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Lot 22
An Italian late 17th century pietra paesina and marble inset walnut, bone, ebony and ebonised cabineton a later English walnut standInset with eight assorted pietra paesina plaques and eight assorted marble plaques, the architectural facade composed of a central arched tablet flanked by Tuscan pilasters surmounted with a triangular pediment, the frieze with four arched chequer-inlaid aedicules, comprising a central door enclosing a theatrical stage interior with a chequered floor and a door to the rear, flanked by six short panelled drawers above one long multiple panelled drawer, on lappet clasped tapering legs, the mounts of a much later date, the cabinet: 96cm wide x 40cm deep x 48cm high; including the stand: 105cm wide x 43cm deep x 126cm high, (41in wide x 16 1/2in deep x 49 1/2in high)Footnotes:A comparable Italian cabinet to the present lot, sold Christie's, London, 17 November 2020, The Collector, lot 573. Another related Italian 17th century pietra paesina inset model sold Sotheby's, Milan, 13 June 2016, A Milanese Cabinet Collection, lot 22.Pietra paesina, which is a rare form of Albarese limestone, has its origins in the Apennine mountains near Florence. It is remarkable for being described as a 'pictorial stone' due to the impressions of landscapes or seascapes seemingly captured within the core of the rock itself. As a result of this impressive quality, paesina has also historically been referred to by a number of names, and these include: 'ruin marble', 'landscape stone', 'ruiniform limestone' and even 'Florentine marble'.The 'landscapes' are only revealed, in cross-section, after this specific type of limestone has been split open. Once chosen, only the finest quality stones are then sliced to make tablets for polishing. The main colouring therein is largely only affected to the peripheries of these cross-section segments, since the most drastic alterations rarely reach the innermost realms of the rock. This means that the expansive appearance of the predominantly bluish-grey colours perfectly conjures up images of skies or large expanses of water.Although this 'ruiniform limestone' has been discovered in various locations outside Italy, it is generally acknowledged that the examples sourced from the Florentine region are the most attractive. These true Apennine samples somehow miraculously convey the typical colours and shapes of Tuscany, with all its beautiful canyons, stormy seas and rivers, picturesque villages, mysterious islands and mountains.During the Mesozoic epoch, sedimentary rock was created by sediments rising to the surface from the sea beds following the collision of the African and European Plates. This in turn led to the formation of a mountain range between Spain and Turkey. The enormous pressure generated by movement of the earth's crust resulted in the splintering of this limestone. Thereafter such fractures were permeated with manganese hydroxide and iron, followed by water. Later on these broken areas were then sealed off due to the depositing of calcite crystals. Although a much debated topic, it is widely held that this event happened approximately 50 million years ago, at some point in the Eocene-Palaeocene era.In the 'modern age' the marvel that is paesina stone was first revealed in the 16th century and from that time onwards it has been greatly sought after, as well as highly prized, by collectors. Across Renaissance Europe this 'landscape stone' was especially revered among members of the various Royal courts. It was inlaid into furniture or inset into some architectural elements of opulent interiors, whilst on occasion some chose to collect and display the stone in the form of individual plaques.Among the wealthy, powerful and often noble families who first favoured this 'ruin marble', arguably the most important early devotees were the Medici, and in particular Ferdinando I de' Medici. Indeed in 1588 Ferdinando established, in Florence, the hugely significant Opificio delle Pietre Dure whose central aims were to uncover more semiprecious stones and make stunning works of art and luxury objects through their ingenious manipulation of them. Paesina was always extremely well regarded among these stones for its combination of rarity and natural pictorial properties.It is in fact probable that this peculiar limestone, with its easily identifiable fundamental characteristics, is even indirectly referenced in Agostino del Riccio's 1597 Istoria dell Pietre which in one passage notes: '... in the Arno river many rocks and stones that today can be sawn and polished revealing many fantasies and jests made by Mother Nature... 'Largely because of the influential nature of the elite Medici family, both the fame and appeal of this 'Florentine marble' spread rapidly throughout Europe, where its uniqueness was treasured by the most fashionable and affluent patrons.However another person who played an active part in disseminating an informed adoration of pietra paesina was Philipp Hainhofer (1578-1647). Although he was officially a diplomat with access to most European noble and Royal courts of his day, notably the German-born Hainhofer was a highly cultured and distinctly cultivated individual who was also an itinerant collector, researcher and lover of art and the arts. Whilst visiting Florence, Hainhofer evidently admired the distinctive stone sufficiently enough to subsequently found a business centred upon it with his brother, who already resided there. They acquired the 'ruiniform marble' both in its rough block guise or already inlaid into furniture, and then they shipped it back to their home city of Augsburg. It is not difficult to appreciate how this enterprise flourished as it did when one understands that among Hainhofer's closest acquaintances were major historical figures such as Henri IV of France, King Gustavus Adolphus of Sweden and Duke Wilhelm IV of Bavaria.Some of the finest examples of antique pietra paesina can be viewed in Florentine museums such as the 'Opificio delle Pietre Dure' and Galleria Palatina, Florence. Some fine work of this kind exists on the walls of the old Pharmacy, in Santa Maria Novella. Also, an exceptional marble table inlaid with paesina, the central section of which is the very rare 'Terra Bruciata of Rimaggio', is housed in the Medicean Quartieri Monumentali of the Palazzo Vecchio. This table was commissioned on behalf of Eleonora of Toledo, the wife of Cosimo I de' Medici, and it was made specifically for the rooms reserved for her. See K. Patowary, 'Pietra Paesina: Stones that Resemble Ruined Landscape', 5 September 2016; M. Riccardo - Cubitt, The Art of the Cabinet, p. 191, fig. 367 & p. 192, fig. 51; 'Paesina Stone of Florence', 2017This 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 25
An impressive and extensive collection of marble and hardstone specimens housed in an Italian 19th century ebony collector's cabinet by Eugenio Argnani (fl. 1870-1890)the one hundred and forty-four different marble and hardstone specimens undoubtedly of an earlier date to the cabinet, with some possibly dating to the ancient Roman eraThe moulded cornice above a hinged fall front with an applied reed-moulded border comprised of six moulded panels, each panel encompassing eight specimen tablets with conforming moulded surrounds, the fall with a quarter veneered thuyawood underside inlaid with the central brass monogram: 'A.C.' within an ebony roundel, enclosing an interior of conforming arrangement with six short mahogany lined drawers, each end with an applied reed moulded border comprised of three moulded panels, each panel encompassing eight specimen tablets with conforming moulded surrounds, on a stand comprising square tapering front legs, a twin-panelled back and two platform undertiers, the carcass interior with a printed paper label which reads: 'EUGENIO ARGNANI, INTARSIATORE, ROMA, VIA SISTINA 47', another label to the reverse typed: 'Personal Property of E.C. Sosnow' and a further label to the underside inscribed: 'Mr Sosnow', 74.5cm wide x 39.5cm deep x 147cm high, (29in wide x 15 1/2in deep x 58 1/2in high) the cabinet: 72cm wide x 39.5cm deep x 65cm high.Footnotes:Provenance:Based upon the 'A.C.' monogram that it bears, there is a distinct possibility that the offered lot was originally made for Prince Agostino Chigi (1858-1896), Eric Charles Sosnow, 20th Century (Polish journalist and businessman, evidently it was sufficiently prized to warrant being labelled twice whilst in the care of the Sosnows). Purchased by the present owner, 2019 from a relative of Eric Charles SosnowAmongst the remarkable total of one hundred and forty-four different specimens inset into the present lot there are numerous well known marble and hardstone types including porphyry, lapis lazuli, Spanish brocatello, Sicilian jasper, verde antico, griotte and malachite, but it is significant to note that the majority overall appear to date to the late 18th century or earlier. The rarest include examples sourced from quarries which were active during the ancient Roman era, and in countries as varied as Egypt, Tunisia, Turkey, Algeria, Israel and Greece, as well as Italy. A selection of arguably the most unusual samples therein are: breccia quintilina and porporina di villa Adriana, both from Tivoli; porfido rosso and granito rosso, both from Egypt; giallo antico brecciato and bigio lumachellato, of Tunisian origin; occhio di pavone rosso, marmo di Iscehisar and marmo di Asracane, all found in Turkey; giallo brecciato di numidia from Algeria; granito bigio grafico of Israel; and the Greek breccia di Aleppo. Specimens from an Italian source are also in abundance and these include: breccia policroma capitolina, Nero di trapani, diaspro rosso di Sicilia and granito della Colonna. Many of these are illustrated in R. Gnoli's tome, Marmora Romana, Rome, 1971, in which the location of the main ancient Roman quarries, along with the marble produced at each one, are charted upon a superb map of the Roman Empire. This map appears with the title: 'Cartina delle principali cave di marmo di eta romana near the back of the book. Further interesting and beautiful examples forming part of this extraordinary collection, in our opinion, include: albarese, agate, semesanto, fior di pesco, campan, porfido verde antico, breccia degli appennini, granito del foro and giallo tigrato, (M.T. Price, Decorative Stone, The Complete Sourcebook, 2007, London).The Chigi FamilyIt is undoubtedly the case that the 'A.C.' monogram inlaid to the reverse of the hinged fall are the initials of the individual who commissioned the offered 19th century cabinet. And, given the nature of the considerable range of older marble and hardstone specimens inset therein, it seems highly likely that this piece made by Eugenio Argnani was constructed upon behalf of a major, and almost certainly patriarchal, figure within a prominent, wealthy and perhaps even powerful Roman family. Likewise, it is equally probable that its purpose was to display, enclose and consequently protect this particular family's remarkable collection of specimens, which must have been accumulated over a long period of time.It is entirely feasible that the monogram refers to Prince Agostino Chigi (1858-1896). Whilst the earliest reference to the Chigis, an influential and illustrious Roman family of Sienese origin, is from 13th century documentation, it is evident that they were ennobled in 1377. They rapidly established themselves within the sphere of banking, largely due to Mariano Chigi (1439-1504), initially in Siena but then thereafter in Rom.The most renowned figure within this major family was Agostino 'Il Magnifico' (1464-1520). Arguably the most successful of Mariano's sons. Agostino set himself up in Rome as a principal member of his father's banking enterprise, subsequently flourishing in this role. He went on to develop close working, and often personal, relationships with three consecutive popes Alexander VI, Julius II and Leo X. Julius II even accepted him as part of his own family. During his tenure, Agostino established a number of monopolies on behalf of the family bank including on vital goods such as salt, alum and grain. At about that period the Chigis also participated in international trade, benefitting from that involvement exponentially.In the realm of the arts, Agostino 'Il Magnifico' ('The Magnificent') patronised various writers, poets and thinkers such as Pietro Aretino (1492-1556) and Pietro Bembo (1470-1547), at the same time as supporting great architects like Baldassare Peruzzi (1481-1536), who was responsible for work on the Villa Farnesina and Villa Farnese. Agostino also assisted in furthering the careers of various artists and architects, among whom Giulio Romano (1499-1546) and Raphael (1483-1520) are certainly foremost. Sadly, when he died in 1520 Agostino's business endeavours were essentially terminated and then later on, in 1575, his dynasty also came to an end, www.encyclopedia.comHowever, the Sienese Chigi clan managed to re-install themselves in Rome via the progeny of Sigismondo (1479-1525), Mariano's second son. Indeed, Sigismondo's great grandson Fabio, who arrived in the Eternal City as a young priest, eventually became Pope Alexander VII in 1655. The impact of this huge advancement for the Chigi family cannot be overstated since Alexander VII was a fervent nepotist, and thus chose to favour his own relatives as much as possible. As a natural consequence of this, numerous Chigis became cardinals between the 17th century and even into the early 19th century.One of their most incredible achievements and an enduring gift to posterity was the Chigi library. This extraordinary collection of manuscripts was started by Fabio, who oversaw its main expansion during his pontificate as Alexander VII. Also, the various Chigi family cardinals, and in particular Flavio the Elder, added to it significantly over a long period. Sometime later, the Italian government bought the renowned library but donated it to the Vatican in 1923. Since then the collection has been absorbed into the Vatican library but evidently remains independently catalogued. Today it comprises ... 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 218
Quantity of very small die cast metal models, Hand painted "the collectors Miniature series" containing 12 very crudely made die cast models each measuring about 1 inch in length, contained in a green flat display box, also "Old Timers" die cast models set of 12 veteran cars in small plastic display cases, all contained in a flat blue card display box. The die cast models resemble the charbens veteran models. "Cabinet of toys" containing 20 cardboard drawers (only 19) and many containing very tiny die cast models. All made in Japan. very unusual lot, boxed with some wear. GC -VGC. £40 - £60
Lot 179
A CHINESE ELM WOOD KITCHEN CABINET, NINGBO, ZHEJIANG PROVINCE, 19/20TH CENTURY. The top section with large shelf storage behind four pierced and carved panels in relief with birds and animals, above three drawers and lower open work section with sliding doors and shelf area on four raised legs. 183cm x 115cm x 55cmSlight splitting to edges. Slight area of loss to section above the botttom sliding doors.
Lot 2286a
An early 20th Century mahogany tabernacle cabinet on stand, concealed drawer to frieze above a single door enclosing fitted shelf, flanked by two pillars and four drawers to either side, above two long drawers with brass ring handles, turned supports, stretcher to base, approx 122cm high x 90cm wide x 46.5cm deep
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306845 item(s)/page