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Lot 314
MEISSEN; a mid-18th century figure of a violinist from the Dresden Opera, circa 1750, painted blue crossed swords mark to rear of base and impressed number 10 to the tree stump, height 13.7cm.Provenance: from a private Worcestershire collection.Additional InformationThere is restoration to the hat, violin, both arms and the upward turned scroll of his coat.
Lot 103
A good Elizabeth I joined oak and marqeutry-inlaid overmantle, circa 1570Having a chequer-inlaid cornice with leaf-carved lambrequin edge, a coved-frieze carved with alternating naturalistic flowerheads, and with three corbels each painted with a coat of arms, probably later/over-painted, above a pair of marquetry-inlaid panels in the Nonsuch-style, each panel beneath a floral bolection arch, with angel spandrels, and winged-horse and griffin carved supports, spaced by three figural terms, two male and one female, the coved-undershelf carved with bold stylized palmettes, 178cm wide x 22cm deep x 95cm high, (70in wide x 8 1/2in deep x 37in high)Footnotes:The sinister side of the impaled arms is: azure, on a chevron argent between three estoiles or, three lozenges gules, all within a bordure also or for HOPKINSON. Impaled arms can denote a marriage and so it is probable that these arms belonged to a woman with the surname Hopkinson. The fecund appearance of the figural terms underlines the association with marriage. The arms on the dexter side of this shield, for her husband, have not been identified. They are the same as the single coat of arms at the far left-hand (proper right) of the frieze. The far right-hand (proper left) coat of arms is argent, guttée de sang, a lion rampant gules, on a chief of the last three escallops or for PATTISON. No association between the families of Pattison and Hopkinson in the late 16th century has been found. A William Hopkinson of Alford and Mablethorpe, Lincolnshire, died in 1599. Elizabeth, daughter of George Nevile of Ragnall, County Nottingham, married first, William Hardinge of Foss and secondly, John Hopkinson of Lincoln's Inn. She was buried at Alford, Lincolnshire in 1636. John Hopkinson is said to have built Alford Manor House in 1611.In 1848, William Hopkinson, who bore the same arms as those identified on this overmantel, purchased the manor of Little Gidding - famously associated with the religious community founded there by Nicholas Ferrar (1592-1637) in the mid-17th century - and restored its buildings. Part of that restoration included the insertion of four armorial windows, one of them bearing the Hopkinson coat of arms.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.
Lot 116
An extremely rare and documented Elizabeth I oak so-called Glastonbury chair, West Country, circa 1570Of pegged construction, the raked back of three boards, typically carved with paired guilloche-filled arches but unusually centred by a defaced shield framed by well-carved floral scrolls, the scroll-shaped cresting line-carved with pairs of downward-pointing leaves, the centre again defaced, each back upright with multiple fine run-mouldings and integral pyramidal-finial, the arms with accentuated raised 'elbow-rest', the seat of two boards grooved into run-moulded side rails, and with hand-shaped 'rod-form' front and rear rails, the simple legs forming X-form side supports, joined by a hand-shaped central stretcher, 61cm wide x 56cm deep x 101cm high, (24in wide x 22in deep x 39 1/2in high)Footnotes:Provenance:The celebrated John Fardon Collection.Illustrated:Tobias Jellinek, Early British Chairs and Seats 1500 to 1700 (2009), p. 123, pl. 133. Described by the author as 'a very fine and intriguing chair. The back is well carved'.Although this chair has the appearance of a folding-chair, it cannot actually fold. Instead, constructed using removable pegs, it is designed to be taken apart, in the manner of campaign furniture. The generic name 'Glastonbury Chair' is believed to originate from a chair reputedly made for John Arthur Thorne, the last Treasurer of Glastonbury Abbey, executed in 1539, the year the Abbey was dissolved. A carved Latin inscription to the cresting rails reads 'John Arthur, Monk of Glastonbury, may God save him, Praise be to God, Lord give Peace'. The inscription would suggest that the chair was most likely made in Thorne's memory, post 1539. The chair is now in the Bishop's Palace, Wells, Somerset. It is highly likely this chair's defaced shield had a coat of arms. Furthermore, the cresting presumably had ownership initials, either side of a classic triform leaf motif (see ibid., p. 119, pl. 127). Puzzlingly, these original marks of ownership have been rather forcibly removed. At least one other 'Glastonbury' chair with a back panel finely carved with a coat of arms is recorded. The arms are attributed to Sir John Arundell III (d.1561) of Trerice, near Newquay, Cornwall, which firmly places this type of chair as being made in the 16th century. The chair is illustrated and discussed, Adam Bowett, 100 British Chairs (2015), p. 15, and dated to circa 1540 - 75. For other Glastonbury chairs see the collections of The Metropolitan Museum, New York [Museum No. 12.5], and the Victoria and Albert Museum, London [Museum No. W.232-1923]. The latter was formerly the property of the Very Rev. Dr Cowie, Dean of Exeter. See also articles written for The Journal of the Regional Furniture Society by Gabriel Olive, 'The Glastonbury Chair' (1994), pp. 24-41 and by Anthony Wells-Cole, 'A Last Outpost of the Known World: Vernacular Furniture in Tudor and Stuart Cornwall', (1988), pp. 6-18. A plain back Glastonbury chair with a similar scrolled cresting, is illustrated figure 8. Related Glastonbury chairs sold Bonhams, London, 28th March 2018, Lot 438 (£37,800) and 31st January 2019, The Olive Collection, Lot 257, (£36,400).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.
Lot 130
A rare James I joined oak caqueteuse open armchair, Scottish, dated 1606Having a tall narrow back, with arched pierced and carved cresting centred by an unidentified coat of arms, flanked by the initials 'G' and 'L', above a panel carved with a large eight-petal flower within a roundel and fleur-de-lys carved spandrels, the lower panel relief carved with a geometric reserve, below a rail inlaid with the date '1606', the flat outsplayed arms on inverted-baluster front supports and a similar narrow central support, the boarded trapezoid-shaped seat with unusual rounded cleated ends, above an arcaded front, having a pair of baluster and reel-turned uprights, matching side supports and larger turned front legs, joined all round by run-moulded stretchers, the seat and back uprights branded 'GB' multiple times, 60cm wide x 45cm deep x 120cm high, (23 1/2in wide x 17 1/2in deep x 47in high)Footnotes:This chair, although earlier in date, has similarities with a well-documented group of twenty chairs, assembled mainly during the seventeenth century, at Trinity Hall, Aberdeen, the headquarters of the Old Incorporated Trades of Aberdeen. The guild consists of seven trades, comprising hammermen, bakers, wrights and coopers, barber-surgeons, tailors, shoemakers, weavers and fleshers. One of the twenty chairs, presented by Andrew Watson, a butcher, is probably the earliest dated piece (1661) of British furniture made using mahogany. It also has an arcaded front below the seat. See Victor Chinnery, Oak Furniture: The British Tradition (2016), p. 424, fig. 4:105.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.
Lot 146
A polychrome-painted pine board, South German (or possibly Swiss), dated 1546Painted in red and green, possibly with a coat of arms, the dexter side a wheel, the sinister side a fleur-de-lys, all beneath a black-letter inscription reading, in part, 'Anno Domini 1546...16 tag mai verschiet der erbar Hans Fueren...', 45.5cm wide x 5cm deep x 71cm high, (17 1/2in wide x 1 1/2in deep x 27 1/2in high)
Lot 201
An interesting late 17th/early 18th century carved oak box, English, probably Plymouth, circa 1700Originally with a wire-hinged cover, now sliding, and carved with a pair of foliate roundels flanking a pair of opposing hearts and within a dog-tooth border, both long sides carved with a pair of coats of arms, the first those of Plymouth, argent, a saltire vert between four Towers sable, the second with the legend or motto 'IN THE LORD IS ALL OUR TRUST', and with heart spandrels, both ends carved with a compass star with letters to the cardinal points, 25cm wide x 12.5cm deep x 12.5cm high, (9 1/2in wide x 4 1/2in deep x 4 1/2in high)Footnotes:This box bears the coat of arms of the city of Plymouth argent, a saltire vert between four towers sable. The coat of arms in the second roundel is almost certainly meant to be that of the Worshipful Company of Freemasons as it bears their motto, 'In the Lord is all our Trust'. It has been rendered incorrectly, however, with four towers, rather than three, and with a ground hatched to indicate the tincture azure, rather than sable. In all other particulars, however, it strongly resembles the Freemasons' arms, which were sable, on a chevron between three towers argent, a pair of compasses open chevronwise of the first. The compass, with four cardinal points, carved on one of the ends of the box, suggests that it might have been used to hold scientific or nautical instruments.
Lot 203
A Charles II embroidered picture, circa 1670Designed with a central roundel of the seated figure of Justice, beneath the coat of arms of WYNN/WINN and HERON/HERNE, and beneath a fountain guarded by a lion and a leopard, to the left a young woman and to the right a young man in needlelace, raised and applied work, each corner with a flowerhead embroidered in eye, satin and tent stitches and applied thread with coloured silks on a cream silk ground, in a later wooden-framed glazed case, 43cm x 53cmFootnotes:Provenance:Julia Boyd (d.1895) Collection, Northumberland. Reputedly sold for 3 guineas, in a fifteen day sale and described in the catalogue as 'a rare and curious' piece.Thence by family descent - post 2004 restored by Kate Gill.The arms of Winn or Wynn are vert, three eagles displayed in fesse or, and sable, a chevron ermine between three herons argent for Herne (sometimes Heron).
Lot 287
A 17th century carved oak table-top book press, Anglo-DutchWith fluted rectangular-section uprights topped by foliate-carved finials and a cresting carved with a coat of arms beneath a Viscount's coronet, between a pair of lion passant (or rampant) regardant supporters, above a pair of cherub head corbels, with rectangular edge-moulded press, the threaded screw on a lozenge-shaped block, elements of the base lacking, 43cm wide x 29.5cm deep x 63.5cm high, (16 1/2in wide x 11 1/2in deep x 25in high)Footnotes:A comparable example sold Christie's, 27 October 2015, Lot 172. Another, with fluted uprights, sold Christie's, 12 October 2005, Lot 24.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.
Lot 295
A mid-18th century fruitwood miniature bureau, possibly Dutch, circa 1750The hinged sloping fall carved with an unusual tableau of four figures, including a man wearing a head-dress, skirt and holding a long pipe, a drummer wearing a feathered cap, a man with sword, with feathered cap, and a man in a frock coat, his hand outstretched, also in feathered cap, within a landscape of flowers, two central stems forming an arch, and against a matted ground, all above three drawers, all carved with different animals, a lion and a pig, an ox and a dog, and to the bottom drawer a monkey, a bird and a ram, all within landscapes of flowering plants, and against a matted ground, the end boards extending to form the feet, later facing brackets, 37cm wide x 17cm deep x 34.5cm high, (14 1/2in wide x 6 1/2in deep x 13 1/2in high)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.
Lot 56
Two last quarter 17th century turtle-shell combs, by Paul Bennett (fl. 1673-92) and/or Matthew Comberford of Port Royal, JamaicaThe first with well-spaced long teeth, engraved with a coat of arms between flowers and leaves, 24cm wide x 14.5cm high, the second double-sided, 21.5cm wide x 13cm high, (2)Footnotes:The coat of arms engraved on one of these combs is most unusual: coats of arms are usually found on comb cases, but more rarely on the combs themselves. It has not been identified. British settlers in Jamaica in the last half of the 17th century brought with them coats of arms to which they were not necessarily entitled. These were often the rightful arms of unrelated armigers with the same surname. Others created their own arms, often using the exotic flora and fauna of Jamaica. The tree on this comb may well be a palm, native to Jamaica. Combs and comb cases of turtleshell are believed to have been made by either Paul Bennett or Matthew Comberford, of High Street, Port Royal between 1673 and 1692, when an earthquake devastated Port Royal. The decoration on surviving comb cases seems to suggest there were two distinct phases of production, possibly following the death of Paul Bennett and the taking over of the business by Matthew Comberford. This comb, with floriated rather than geometric borders, and its engraving assured, was possibly produced in the first phase (see P. Hart, 'Tortoiseshell Comb Cases: A 17th century Jamaican Craft' in Jamaica Journal, Vol. 16, No. 3 (August, 1983), pp. 13-20.)Sir Henry Morgan, Lieutenant Governor of Jamaica between 1674 and 1682, sent a present to Sir William Coventry in 1676 of 'two large turtle-shell combs in a case of the same' describing them as of 'no value' but possibly of interest.
Lot 89
A brass and enamel alms dish, NurembergThe dish 16th century, the enamel possibly laterCentred by a boss of twelve double-contoured gadroons, the gadroons spaced by sprays of three acorns, and all around a central copper circle overlaid with enamel and with a coat of arms, azure, a chevron argent between two quatrefoils (or flowerheads), the boss encircled by a band of Gothic script, the rim with two bands of punched decoration of a tower and a leaf, rolled rim, 48cm diameterFootnotes:The coat of arms has not been identified.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.
Lot 687
A Kosovo silk embroidered coat Goran Mountains with metal thread and glass beads 112cm high, a Chinese green silk robe with embroidered sleeves and collar and with chased gilt metal buttons, a Japanese blue and red silk kimono, a silk Haori jacket c. 1960s - 1970s and a Japanese part silk coat. Together with a Chinese embroidered silk bed cover, 292cm x 166cm Provenance Richard Nathanson Collection, London.
![[Binding Forgery] - Icilio Federico Joni Two painted 'tavolette' book covers in Biccherna style Siena, c.1890-1900, two paint](https://cdn.globalauctionplatform.com/48b4b234-5916-49f0-b3a1-ab12011915d9/58c7b532-25b7-4e8c-b29e-ab500118b0ff/468x382.jpg)
Lot 397
[Binding Forgery] - Icilio Federico Joni Two painted 'tavolette' book covers in Biccherna style Siena, c.1890-1900, two painted boards attached by a leather pseudo-spine, the front panel of the present binding comprising, within a gilt border, an upper section of a kneeling figure within a landscape setting holding up a model of the city and a scroll bearing the words “This is my city”, Christ appears to the figure in the sky above, below are 11 coats-of-arms set in a gold background and 8 lines of text naming the tax officials for the period January 1479/80 to July 1480, the rear panel is divided into sub-panels, the two central containing a large Christogram and the lower containing what may have been a coat-of-arms, round these are panels of gilt sprays of flowers on a green background, all within gilt borders, the panels measuring 10 x 29cm, some flaking and chipping, particularly at the edges, some of which may have been by Joni who was in the habit of distressing his bindingsFootnote: Note: The binding purports to be one of the famous Sienese Tavolette di Biccherna, which were produced for accounts from the 13th to the 17th century. The Biccherna was the magistrate or chancellery of Finance from the 13th to the 18th century for the republic, and then city, of Siena. The early wooden boards for the account volumes were simple and had no intention of being masterpieces. Subsequently, however, the paintings became more elaborate and rich. By his own admission, Joni never visited the city archives to inspect the originals, and his bindings are in fact anachronistic. From 1459 the accounts were bound in leather, and the tavolettes, although still painted, had evolved to become paintings framed for hanging. Joni's bindings, however, all bear dates after 1459; the present example, for instance, is dated 1479-1480. Note too that Joni’s boards are simply glued onto a rough leather spine as he apparently did not know how to replicate a fifteenth-century sewing structure.Condition report: the front panel of the present binding comprising, within a gilt border, an upper section of a kneeling figure within a landscape setting holding up a model of the city and a scroll bearing the words “This is my city”, Christ appears to the figure in the sky above, below are 11 coats-of-arms set in a gold background and 8 lines of text naming the tax officials for the period January 1479/80 to July 1480, the rear panel is divided into panels, the two central panels containing a large Christogram and the lower what may have been a coat-of-arms, round these are panels of gilt sprays of flowers on a green background, all within gilt borders
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