at Holkham Hall, Norfolk, illustrated in A. Coleridge, Some Mid-Georgian Cabinet-Makers at Holkham, Apollo, February 1964, fig.'s 1 and 2; and a group of twelve chairs most likely supplied by Wright and Elwick to Nostell Priory, Yorkshire, National Trust, NT 959745.The Nostell Priory variant of this type, which was seemingly devised and executed by Wright and Elwick, incorporates a very similar carved cartouche to that appearing on the seat frame of the offered chair. Further to this, the present lot relates to a group of dining chairs, also believed to have been provided by this same firm, albeit for Kippax Park, Yorkshire. The latter appear in M. Harris and Sons, The English Chair, London, 1946, pl. LI, p. 123. All of this lends serious weight to the view that the above is a production of the renowned Wakefield business.Additional seat furniture of this closely comparable design was previously located at Swaines Hill Manor, Hampshire. Whilst a pair of armchairs together with a sofa from this suite, which had formed part of the collection of the late Marjorie Wiggin Prescott, Belle Haven, Greenwich, Connecticut, sold Christie's, New York, 31 January 1981, lot 354. Subsequently, the same sofa sold Christie's, London, 11 May-1 June 2020, lot 108. These notable pieces feature in R. Edwards, C. Claxton-Stevens and S. Whittington, 18th Century English Furniture, The Norman Adams Collection, 1983, Woodbridge, pp.'s 38 & 39. It is possible that the present lot is indeed the exact same armchair which is illustrated therein.This lot is subject to the following lot symbols: TPTP 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 18
An important early Victorian 'Antiquarian' walnut and ebonised breakfront low cabinet mounted with sixteen Italian pietra dure plaques and twenty-two marble tablets some of the Florentine pictorial pietra dure plaques probably date to the early 18th century; the cabinet: 1845-1865 The 19th century thick slab black marble top inlaid with a central oval within a Sicilian Jasper shaped and scrolled cartouche joined with foliate and husk pendants to the sides, encompassed by a rectangular border, above multiple ripple moulded tablet surrounds and frames of various proportions to the front and sides, the pictorial pietre dura plaques variously depicting nine butterflies of differing sizes, six birds, an urn replete with fruit, slugs, assorted flowers and fruiting branches, the other panels inset with assorted marble specimens including rosso antico and verde antico, the frieze incorporating one central drawer, over three moulded panelled doors, enclosing two long and two short shelves, on a plinth base, approximately: 194cm wide x 55cm deep x 108cm high, (76in wide x 21 1/2in deep x 42 1/2in high) For further information on this lot please visit Bonhams.com
Lot 81
A French late 19th/early 20th century ormolu mounted tulipwood, amaranth, bois satine, kingwood, sycamore and parquetry pedestal clock1890-1905, after the model by Jean-Henri RiesenerIn two sections, the hood mounted and surmounted with three cherubs amidst billowing clouds and floral pendants, with a later white enamel dial, above a triple panelled cavetto frieze with tablets of lozenge inlay mounted with ribbon tied floral and foliate garlands, over a tablet with an entwined olive leaf branch and sunburst mount centred by a relief cast Apollo mask, the panelled pedestal door inset with a central glass oval and mounted with an elaborate pendant comprised of a ribbon tied flaming torch, opposing flower-filled cornucopiae and wreath crowned urn replete with flowers, acanthus, scrolled sunflower, tasselled floral swagged stem and entwined olive branch lyre-centred musical trophy, flanked by beaded and acanthus clasped scrolled corbel mounts inset with berried rosettes and entwining floral, berried and foliate pendants, on acanthus headed hairy lion paw foot mounts, with a concave quadripartite base mounted with an entwined florid branch and wreath, terminating in four stiff leaf toupie sabots with egg-and-dart moulded collars, approximately: 63cm wide x 32cm deep x 241cm high, (24 1/2in wide x 12 1/2in deep x 94 1/2in high)Footnotes:Several pedestal clocks of the same model to the offered lot have sold at auction this century. These include the following unsigned and unstamped versions; Christie's, New York, 19th Century Furniture, lot 132; Christie's, London, 19th Century Furniture, lot 15 and Christie's, London, 23 September, 500 Years: Decorative Arts Europe, lot 343. However a stamped example, one by Henry Dasson dated 1888, sold Christie's, London, 28 October 2014, Chateau - A Distinguished American Collection of Important 19th Century Furniture, lot 14.The present lot is a copy of the celebrated model attributed to Jean-Henri Riesener (maître 1768; d. 1806), executed in 1785 and now in the Louvre (cat. C.Dr., No. 185). In the mid 19th century, a barometer version of the clock - also in the Louvre - was made by the cabinet maker, Guillaume Grohe (for an illustration of Riesener's original clock and Grohé's barometer, see P. Verlet, Les Bronzes Dorés du XVIIIe Siècle, Paris, 1987, p. 116, no. 145 and p. 384, no. 394).Arguably the most notable 19th century pedestal clocks of this type, or the equivalent 'regulateurs de parquet', are those that were executed by the celebrated cabinet makers, Emmanuel-Alfred (dit Alfred II) Beurdeley, Paul Sormani, Grohe freres and Henry Dasson. Indeed a copy of this type by Dasson is illustrated in C. Mestdagh, L'Ameublement d'Art Francais, 1850-1900, Paris, 2010, fig. 220, p. 192.Another maker, who slightly later on, revitalised this Riesener pedestal clock form was Julius Zwiener. A version of Zwiener's, which is dated 1906, appears in J. Meiner, Berliner Belle Epoque, 2014, Petersberg, Abb. 107, p. 91.This lot is subject to the following lot symbols: TPTP 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 24
A near pair of early 19th century boxwood and ebony strung and crossbanded amboyna and mahogany miniature collectors cabinets containing an interesting contemporary collection of sulphide 'buttons', various English and French sulphide profile portrait plaques, red and green paste intaglio 'gems' and a part set of red wax miniature reliefs of British royal portraitsThe boxes manufactured by the same cabinet maker and apparently acquired at the same time to house a contemporary collection,of slightly differing sizes with similarly inlaid panelled decoration, each with a pair of doors opening to six graduated drawers with turned ivory knopped handles and inset central plaques numbered from 1 to 6, the mahogany cabinet containing the majority of a part set of numbered miniature oval and circular wax portrait reliefs depicting George I, II and III and their extended families together with ink written numbered paper keys of the sitters taken from Tassier's catalogue, the amboyna cabinet containing the remainder of the wax portrait reliefs together with a set of twenty four sulphide 'buttons' depicting winged putti at various pursuits, twenty four red glass oval 'gems', apparently intaglio from or used to create the sulphide 'button' subjects, the sulphide profile portraits including 15 unmounted subjects of late 18th and early 19th century British royally, together with a circular plaque of Louis XVI and a Baccarat oval plaque of a classical youth (as found), and seven green paste oval 'gems', apparently intaglios taken from or used to create the sulphide profile portrait subjects, and two other amber paste intaglio 'gems', the cabinets, 13cm x 18cm x 10cm, and 113cm x 16.5cm x 10cm (2)Footnotes:LiteraturePaul Jokelson 'Sulphides, The Art of Cameo Incrustation', Galahad Books, New York, 1968, pg 71.Paul H Dunlop 'The Jokelson Collection of Antique Cameo Incrustation', Papier Presse, USA, 1991, pg 68 and pg 95.This lot containing ivory has been registered in accordance with the Ivory Act (Section 10), T6HPQAABThis lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 39
PIERRE CHAPO (1927-1986)Petit buffet mod. 'R07A'Création en 1963Edition Atelier Pierre ChapoOrme massifH: 96cm. (37 13/16in.); L: 110cm. (43 5/16in.); P: 42cm. (16 9/16in.).A 'R07A' cabinet in solid elm by Pierre Chapo designed in 1963 and edited by Atelier Pierre Chapo.For further information on this lot please visit Bonhams.com
![[ABDICATION CRISIS] HOARE SAMUEL: (1880-1959) British politician, First Lord of the Admiralty 1936-37 and Home Secretary 1937](https://cdn.globalauctionplatform.com/c94208ea-33a8-4692-9303-b0af00c363c0/d4850763-3a7e-4cf5-b9a7-b0b400dd50ef/468x382.jpg)
Lot 1047
[ABDICATION CRISIS] HOARE SAMUEL: (1880-1959) British politician, First Lord of the Admiralty 1936-37 and Home Secretary 1937-39. An important and historical A.L.S., Sam, two pages, 4to, Admiralty House, 10th December n.y. (1936), to Lord Beaverbrook ('Dear Max'), marked Personal. Written on the day that King Edward VIII signed the Instrument of Abdication, Hoare announces 'I have not telephoned or come round today or yesterday as I was, on your advice, sitting back in the final acts of this tragic farce' and continues 'It was clear to me yesterday that the denouement was inevitable. I tried my best to the end to make renunciation possible, but the King would not move an inch. To what depths can folly descend!' Hoare further states 'In any case I am glad and grateful that another crisis brought us together again. It is almost a year to a day since my resignation. The first friendly word from outside came from you. I never forget these things nor shall I forget our talks of the last fortnight, and your manifest wish to help me in my career.' A letter of interesting content written on a pivotal day in the history of the British monarchy. One neat tear to the right edge of a central fold, only very slightly affecting one word of text, otherwise VG Max Aitken (1879-1964) 1st Baron Beaverbrook. Anglo-Canadian Business Tycoon, Politician & Writer, owner of the Daily Express and London Evening Standard newspapers. In June 1936 Hoare became First Lord of the Admiralty and in November 1936 he was (with Duff Cooper, the then Secretary of State for War) sought out by Edward VIII to provide independent advice and counsel on the King's constitutional problems. Initially the King attempted to convert him into a champion of his cause hoping that Hoare would speak up in defence of his right to marry when the matter came up for formal discussion in the Cabinet. In the King's memoirs A King's Story (1951) he recounted this first meeting, "But I failed to win him as an advocate. He was sympathetic; but he also was acutely conscious of the political realities. Mr. Baldwin, he warned me, was in command of the situation: the senior Ministers were solidly with him on this issue. If I were to press my marriage project on the Cabinet I should meet a stone wall of opposition. I saw Mr. Duff Cooper at the Palace later the same day.....He was as encouraging and optimistic as Sam Hoare had been pessimistic and discouraging." Hoare's second meeting with the King took place at the end of November, about which the King wrote, "At this juncture, the scene shifted momentarily to Stornoway House where Max Beaverbrook, ever since his return from America, had worked feverishly to rally support for me in whatever quarters it might be found.....Mr. Baldwin was aware of what Max Beaverbrook was up to; and no doubt hoping to check the forces beginning to rally round my cause, he despatched Sir Samuel Hoare on Sunday, the 29th, to explain the attitude of the Government towards the King. The message which the First Lord of the Admiralty bore was ominous indeed. It was that the Ministers stood with Mr. Baldwin---"no breach exists: there is no light or leaning in the King's direction." Then the First Lord fired his second salvo. "The publicity," he said, "is about to break." Many Ministers, he added, were restless and dissatisfied over the failure of the Press to publish facts of a crisis already the talk of the rest of the world. He stressed Mr. Baldwin's desire that the Press, like the Cabinet, should form an unbroken front against the proposed marriage. It was an undisguised invitation for Max Beaverbrook to change sides. His answer was: "I have already taken the King's shilling, I am a King's man."On 4th December the King learned of an earlier meeting between Beaverbrook and Hoare, of which he commented "So the day had not been all debits as far as I was concerned. From Stornoway House Max Beaverbrook, sensing the favourable upsurge in public opinion, had steadily hammered away on the theme of delay. I must not allow myself, he urged, to be harried and hurried into precipitous action. He had seen Sir Samuel Hoare again, and in conversation with him had formed the impression that many Ministers were troubled by the turn the crisis had taken, and would welcome a withdrawal of my request for advice on the morganatic marriage proposal. But I was wearied to the point of exhaustion." Finally during the morning of 10th December 1936 (the day Hoare wrote the present letter to Beaverbrook) the King signed the Instrument of Abdication.
Lot 105
DAVIS BETTE: (1908-1989) American actress, Academy Award winner. An excellent vintage signed and inscribed 7 x 9.5 photograph of Davis standing in a three-quarter length pose alongside a distressed wooden cabinet upon which appear a table lamp and small pile of books including a copy of Tales from the Arabian Nights. Signed by Davis in dark fountain pen ink to a light area of the image. Double matted in dark and pale brown and attractively framed and glazed to an overall size of 15 x 17. VG
Lot 402
WAGNER RICHARD: (1813-1883) German composer. A good vintage signed sepia cabinet photograph, the sepia albumen print featuring an oval image of Wagner in a semi-profile head and shoulders pose. Photograph by Friedrich Bruckmann and bearing his imprint and the composer’s name to the lower photographer’s mount. Signed (‘Richard Wagner’) by Wagner in dark fountain pen ink with his name alone directly beneath the image. Glazed and with a contemporary stiff card backing. One small circular stain to the border, not affecting the image or signature, otherwise VG Friedrich Bruckmann (1814-1898) German portrait photographer who established his studio in 1858.
Lot 453
GALLI-MARIÉ CELESTINE: (1840-1905) French high Mezzo-Soprano, most remembered for playing the main role in Bizet´s premiere of his opera Carmen (1875). A very fine A.L.S., `Galli-Marié´, three pages, 8vo, [Paris], 12 rue de Milan, on her attractive printed stationery, bearing her initials, to an unidentified correspondent, in French. Galli-Marié asks a very important favour, stating in part `Vous souvenez-vous m´avoir rendu un grand service en obtenant de Monsieur de Leuven directeur de l´Opera comique, un congé qu´il me refusait? J´ai gardé un si bon et si vif souvenir de votre gracieuse intervention…´ (Translation: “Do you remember doing me a great favour, by obtaining from Mr. de Leuven, Director of the Opera Comique, a time off which he refused to me? I kept a so good souvenir of your gracious intervention…”) further explaining the reason of the new favour she is asking for, saying `Je viens encore vous demander de nous aider dans une circonstance bien sérieuse: il s´agit du concours de comédie qui va avoir lieu mardi prochain au conservatoire et d´une bourse que l´on accorde à la plus méritante; je désirerais beaucoup avoir votre voix pour Mademoiselle Marty, élève de Delaunay qui e nest très content; elle n´a pas encore 19 ans mais elle a vraiment de l´avenir comme vous pourrez en juger mardi, elle concourt dans une scene du marriage de Figaro…´ (Translation: “I have come to ask you again to help us in a very serious circumstance: it concerns the comedy competition which will take place next Tuesday at the conservatory and a scholarship which is granted to the most deserving; I would very much like to have your vote for Mademoiselle Marty, a pupil of Delaunay who is very happy with her; she is not yet 19 years old but she really has a future as you will be able to judge yourself on Tuesday, she competes in a scene from Le Nozze di Figaro…”) Together with a very attractive 4.5 x 6.5 cabinet photograph of Galli-Marié, unsigned, the Nadar cabinet photograph depicting the French artist in a three-quarter length pose in costume as Carmen in Bizet´s opera of same title. Bearing to the lower light border the printed red Nadar´s logo, and also bearing to the verso an attractive full Nadar logo and awards and other information. VG Carmen is an opera in four acts by Georges Bizet, based on the novel of same title by Prosper Mérimée. The opera was first performed by the Opéra-Comique in Paris on 3rd March 1875, with Celestine Galli-Marié singing Carmen´s role. Its breaking of conventions shocked and scandalised its first audiences. Bizet died shortly after, unaware that the work would achieve international acclaim within the following ten years. Carmen has since become one of the most popular and frequently performed operas.
Lot 550
MONTGOMERY B. L.: (1887-1976) British Field Marshal of World War II. A.L.S. in the scarcer from Monty, two pages, 8vo, Isington Mill, Hampshire, 20th April 1949, to ‘My dear Ava’ [Anderson, Viscountess Waverley]. Montgomery sends his correspondent a copy of a speech (no longer present) that he is ‘going to make in Paris on Saturday night next: St. George’s Day’ and remarking that ‘It is an important occasion and I have taken a lot of trouble to produce a good speech’. The Field Marshal also refers to his son, David, who has returned to Cambridge, also reporting that ‘He did a lot of climbing in the vacation: in the Lake District and in Wales’. Two very small staple holes to the upper edge, not affecting the text or signature, VG Ava Anderson (1895-1974) Viscountess Waverley, second wife of John Anderson (1882-1958) 1st Viscount Waverley, British Civil Servant & Politician who served in the Cabinet during World War II. Viscountess Waverley was a noted political and society hostess during the war and it has been said that she had ‘more indirect influence than any woman of her generation’. At the time of the present letter Montgomery was serving as Chairman of the Western Union Commanders-in-Chief Committee (1948-51) which had been created as a result of the Treaty of Brussels. The founding of the North Atlantic Treaty Organisation in April 1949 and the Council of Europe in May 1949, both close to the date of the present letter, left the Western Union devoid of much of its authority.
Lot 879
LA CONDAMINE CHARLES MARIE DE: (1701-1774) French Explorer, Geographer and Mathematician. He measured the length of a degree latitude at the equator, spending ten years in Ecuador, and prepared the first map of the Amazon. Rare A.L.S., `La Condamine´, one page, 8vo, n.p., 11th December 1752, in French. La Condamine states `Je reçois dans le moment, Monsieur, par un courier du cabinet arrivant de berlin un paquet de M. de Maupertuis avec deux exemplaires de ses lettres dont un pour vous que j´ai l´honneur de vous envoyer´ (Translation: "I have received right now, Sir, by a courier of the cabinet, arriving from Berlin, a parcel from M. de Maupertuis containing two copies of his letters, one of them for you which I am honoured sending to you") La Condamine referring to Maupertuis, further states `Sa santé est un peu meilleure. Le roi est venu passer quelques heures à Berlin et lui a fait dire que son intention avait été d'aller le voir, mais que les affaires l'en avaient empêché… Vous aurez vu la lettre apologétique du roi qu'on imprime actuellement, ainsi que le tombeau de la Sorbonne…´ ("His health is a little better. The King came to spend a few hours in Berlin and told him that his intention had been to go and see him, but that work had prevented him from doing so... You will have seen the King's apologetic letter which is currently being printed, as well as that the tomb of the Sorbonne…") Tear to the bottom right edge, not affecting the text or the signature. Overall minor age wear, clipped right bottom corner and few small stains, otherwise G Pierre Louis Maupertuis (1698-1759) French Mathematician and Philosopher. Maupertuis was the first President of the Prussian Academy of Sciences at the invitation of Frederick the Great. He is credited with the invention of the "Principle of Least Action", and the Maupertuis´s principle, an integral equation that determines the path followed by a physical system, is named after him.
Lot 981
LOUIS XVI: (1754-1793) King of France and Navarre 1774-1791, King of the French 1791-92. The only King of France to have been executed. An 8vo hardback edition of the Defense de Louis, Prononcee a la Barre de la Convention Nationale, Le Mercredi 26 Decembre 1792…..Par le Citoyen Deseze…. ('The Defence of Louis XVI as Delivered at the Bar of the National Convention, Wednesday, 26th December 1792…..by Citizen Deseze….'), L'Imprimerie Nationale, by order of the Convention, Paris, 1792. With several pages of engravings and autograph letters etc. tipped into the binding following the front free endpapers including King Louis XVI fragment of an autograph note, unsigned, one page, 12mo, n.p., n.d., in French, being an order for a number of gold locks to be made for several chests, in part, '2 in the private cabinet, 1 between the black cabinet and the corridor to the dining room, 1 between the black cabinet and the jewellery cabinet, 1 between the jewellery cabinet and the private cabinet, 1 between the jewellery cabinet and the library…..there are only three copies, there still must be some in Paris'; Raymond Deseze (1750-1828) French Advocate who defended King Louis XVI when brought before the Convention for trial. A.L.S., Deseze, three pages, 8vo, Brevannes, n.d. ('Le lundi matin'), thanking his correspondent for the information supplied to him and remarking that he 'was right in thinking that I did not read a consultation….I don't even remember very well the evidence I could have had under my eyes and the way I made use of it', further referring to a lawyer in Brussels and a report which should be sent by courier; Francois Denis Tronchet (1726-1806) French Jurist who, alongside Deseze and Malesherbes, defended King Louis XVI when brought before the Convention for trial. A.L., unsigned, in the third person (his name Le Senateur TRONCHET printed at the beginning of the text), one page, small 8vo, Paris, 19 Vendimiaire year 12 of the Republic, to Monsieur Du Poirier, seeking a meeting with his correspondent regarding an urgent matter and suggesting 6pm and, if possible, dinner with his friend. With integral address leaf in Tronchet's hand (small area of paper loss to one corner caused by the original breaking of the seal); Guillaume-Chretien de Lamoignon de Malesherbes (1721-1794) French Statesman and Minister who, alongside Deseze and Tronchet, defended King Louis XVI when brought before the Convention for trial. A.L., unsigned, one page, 8vo, (place indecipherable), 29th October 1775, to a gentleman, in French, forwarding a response he has received and referring to various individuals and a court case. Attractively bound in half-morocco, with raised bands to spine and small gilt stamped title, mottled boards and marbled pastedowns and endpapers. A rare, unusual grouping and presentation related to one of the most important events in French history. Some light age wear, minor foxing in places and a few light stains to some pages, G
![Chess.- [Willis (Robert)] An Attempt to Analyse the Automaton Chess Player, of Mr. de Kempelen, first edition, half-title, 10](https://cdn.globalauctionplatform.com/abe22dc9-8888-40ef-8429-b0b301071f37/2a150fdb-899f-41fd-b83d-b0b301240850/468x382.jpg)
Lot 152
Chess.- [Willis (Robert)] An Attempt to Analyse the Automaton Chess Player, of Mr. de Kempelen, first edition, half-title, 10 lithographed plates, half-title browned, frontispiece and plates lightly spotted with slight water-staining to fore-edge, final leaf partly detached at inner margin, old cloth, rubbed and water-stained, gouges and adhesions to covers, J.Booth, 1821; and another on chess, 8vo (2)⁂ The Automaton Chess Player or "Mechanical Turk" was presented to Empress Maria Theresa of Austria in 1770 and travelled around Europe and America defeating many challengers including Benjamin Franklin and Napoleon. Not actually an automaton it concealed a chess master within the cabinet of the machine who operated the pieces mechanically.
Lot 196
Mathematics.- English ownership.- Tunstall (Cuthbert) De arte supputandi, libri quatuor Cutheberti Tonstalli, hactenus in Germania nusquam ita impressi, woodcut diagrams and historiated and decorative initials, final f. blank, some mostly marginal water-staining, occasional spotting, lightly browned, 18th century blind-stamped tan calf, spine in compartments and with later gilt decoration and leather label, small shelf label at foot of spine, spine repaired, joints splitting, but holding firm, small repair to head of upper cover, lightly stained, [Adams T1124; Smith, Rara Arithmetica, p.136], 8vo, Strasbourg, Georg Messerschmidt for Johann Knobloch, [February, 1544].⁂ Rare edition at auction of the first English book wholly devoted to arithmetic. The work was Tunstall's farewell to secular scholarship, as he was made Bishop of London a few days after its publication, and thereafter Lord Privy Seal. It is dedicated to his friend Thomas More, who the previous year had been appropriately appointed sub-Treasurer of England. Rabelais considers it required reading for the young Gargantua in Paris. Provenance: Thomas Liliat, graduated MA and Batchelor of Divinity from Christ Church, Oxford in the 1550s, becoming rector of Houghton in Northamptonshire and then Westley in Suffolk (ink signature and Greek inscription at head of title); William Constable (1783-1806), naturalist and collector of natural history curiosities. In 1775 he was elected fellow of the Royal Society. His cabinet of curiosities is still on display at his family estate of Burton Constable Hall in Yorkshire (engraved armorial bookplate to front pastedown).
Lot 865
A WALNUT PHARMACY CABINET the glazed door decorated in gilt with the sign of the Raeapteek, and dated 1422, opening to shelves within, 82cm high x 53cm wide x 35cm deepNote: The Raeapteek is the oldest pharmacy in the Estonian town of Tallin, believed to be one of the longest running pharmacies in Europe.
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