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Click here to subscribeA FINE PAIR OF HADLEYS’ WORCESTER LARGE CABINET VASES AND COVERS of footed two-handled tapering bulbous form with leaf moulded mask-head side handles, moulded slender necks and bases; the covers with pierced flower bud finials. The bodies finely painted with pink and yellow rose sprays, blue iris and dragonflies on a mottled ground - printed green marks Circa 1900.50cm high
An early Victorian burr walnut and satinwood strung music cabinet, circa 1840, glazed front cabinet opening to an arrangement of shelves with leather interior, flanked by canted corners with scrolling mounts, raised on plinth base with a carved apron on white porcelain castors. 98cm H x 56cm W x 37cm D
A George I gilt gesso side table1720-1726, possibly by John BelchierThe top with an ovolo moulded edge and re-entrant front angles, decorated with shallow-relief strapwork decoration comprising a central rosette within a shaped and scrolled cartouche, the cartouche border interspersed with lozenge medallions, encompassed by scrolled foliage and bellflower pendants, above an acanthus and scallop shell ogee shaped frieze, over an everted apron centred by a swagged acanthus spray within a scrolled foliate cartouche, on griffin bust, acanthus, bellflower pendant and rosette clasped scroll eared square section cabriole legs, terminating in shell wrapped feet, probably very slightly reduced in height, 108cm wide x 56cm deep x 70.5cm high, (42 1/2in wide x 22in deep x 27 1/2in high)Footnotes:An almost identical gilt gesso side table to the offered lot is located in the Second Best Bedchamber at Erddig, a large historic house near Wrexham in Wales. It is first documented in a 1726 inventory undertaken at Erddig, and consequently is believed to date from the period 1720-1726. This closely comparable George I side table is illustrated and analysed in A. Bowett, Early Georgian Furniture, 1715-1740, 2009, Woodbridge, fig.'s 5.19 & 5.21, pp.'s 210-211.It is interesting to note that a silvered table of related form, size and proportions was supplied by the cabinet maker John Belchier for the Withdrawing Room at Erddig in 1726, also featuring in Ibid, fig. 5.20, pp.'s 210-211. According to what is recorded in Belchier's bill, this silvered piece of furniture cost John Meller £14 at that time. And the glass top is even engraved and painted with the Arms of the Meller family who then resided at Erddig.Although both of these examples have a number of shared characteristics including distinctive punched grounds, elegant cabriole legs and similar shallow-relief decoration, there are however evident variations as well. The two tops are different whilst the gilt one at Erddig, as with the present model, has an ogee frieze whereas a cavetto one appears on the silvered table. Arguably the latter, despite its beautiful swags running between the front legs and apron (absent on the others), does not incorporate some of the finer details such as the more pronounced and confidently carved scrolls and shallow griffin busts featuring to the tops of the legs on both the offered table and the gilt one at Erddig. In addition, a white bole is evident underneath the surfaces of the silvered table, in place of the dark red bole which was clearly used for the others.Consequently, it seems possible, but definitely by no means certain, that John Belchier was responsible for executing both of the aforementioned upon behalf of John Meller at Erddig. Thus, by extension the same uncertainty likewise applies to the current example too. Regrettably, in the absence of any relevant paperwork, it appears likely that we may never definitively know who made either the Second Best Bedchamber version or indeed the offered version. Unfortunately, this equivocation is only intensified by the fact that Meller also purchased furniture from other cabinet makers like John Pardoe and John Gumley at approximately the same time.At Erddig, pairs of marble topped tables can be found in rooms such as the Hall and Salone. This fact suggests that the gilt Second Best Bedchamber model was perhaps also one of a pair that was commissioned by Meller, and if this was indeed the case then it would mean that the present lot was possibly originally housed alongside its companion in the revered Welsh historic home. But to be clear this is just one of a number of various postulations concerning such furniture.To conclude, Adam Bowett asserts that: 'the design of the Erddig tables is typical of the 'claw' cabriole-leg style which superseded pillar legs from circa 1715 onwards'. He also notes that the gilt model at Erddig had a protective leather cover or case which was standard practice for such tables of this type and period. It is thus a fair assumption that the offered one also had this same type of covering at some point.A further related example sold Christie's, London, 9 December 2010, The Gothick Pavilion - Byron to Beaton, lot 33.LiteratureA. Bowett, Early Georgian Furniture, 1715-1740, 2009, Woodbridge.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 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
OF GRAND TOUR INTEREST - A Regency or George IV mahogany centre table with an Italian early 19th century specimen marble and hardstone topthe specimen top circa 1815, the table 1820-1825 and almost certainly Scottish or Irish in originThe circular top inset with a central roundel encompassed by six concentric circles incorporating a total of one hundred and forty inlaid radiating segments of assorted marbles, hardstones and minerals, the specimens probably including verde antico, porfido verde antico, val d'aosta, granito verde antico, Spanish brocatello, jaune brocatelle, porphyry, Sicilian jasper, granito rosso antico, cipollino, lumachella nera, alabastro, portasanta, fior di pesco, rouge languedoc, breccia traccagnina, portoro, petit antique, occhio di pavone, lapis lazuli, malachite and agate, on a beaded, acanthus wrapped and lobed column with a lotus-leaf collar and fluted spreading socle, the concave tripartite base with a reeded edge, terminating in scrolled corbel-headed lion paw feet, with recessed brass castors, the table stamped: '9589', the diameter of the top: 96cm; 77cm high.Footnotes:ProvenanceThe present table previously formed part of the collection of Sir Edmond Adair Hodson, 5t Bt. (1893-1972), Hollybrook House, County Wicklow, in Ireland. Evidently the table passed by descent through the family down to the current owner and vendor, although it is not known exactly when it was first acquired by the family.The marvellous Italian early 19th century specimen marble and hardstone top surmounting the offered lot is virtually identical (and of the exact same design) to the one 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. 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 tabletops, 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 tabletop 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 offered 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 further table worthy of note, albeit a comparable with a different type of specimen marble top, is illustrated in S. Stuart, Gillows of Lancaster and London, 1730-1840, Vol. I, 2008, pl. 391, p. 337. This particular rosewood example was made by Gillows in Oxford Street and supplied to Stephen Tempest in 1821.Aside from its top, the present table has a number of elements that are reminiscent of the output of the Scottish cabinet maker, William Trotter, who was based in Edinburgh and who flourished during the period 1805-1825. The prominent reeding, or reeded bands, to both column and base along with its distinctive lotus-leaf and acanthus carved collars appear to be recurrent aspects of Trotter's output, especially of those pieces that his firm produced between 1815 and 1825.Holybrook HouseHolybrook House, where Sir Edmond Hodson resided, had been constructed in the then fashionable Tudor Revival style in 1835. It was built following the designs of the Irish architect, William Vitruvius Morrison (1794-1838). Sadly in 1969 the north-west wing of the house was largely burnt in a fire and then subsequently re-structured as four separate buildings. However, the main part of the house, although much altered from its original state, still remains to this day, see www.buildingsofireland.ieThis 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
A French late 19th century ormolu mounted mahogany, bois satine, amaranth and stained sycamore marquetry commode a la Greque probably by Francois Linke (1855-1946)1890-1900, in the Louis XV/XVI Transitional styleOf breakfront outline with projecting canted front angles, the breche d'alep marble top with a moulded edge, above a triple panelled sunflower head-embedded guilloche mounted frieze interspersed with acanthus sprays, the frieze incorporating one central oak lined drawer, above two long oak lined drawers inlaid sans traverse with waved trellis work inset with rosettes, flanked by acanthus clasped scrolled corbel mount and husk pendant angles, on keeled square section legs terminating in scrolled foliate and bellflower adorned sabots, the reverse of the handles stamped: 'C.L. 2251', the back with an ink stamp: '47903', 132cm wide x 93cm deep x 63cm high, (51 1/2in wide x 36 1/2in deep x 24 1/2in high)Footnotes:A very similar commode to the present lot, one made by Francois Linke, appears illustrated in C. Payne, Francois Linke 1855-1946, The Belle Epoque of French Furniture, 2003, Woodbridge, p. 504. As with the offered version, this latter commode follows index number 1688. And like many pieces executed by Linke, there are slight variations in some of the details between these actual examples and their shared source design. However, importantly the essential form, mounts, inlay and drawer configuration are closely comparable to this particular Linke design in both instances.Also, it should be noted that the handles on the present model are stamped with the initials: 'C.L.' (along with a serial number) which most likely denotes Clement Linke, who was one of the cabinet maker's younger brothers. Clement provided metalwork such as locks, keys, handles and hinges for a great deal of Linke's furniture produced during the period, circa 1896-1910, Ibid, p. 359.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
A George III ormolu mounted tulipwood and rosewood table de salon or table ambulante attributed to Pierre Langlois (1718-1767)Circa 1765Inlaid with stringing, the shaped quarter veneered top mounted with a reeded edge, above a shaped frieze inlaid with half veneered shaped tablets, the front and reverse of the frieze mounted with a pair of winged putti holding a laurel wreath aloft above a floral swagged oval beaded cartouche, with one frieze drawer, each end with a cabochon embedded foliate scrolled and rocaille mount, on square section cabriole legs mounted with opposing C-scrolls, acanthus and elongated scrolls with beaded chutes terminating in opposing C-scroll and foliate sabots, with a quarter veneered platform undertier, 33cm wide x 28cm deep x 73cm high, (12 1/2in wide x 11in deep x 28 1/2in high)Footnotes:A small writing table, one likewise attributed to Pierre Langlois, which has an essentially identical model of ormolu mount to the upper parts of its legs as those which are attached on the present lot sold Christie's, New York, 17 May 2006, The Collection of Evelyn Annenberg Hall, lot 356.The quintessentially French - or more precisely Louis XV - design of the offered example, combined with the English construction evident in the high-quality drawer linings with their neat dovetails, are typical elements of the ouevre of the émigré cabinet maker, Pierre Langlois, during the 1760s and into the 1770s.It is also interesting to note the presence of a number of winged putti depicted on the Langlois trade card which is illustrated in Sir Ambrose Heal's The London Furniture Makers, 1660-1840, 1953, p. 94. These figures bear close comparison with the winged putto featuring on the main central mount of the above table.This lot is subject to the following lot symbols: TP YTP 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.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
A pair of George III mahogany and kingwood crossbanded urns and pedestalsCirca 1780, of Gillows qualityWith boxwood stringing, each urn wrapped with an alternating reeded and fluted band, the body carved with oak-leaf swags and husk festoons interspersed by flowerhead roundels, with an egg-and-dart collar, the detachable lid with a gadroon carved edge and stiff-leaf clasped upper part surmounted by a pinecone finial, one pedestal with a graduated triple re-entrant panelled and triple tablet inlaid door enclosing one shelf, the other pedestal with three graduated mahogany lined drawers of conforming appearance, on plinth bases, both urns with their metal linings to the interior now missing, both inscribed in white chalk: 'ALTMAYER HARRIS', each urn and pedestal approximately: 49cm wide x 48cm deep x 167cm high, (19in wide x 18 1/2in deep x 65 1/2in high) (2)Footnotes:ProvenanceThe present lot was apparently previously acquired from M. Harris and Sons, London, possibly during the 1950s.Thereafter the offered urns and pedestals were purchased by the current owner and vendor, Christie's, New York, 19 January 2017, Palmetto Hall: The Jay P. Altmayer Family Collection, lot 65.The offered urns and pedestals appear in M. Harris and Sons, A Catalogue and Index of Old Furniture and Works of Art, London, n.d. (circa 1930), No. F20869, p. 407. Two related pairs of urns and pedestals are illustrated in S. Stuart, Gillows of Lancaster and London, 1730-1840, Vol. I, 2008, Woodbridge, pl.'s 342-347, pp.'s 309-310. One pair made during the late 1770s, which is attributed to Gillows, was supplied for Thirsk Hall, North Yorkshire upon behalf of John Bell whilst the other pair, dating to circa 1780, were provided to the Weld family of Lulworth Castle, in Dorset.Of additional interest are a group of three designs for 'pedestals and vases' by George Hepplewhite, first published posthumously in 1787 within The Cabinet-Maker's and Upholsterer's Guide, also featuring in the 1794 third edition, re-published 1969, Toronto, pl. 36. Across these drawings a number of similar characteristics are shared with the present example, including equivalent swag and festoon carving, comparable stiff-leaf clasped elements and re-entrant panelling, along with analogous crossbanding. The same Hepplewhite designs are also replicated in D. Nickerson, English Furniture of the 18th Century, 1967, Frankfurt, fig. 101, p. 95.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
A mid Victorian ebony, calamander, abalone, mother of pearl, ivory, bone, rosewood, purpleheart, sycamore and fruitwood marquetry collector's cabinet1870-1875, possibly by Jackson and GrahamWith line-inlaid borders and stringing, the top surmounted by a baluster gallery to the rear, above a stylised foliate inlaid frieze comprised of alternating palmettes and lotus-leaves flanked by rosette tablet angles, over a twin double panelled door, the upper panel inlaid with a still life of assorted shells, moluscs, coral and seaweed, the lower door panel inlaid with stylised foliate and scrolled angles, enclosing a total of eleven satinwood veneered and mahogany lined drawers comprised of eight long drawers over three deep drawers, flanked by stylised foliate, palmette and honeysuckle inlaid angles, on a plinth base, the lock stamped: 'CHUBB PATENT, 128 QUEEN VICTORIA ST., ST. PAUL'S, LONDON, 800354', 96cm wide x 67cm deep x 148cm high, (37 1/2in wide x 26in deep x 58in high)Footnotes:The repeating inlay running across the frieze of the offered lot is redolent of some Greek revival or 'Neo-Grec' designs published in 1856 within 'The Grammar of Ornament' by Owen Jones (1809-1868). Worthy of particular comparison are several decorative patterns inspired by ancient Greek vase ornamentation which feature among Plates XVI and XVII, Greek No.'s 2 and 4. Owen Jones was among the most notable designers employed by the renowned cabinet making combination of Jackson and Graham so it seems probable that the present cabinet was indeed executed by this firm. Added to this, the use of ivory (amongst the various other exotic materials) inlaid into ebony, along with its distinctive stylised foliate embellishments, are certainly characteristics very much in keeping with those pieces produced by Jackson and Graham during the period 1865-1875. Jackson and Graham (fl. 1836-1885)Jackson and Graham were one of the most successful and prestigious firms of the early and mid-Victorian periods. Based in London, they were responsible for enhancing the reputation and improving the renown of English cabinet makers throughout the rest of the World. In 1836 the partnership of Peter Graham (1811-1877) and Thomas Charles Jackson (1807-1848) was founded at 37 Oxford Street, but by 1839 the venture had developed to incorporate 37 & 38 Oxford Street, as well as an additional location at 18 Newman Street.In 1845 the company was recorded in the Post Office Directory as cabinet makers, upholsterers, carvers, gilders and house agents. However, by as early as 1866 they had grown sufficiently quickly as to include locations at 29, 33, 34, 35, 37 and 38 Oxford Street, together with the ownership and running of addresses at Perry's Place, Freston Place and Newman's Yard. In the 1860s, as part of their operation, Jackson and Graham employed 250 workers. During the 1850s the firm set up a steam engine for the more rudimentary sawing requirements, however by the next decade they had established machine-carving as well. By 1875 their total number of employees had reached within the region of 600 to 1,000. The rapid rise of the business is summarised in a London Directory advertisement of 1866 in the following way: 'Jackson and Graham announce... that they have recently made great additions to their former extensive premises, which render their establishment the largest of its kind in this or any other country. The Spacious Show Rooms and Galleries are filled with an unrivalled stock, the prices of which are all marked in plain figures at the most moderate rates for ready money. The extensive Manufactory adjoining, with machinery worked by steam power, is fitted with all means and appliances to ensure superiority and economise cost. Each of the departments will be found as complete as if it formed a separate business...' Only one decade on from this, another detailed account of the company is provided in J.H. Pollen's publication of Bevan's 'British Manufacturing Industries' (London, 1876). It elucidates a business which was as almost entirely automated as any other at that time in Victorian Britain, utilising and manipulating steam in order to power their wide assortment of machinery. Yet, despite this fact, the substantial contribution of highly skilled human labour and craftsmanship was also simultaneously championed therein. And, probably in part due to their employment of specialist foreign inlayers or marquetry experts, the firm's output easily rivalled anything then being produced in Europe, as evidenced by the numerous awards they were honoured with over time. Jackson and Graham used every opportunity to display their 'wares' at the various International Exhibitions which took place throughout much of the second half of the 19th century. They did so in order to showcase the very best of what they could produce. Their notable participation at the first and most famous of these, the Great Exhibition of 1851, was described thus by the 'Art Journal': 'Messrs Jackson and Graham, the eminent upholsterers of London are large contributors to the Great Exhibition of many important articles of their manufacture'. At the 1851 Exhibition in London, they received a prize medal for their exhibits.For the 1855 Paris Exhibition the firm showed a large Eugene Prignot-designed cabinet to the public, which was thereafter acquired by the Victoria and Albert Museum for £2,000: W.81-981, where it is still housed today. Among the more significant furniture supplied for the 1862 International Exhibition in London were a pollard oak sideboard and a Louis XVI style ebony and ivory cabinet with an onyx top. Again, they were honoured with multiple awards in London, but also gained similar trophies five years hence at the Paris Exposition. In 1871 an ebony and inlaid cabinet, which followed a design by R.S. Lorimer, was displayed by Jackson and Graham at the International Exhibition. They were also involved at Vienna in 1873 and took part in London the next year. However, it appears that at the 1878 Paris Exposition, which was their ultimate event of this scale and scope, they obtained the Prix d'Honneur for the British section. Whilst for the star item, known as the 'Juno' cabinet, they in fact achieved the 'Grand Prix' before the Viceroy of India bought the piece for £2,000 (now in the Victoria and Albert, W.18: 1-6 1981). Their principal documented commissions include work provided for; the Ball Room at Buckingham Palace; the Palace of the Khedive in Cairo, Egypt; the City Carlton Club; and the Livadia, a yacht belonging to the Czar of Russia.It should be noted that a great deal of the success of this business was allied to the fact that they often employed the major designers of the day. Such prominent figures as Owen Jones, Thomas Jeckyll, Bruce Talbert and Christopher Dresser all worked at one time or another for Jackson and Graham. As on the offered lot, the particular emphasis in the designs of Owen Jones was largely upon ebony pieces inlaid with ivory and sometimes also metal. During the period 1862-c.1864, Alfred Morrison commissioned Jackson and Graham together with Jones to produce extensive work at Fonthill House in Tis... This lot is subject to the following lot symbols: TP Y ФTP 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
MUSSOLINI BENITO: (1883-1945) Italian Fascist Dictator of World War II. T.L.S., Mussolini, one page, 4to, Rome, 4th July 1929, to all the Ministries of the Cabinet, in Italian. Mussolini writes on the subject of the regulations for the passive air defence of the national territory and sends his correspondents a preliminary copy of Regolamento per la Difesa Contro-Aerei passive del Territorio Nazionale, explaining that the executive provisions for its implementation are the constitution of the central inter-ministerial body, the determination of the basic elements for the compilation of the passive defence project, the coordination of passive defence with active defence and the financial burden. With blank integral leaf. Together with a printed 8vo copy of the pamphlet Regolamento per la Difesa Contro-Aerei passive del Territorio Nazionale, marked Very Confidential, the Italian text comprising thirty-nine articles across ten chapters, dated Rome, February 1929. Signed by Mussolini to a title page in his capacity as head of the government and president of the Supreme Defence Commission, beneath printed text stating that the regulations were approved in Rome in May 1929. Bound in the original blue printed wrappers and with a red ink annotation in an unidentified hand to the front cover. Some light age wear and minor staining and the letter with a paperclip rust stain to the upper left corner. About VG, 2
ISABELLA II: (1830-1904) Queen of Spain 1833-68, deposed in the Glorious Revolution of 1868, formally abdicating two years later. Vintage signed 5.5 x 8.5 cabinet photograph of the former Queen standing in a full-length pose, in later life, wearing plain black mourning clothes and holding a walking cane in one hand. Signed in fountain pen ink to a light area at the foot of the image, with a three line inscription in French, 'A mon excellente amie Duchesse de Luynes La Rochefoucauld, souvenir tres affectueux, Isabelle de Bourbon'. Some light age wear and a few minor smudges to the inscription and signature, otherwise VG Simone Louise Laure de Crussol d'Uzes (1870-1946) Duchess of Luynes, wife of Honore d'Albert de Luynes (1868-1924) The present photograph almost certainly dates from around April 1902 when Isabella II's husband, Francisco de Asis, Duke of Cadiz (1822-1902), King consort of Spain, had died. Married in 1846, the couple had separated by the time that their son, King Alfonso XII, was restored to the Spanish throne in 1874, however the separation was amicable and the two remained friends. Isabella was present at Francisco's deathbed.
MARIA HENRIETTA OF AUSTRIA: (1883-1956) Archduchess of Austria and Princess of Bohemia, Hungary and Tuscany. A good vintage signed sepia 5.5 x 9 cabinet photograph, the image depicting the Archduchess standing in a three-quarter length pose alongside a chair and holding a closed fan in her hands. Photograph by Adele of Vienna and bearing their imprint to the lower mount and verso. Signed ('Henriette') in dark fountain pen ink to a clear area at the base of the image and dated 1901 in her hand. Some very light, extremely minor foxing, VG
THERESE PETROVNA: (1852-1883) Duchess of Oldenburg, Russian Princess, wife of George Maximilianovich, 6th Duke of Leuchtenberg. A scarce vintage signed sepia cabinet photograph by the Duchess, the oval image depicting her in a head and shoulders pose. Photograph by Charles Bergamasco of St. Petersburg. Signed ('Therese') by the Duchess in dark fountain pen ink to the lower border and dated 1880 in her hand. Autographs of Therese Petrovna are scarce in any form as a result of her untimely death at the age of 31. Some very light age wear and a few minor faults to the edges, about VG
ALEXANDROVNA MARIA: (1853-1920) Russian Grand Duchess, daughter of Emperor Alexander II of Russia, and Duchess of Edinburgh as the wife of Alfred, Duke of Saxe-Coburg and Gotha, Duke of Edinburgh and son of Queen Victoria and Prince Albert. A fine vintage signed sepia cabinet photograph, the image depicting the Duchess standing in a half-length pose holding a fan in her hands and with foliage to her right. Photograph by Eduard Uhlenhuth of Coburg and bearing his imprint to the lower mount and verso. Signed by the Duchess in dark fountain pen ink to a light area of the image and dated 1892 in her hand. Some very light, extremely minor age wear, VG
Just two days after his investiture by Queen Elizabeth II as a Knight of the Garter, Churchill reflects on his political career – ‘The only reason I ever went into politics was to get things done in the way I thought was right’ CHURCHILL WINSTON S.: (1874-1965) British Prime Minister 1940-45, 1951-55. Nobel Prize winner for Literature, 1953. A remarkable, historic Autograph Statement signed by Churchill, with his initials W S C, to the recto of an official small 8vo British Government manila envelope (the verso bearing the printed Royal Coat of Arms of the United Kingdom), n.p. (10 Downing Street?), 16th June 1954 ('1.15 a.m.'). In dark fountain pen ink Churchill writes, in full, 'The only reason I ever went into politics was to get things done in the way I thought was right. I have never had any other ambition than to prevent things being done in a way I did not like. But it is often harder to get things done in ones own way'. Signed and dated at the foot. A wonderful and extremely rare autobiographical statement signed by Churchill, apparently unpublished, and penned at an interesting point in the twilight of his great political career. Some very light, extremely minor creasing, VG Although knighted as Sir Winston on 24th April 1953, Churchill's investiture by Queen Elizabeth II as a Knight Companion of the Most Noble Order of the Garter did not take place until 14th June 1954, just two days prior to writing the present statement. Churchill was invested with his insignia in the Throne Room of Windsor Castle and later attended a service held in St. George's Chapel at Windsor. The Most Noble Order of the Garter, Britain's most senior order of knighthood, is awarded at the sole discretion of the Sovereign and membership is limited to no more than 24 living members. King George VI had initially offered Churchill the Order of the Garter after losing the General Election of July 1945, although Churchill declined, feeling that the time was not right for honours and rewards. The offer was renewed by Queen Elizabeth II, and, late into his second and final term as Prime Minister, Churchill accepted. On 16th June 1954, the very day that Churchill signed the present statement, the Prime Minister and his Defence Ministers conducted a top-secret meeting of the Defence Policy Committee in which it was agreed to go ahead with the production of the British hydrogen bomb. The decision would not be formally communicated to the full British Government Cabinet until their next meeting on 22nd June. Churchill wrote privately to American President Dwight Eisenhower requesting a 'better sharing of information and also perhaps of resources in the thermonuclear sphere' and would later brief the President on the H-bomb decision at a meeting in Washington on 25th June, during the third and last of Churchill's visits to the United States during his second premiership. In the context of the present statement, in which Churchill states 'it is often harder to get things done in ones own way', it should be remembered that in the days leading up to the Prime Minister's transatlantic trip, he and Anthony Eden, who had not always enjoyed the smoothest of relationships, disagreed over whether Churchill should consult Washington on the terms of the proposed British withdrawal from Egypt. The Prime Minister favoured delaying negotiations with Egypt until he had explored 'the extent to which the United States could be persuaded to support us….or even be associated with us….' Eden, the Foreign Secretary and Deputy Prime Minister, opposed Churchill's suggestion. Considering all of the above and recognising that the Prime Minister was approaching his 80th birthday, in declining health, and would resign less than a year later, Churchill's statement strikes a particularly strong chord as he reflects on his political career which had begun more than half a century earlier when he was elected as Member of Parliament for Oldham in 1900. Provenance: From the estate of Peter Geoffrey Oates (1919-2007) British civil servant who worked in the Prime Minister's office at 10 Downing Street from 1951, firstly as private secretary to Attlee, and later to Winston S. Churchill. Oates described working with Churchill at Downing Street, Chequers and Chartwell as 'chaotic' and his obituary recalls that, as a private secretary, he had to endure long hours by day and night as Churchill worked in bed in the morning, had a long sleep in the afternoon, and worked after dinner until 3am or later.
ATTLEE CLEMENT: (1883-1967) British Prime Minister 1945-51. A small series of original coloured pencil doodles executed by Clement Attlee, unsigned, one page, slim 4to, n.p. (10 Downing Street), n.d. (1951). On the plain sheet of paper Attlee has drawn several attractive circular geometric designs, the two largest coloured in blue, red and black. Accompanied by a note in the hand of Attlee's private secretary, Peter Geoffrey Oates, 'Doodle by C R Attlee during a cabinet meeting in 1951'. Some light creasing and a few minor tears to the edges, G Provenance: The present doodles were gifted by Attlee to Peter Geoffrey Oates (1919-2007) British civil servant who worked in the Prime Minister's office at 10 Downing Street from 1951, firstly as private secretary to Attlee, and later to Winston S. Churchill.
DE RESZKE JEAN: (1850-1925) Polish Tenor. Vintage signed and inscribed 4 x 6 cabinet card photograph of De Reszke, the Nadar Photographer image depicting the tenor in a formal head and shoulders pose. Neatly signed in dark fountain pen ink to a clear area at the head of the image, also dated 1897 in his hand. Affixed to the verso the cast page of a programme opera performance of Gounod´s opera Faust, featuring Jean de Reszke as Faust, and his brother Edouard de Reszke as Mephistophele. VG
WALLACE RICHARD: (1818-1890) British art connoisseur and Francophile whose collection, known as the Wallace Collection, was bequeathed to the English nation in 1897. A.L.S., Richard Wallace, two pages, 8vo, Hertford House, Manchester Square (the location of the Wallace Collection today), 14th July 1879, to Edouard Lievre, in French. Wallace announces 'Votre projet de fondation de musees graphiques pour l'enseignement de l'Art dans toutes ses applications, une semble appele a vendre d'emmenses servecis a toute les classes en la societe' (Translation: 'Your project to found graphic museums for the teaching of Art in all its applications, one seems called upon to sell immense services to all classes in society') and kindly asks to have his name registered to Lievre's subscribers to receive fifty copies. With blank integral leaf. VG Edouard Lievre (1828-1886) French artist, painter, illustrator, cabinet maker, engraver and designer of ornamental art, noted for the bed he designed for the courtesan Valtesse de la Bigne in 1877.
POUBELLE EUGENE: (1831-1907) French Lawyer and Diplomat who introduced waste containers to Paris. This decision was so innovative at the time that Poubelle´s surname became synonymous of waste bin, and remains the most common French word for a bin. A good L.S., Poubelle, one page, 4to, 24th January 1888, to Deputy H. Mathé, in French. On the Cabinet of the Prefect of the Seine printed stationery, Poubelle announces that he has appointed Monsieur E. Bourdin official collector at the Orleans train station. Small staining, two small tears to the right edge and bottom edge slightly trimmed, otherwise G
CALDER ALEXANDER: (1898-1976) American sculptor known for his innovative mobiles and monumental public sculptures. An illustrated A.L.S., Alexander Calder, two pages, 4to, Sache, Indre-et-Loire, 9th July 1960, to his plumber, Monsieur Ferry, in French. Calder writes concerning some alterations that he would like to make to the bathroom in his house, 'Nous voudrions vois faire installer un cabinet et un lavabos dans notre maison au 2eme etage - Au dessus de votre installation dans la salle de bain - avec possibilitie de couper tout ca, sil fait trop froid la-haut, a certains moments. Un 'trombe', ou l'autre machin….serait bien' (Translation: 'We would like to see a cabinet and a sink installed in our house on the 2nd floor - Above your installation in the bathroom - with the possibility of switching it all off, if it is too cold up there at certain times. A 'waterspout', or the other thing….would be good') At this point in the letter, at the base of the page, Calder has drawn an ink sketch of what he envisages being installed. The artist continues to add that he will be away for some weeks from the 13th, 14th or 15th July, but asks Ferry to leave them some time on their return. Accompanied by the original envelope hand addressed by Calder (a few large tears and areas of paper loss, the postage stamp removed). Three file holes to the left edge, not affecting the text or signature, VG
ROSTAND EDMOND: (1868-1918) French Poet and Dramatist of Cyrano de Bergerac. Vintage signed and inscribed 5 x 7 attractive cabinet photograph by Rostand, the image depicting the French author standing, in a full-length profile pose. Signed and inscribed in bold black fountain pen ink, stating in French `A Mr. René Thorel, bien cordialement, Cambo, June 1903´ - Edmond Rostand´, with his usual bold and attractive signature. Very small corner crease to the lower left corner. G to VG
GARCIA LORCA FEDERICO: (1898-1936) Spanish Poet & Dramatist. An iconic figure of the Spanish literature. An extremely rare and excellent A.L.S., `Federico´, two pages, 4to, Madrid, 28th November 1920, to Emilia Llanos, in Granada, in Spanish. A dreamer Lorca writes a letter full of poetical references to his beloved city of Granada which he misses, stating `Yo la veo en medio de ese maravilloso paisaje granadino como la única mujer granadina capaz de sentirlo, y me alegro extraordinariamente de tener una amiga que mire los chopos encendidos y las lejanías desmayadas como si yo las mirase. Que hermosa y que triste estará la carrera del Darro y que nubes habrá por Valparaiso! ¿Verdad? Yo recuerdo a Granada como se deben recordar a las novias muertas y como se recuerda un día de sol cuando niño. ¿Se han caido del todo las hojas?´ (Translation: "I can imagine you in the middle of that wonderful Granada landscape as the only woman of Granada capable of feeling it, and I am extraordinarily happy to have a friend who looks at the light over the poplars and the fading distant landscape as if I were looking at them. How beautiful and how sad the Darro promenade must be and what clouds there will be over Valparaiso! True? I remember Granada as dead brides should be remembered and as one remembers a sunny day as a child. Have the leaves completely fallen?") Lorca further refers to Madrid where he is, saying `…aquí en Madrid ya están los arboles esqueléticos y fríos, solo en algunos queda una hojilla que se mueve con el triste viento como una mariposa de oro´ (Translation: "…here in Madrid the trees are already skeletal and cold, only in some of them there is a leaf that moves with the sad wind like a golden butterfly") Further again Lorca makes an intimate sentiment about his loving feelings `Yo… siendole franco estoy un poco triste, un poco melancólico, siento en el alma la amargura de estar roto de amor. Se que estas melancolías pasarán… pero el rastro ¡queda siempre!´ (Translation: "And me… to be honest with you, I am a little sad, a little melancholic, I feel in my soul the bitterness of being broken with love. I know that these melancholies will pass... but the trace always remains!") Lorca goes on to mention seeing a woman who reminded him of Emilia, and how the woman stopped into an antique shop Emilia would have loved; he finishes by asking Emilia to send him a signed portrait, in payment for which he will send her a poem. An letter of very good content. Accompanied by a cabinet portrait of Emilia seated under a Moorish archway in the Alhambra. Also accompanied by the original envelope addressed in Lorca´s hand, postmarked and stamped. A bold black ink written letter. Edges slightly trimmed, otherwise G to VG The letter was written one year after Lorca arrived in Madrid, at a time when he was just becoming part of an artistic and literary movement which included his friends the pioneer film director Luis Buñuel and the painter Salvador Dali. His first book of poems was to be published in 1921. Lorca met Emilia Llanos, who was ten years older than him, in 1919. They became very close friends at the centre of cultural life in Granada. It has been suggested that they might have married if Lorca´s sexual ambivalence had not stood in the way. Their friendship long lasted and Emilia was of the first to hear the news of Lorca´s death in 1936 after hearing from his mother the news of his arrest two days earlier. Emilia had set off to meet their mutual friend the composer Manuel de Falla with the intention of asking him to intervene on Lorca´s behalf. On her way she met Antonio Gallego Burin, another mutual friend and publisher of Lorca´s first poem in the journal Renovación in 1919, who told Emilia that she should not go as Lorca had already been shot.The present letter is published in Federico Garcia Lorca - Epistolario completo edited by Andrew Anderson and Christopher Maurer, 1997Provenance: Emilia Llanos, Antonio Gallegos Burin, and descents to the present owner.
LA CONDAMINE CHARLES MARIE DE: (1701-1774) French Explorer, Geographer and Mathematician. He measured the length of a degree latitude at the equator, spending ten years in Ecuador, and prepared the first map of the Amazon. Rare A.L.S., `La Condamine´, one page, 8vo, n.p., 11th December 1752, in French. La Condamine states `Je reçois dans le moment, Monsieur, par un courier du cabinet arrivant de berlin un paquet de M. de Maupertuis avec deux exemplaires de ses lettres dont un pour vous que j´ai l´honneur de vous envoyer´ (Translation: "I have received right now, Sir, by a courier of the cabinet, arriving from Berlin, a parcel from M. de Maupertuis containing two copies of his letters, one of them for you which I am honoured sending to you") La Condamine referring to Maupertuis, further states `Sa santé est un peu meilleure. Le roi est venu passer quelques heures à Berlin et lui a fait dire que son intention avait été d'aller le voir, mais que les affaires l'en avaient empêché… Vous aurez vu la lettre apologétique du roi qu'on imprime actuellement, ainsi que le tombeau de la Sorbonne…´ ("His health is a little better. The King came to spend a few hours in Berlin and told him that his intention had been to go and see him, but that work had prevented him from doing so... You will have seen the King's apologetic letter which is currently being printed, as well as that the tomb of the Sorbonne…") Tear to the bottom right edge, not affecting the text or the signature. Overall minor age wear, clipped right bottom corner and few small stains, otherwise G Pierre Louis Maupertuis(1698-1759) French Mathematician and Philosopher. Maupertuis was the first President of the Prussian Academy of Sciences at the invitation of Frederick the Great. He is credited with the invention of the "Principle of Least Action", and the Maupertuis´s principle, an integral equation that determines the path followed by a physical system, is named after him.
GAMAIN FRANCOIS: (1751-1795) French Locksmith who played a crucial role in the trial against King Louis XVI which ended with his execution. Gamain informed the Convention that he had built a hidden iron cabinet at the Tuileries Palace according to the King´s orders, a cabinet found containing the documents which were the main accusatory evidences used by the prosecutor during the King´s trial. Gamain would be later appointed municipal officer. Rare L.S., `Gamain´, one page, small 8vo, Paris, 3rd July 1794, in French. The letter bears to the heading an ink stamp bearing the motto `Liberty - Equality´ and showing the revolutionary beret, also bearing the written heading of the Public Relief department. Gamain, in his capacity as Municipal Officer at Versailles, certifies that Pierre Etienne Marie Duval was born on 22nd August 1792. Countersigned by two additional officers. Irregularly trimmed bottom edge, otherwise G to VG
‘It would be very awkward and embarrassing, if that were to happen to me!’MONTGOMERY B. L.: (1887-1976) British Field Marshal of World War II. An intriguing A.L.S., Montgomery of Alamein, two pages, 8vo, Westminster Gardens, Marsham Street, London, 19th June n.y., to Lady Anderson. Montgomery asks if his correspondent could possibly make her own way to Olympia that afternoon, continuing to explain 'There are definite rules about ladies travelling in Army cars; it is, strictly, not allowed; but is occasionally done. But last week a very senior officer was “run in” on the matter. It would be very awkward and embarrassing, if that were to happen to me!' About EX Ava Anderson, Viscountess Waverley (1895-1974) English political and social hostess at the centre of government during World War II. Second wife of John Anderson, 1st Viscount Waverley (1882-1958) British civil servant and politician who served in the Cabinet during World War II.
Ernest GimsonCabinet, designed for a private commission, Park House, Edgbaston, circa 1908Walnut, walnut-veneered wood, Macassar ebony, cherry, brass.104.5 x 133.5 x 53cmFootnotes:ProvenanceAllan Tangye, Park House, Edgbaston, commissioned from the designer, circa 1908Thence by descent to the present owners A dining suite commissioned by Allan Tangye from Ernest Gimson in 1915 is now held in the collection of the Wilson Cheltenham Museum and Art Gallery.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
Carl Malmsten'Calmare Nyckel' cabinet, designed 1955, produced 1955-1991Oak, brass. 175 x 116.5 x 44.5cmProduced by Åfors möbelfabriks AB, Blomstermåla, Sweden. Interior with brass label embossed MÖBEL KOMPONERAD AV/CARL MALMSTEN.Footnotes:ProvenanceFoster & Gane, Forest House, Babworth, Retford, Nottinghamshire, United KingdomAcquired from the above by the present owner, 2014Bonhams wishes to thank Hanna Berndalen from the Carl Malmsten-arkivet for her assistance cataloguing the present lot.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Two Meissen flower encrusted cabinet cups and saucers and a Continental porcelain lobed vase and cover, late 19th century, painted with butterflies, insects and flower sprays on a lobed ground, to vase (damage and repairs), the vase 17cm high, blue cross swords marks and pressnummern (3)Condition ReportThere is damage to one cup ' please see added images, and also the lid on the lobed vase and cover has been repaired and there is one leaf missing.
Capper (Benjamin Pitts) A Topographical Dictionary of the United Kingdom, 8vo, half calf and marbled boards, illus. with maps and fold-out frontispiece, 1825; Guthrie (William) A New Geographical, Historical and Commercial Grammer of the Several Kingdoms of the World, 8vo, full calf, illus. with fold-out maps, twelfth edition 1790; L'Abbé Barthélemy, Voyage Du Jeune Anacharsis en Grece, sml. 8vo, full calf, illus. with fold-out map, French text, London 1824; Wade (John) The Cabinet Gazetteer: A Popular Exposition of the Countries of the World, etc., sml. 8vo, full calf, illus. with fold-out map; The Universal Magazine, Vol. 3, 1748; and four other books, various. (9)
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