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Click here to subscribeA small late 19th/early 20th century Flemish oak side cabinet, one door carved with two musicians, height 168cm, width 79cm, depth 44cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Regency ormolu mounted rosewood and parcel gilt breakfront low cabinet attributed to Marsh and TathamCirca 1810The superstructure with a breakfront upper tier, on four gilt bronze octagonal ring turned baluster shaped front columns, with a triple moulded panelled back comprised of one long central and two short end panels, each inset with intersecting waved grills and later pleated silk material, the top above an ovolo moulded cornice, over a frieze mounted with four ribbon wrapped and ribbon tied ivy wreath angles, with one large central panelled door inset with waved grills and later pleated silk, flanked by two smaller conforming doors, two of the doors enclosing one long fixed shelf and two short adjustable shelves, one end door enclosing six graduated solid mahogany drawers each with inset brass handles, interspersed with four panel mounted pilasters each headed by a lotus-leaf capital mount, terminating in a plinth base, with a triple chamfered panelled back, approximately: 153cm wide x 56cm deep x 119cm high, (60in wide x 22in deep x 46 1/2in high)Footnotes:A related pair of low bookcases attributed to Marsh and Tatham sold Christie's, London, 14 June 2001, Important English Furniture, lot 174. They have essentially identical laurel wreath and lotus-leaf paired ormolu mounts to those on the offered lot. All three of these cabinets, despite being of English origin, are clearly examples of the ancient Grecian inspired French Neoclassicism which was first promulgated in France during the 1790s. This style was then subsequently promoted in England, at the very beginning of the 1800s, by the then Prince of Wales (later to be George IV) in tandem with the renowned collector and connoisseur, Thomas Hope (d. 1831).The present cabinet, along with the aforementioned models, are each mounted with wreath ornamentation typically representing Apollo, the ancient Greek god of poetry, music and the arts. However, the pairing of pilasters headed by palm-flowered or lotus-leaf ormolu work with these distinctive wreath mounts is most likely a reference to the grecian choragic monument of Thrasyllus, which appears illustrated in J. Stuart and N. Revett, The Antiquities of Athens, 1762. Importantly, almost identical gilt bronze adorned pilasters are a prominent element on a satinwood desk provided in 1811 for Carlton House in London, upon behalf of the Prince of Wales. This was executed by the renowned cabinet making partnership of William Marsh and Thomas Tatham, see W.H. Pyne, Carlton House, 1817 and J. O'Brien & D. Guinness, Great Irish Houses and Castles, 1992, London, p. 161.The particularly well defined and highly detailed mounts on the offered model were almost certainly produced by Alexis Decaix (d.1811), who was a French bronze-founder based on Old Bond Street. Decaix supplied ormolu upon behalf of the then Prince of Wales (later George IV) and in turn gained recognition in large part due to the hugely influential collector and designer, Thomas Hope, via the latter's 1807 publication, Household Furniture and Interior Decoration.Similar gilt bronze wreath mounts also feature on a desk provided for Hothfield Place in Kent, which was home to the 9th Earl of Thanet. This desk sold Christie's, 27 November 1969, lot 142. Closely related palms or lotus leaves, as appear on the above, are among the ormolu mounts adorning the yew wood bookcases made in 1806 by the firm of Marsh and Tatham for the Prince of Wales. One of these bookcases sold Christie's, 3 July 1997, lot 70. Such Grecian ornament, which was often favoured by Marsh and Tatham, drew its more recent inspiration from the Neoclassical furniture housed at the Duchess Street property belonging to Thomas Hope, as well as from the latter's designs. Another rosewood bookcase, made in 1806 by Marsh and Tatham, which has similar ormolu mounts to both the present and aforementioned examples, is one forming part of the Royal Collection, Buckingham Palace. This appears illustrated in M. Jourdain, Regency Furniture, 1795-1820, 1948, Glasgow, fig. 11, p. 64.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
A George III satinwood, tulipwood crossbanded, purplewood and fruitwood marquetry breakfront secretaire bookcaseCirca 1785With boxwood and ebonised stringing, the repeating acroterium-form or waved ovolo cornice inlaid with flowerheads and acanthus spray angles, above one large central glazed panelled door and two smaller conforming end doors, each door encompassed by a foliate, floral and tendril trail inlaid surround, the central door enclosing two adjustable shelves, each end door enclosing three adjustable shelves, with a cedar panelled backboard, over a secretaire drawer inlaid with ribbon tied floral garlands with oval paterae and bellflower pendants, centred by a Vernis Martin oval of a reclining maiden depicted in the manner of Angelica Kauffman, enclosing seven pigeon holes, five cedar lined drawers and a gilt tooled leather surface, above three long graduated oak lined drawers, flanked to each end by a concave bay comprising one deep oak lined drawer inlaid with a bouquet of assorted flowers over one door inlaid with a husk draped fluted and reeded Neoclassical urn surmounted by an anthemion, on a foliate pedestal issuing scrolled acanthus, on six flute inlaid tapering square section feet, each end inlaid with a ribbon tied husk swag centred by a sunflower head roundel, inside one drawer is a metal plaque which reads: 'Antique Furniture from NORMAN ADAMS LTD., 8-10 Hans Road, London, SW3', approximately: 135cm wide x 48cm deep x 208cm high, (53in wide x 18 1/2in deep x 81 1/2in high)Footnotes:ProvenanceFormerly with Norman Adams Ltd., London. It is not known when the offered lot was at Norman Adams but it seems most likely that, judging from the metal plaque applied to the inside of one drawer, this was some time during the 1970s or 1980s.A very similar George III satinwood and marquetry secretaire bookcase to the offered lot, albeit with canted lower end bays as opposed to the more impressive concave ones of the present example, is illustrated in G. Beard and J. Goodison, English Furniture, 1500-1840, 1987, Oxford, fig. 6, p. 229. This piece of furniture in fact sold Christie's, London, 9 December 1971.Another closely related variant, which is dated circa 1785 and was gifted by Sir Claude Phillips to the Victoria and Albert Museum, appears in M. Tomlin, Catalogue of Adam Period Furniture, 1972, Victoria and Albert Museum, London, fig. U/13, pp.'s 180-181. The latter also features in F. Collard, Regency Furniture, 1987, Woodbridge, pl. 8, p. 68.Both of these associated models share a number of characteristics with the current version. They all have repeating acroterium-form cornices, conforming overall proportions, identical lower section configurations and similar marquetry, as well as flute-inlaid feet. The plain glazed panelled doors of the offered bookcase appear to match those on the Beard and Goodison one, whilst the inlay on the Victoria and Albert example is visibly closer, both in terms of its design and spirit, to that of the present lot than on the former comparable.Whilst the marquetry is closely related on all three bookcases, it appears to be the case that its execution is perhaps superior on the present version. This view is arguably confirmed by the fact that a large proportion of this remarkable work on the latter is inlaid onto curved, or more precisely concave, surfaces rather than flat ones, which is of course a more technically demanding feat. In addition to this, the bouquet of flowers, abundant floral garlands and Neoclassical urns all seem to have been better 'drawn' and more fully expressed than their equivalent areas on the Victoria and Albert example.However, there are a couple of elements on the offered bookcase which are either absent or different from the other two. The first are the door panel surrounds on the upper part of the present lot which have foliate tendril inlay throughout, that is lacking from the plain frames and astragals of the other upper sections. The second is the central point of the secretaire drawers. On the offered model this area is accentuated by an elegant oval Vernis Martin panel painted in the style of Angelica Kauffmann, whereas with the comparables a simpler oval patera or oval fan medallion serves as the main focus there instead.The Beard and Goodison one is almost certainly the same bookcase, albeit perhaps with replaced handles, which featured in a special exhibition hosted at Christie's, January 1973. And this is exactly the one illustrated in a catalogue commemorating the event, which is entitled Fanfare for Europe, The British Art Market, 1973, Sotheby's Publications, p. 175, and is evidently an entry from Jeremy Ltd, an antique dealer then based at 255 King's Road. It is interesting to note that a further similar cabinet or bookcase is also referred to in the text of this commemorative catalogue. At the time of publication this other variant is described therein as: 'originally forming part of the Gubbay colllection at Trent Park and now on exhibition at Clandon Park, Surrey.' Deriving from ancient architectural antecedents, the acroteria pattern cornice surmounting all of these 1780s bookcases might be a reference to similar motifs employed by both James 'Athenian' Stuart (1713-1788) and Robert Adam (1728-1792) over the course of the two preceding decades of the 18th century. Examples of such evidently include furniture provided for Lady Spencer by Stuart and the State Bed supplied to Osterley Park by Adam, Ibid, fig. U/13, p. 181.The beautiful flowing and elegant Neoclassical designs of the marquetry and their superb execution, allied to the presence of distinctive fluted feet, suggest the possibility that the better examples within this group of cabinets were perhaps executed by the renowned partnership of William Ince and John Mayhew.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
A late Louis XV ormolu mounted amaranth and tulipwood inlaid bureau plat attributed to Philippe-Claude Montigny (1734-1800)Circa 1770The rectangular top inset with a gilt tooled leather writing surface, the mounted edge surmounted by a single reed three quarter gallery, above a panelled frieze with repeating elongated Greek key pattern inlay within boxwood strung borders, the front and reverse each with a central ormolu rosette mount with stiff leaf corners, the front incorporating one long and one short oak lined drawers, flanked by ring-hung drapery swag angle mounts, over a lower edge with a repeating interspersed ribbon wrapped bundle of reeds mount, on four tapering square section leg with square-cut re-entrant angles, each leg headed by four roundel mounts, terminating in square section moulded toupie sabots, approximately: 114cm wide x 57cm deep x 73cm high, (44 1/2in wide x 22in deep x 28 1/2in high)Footnotes:Philippe-Claude Montigny, maître in 1766.A conforming writing table to the offered lot, described as 'The Lagerfeld bureau plat' and attributed to Montigny, sold Christie's, London, 18 April 2023, The Collector, lot 9. Another virtually identical example sold Christie's, New York, 27 January 2021, The Collection of Mr and Mrs John H. Gutfreund, lot 147.All three of the aforementioned have corresponding 'Etruscan' ornamentation and Greek key-inlaid friezes, proving that they were executed in the 'goût grec', a style which was flourishing when these were made in circa 1770. The earliest evidence of this specific style are the designs, which were produced as a collaborative project by the architect Louis-Joseph le Lorrain and Simon-Philippe Poirier, a contemporary marchand mercier, for the suite of furniture supplied to Ange-Laurent Lalive de Jully's hotel in Paris. This commission included many celebrated pieces, but of particular note were the bureau plat and cartonnier which are now located at the Musee Condé, Chantilly.The present table is very closely related to a group of historically recorded 'bureaux à la Greque' by the ébénistes, Montigny and Jacques Dubois (1694-1763), sometimes stamped by one or other of these two figures, or even on occasion stamped by both. Most frequently these were, as with the above, veneered in amaranth combined with tulipwood, although some were also produced in ebony. Such bureaux plats perfectly exemplify the highest quality output made as a result of the kind of strong working relationship that doubtless must have existed between these two renowned cabinet makers.The models known to be by or attributed to Philippe-Claude Montigny are typically marginally larger than those associated with Dubois, whilst the former also tend to employ unified veneering. A table of this exact type, stamped for Montigny, which incorporates the distinctive Greek key pattern inlay, albeit to its three drawers rather than the total of two that feature on most, is illustrated in A. Pradere, Les Ebenistes Francais de Louis XIV a la Revolution, 1989, fig. 344, p. 306. Another comparable, also stamped by Montigny, which possesses the interesting characteristic of lion mask mounts, sold Sotheby's, Paris, 23 June 2004, lot 80. A further identical bureau plat that is, just like the offered lot, an unstamped version, sold Sotheby's, Monaco, 26-27 February 1993, lot 221. Added to these, a Montigny variant of the same form and design, but with plain amaranth drawers as opposed to a Greek key inlaid frieze, sold Christie's, Monaco, 19 June 1993, lot 110, whilst yet another of this type sold Sotheby's, Monaco, 3 July 1993, lot 166.In 1763, following the death of Dubois, 'une table de bois d'amaranthe à la Greque' appears documented as part of an inventory compiling the ebeniste's remaining stock. Consequently, since the much younger Montigny was not even maître by that date, the latter was in fact only appointed as such three years later, it seems logical to assume that Dubois was the one responsible for the origin of this particular 'bureau a la Greque'. However, this is further complicated by the fact that another very similar model, which is significant for one recorded as being by Rene Dubois, features in P. Kjellberg, Le Mobilier Francais du XIIIeme Siecle, 1989, Paris, p. 281. Rene was the son of Jacques and took over the business with assistance from his mother after the latter's death.Presumably, due to the undoubtedly very high level of demand for this model, it must have been the case that Dubois, operating effectively as a marchand-ébéniste, chose to subcontract Montigny to provide him with a great deal of these writing tables. This supposition is lent genuine weight by the fact that some furniture which is housed at Waddesdon Manor, Buckinghamshire, and various pieces in the Wallace Collection, London, are actually stamped by both of these makers. As well as this, one final directly related bureau plat sold Sotheby's, Monaco, 17 June 1988, lot 741.Montigny took over the cabinet making workshop, which was located in La Jaiverie near the Bastille (based in the east of Paris), previously run by his father Louis. It is clear from Philippe-Claude's oeuvre that his favoured style, especially during the 1770s, was the gout grec which was at the height of fashion in the decorative arts during that period.However Montigny is perhaps equally renowned for his major position, alongside Etienne Levasseur (1721-1798), which focussed upon a responsibility for the restoration and conservation of the outstanding collection of Boulle furniture within the Royal collection, known as La Garde-Meuble de la Couronne. Interestingly this role coincided with a widespread revival in appreciation and even admiration for such Boulle marquetry pieces following a relatively brief period of apparent disinterest, see I. Neto, Musée Cognacq-Jay, Catalogue des Collections, Le Mobilier, 2001, Paris, p.130.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
OF GRAND TOUR INTEREST - A George IV amboyna, rosewood and rosewood marquetry table with an Italian early 19th century specimen marble and hardstone top The specimen top 1810-1820, the table 1820-1825 and possibly by William Atkinson The circular top with an overhanging lappet clasped moulded edge, inset with a circular marble slab comprised of a central malachite roundel encompassed by six concentric circles incorporating a total of one hundred and forty radiating segments of assorted marbles, hardstones and minerals, each segment within black marble tablet surrounds, the specimens apparently including: porphyry, porfido verde antico, jaune brocatello, rouge incarnat, Sicilian jasper, val d'aosta, pietra paesina, granito antico, lumachella, alabastro, rouge griotte, agate, onyx, portasanta, rouge languedoc, portoro, breccia taccagnina, petit antique, occhio di pavone and lapis lazuli, within a verde antico border, above a frieze inlaid with floral and foliate tendril inlay interspersed by six lappeted rosette applied block angles, three of the blocks with pendant lotus-leaf wrapped baluster shaped urn finials below, on three scrolled acanthus headed, acanthus wrapped and scrolled foliate carved monopodiae terminating in lion paw feet, the concave tripartite plinth base surmounted by a central stiff leaf clasped and knopped urn finial, each facade of the base inlaid with an ivy, honeysuckle and waved foliate tendril trail, terminating in three lotus leaf and scrolled honeysuckle carved scrolled corbel feet with recessed brass castors, approximate diameter of the inset specimen marble and hardstone top: 78cm; approximate diameter of the table top: 98cm; 75cm high approximately. Footnotes: Provenance The present lot was donated to the Tudor Lodge of Rifle Volunteers, No. 1838 by a former member of this Lodge, reputedly some time during the 1930s. The name of the donor who gifted the table to the lodge is not known, but it is believed that the member was a doctor or surgeon, who when moving house had no room to display it in his smaller residence. Since that time the table has remained as a display piece at the Tudor Lodge until only very recently. This Masonic Hall, which was established in 1879, is located in Wolverhampton, West Midlands (formerly Staffordshire). The lodge was consecrated in 1879 and its original members were officers in the local Wolverhampton militia tasked with maintaining lawful order within the area. The wonderful Italian early 19th century specimen marble and hardstone top which is inset into the offered table is of the exact same design as one which surmounted a Regency mahogany or padouk centre table sold in these rooms last year, Bonhams, New Bond Street, 29 November 2022, Fine Decorative Arts, lot 15. This is also the case with reference to the specimen marble slab forming the top of a rosewood centre table, dated circa 1820 and attributed to Gillows, which sold Christie's, London, 22 January 2009, Lord St. Helens and Sir William Fitzherbert, The Collections of a Diplomat and a Courtier, lot 550. Importantly each one of these three models incorporate a total of 141 different specimen segments organised in the exact same radiating pattern. During the early 19th century, a dealer called François de Sanctis, whose operation was based in Rome, was one of a number of retailers who sold colourful specimen table tops, just like the present model, to his largely 'Grand Tour' clients. One such top was evidently purchased from de Sanctis by R.W. Bland of Belfast. In 1826 this comparable was then exported from Leghorn. However, interestingly the documentation which accompanied this particular table top referenced the fact that it had in fact been made in Florence in 1817 and was inscribed: 'Pietre in Tavola Rotunda, Firenze'. It sold Christie's, New York, 29 January 1994, lot 305. Another closely related top is housed within the collection of what was formerly known as the London Geological Museum, but which has since been amalgamated with the Natural History Museum. This is very similar to the present example with a conforming lapis lazuli central medallion whilst a total of thirty-two of the different marble specimens therein have since been identified, one must assume by the Museum itself. A further Gillows table connected to the aforementioned Christie's models of this type, albeit one possibly commissioned by the Marquess of Zetland for St. Nicholas after he purchased the estate in 1813, sold from the collection of the late Lady Serena James, St. Nicholas, Richmond, Yorkshire, Christie's London, 16 May 2001, lot 260. A Regency brass inlaid brown oak centre table attributed to George Bullock (c.1777-1818), which has very closely comparable inlay to its top as appears on the offered lot, sold Christie's, London, 14 June 2001, Important English Furniture, lot 176. This specific inlay design also features on a teapoy possibly supplied to the Portuguese ambassador to London, Don Pedro de Souza e Holstein, 1st Duke of Palmella (d.1850), which sold Christie's, London, 6 July, lot 43. The pattern for the inlay on these related pieces, comprised of almost identical meandering English flowers and foliage to those on the present example, forms part of the collection known as the Wilkinson tracings. These tracings are the most important source relating to the output of George Bullock, and are housed at the City Museums and Art Gallery, Birmingham. They are compiled together in what is essentially a scrapbook comprising an assortment of engravings produced by Thomas Wilkinson either directly from or based upon designs by Bullock. This was evidently done in 1820 (which is the date of the inscription on its first page), and this is significant since it was two years after the latter's death, C. Wainwright et al, G. Bullock, Cabinet-Maker, 1988, London, pp.'s 13-14. Aside from the furniture made as part of the commissions undertaken at Tew, Cholmondeley, Blair Castle, Abbotsford, Scone and St. Helena, it is actually difficult to attribute any furniture directly to Bullock due to the limited archival evidence proving his involvement in other projects. This issue tends to be exacerbated by the fact that even only shortly after Bullock's death in 1818, a group of cabinet makers, furniture designers and architects, who were all influenced greatly by Bullock's output, appeared to establish themselves rapidly as his natural successors. These figures include Joseph Gandy, Richard Brown, George Morant, the partnership of Banting and Son, and Richard Bridgens. There is a possibility that the above table might have been made by one of the last three figures or firms. However it seems possible, due to its fairly restrained design and prominent use of Wilkinson pattern inlays, to have been supplied either by Bullock's workshop (since it's recorded that this was still operating in the same capacity even a couple of years after his death), or it was instead executed by the cabinet maker William Atkinson. While Gandy and Brown were primarily architects, Bridgens tended to principally produce furniture in what he described as the 'Old English' style, which is often referred to as either 'Antiquarian' or somewhat disparagingly as 'Jacobethan revival'. For further information on this lot please visit Bonhams.com
An important George III mahogany, tulipwood, harewood, ebony, purplewood, rosewood and fruitwood inlaid, marquetry and parquetry architectural tea caddy attributed to William Potter of Cornhill, London Circa 1785 Inlaid in the form of a Georgian house, the front and reverse each centred by steps leading to a portico with Ionic columns, the raised hinged lid comprised of inlaid overlapping lozenges within three tablets, the roundel inset with a compass star within an eared quarter veneered cartouche with foliate angles, the reverse of the lid inlaid with two end tablets each inlaid with a conforming compass star flanking a central rosette, with a chequered border and a Greek key pattern surround, enclosing a divided mahogany interior with three hinged lidded and lead-lined canisters, each canister lid inlaid with two lozenge tablets flanking a central tablet, the two end lids each inlaid with a patera-inset roundel and the central lid with the Royal crown, on a plinth base, the underside of the canisters inscribed respectively from left to right: 'L', 'M' and 'R' 25.5cm wide, 12.5cm deep, 16.5cm high (10in wide, 4 1/2in deep, 6in high) Footnotes: The fashion for tea caddies and other boxes in the form of houses or other decorative buildings emerged in the last quarter of the 18th century and continued into the 19th century. The early caddies featured fine marquetry and parquetry inlaid decoration including a plethora of timbers and great attention was paid to architectural detailing including windows, mouldings, brickwork and rustic quoins. The majority of these caddies were made in the form of generic Palladian villas and imposing townhouses but it is possible that some specific commissions copied the exteriors of their owners own residences. Of this small group of caddies, the most famous and well documented example is an extraordinarily fine and rare caddy dating from 1786 modelled on Carlton House which was the then London home of the Prince Regent. Designed by the architect Henry Holland, the house was constructed in 1783 and demolished in 1826. The caddy was made by the cabinet maker William Potter of Cornhill and was sent by its maker to George III for his inspection. It was then subsequently raffled with fifty subscribers paying two guineas each. The subscribers included prominent aristocrats and figures of the day including Prince Augustus Frederick, the Dukes of York, Queensberry and Cornwall and Lady Elizabeth Foster together with Lord Nelson's mistress Lady Hamilton. However, ironically the caddy was won by Potter himself who had purchased several tickets. Now in the collection of the Museum of London (A7547/1), it features particularly fine inner tea cannisters which were also are inlaid with architectural detail and windows so that when they are removed from the caddy they become subsidiary pavilions flanking the main house. This caddy also features fully signed inset mother of pearl discs bearing Potters name and the date of manufacture, presumably as a form of self promotion. The offered lot can be attributed to William Potter by way of comparison to the Museum of London example due the stylistic similarities of its design and the fineness of its construction. Interestingly, although the exterior of the three inner cannisters are plainer than the two inner cannisters of the Museum of London example, the central cannister features a crown motif to its lid suggesting that it may have been commissioned from Potter by an aristocratic supporter of George III or perhaps even a member of the Royal Family in homage to the monarch. A comparable caddy, almost certainly also by Potter, was sold by Sothebys, London, Important English Furniture (including the Robert Harman collection of late 18th and early 19th century tea caddies), 12 November 1999, lot 40. Literature Stevens, Richenburg & Walkling, A, K & G, edts., The Story of British Tea Chests and Caddies: Social History and Decorative Techniques, Pub. ACC Art Books, 2022, p. 130, fig. 511a & 511b. We would like to thank Ian Beavis, Research Curator, The Amelia, Tunbridge Wells for his help in cataloguing this lot. This lot is subject to the following lot symbols: Y 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
LEOPOLD II: (1835-1909) King of the Belgians 1865-1909. A good A.L.S., Leopold, four pages, 8vo, Chateau de Laeken (Brussels), 27th July 1866, to his sister, Charlotte (‘Ma chere Charlotte’), on the King’s personal printed black bordered mourning stationery, in French. The King commences his letter by recommending Elisa de Try ‘jeune artiste appuyee tres fort par Servais et Liannard, couverte de succes dans les salons de Paris et 1er prix de notre Conservatoire’ (Translation: ‘a young artiste supported very strongly by Servais and Liannard, covered with success in the salons of Paris and 1st prize recipient of our music school’) and continues to provide news of the current political and military landscape in Europe, ‘cette belle armee autrichienne detruite, les prussiens devant Vienne….tout cela en moins de 30 jours de temps. La Prusse est a un moment preponderant en Europe. L'Empereur Napoleon occupe le second rang, la Russie le 3er at l'Angleterre le dernier’ (Translation: ‘this beautiful Austrian army destroyed, the Prussians in front of Vienna…..all that in less than 30 days. Prussia is at this time preponderant in Europe. The Emperor Napoleon occupies the second rank, Russia the 3rd and England the last’), further congratulating himself on the fact that public spirit and a feeling of nationalism has never been better in Belgium, although explaining that he would have liked to have put his army on a good footing, but ‘malheureusement je n'obtiens rien du cabinet et notre armee reste trop dependante des caprices et de la fortune’ (Translation: ‘unfortunately I get nothing from the Cabinet and our army remains too dependent on whims and fortune’). Accompanied by the original envelope hand addressed by the King ‘A Sa Majeste l’Imperatrice du Mexique’. Together with an A.L.S. by Felix Eloin, a Belgian diplomat and Chief of the Civil Cabinet of Emperor of Maximilian I of Mexico, two pages, 8vo, Vienna, 1st August 1866, to a Count, in French, also recommending Elisa de Try. Some light overall age wear and minor staining, G, 2Charlotte of Belgium (1840-1927) Belgian Princess, younger sister of King Leopold II. Carlota’s marriage to Archduke Maximilian of Austria, later Emperor of Mexico, resulted in her becoming an Archduchess of Austria (in 1857) and Empress of Mexico (in 1864).Elisa de Try (1846-1922) French virtuoso cellist who performed as a soloist in the second half of the 19th century.
AHMAD II: (1862-1942) Bey of Tunis 1929-42. D.S., as Ahmad Bey, in Arabic, one page, folio, Royal Palace, Tunis, 2nd May 1930, in Arabic. The attractive partially printed document features the coat of arms of Tunis at the head within a decorative archway and borders, and awards Leonard Louvel, Director of the Civil Cabinet of the of the Minister of War in Paris with the Order of Nichan-Iftikhar (Grand Officer, First Class). Accompanied by an official partially printed French translation of the document authorised and signed by two officials (one the Minister Plenipotentiary) of the Residence Generale de France in Tunis. Some light staining and creasing to the borders of Ahmad Bey's document and with a lengthy split to the left half of the central horizontal fold, the translation with some age wear and a large tear to the right edge (repaired with sellotape to the verso), just affecting the text. FR to G, 2
SUNAY CEVDET: (1899-1982) Turkish politician who served as President of Turkey 1966-73. Vintage signed 3 x 5 photograph of Sunay in a head and shoulders pose. Signed in blue fountain pen ink with his name alone to the image, partially across a darker area. Accompanied by a T.L.S. by Sulhi Dislioglu, Director of the Cabinet of the Presidency of the Republic, one page, 8vo, Turkey, 25th December 1969, to Mr. P. Vrancea, forwarding the signed photograph. Together with Ahmet Topaloglu (1914-1981) Turkish politician who served as Minister of National Defence 1965-71. Vintage signed 6.5 x 9.5 photograph of Topaloglu in a head and shoulders pose. Signed in fountain pen ink with his name alone, largely to a dark area of the image. Accompanied by a T.L.S. by Colonel Vecdi Canbakan, Chief of Public Relations, one page, 4to, Ankara, 6th January 1970, to Petrescu Vrancea, forwarding the signed photograph. One heavy horizontal crease to the centre of Topaloglu's photograph, G to VG, 2
HUSSEIN SADDAM: (1937-2006) President of Iraq 1979-2003. A.L.S., in Arabic, one page, 8vo. n.p. (Republican Palace, Baghdad?), 22nd February 1989, to the Chief of the Cabinet and Head of the Engineering Department, on printed stationery featuring the coat of arms of Iraq, in Arabic. Hussein issues a command to his correspondents, 'The victory arch must be adorned with helmets of Iranian soldiers pierced by war bullets, and the artist Khaled al-Rahal is to be informed of our order'. Two file holes to the right edge and a couple of very small tears to the upper edge, otherwise VGThe Victory Arch, officially known as the Swords of Qadisiyah, are a pair of triumphal arches in central Baghdad constructed to commemorate the Iran-Iraq War, started and led by Saddam Hussein. Khaled al-Rahal (1926-1987) won the commission to design and execute the construction of the arches which were based on a concept sketch made by Saddam Hussein. Al-Rahal died in 1987 (the present letter evidently referring to his studio, rather than the individual) before the monument was completed and Mohammed Ghani Hikmat, another Iraqi sculptor, assumed control of the project. Each plinth of the arch holds 2,500 helmets, as referenced in the present letter, which belonged to Iranian soldiers killed in the war. The arches were opened to the public on 8th August 1989.
[EGYPTOLOGY]: Collection of A.Ls.S., T.Ls.S., memoranda etc., by a variety of Egyptologists and other individuals, including Etienne Drioton (1889-1961) French Egyptologist & archaeologist; A.N.S., Etienne Drioton, to the foot of a typed document, one page, oblong 8vo, n.p., January 1941, in French. The document concerns some antiquities contained in a sealed cabinet, including alabaster and pottery vases, limestone and wooden statues and some fragments bearing inscriptions etc., which are of ordinary quality, the Inspector at Cairo authorising that they can be disposed of and Drioton declaring that he knows the objects and considers them to be almost all fakes; a T.L.S. by Reginald Engelbach (1888-1946) English Egyptologist, one page, 4to, Cairo, 16th March 1940, to Etienne Drioton, in French, politely complaining about the allocation of some rooms used as workshops and stating ‘the small room is the only one where Kemal (who carries out small restorations under my direct orders) can deposit his instruments, cement etc. as well as the antiquities on which he works. He is forced to be absent frequently to go to the museum where he also works. We have already given up a lot of space in the past to the workshop which does not depend on us, and they are constantly asking for new favours. In the case of the room in question, we run the risk of having antique objects and materials go missing if their request is approved’, with an A.N.S. by Driton at the foot requesting that the Controller of Fine Arts be informed that they will be ready to give up the room as soon as the necessary partition is in place to create another room; a T.L.S. by Battiscombe Gunn (1883-1950) English Egyptologist and philologist who assisted with the translation of ostraca from the tomb of Tutankhamun, one page, 8vo, 9th November 1930, in French, requesting that several objects be sent to the Arab Museum, which he lists as ‘A plate, found at Tanta…..A box bearing the indication “Edfou; Sibakh”, and containing three pieces of green pottery; a box bearing the indication “Inscribed Arabic terra cotta fragments”, and containing ostraca found in the Sibakh of Edfu’; and a second T.L.S. by Gunn, one page, oblong 8vo, Cairo, 3rd February 1929, in French, forwarding two packages and explaining ‘One contains sheep bones, inscribed in ink with magical Arabic texts; please send them to the Arab Museum…..The other package contains two stones inscribed in Kufic. Please also send them to the Arab Museum…..’; also including various other letters and documents signed by Henri Gauthier (1877-1950) French Egyptologist and geographer; Georges Daressy (1864-1938) French Egyptologist, and other individuals, most in French, 1922-1943, making references to antiquities, surveys of land, a granite head of the ancient Egyptian pharaoh Userkaf etc. All with file holes and most with some age wear, small tears to the edges etc. G to about VG, 20
CHEKHOV ANTON: (1860-1904) Russian Playwright and short-story writer. Rare Vintage signed cabinet photograph by Chekhov, the Yug image from Yalta showing the Russian Playwright in a head and shoulders pose. Signed `Anton Chekhov´ in bold black fountain pen ink to the lower clear area of the image. Bearing to the lower border the photographer´s logo Yug - Yalta, also to the verso. Very small minor age wear to the edges, otherwise G to VG
A RARE 16TH CENTURY NASRID OR POST NASRID ANDALUSIAN SPANISH IVORY AND BONE INLAID WOODEN TABLE CABINET, with three fine parquetry inlaid drawers, the cabinet raised on four feet, 32cm wide, 24cm high, 14.5cm deep. Note: very similar cabinet was sold at Sotheby's London 31st March 2021, lot 88. This lot contains ivory and has been registered as exempt in the UK in accordance with the UK ivory act 2018.
A range of 1960s Staples Ladderax 2000 wall shelving, including cupboard, open cabinet, seven uprights and twenty-one shelves, with original leaflets and a receiptCondition:Six shelves are later additions.There's a chip to glass shelf.Some discolouration to some shelves, surface scratches, sun damage, chips to edges and other general wear and tear. No apparent major damages.
A 20th century black forest carved wooden jewellery cabinet, the top with a group of birds, a single frieze drawer, two cupboard doors, enclosing four drawers, and one single drawer below, raised on carved splayed feet, each drawer with raised floral carving, some minor damage and old woodworm marks to the front, AF47cm H x 30cm W
A folding teak cocktail cabinet, with a hinged laminated top and internal drawers with recessed handles. With two stainless steel dishes by Stelton of Denmark. Makers label inside for 'Dyrlund'. Closed 91cms high, 59cms by 45cms, Open - the top is 180cms long fully extended. *Condition: Top a little faded and some scratches and marks, sides are both faded to the top section, one of the stoppers for the top is chipped.
[Antiquarian] British Classics containing The Spectator 6 volumes 1811-1812 with engraved plates in half leather. The Tatler vol.2. Spectator vol.8 1767. The British Magazine or Monthly Repository vol.1 1760 (with faults). Histoires De la Bible, Tirees Du Vieux Et Du Nouveau Testament by M. Jean Hubner 1817 engraved plates. Byron Childe Harold’s Pilgrimage 1819 in 2 volumes. The Task & Minor Poems by William Cowper 1817/18 2 volumes. Chaucer’s Canterbury Tales 1845 bound with Cabinet Pictures in gilt cloth and another by Izaak Walton (16)
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![[EGYPTOLOGY]: Collection of A.Ls.S., T.Ls.S., memoranda etc., by a variety of Egyptologists and other individuals, including](https://cdn.globalauctionplatform.com/d9f4f5d5-e853-4d8c-9ccb-b02300a8b7ae/bc3d63c7-cf9a-43b1-bd93-b02300b37a5b/468x382.jpg)
![[Antiquarian] British Classics containing The Spectator 6 volumes 1811-1812 with engraved plates in half leather. The Tatler](https://cdn.globalauctionplatform.com/664afef9-ec2c-41fd-bdc7-b03400da4a42/e64c948d-f3f2-410c-a981-b03500eb3ed9/468x382.jpg)
