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![[*] Siam -- Photographer: Robert Lenz (1864-1939). Views of Siam. 1890-1900. 22 vintage platinum prints. Most circa 28,5 x 22](https://cdn.globalauctionplatform.com/607e7e29-bdf9-4289-808b-af49014d74e2/44a9885f-070c-42ab-9759-af49016c6b55/468x382.jpg)
Lot 4064
[*] Siam -- Photographer: Robert Lenz (1864-1939). Views of Siam. 1890-1900. 22 vintage platinum prints. Most circa 28,5 x 22,5 cm. Some with title and number in the negative in lower edge in the negative, most annotated in pencil on the verso.This extensive collection of views of Siam mostly shows temples, pagodas, gardens in and around Bangkok, the Royal district and other architectural structures, such as the Wat Suthat, Wat Phrah Prang Luang, Wat Phra Keo, Stupa of Nakhon Pathom, Nat Cheng courtyard, Buddha gallery at Wat Poh, Chinese cabinet in Wat Suthat, view of the Khlong Bang Luang and parts of the King's Palace. Also includes images of the Royal Barges, one image of ceremonial Siamese dancers and a group of Siamese youths. – Some corners bumped, some with time-staining in edges, some with slight nicks in edges, otherwise in good to very good condition with strong contrasts.Lit.: Joachim K. Bautze. Unseen Siam: Early Photography 1860 - 1910. Bangkok 2016, ill. p. 314, plate 63 and other comparable images.
Lot 56
David Teniers the Younger (Antwerp 1610-1690 Brussels)Interior of a laboratory with an Alchemist at work and a stuffed alligator hanging from a ceiling beam oil on canvassigned 'D. TENIERS. FC' (lower right) 71.8 x 88.2cm (28 1/4 x 34 3/4in).Footnotes:ProvenanceMr Stanley, by whom imported from Spain and sold in 1824 for 95 guineasLord Radstock, before 1826Sale, Christie's, London, 13 May 1826, lot 28 (as 'This noble cabinet picture was formerly in the Collection of the King of Spain', sold for 320 guineas to Lord Northwick) Lord Northwick, Thirlestane House, CheltenhamHis sale, Thirlestane House, 23 August 1859, (17th day) lot 1690 (sold for 675 guineas to Agnew)With Charles Sedelmeyer, Paris, 1897, no. 42Edward R. Bacon Esq., New York, and by descent to his sister-in-lawMrs Virginia Pirdy Bacon, Netherdale House, Turiff, Aberdeenshire, by whom offered Sale, Christie's, London, 12 December 1919, lot 103 (sold for 560 guineas to Campbell)Campbell Family and thence by descent until offeredSale, Christie's, London, 6 April 1984, lot 60 (as Property of a Gentleman)The Linda and Gerald Guterman Collection, Their sale, Sotheby's, New York, 14 January 1988, lot 37Spectrum Inc.Roy T. Eddleman TrustExhibitedOn loan to the Chemical Heritage Foundation, Philadelphia (later the Science History Institute).LiteratureJ. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, London, 1831, vol. III, p. 398, no. 520J. Smith, Supplement to the Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, 1842, vol. IX, p. 452, no. 139A. Moore (et al), The Paston Treasure: microcosm of the known world, New Haven and London, 2018, pp. 458-9, ill. pl. 252 Like The Alchemist of 1649 in the Philadelphia Museum of Art and An Alchemist in his Workshop (which sold for a hammer price of £443,360, Christie's, 29 October 2019, lot 629) the present impressive sized canvas is among the finest examples of approximately a dozen known depictions of this subject by Teniers. According to the theories of the time, it was thought possible that a base metal could be purified and turned into gold from the discovery of an elusive substance known as the 'philosopher's stone.' Thus, the alchemist is depicted here on the right of the composition holding a pair of bellows which would be used to assist in the heating process that was believed to be necessary in the transmutation of elements. This scene, set in a spacious workshop strewn with books, glassware, ceramic pots, vials and a stuffed alligator hung from the ceiling, offered this accomplished artist the opportunity to demonstrate his skills in still life painting. The artist probably first treated the subject in the late 1640s, when it gained great popularity with Dutch and Flemish painters. On account of the lighter palette with more complex and subtle tonal harmonies, the present picture most likely dates to the early 1650s, making it one of his earliest treatments of the subject. An important source of inspiration for Teniers and his contemporaries would undoubtedly have been a drawing by Pieter Brueghel the Elder of an Alchemist's Workshop of circa 1558 (Kupferstichkabinett, Staatliche Museen, Berlin), which was widely known shortly after that date through a print made by Philips Galle (fig.1). Indeed, Teniers would have most likely been only too well acquainted with Brueghel's design, having married his granddaughter, Anna, in 1637. The approaches of the two artists, however, reveal very different takes on the subject. In Brueghel's equally detailed image the alchemist is shown sitting at the hearth of a dilapidated kitchen, placing the family's last coin in a crucible to be melted in the alchemical process. This point is further underscored by his wife, who is seated hunched behind him emptying the contents of an already empty purse. While the alchemist's shabby attire signified the family's desperate poverty, the absurdity of the situation is comparable to the modern stereotype of the mad scientist. The message is that the alchemist neglects himself as much as his family in the single-minded pursuit of his occupation. The Latin verse appended to Florentius Schoonhovius's Emblemata (Gouda, 1618), in which an alchemist similarly stokes a fire with a pair of bellows, states: 'While I pursue uncertainly with certain means, I convert everything into smoke and worthless ash'. Judging from the number of alchemical treatises published through much of Europe in the seventeenth century, interest in the subject was then at an all-time high. However, it was only in the Netherlands that the idea of the alchemist in his laboratory became a popular subject for artists and by the time Teniers created this scene, the rising merchant classes were trying alchemy too and we do not find the previous moralizing associations with witchcraft and charlatanry in this artist's compositions. Although the practice of alchemy was still controversial, its techniques — such as distillation and metallurgy — were in fact contributing significantly to science and industry. It should be remembered that no lesser a scientist than Isaac Newton was a practitioner of alchemy, motivated by the search for the 'philosopher's stone' in the hope of turning base metals into gold. Indeed, as many artists' pigments and glazes used in the seventeenth century were prepared by alchemical methods, Teniers would have likely visited laboratories to acquire pigments and so may have felt a special affinity with the practice. This may well be attested to by a picture entitled The Young Teniers in his Studio (offered Hôtel Drouot, Paris, 9 June 1909) which shows a similar young man, possibly Teniers himself, seated preparing his pigments in a bowl at a window. And it was undoubtedly an equal affinity with this particular subject that will have lay behind the acquisition of this work, as well as lot 58, by the Roy Eddleman Trust and their loan to the Chemical Heritage Foundation, Philadelphia (later the Science History Institute), perfectly bringing together the late owner's interests in both art and science.Margret Klinge confirmed the attribution to David Teniers at the time of the last sale.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 196
A Sèvres inscribed cabinet cup and saucer, circa 1820Decorated with a blue-ground diaper pattern of gilt foliate motifs within a purple grid of checks, under a red-ground band reserved with panels of gilt eagles on a blue ground alternating with gilt scrollwork motifs, the saucer with a gilt scrollwork rosette against a red ground in the centre, inscribed in iron-red to the underside of the cup 'Ornemens Composés dans le Gout du XVIieme Siecle', the cup: 7.4cm high; the saucer: 15.8cm diam., interlaced LL monograms enclosing a fleur-de-lys/Sevres stencilled in blue, incised marks (2)For further information on this lot please visit Bonhams.com
Lot 42
A rare Meissen large dish from the Sulkowski Service, circa 1735-38Painted with two shaped escutcheons with the arms of Sulkowski and Stain zu Jettingen, flanked by rampant lion supports standing on a stepped plinth above a puce panel with gilt scrolls, the arms of Sulkowski with the sash and badge of the Order of the White Eagle, the well of the plate with scattered indianische Blumen within a Sulkowski Ozier moulded border, 43.3cm diam., crossed swords mark in underglaze-blue, incised V (restored rim chip, typical very minor scattered wear)Footnotes:Provenance:Anon. sale in these Rooms, 2 July 2019, lot 149;The Property of a North American Private CollectorThe Sulkowski Service was the Meissen manufactory's first magnificent and large, privately commissioned armorial service to have been designed to order, preceding the more famous Swan Service by several years, and was the first that was not intended for the Elector/King.Alexander Joseph Graf von Sulkowski (1695-1762) was born into a prominent Polish noble family and entered royal service as a page at the Warsaw court. From 1711, he was raised in the household of the Electoral Prince Friedrich Augustus, the heir of Augustus the Strong, of whom he became a close friend. He accompanied the Prince as Master of the Horse on his travels for seven years from 1712, including his tours of Italy, France and Catholic German states, and subsequently became the head of the Prince's household. He became a Gentleman of the Bedchamber in 1726, was raised to a (Polish) count in 1732, and, following the accession of Friedrich Augustus in 1733, was made Privy Councillor, Minister of State, Cabinet Minister and an Imperial Count. Sulkowski was the first Pole to achieve such a position of power: he was in charge of most Court offices, and was responsible not only for the Green Vaults, which held the treasures of the Wettin dynasty, but was also in charge of the porcelain deliveries to the Japanese Palace. Sulkowski also was the recipient of numerous gifts and orders from both Augustus the Strong and his successor, Friedrich Augustus, including Schloß Übigau and the Flemmingsche Palais in Dresden, as well as the Polish Order of the White Eagle and the Order of St. Heinrich. Even Heinrich Graf von Brühl, Sulkowski's better-known successor and the receipient of the famous Swan Service, was subordinate to Sulkowski until the latter's fall from grace in February 1738.The long-held supposition that Brühl saw Sulkowski as a rival and engineered his downfall has been questioned by Dr. Rainer Rückert, who has suggested that the cause of the Elector and King's displeasure with Sulkowski, was probably that he used the Meissen manufactory for his own benefit without informing the manufactory commission or the King. Not only did he order a porcelain armorial service to be made for himself of princely magnificence but he even had it delivered to the King's own porcelain palace, the Japanese Palace (R.Rückert, Biographische Daten der Meißener Manufakturisten des 18. Jahrhunderts, pp.267-269).Sulkowski married (firstly) in 1728 a Lady in Waiting of the Electoral Princess, Maria Anna Franziska Catharina Freifrau von Stein zu Jettingen (1712-41), whose arms appear on the service together with those of her husband. The first explicit mention of the service in Kaendler's work notes (Arbeitsberichte) appears to be the large sugar box and cover 'belonging to the order of His Excellency the Count Von Solkofsky (sic)' in September 1735. The manufactory inspector reported in May 1736 that although Kaendler, as well as the best Formers and Cleaners had worked on the service for a year and a half, it was not going to be possible to finish everything as Count Brühl had ordered a new service of 'entirely new design' and the store rooms urgently needed tablewares, small animals, figures and birds for sale (quoted by Ingelore Menzhausen, In Porzellan verzaubert, p.189 - see facing page for the tureen from the service in the Pauls Collection, Basel).Production of the service seems to have continued until Sulkowski's fall, and there may even have been later deliveries (a dish in the Schneider Collection has an impressed numeral which would seem to date it after Sulkowski's dismissal; published by Rückert 1966, no.490). A list of the pieces delivered to the Japanese Palace, dated 8th February 1738 - three days after Sulkowski's dismissal - and signed by J.G. Höroldt himself was published by Hilde Rakebrandt, Meissener Tafelgeschirre des 18. Jahrhunderts (1958), pp.14-15. According to this list, the charger offered here is the second biggest shape produced for this service. The incised 'V' can be taken as an indication of size. There were originally 24 chargers of this size produced. Only one larger charger has been on the art market recently, a large charger of 46cm, of which, according to the specification, twelve were made for service (Kramarsky Collection, New York, sold Christie's New York, 30 October 1993 lot 34). Another charger which measures 47.5cm in the Schneider collection.Larger forms of the service seem to have been based, at least in part, on silver examples in the Dresden Residence: according to Fritz Fichtner (Meißner Porzellan für Polen und Rußland (1941), p.15), Sulkowski himself specified that the large tureens be copies of a silver tureen by the Augsburg goldsmith Johann Miller (or Biller, according to Rückert and Schnyder von Wartensee). The basket-moulded borders, now known as 'Sulkowsky-Ozier', seem to have been used from around 1732.Sulkowski was permitted by the King to retain his titles and property, and four months after his fall he purchased the estates in Poland of the exiled Stanislaus Leszczinski. Friedrich Augustus even sought the advancement of his childhood friend with the Emperor in Vienna. In 1752, Sulkowski purchased the Silesian principality of Teschen and was raised to the rank of Prince of the Holy Roman Empire. In 1754 he was created Duke zu Bielitz and created Principal Master of the Hunt and Master of the Ordinance in the Grand Duchy of Lithuania. The Sulkowski Service was the subject of one of the very earliest scholarly monographs on Meissen porcelain, when it was published by Julius Lessing in 1888 ('Das Porzellangeschirr Sulkowski', in Kunstgewerbeblatt, vol.4, pp.43-8). Much of the service was apparently sold shortly afterwards, though a substantial portion was preserved in the family home until it was sold by Sotheby's London ('The Property of a Lady of Title') on 23rd May 1967, lots 29-50 (one dish with 42.5cm diam. was sold as lot 37, possibly the present lot).A charger of this size was in the collection of Erich von Goldschmidt-Rothschild, Berlin (sold Ball & Graupe, Berlin, 23-25 March 1931, lot 606 - unillustrated). A charger of similar size was sold in these Rooms from the Hoffmeister Collection, 25 November 2009,This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 17
JACQUES ADNETBuffetcréation circa 1940ChêneH: 166cm.(65 3/8in.); L: 197cm.(77 9/16in.); P: 57cm.(22 7/16in.).An oak cabinet by Jacques Adnet designed circa 1940.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 57
MOGENS KOCHBibliothèque modulable à six élémentscréation circa 1950 Édition Rud Rasmussen, estampillée, en pin verniH (meuble bas): 94cm.(37in.); H (caisson haut): 76,5cm.(29 15/16in.); L: 90cm.(35 7/16in.); P: 27,5cm.(10 5/8in.).A modular pine bookshelf with six elements by Mogens Koch for Rud Rasmussen designed circa 1950.Footnotes:Bibliographie:E. Hiort, Modern Danish Furniture, Ed. Architectural Book, New York, 1956, modèle similaire reproduit p. 118 G. Jalk, 40 years of Danish Furniture Design, The Copenhagen Cabinet-maker's Guild Exhibition, Lindhardt og Ringhof, 2017, tome 4, modèle similaire reproduit p. 35This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 23
Ludwig Alter Hofmobelfabrik, Manner of Peter Behrens, Jugendstil bookcase cabinet, circa 1910, Mahogany, glass, copper, 196cm high, 92cm wide, 35.5cm deep. Footnote: In 1899, Grand Duke Ernest Ludwig founded the Künstlerkolonie Mathildenhohe, an artists’ colony in Darmstadt, Germany. His vision was to bring together and patronise the most skilled artisans from around Europe to create a bold new Arts and Crafts movement which came to be known as Jugendstil. He was very successful in this endeavour, with members including figures such as Peter Behrens, Hans Christiansen, Joseph Maria Olbrich, Rudolf Bosselt, Paul Burck and Patriz Huber, to name but a few. The majority of furniture designed by the artisans of the colony were manufactured by Ludwig Alter, the Darmstadt Court furniture maker. Indeed, when, in 1901, Peter Behrens built his family home in Darmstadt - Haus Behrens - he entrusted the production of all his furniture designs to Ludwig Alter Hofmobelfabrik.Please refer to department for condition report
Lot 331
˜THE SILVER-GILT MOUNTED PRESENTATION MAMELUKE SWORD TO LIEUTENANT GENERAL GEORGE SIR RONALD SCOBIE, K.B.E., C.B., M.C. BY THE GREEK ARMY, BY WILKINSON, LONDON SILVER HALLMARKS, 1946, with curved polished blade double-edged towards the point, etched with olive fruit and foliage, palmette, the presentation inscription and the Patriotic inscription ~ΈΛΛΑΔΙ ΓΑΡ ΣΠΕΥΔΟΝΤΕΣ ΕΛΕΥΘΕΡΙΗΝ ΠΕΡΙΘΕΙΝΑΙ?~, rectangular ricasso etched ~Wilkinson~ on the back-edge, silver-gilt hilt comprising cross-guard cast and chased with olive foliage in low relief, decorated in the centre with a classical profile bust on one face and with the crowned Royal cypher ~GRVI~ enclosed by the Most Noble Order of the Garter on the other, back-strap chased with foliage, a pair of ivory grip-scales (small ages cracks) retained by a pair of rivets with gilt heads, and with its original knot, in its scabbard with silver-gilt mounts cast and chased with palmettes and strapwork in low relief against a punched ground comprising chape, middle-band with a ring for suspension, applied in enamel with the Most Honourable Order of the Bath on one face and the Greek Order of George 1st, gold cross (military division) on the other, locket with a further ring, decorated in blue enamel with the dates 1944-46 on a scroll on one face and a military emblem on the other, and remaining in very fine condition throughout, 82.0 cm blade¦¦Sir Ronald Mackenzie Scobie (1893-1969) was educated as a scholar at Cheltenham College and at the Royal Military Academy, Woolwich, he was commissioned into the Royal Engineers in February 1914. He excelled at all sports and shortly before the outbreak of war played rugby for Scotland against England, Ireland, and Wales. ¦¦Scobie was sent out to France in October 1914. Though wounded shortly after his arrival, he recovered to fight in the trenches for the remainder of the war, being twice mentioned in dispatches and winning the Military Cross. Promoted captain in 1917, he received his brevet majority just two years later. In September 1920 he returned to England, where for four years he commanded a company at Woolwich. From 1927 to 1931 he was a staff captain, and later a brigade major, at Aldershot, before spending three years overseas as director of military artillery at the Royal Military Academy, Australia, during which he was promoted brevet lieutenant-colonel. On 9 February 1927 he married Joan Duncan (b. 1904/5), daughter of William Henry Sidebotham, a solicitor, of Farnham, Surrey and they later had a daughter.¦¦By 1939 Scobie was in London, as a full colonel and assistant adjutant-general at the War Office, and on the outbreak of war was made deputy director of mobilization, a role at which he excelled. In late spring 1940 he went out to the Middle East to serve as deputy adjutant-general on General Wavell~s staff before being appointed, in August, as a brigadier, general staff, in the Sudan. There, under General Sir William Platt, he helped plan the northern arm of the massive pincer that broke Italian military power in east Africa. Scobie with Platt captured Agordat in February 1941, broke the kernel of Italian resistance at Keren in March 1941, and finally took the whole of Eritrea. In the opinion of General Sir Frank Messervy, a fellow officer and friend, it was Scobie, through his diplomatic handling of two quarrelling divisional commanders and his insistence on persevering with the attack, who saw the crucial battle of Keren through to its victorious end.¦¦In October 1941, a month before Sir Claude Auchinleck launched his ~Crusader~ offensive against Rommel, Scobie, now a major-general, was appointed to succeed General Moreshead as commander of the garrison of Tobruk. After leading the 70th British division in by sea to relieve the Australian defenders, he and his men held the fortress in the face of furious enemy assault and even broke out from the town to make contact, if only for a few hours, with Auchinleck~s advance troops. Besieged again, with only forty-eight hours of artillery ammunition left, Scobie kept attacking as the battle of Sidi Razegh raged to the south. The garrison held out for another two weeks before finally being relieved. For his efforts in Eritrea and at Tobruk he was appointed OBE in 1941 and CB in 1942.¦¦From February to August 1942, for the duration of Rommel~s counter-offensive, Scobie was once again on the staff as deputy adjutant-general. His next posting was as general officer commanding another beleaguered outpost, this time the island of Malta. There he remained, blockaded by sea and under attack from the air, until the siege was finally lifted with the conclusion of the north African campaign. He returned to Cairo in 1943 as chief of staff to General Sir Henry Maitland Wilson, commander-in-chief Middle East, where, among other tasks, he helped plan the invasion of Sicily and amphibious operations in the Aegean.¦¦In the following year Scobie was given command of the British force due for dispatch to Greece to keep order, following the German withdrawal, until a constitutional administration could be established. When he and his force duly arrived in October 1944 they found the country in a state of complete disorder and on the verge of widespread civil war. Members of EAM, the communist-led movement of national liberation, and of its military wing, ELAS, were threatening to seize power and already occupied much of Athens and the surrounding countryside. Supported by the British government, Scobie declared publicly that all guerrilla groups must disband, that he would stand by the returned Greek government in exile, led by Georgeios Papandreou, until a legal armed force was behind it and free elections could be held, and that he would protect it against any coup d~état. EAM denied the charge that they were preparing a coup, but the crisis quickly reached boiling point.¦¦In December 1944 heavy fighting broke out in Athens between ELAS and British troops. At one point British and Greek government forces seemed in danger of being overwhelmed. Reinforcements were sent, with a corps commander to take operational control, enabling Scobie to assume overall command. Only after a visit to Athens by Winston Churchill and Anthony Eden late in December did the civil strife there begin to draw to a close. Papandreou resigned, a regency was declared, and a new cabinet formed, more acceptable to EAM. But it took forty days of bitter fighting before Scobie and four ELAS delegates signed a military truce, on 11 January 1945, and disarmament of the guerrillas could start.¦¦Scobie~s fine efforts in Greece were recognized by his appointment to KBE in 1945. Most Greeks, too, held him in high esteem, perhaps unusually for a commander of foreign troops engaged as a temporary force of occupation, but their affection and respect were genuine. He received the freedom of Athens and the grand medal of the municipality, and was decorated with the grand cross of George I of Greece, and whenever in public was greeted by cheers and cries of ~Scobie! Scobie! Scobie!~. He remained in command in Greece until 1946. Abridged from the Oxford Dictionary of Biography, accessed October 2022. ¦¦
Lot 204
A collection of doll house furniture and dolls, to include two four poster beds, one with embroidered curtain, and a tester bed, with silk curtain, all with linen, together with a George II style chinoiserie cabinet and a 17th century Flemish style cabinet on legs, both by same artist, with initials to underside, a salon suite with sofa, two armchairs and four chairs upholstered in silk, a velvet Victorian style armchair by 'Arlette', and other seatsProvenance: Contents of the Estate of Sir Frank Williams CBE and Mrs. Virginia Williams.
Lot 218
A George III mahogany drapers cabinet, of travelling format with swan neck handles either side, the front doors with moulded panels, opening to a fitted interior with a set of four compartmentalised drawers, and shelves, 30.5 cm high x 46 cm wideProvenance: Contents of the Estate of Sir Frank Williams CBE and Mrs. Virginia Williams.
Lot 292
A 20th century oak hall table or side table, over-sailing top, single small drawer to frieze, turned legs, 70cm tall x 70cm wide x 45cm deep; a conforming corner table, 71cm tall x 76.5cm wide; a priory style oak floor-standing corner cupboard; a mahogany Sutherland table; mahogany wall mounted corner cabinet, (5).
Lot 318
An Edwardian inlaid mahogany five piece bedroom suite, wardrobe with central cupboard and four graduated drawers, between mirror single doored wardrobe sides, 209cm high, 182cm wide, 50cm deep; double bed, 145cm high, 142cm wide, two Dressing tables one with mirror back, 163cm high, 122cm wide, 51.5cm deep and 80cm high, 122cm wide, 51.5cm deep, bedside cabinet, 77cm high, 40.5cm wide, 37cm deep (5)
Lot 11
A set of three graduated Chinese export dishes, Qing Dynasty, Qianlong (1736-1795), each painted with a lady playing a gu zheng (zither) by a large cabinet laden with precious objects, next to a tree, within a complex enamelled border design 38.5cm, 32.5cm and 28.5cm diameterProvenance:Chillesford Lodge, Suffolklarge: cracks across main field/foot rim area. wear and small enamel loss. a.fMedium: large piece out of the rim and re-stuck crudely. a.fsmall: extensively cracked and re-rivetted. a.f
Lot 118
A Japanese Kshitigarbha Bodhisattva Jizo Bosatsu Triad in Zushi shrine, late Meiji Period, in an original black lacquered cabinet, the double-hinged doors with elaborate foliate lock plates, revealing carved and giltwood interior73.5cm highSmall internal parts missing or damaged e.g. fingers, tips of lotus etc. General rubbing of gilding. One or two bruises on black laquered case and some laquer chips and small cracks
Lot 273
A George I walnut cabinet on chest, the moulded cornice with cushion drawer above a pair of panelled doors enclosing pigeon holes and drawers, the base with two short and two long drawers on bracket feet170 x 112 x 48cmProvenance:Chillesford Lodge, SuffolkThe interior with reconfiguration, replaced handles, some moulding missing, dry cracking to doors and sides, historic worm
Lot 298
A large red ground Ushak carpet, circa 1930, of typical repeating design indigo with pale indigo and green highlights,with original retailer's webbing for 'Chamberlain, King & Jones Ltd, Birmingham'496 x 360cmPile is superb all over with minimal signs of wearSelvage is also excellent with very little scuffingNo damage,repairs or evidence of moth Colours remain bold and vivid and are even throughoutSome losses to the flatweave part of the fringing(see photos)One small area of lighter colour, possibly as a result of cleaning, visible in the last imageNote; Chamberlain, King & Jones were a well-known and repected retailer of high-quality furniture and furnishings including carpet factors, upholsterers, cabinet carvers, gilders, window blind manufacturers and decorators.They firm was listed in Kellys Directories from 1878-1900 and still trading at different addresses, thereafter and until at least 1956.
Lot 393
A George IV mahogany side cabinet, the rectangular top over two fitted frieze drawers above two cupboard doors raised on a plinth base89 x 137 x 42cmProvenance:With Sandy Cooke Antiques 2004, £2,100Some wear commensurate with age and use, some chips and loss of veneer to front edge, old repair to one side, historic worm to back boards
Lot 545
An inlaid walnut and gilt metal display cabinet, 19th century, the moulded rectangular top over two arched glazed doors enclosing adjustable shelves with a shaped apron below and raised on bracket feet144 x 112 x 35cmTop with some minor shrinkage cousing the front edge moulding to lifet and split, dry crack from the right end across approx 10cm, light scratching and general wearInterior lining with marks and minor sun damageDoors are slightly bowedMinor knocks and splitting to the veneer as expected with age and useSee photos
Lot 546
A miniature Victorian mahogany and boxwood inlaid collector's cabinet, with single cupboard door enclosing five shaped galleried slides flanked by carved canted corners on a plinth base31 x 32 x 16cmJ T Needs and Co, late Bramah lockStructurally good however it does rock from front left to back rightTop is sun damaged with light wearSlides all move well, lowest slide chipped at the backGeneral wear and knocks to the extemeties most noticably the masks noses and the front right footSee photos
Lot 569
A Tunbridgeware four drawers table cabinet, the top with floral spray, 16cm; together with a jewellery box circa 1840, the lid inlaid with a perched bird, compartmented interior, 26.5cm, and a rosewood work box, 35cmThe cabinet with some blistering to veneers on top, the top a possible replacement, the box split through the lid, the writing box also with chips and losses.
Lot 25
A reproduction Georgian-style mahogany floor standing display cabinet with Corinthian column detail and glazed cupboard doors above four long drawers, on bracket feet, 130 x 100 x 35cm. CONDITION REPORT: The right hand side has some mould from where it has stood against a wall and there is a crack to the left hand side, running down a panel. Usual knocks and signs of wear.
Lot 32
A 17th century oak cabinet with moulded top, over two small drawers, over central cabinet with geometric moulding to the drawers and cabinet sides, raised on square stile feet, 88 x 96 x 51cm. CONDITION REPORT: Large split to the top and several others plus cracks and knocks, scratches and knocks all over commensurate with age
Lot 321
SILENT SCREAMERS; four Aztec Toyz Silent Screamers Series One collectors' figures comprising Nosferatu 1922 'Graf Orlok the Undead' and 'Knock Renfield the Madman' and The Cabinet of Dr. Caligari 1919 'Cesare the Sleepwalker' and 'Dr. Caligari the Hypnotist', also three Mezco Reel Masters Silent Screamers collectors' figures comprising 'Metropolis 1926', 'Dr. Jekyll & Mr. Hyde 1920' and 'Edison's Frankenstein 1910', all in original blister packs (7).
Lot 474
A group of Coalport and Aynsley cabinet cups and decorative teaware, to include Aynsley cup and saucer 2832, turquoise ground with autumn fruits, a Hammersley cup and saucer hand painted with flora, gilt-heightened throughout, early 20th century Coalport saucers, plates, and three matching cups, etc.
Lot 57
A late 19th century large floor standing oak cutlery cabinet, interior with seventeen graduated drawers to include two banks of five small drawers over seven long drawers, each with green velvet cutlery divided section, outside cabinet has two brass swing handle carry handles and remnants of seal and ribbon security straps, 91 x 92 x 27cm. CONDITION REPORT: Original 331 pieces of silver cutlery from this cabinet to be sold separatelyIn well travelled condition, very sturdy, some pen marks to front of the drawers,.
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