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Lot 319
CAMILLE GAUTHIER (1870-1963) (ATTRIBUTED TO) ART NOUVEAU DINING SUITE, CIRCA 1900 tulipwood, bronze, comprising an EXTENDING DINING TABLE, with four later leaves, 127cm long (closed), 323cm long (open), 74cm high, 124cm deep; a SIDEBOARD CABINET, with marble top and cast bronze handles, 172cm wide, 165cm high, 49cm deep; and SEVEN DINING CHAIRS, each with later close-nailed leather upholstery, 44cm wide, 91cm high, 37cm deepNote: Note: Camille Gauthier began his career with Louis Majorelle in 1893, as a draftsman in the design office. At this point in his career, Majorelle was producing reproductions of Louis XV furniture. These he exhibited in 1894 at the Exposition d'Art Décoratif et Industriel in Nancy, but the influence of the glass and furniture-maker Emile Galle (1846 - 1904) inspired him to take his production in new directions. As a draftsman for the firm Gauthier will have been absorbed in producing designs for marquetry, carved details and the sinuous lines of the Art Nouveau style. By 1900 he decided to set up his own company and in 1904 joined forces with industrialist and upholsterer Paul Poinsignon. The firm was immediately successful, appealing to a wide market and producing high-quality furnishings in their mechanized workshops. Their production adhered to the principles of the School of Nancy (L'École de Nancy). The School was part of a wider effort to dissolve the divide between the ‘major’ arts of painting and sculpture and the ‘minor’ decorative arts. Set up by Émile Gallé in 1901, it was principally supported by designers Louis Majorelle, Victor Prouvé, and the glassmakers August and Jean-Antonin Daum. Camille Gauthier was on the steering committee. They aimed to enhance the artistic content of industrially produced articles through the intervention of the craftsman, building on the legacy of the writings of John Ruskin and William Morris in Britain.
Lot 37
HOLLAND & SONS, LONDON DISPLAY CABINET, CIRCA 1890 oak, with glazed doors and velvet-lined interior, patinated metal fittings, opening to a fitted interior with tooled leather skiver, stamped to cupboard door HOLLAND & SONS/ MOUNT STREET/ LONDONDimensions:144cm wide, 189cm high, 46cm deepNote: Note: For a desk by Holland & Sons with similar characteristics see Sotheby's, London The Best of British: Design from the 19th and 20th Centuries, 20th March 2008, Lot 106.
Lot 397
HEAL & SON, LONDON BEDROOM SUITE, CIRCA 1930 oak, comprising a WARDROBE, oak, 91cm wide, 183cm high, 51cm deep; a DRESSING TABLE, oak with mirrored plate, 92cm wide, 142cm high, 47cm deep; a '952' SIDE CHAIR, with rush seat, 40cm wide, 91cm high, 42.5cm deep; an OCCASIONAL TABLE, 41cm square, 69cm high; a STOOL, 52cm wide, 61cm high, 28cm deep; and TWO SINGLE BEDS, headboards (including modern divan mattresses and bases) 91cm wide, 105cm high; footboards 91cm wide, 67cm highNote: Literature: Heal, Oliver S. 'Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939', Unicorn, 2014, p.247 where a line drawing for the '952' chair is illustrated.
Lot 70
CHRISTOPHER DRESSER (1834-1904) (PANEL DESIGNER) AESTHETIC MOVEMENT CORNER CABINET, CIRCA 1880 ebonised and gilded wood, with a polychrome-painted panel and mirrored glassDimensions:70.2cm wide, 120.5cm high, 43cm deep, panel 28.5cm x 43.5cmNote: Literature: Dresser C. Studies in Design, Cassel Petter & Galpin, London, the plates by A. Goater, Nottingham, 1876, plate II illus.V&A Collection accession no. W.3-2015, for a related hand screen, decorated with an adaptation of the painted design.Note: This cabinet is a rare example of an object decorated after a published design in Dresser’s most important works, Studies in Design of 1876. Plate II shows two owls standing upright and is captioned "Parental advice". Dresser wrote in the caption text that the design ‘may be painted on the panel of a door, on the door of a cabinet, or in any recess in a wall, especially suited to a smoking-room or nursery." Elsewhere in the text he states that “the sense of humour finds expression in grotesque forms. Plates II (etc…) are illustrations”.It may be that this corner cabinet was decorated under Dresser's direction for the Art Furnishers' Alliance Co. The Art Furnisher's Alliance was the association of art manufacturers established by Christopher Dresser (1834-1904) in 1880. The key objective of the alliance was to buy and sell high-class goods of artistic design and to "complete artistic furnishing of a house". George Hayter Chubb was appointed as Chairman, and Dresser was the 'Art Manager' heading designs for furniture, pottery, glass and metal, aided by Holme and Arthur Liberty. In his preface to Studies in Design, Dresser hoped that the work would assist to “bring about a better style of decoration” and “aid the designer and the manufacturer of decorated objects, by suggesting to them useful ideas”. Whether or not the current lot was made directly under his instruction, the panel inset into the door of this cabinet was undoubtedly the sort of effect on a design Dresser envisaged when he published Studies in Design.
Lot 297
A Flemish walnut, tortoiseshell and line inlay table top cabinet, constructed from late 17th century elements, with twin iron carrying handles and corner mounts, the two short and one long drawers with later brass stud handles, 19 x 39 x 29.5cm Provenance: The Property of John Kenworthy-Browne FSA
Lot 567
In the Manner of David Linley, a bespoke light oak and burl wood low cabinet, 21st century, the moulded stepped cornice above four cupboard doors, enclosing adjustable shelves, raised on stepped base, 80cm high, 190cm wide, 59cm deepProvenance: purchased from Mystery Interiors Furniture LTD, with copy of original receiptCondition Report: scratches and knocks to wood, front corner of the top left has been repaired
Lot 797
ROYAL WORCESTER SIGNED CABINET PLATE - JOHN FREEMAN. The plate hand painted with various fruit on a mossy ground, with a gilded gadroon rim and signed 'Freeman'. Marked, Royal Worcester, Fine Bone China. 24cms diameter. *CR In good condition and rings nicely, there is a thin purple line on the reverse near the rim.
Lot 1759
A group of George III and later silver coinage, including crowns, half-crowns, shillings and sixpences, and a George IV Maundy penny 1822, contained within a small wooden collector's cabinet.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.
Lot 1726
A 20th century mahogany coin cabinet, the front with two doors opening to reveal eight sliding trays, each with coin apertures with measurement range 20mm to 50mm, cabinet height 11cm, width 21cm, with a key.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.
Lot 1853
A collection of forty-two Roman copper alloy coins, comprising Magnentius (350-353 AD), Decentius (351-353 AD), Constantius (351-354 AD) and Constans (337-350 AD), mainly centenionalis issues, all contained within a display cabinet, titled 'The Boxley Hoard of Roman Bronze Coins' (some lacking).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.
Lot 1758
A group of Victorian silver coinage, including crowns, half-crowns, florins, shillings and sixpences, including Young Head, Jubilee Head and Old Head, contained within a small wooden collector's cabinet.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.
Lot 457
A 19th century Minton pink and gilt goblet with Greek head oval cameo portraits, lobed shape, pink Minton mark to base, height 27cm (areas of damage and restoration)... The oval panels are " pate-sur-pate" using layers of raised paste until a formed profile is completed, this takes weeks to perform before final firing. The model of the goblet is probably by Henry hollins who was a student of a French porcelain designer. Circa 1875- 1880. This is a rare piece from the archive's of the mintons factory where many cabinet and imperial porcelain items were produced.
Lot 894
A good quality reproduction golden oak side cabinet in the manor of Titchmarsh and Goodwin with double doors, plank shelf bellow, height 76cm, depth 34cm and length 106cm. There are some simulated distress marks to the top original to the piece, but no distinguishing marks or other damage. There is a key.
Lot 282
A LACQUER CABINET ON GILTWOOD STAND IN LATE 17TH CENTURY STYLETHE STAND POSSIBLY INCORPORATING SOME PERIOD ELEMENTSThe cabinet top with panel doors enclosing a shelved and drawer fitted interior, the base with projecting cherub corners and pieced and carved scrolled frieze with further amorini164cm high, 125cm wide, 64cm deep overall Condition Report: The cabinet with marks, knocks, scratches, abrasions consistent with age and use, chips and losses, splits and cracks, the interior is fitted - this looks early 20th century, there is a key but the lock has damages and does not operate - will require some repair, the door therefore stands a jar at present and not closed cleanly. Dirt and discolouration to the gilt metal, including polish deposits to the recesses The stand does appear to have some more age, there are again splits, cracks, chips, losses, knocks and bashes, rubbing and wear to the surface revealing the bole beneath. There are later metal brackets to the rear securing legs to the frame - these can only be seen from the rearOverall solid and stablePlease refer to additional images for visual reference to condition Condition Report Disclaimer
Lot 88
Y A VICTORIAN BLACK-PAINTED AND DECOUPAGE SIDE CABINETCIRCA 1880The interior divided with an arrangement of pigeon-holes, the doors with an ivory escutcheon93cm high, 98cm wide, 42cm deepPlease note: Dreweatts have applied for a de minimis exemption licence for the ivory in this lot (Ref: CX1Y5KSM)Condition Report: Marks, knocks, scratches, abrasions consistent with age and useSome old splits and cracks, some chips and lossesThe decoupage appears to have had some repairs and replacements, also re-adhesionOverall appears solid and stableThere is no key present, the cabinet doors are open at time of report, one is secured with an internal latch The rear appears to have a patch repair to the backboards Please see additional images for visual reference to condition Condition Report Disclaimer
Lot 390
An Edwardian Sheraton Revival mahogany and satinwood inlaid display cabinet, the super structure inlaid with lyre shaped hard motif, stepped ogee moulded top, each door with crossbanding and astral glazed doors, oval flower head patera towards base, raised on slender tapering legs, refectory stretcher c.1905
Lot 575
The Contents of Fern Cottage Bedroom 1:ÿ A 4' divan Bed, a two drawer Wardrobe, two - three drawer Bedside Lockers, an Open Armchair, and an upholstered Side Chair; Kitchen: a Bosch Classic Fridge Freezer, a Sharp Microwave, an Indesit Oven, two pine Dining Tables, ten pine Chairs, a Bosch Dishwasher, a pine three shelf Dresser; Sitting Room: a pine TV Cabinet, a Locker, two modern soft fabric Couches, a wooden top and painted Coffee Table, two Horse Prints, three modern Table Lamps, a triptych Fire Tidy and Irons, a wrought iron based Coffee Table, a wooden Fuel Box; Bedroom 2: A pine half Tester Bed, with matching Bedside Lockers and Coffer, an open five shelf Bookcase, a two door painted Wardrobe, a pine mirror back Dressing Table, a pine Cheval Mirror, a pair of porcelain Table Lamps with cream shades; Upstairs: a pair of single Beds, another pair with pull out mattress bases, two upholstered Chairs, three Bedside Lockers, a pair of ceramic Lamps, a Cheval Mirror and a pine Dressing Table, a painted three drawer Chest and Wall Mirror, a pine Coat Stand, three Prints after Jack Vettriano; Decking: Five unusual design wooden Garden Chairs, a large circular Patio Table, an unusual Fire Tidy with S scrolls cast iron with brushes.ÿ Note: No guarantee with electrical appliances - all items to be removed at purchaser's risk and expense. (a lot)
Lot 124
A mid Victorian ormolu mounted tortoiseshell and brass 'Boulle' marquetry ebony and ebonised serpentine low cabinet1850-1875, the central doors each inlaid with an Arabesque of scrolled acanthus, husks, butterflies and a bouquet of flowers centred by the figure of Britannia (or Athena), the front also inlaid with stylised foliage, birds and rosette-embedded trellis cartouches, with a shaped ebonised top above a pair of doors enclosing one shelf, flanked by two arched glazed panel mounted doors, enclosing two shelves, interspersed by classical female bust angle mounts with husk pendant cast and pearl encrusted lambrequined headdresses, the tortoiseshell has darkened significantly and would benefit from professional cleaning, approximately: 188cm wide x 49cm deep x 115cm high, (74in wide x 19in deep x 45in high)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 EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 161
A George II walnut and featherbanded bureau cabinetCirca 1730, the ogee moulded cornice and cavetto frieze above a pair of later bevelled mirror glass inset arched shaped panelled doors, enclosing two adjustable shelves, over one long and two short walnut lined drawers, with two panelled candle slides below, above a fall enclosing seven walnut lined drawers of various proportions, five pigeon holes and two compartments, over two short oak lined drawers and lopers, with three long graduated drawers below, on shaped bracket feet, the sides mounted with four brass handles, 105cm wide x 59cm deep x 225cm high, (41in wide x 23in deep x 88 1/2in high)This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 185
A Napoleon III thuyawood, ebonised and 'bois durci' liqueur cabinet by Charles-Guillaume Diehl (German, 1811-1885),inset with shaped and rectangular panels, possibly by Francois Charles Lepageof rectangular form, the top inset with a panel depicting an oval of bacchic putti and a goat, the front with a panel decorated with an oval female profile portrait, possibly depicting the Empress Eugenie, the sides with foliate panels, the hinged lid and front opening to reveal a lift-out oval gilt framed tray stand with handle, enclosing a suite of four etched and cut-glass decanters and stoppers with gilt rims, and sixteen glasses ensuite, one as found, the lockplate with engraved maker's/retailer's mark, the cabinet, 27cm high, 38.5cm long, 30cm deepFootnotes:Bois durci was an early 'plastic' moulded material based on cellulose. Patented in Paris in 1855 by Francois Charles Lepage, 'literary man of Paris', he claimed 'A New Composition of materials which may be employed as a substitute for wood, leather, bone, metal and other hard or plastic substances'. The moulded material was made from finely ground wood 'flour' mixed with a binder, either egg, gelatin or in the case of Lepage, blood albumen which was obtained from the Paris slaughterhouses. The wood 'flour' used was either ebony or rosewood, giving either a black or brown finish. The mixture was dried and ground to a fine powder. The powder was placed in a steel mould and compressed in a powerful hydraulic press whilst being heated by steam. The final product was then polished to a dense glossy finish imparted by the surface of the steel mould. Lepage produced a variety of small household items including combs and pipe stems etc., and The SOCIETE DU BOIS DURCI was established to produce desk items, especially decorative inkwell stands and plaques. The factory was at Grenelle in Paris and products were sold through A Latry & Cie. of 7 Rue du Grand-Chantier, (Au Marais) in Paris. In 1862 he exhibited the wares of the Societé at the International Exhibition. By the end of the 20th Century, the firm had been taken over by MIOM (La Manufacture d'Isolants et Objets Moulés) which was founded in 1898. They continued to make bois durci until about 1920, by which time it had been superseded by newer plastics materials, such as bakelite.For further information on this lot please visit Bonhams.com
Lot 209
A Napoleon III ormolu mounted tortoiseshell and brass 'Boulle' marquetry hauteur d'appui or pier cabinet by Charles-Guillaume Diehl (1811-1885)missing its marble topCirca 1865, inlaid premiere-partie with elaborate scrolled stylised foliage, acanthus, flowers and husks, the panelled door with scrolled foliate lambrequin mounted angles, enclosing a mahogany lined interior with two shelves, on a shaped plinth base, missing its marble top, the lock plate engraved: 'DIEHL, PARIS, 19, R. MICHEL COMTE, 56cm wide, 36cm deep, 133cm high (22in wide, 14in deep, 52in high) Footnotes:Charles-Guillaume Diehl (1811 - 1885), like many cabinet makers who plied their trade in France during both the 18th and 19th centuries, was actually of German origin. However Diehl settled in Paris in 1840 and established a large atelier at 39, rue Saint-Sebastien. By 1870, there were no fewer than six hundred craftsmen employed at his company.As well as producing furniture for his many wealthy clients, Diehl's firm also made a vast array of luxury objects such as jewellery caskets, liqueur cabinets, games boxes and humidor cabinets. Among Diehl's most well known pieces are those he supplied for the important international exhibitions which took place during the third quarter of the 19th century and begun with the most significant of them all, the Great Exhibition of 1851. He won numerous awards and prizes at all of these exhibitions. A selection of items executed by Diehl are currently housed in the Musee d'Orsay in Paris, the Musee de l'Ecole de Nancy and the Rijksmuseum in Amsterdam, as well at the Metropolitan Museum of Art in New York, C. Payne, European Furniture of the 19th Century, 2013, p.37.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 EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 333
OF COLLECTORS' INTEREST: A pair of George I walnut, featherbanded and fruitwood marquetry side chairsCirca 1720, each with a featherbanded vase shaped splat inlaid with an Arabesque comprising a pair of opposing masks and stylised foliage, on C-scroll carved cabriole front legs, with splayed column-and-block rear legs and a waved H-stretcher, 60cm wide x 57cm deep x 102cm high, (23 1/2in wide x 22in deep x 40in high) (2)Footnotes:ProvenanceThe offered lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. One of the offered chairs appears illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. II, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 90, p. 256. The chair is even noted in 'The Dictionary' as being: 'from Mr Ralph Edwards' and is dated to circa 1710.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history.
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