AN IMPORTANT AND EXCEEDINGLY RARE HUANGHUALI RECTANGULAR DAY-BED, TACirca 1550-1600The well-proportioned bed with a moulded frame of standard miter, mortise and tenon construction enclosing a soft-mat platform with five bowed stretchers underneath, above square-section corner legs ending in inward-turning hoof feet and joined by humpback stretchers. 213cm (83 7/8in) long x 63cm (24 7/8in) deep x 54cm high (21 2/in).Footnotes:約1550-1600年 黃花梨榻Provenance: Ming Furniture Ltd., New York, 1991David S. Utterberg (1947-2020) and Nayda Utterberg, Seattle Sotheby's New York, 16 March 2016, lot 227An important European private collectionPublished and Illustrated: S.Handler, 'Outstanding Pieces in Private Rooms: Chinese Classical Furniture in New American Collections', Orientations, January 1993, fig.4.S.Handler, Ming Furniture in the Light of Chinese Architecture, Berkeley, 2005, p.101.來源：1991年，前藏家購自紐約古董商明代家具有限公司美國西雅圖David S. Utterberg（1947-2020）及Nayda Utterberg伉儷舊藏紐約蘇富比，2016年3月16日，拍品編號227歐洲重要私人收藏出版著錄：S.Handler，〈Outstanding Pieces in Private Rooms: Chinese Classical Furniture in New American Collections〉，《Orientations》，1993年1月刊，香港，編號4S.Handler，《Ming Furniture in the Light of Chinese Architecture》，美國伯克利，2005年，頁101Classical and elegant in its linearity and simplicity, the present daybed is an exceptionally early and rare example fashioned from a single huanghuali plank of unusually large size. Due to its simple design and light weight, the raised platform was used since the earliest historical phases of Chinese history. It was a highly versatile piece of furniture, elevated above the draughts and dampness of the floor, and thus easily suited for both indoor and outdoor purposes. Platforms could be large enough to accommodate a group of people of just the right size for one, such as the present example. Unencumbered by railings, canopies and having to stay in one place, platforms (unlike couchbeds, canopy beds or even kang tables) are probably the very best and most classical examples of the elemental form of Chinese furniture. The oldest platforms in China appear to date to the Anyang period of the Shang dynasty (13th-11th BC). They were made in marble and bronze and supported precious bronze ritual vessels. By the Han dynasty, platforms indicated social status and served as seats for dignitaries. Numerous depictions of banquet scenes, in burials dating to around this period, show the most significant figures seated on raised platforms; see for example Wang Zengxin, 'Liaoyangshi Bangtaizi er hao bihua mu (Wall painting in tomb no.2, Bangtaizi, Liaoyang)', Kaogu, 1, 1960, p.22.By the Ming dynasty, platforms supported on four legs (as opposed to the more typical box-like construction of earlier periods) became highly popular and were constructed in various sizes. Platforms supported on four legs could be larger and heavier structures which were no longer easily moved. At this time, platforms were often referred to as 'Single-Sleeps' Dushui, which the Ming connoisseur Wen Zhenheng mentioned in his 'Treatise on Superflous Things' Zhang Wu Zhi. See Wen Zhenheng, Treatise on Superfluous Things, Nanjing, 1984, p.241. Although Chinese beds such as the present example have been referred to as 'day-beds' in the West, they were used for both daytime sitting and night-time sleeping. Paintings and woodblock prints dating to the Ming dynasty often depict scholars or court ladies sitting on their daybeds in garden settings or along riverbanks. See for example, 'Reclining on An Incense Fumigator' by Chen Hongshou (1599-1652), in the Shanghai Museum. Here, a lovesick court lady is depicted sitting on a platform with slender horse-hoof feet, appearing to converse with a parrot looking down from his elegant metal pedestal. In addition, a woodblock illustration by Ding Yunpeng (1547-c.1621) depicts a scholar joyfully ensconced with his book and scroll on a large platform. Leaning on a semi-circular armrest, he appears to be waiting for the refreshments being carried by his attendant. Finally, 'Waves on the Bank', a handscroll by Shen Zhou (1427-1509) shows a contemplative scholar seated on a platform in front of a large single-panel screen before the open door of his country retreat overlooking a small stream; see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, p.117, fig.8.15, p.118, fig.8.18 and p.121, fig.8.22. The patrons of Ming furniture makers preferred simple lines and structural simplicity to elaborate carving and sumptuous decoration. In addition, at the time, the strength rather than the grain of the wood, was considered the most important feature of platforms, so they were often constructed with the wood obtained from the centre of the tree, which was less prone to warping if it had been aged and cured for a long time. See a related huanghuali single-bed, Ming dynasty, late 16th/early 17th century, displaying a waisted frame and lacking the side stretchers, illustrated by G.Ecke, Chinese Domestic Furniture, London, 1962, pl.19.15. Two other examples are illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and Los Angeles, 2001, p.116 and by R.H.Ellsworth, Chinese Furniture: Hardwood Examples of the Ming and Early Ch'ing Dynasties, New York, 1971, no.38, p.146. Finally, a pottery miniature figure of a platform exhibiting a similar frame to the present example, in the Shanghai Museum, Shanghai, was unearthed from the Ming dynasty tomb of Pan Yuan Zheng (1589), illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture, Hong Kong, 1990, vol.1, pl.1.3a.Furniture made of exceptionally large single-planks of huanghuali wood would have been extremely rare and expensive to make at the time, and is still highly expensive today. See, for example, a magnificent and very rare massive huanghuali plank-top pedestal table, 17th/18th century, which was sold at Christie's New York, 22 March 2013, lot 1323.榻為四面平式，羅鍋棖，有馬蹄，榻面鑲籐編軟屜，以五根硬木穿帶支承，結構簡練，工藝精巧。明式的榻，現存者多為有束腰式，如本例無束腰且以方材製作者，殊為罕有。床無圍曰「榻」。由於... 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
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A PAIR OF RARE HUANGHUALI, BURLWOOD AND FRUITWOOD ROUND-CORNER CABINETS, YUANJIAOGUI17th/18th centuryEach sloping-stile cabinet with a protruding round-cornered top supported on slightly-tapered corner posts, enclosing a well-figured pair of burlwood door leaves separated by a removable stile, the side panels composed of two-board floating panels, the interior fitted with two shelves, all above a plain narrow apron and spandrels on legs of square section, the reddish colour of the huanghuali frame contrasting with the variegated burlwood panels set with baitong fittings. 113cm (44 1/2in) high x 85cm (33 1/2in) wide x 50cm (19 6/8in) deep. (2).Footnotes:十七/十八世紀 黃花梨癭木圓角櫃成對Provenance: an important European private collection來源：歐洲重要私人收藏Notable for their elegant and tapering lines and the powerful swirls and hues of the wood, the present cabinets are among the most successful forms of classical Chinese furniture. The very subtle taper in their design lends a sense of stability and balance to the form while retaining a very graceful and pleasing profile, and the gently tapering sides convey the illusion of height and lightness.Round-corner cabinets are one of the four types of cabinets with shelves created by Chinese furniture makers, along with open-shelf stands jiage, cabinets with open shelves liangegui and square-corner cabinets fangjiaogui. See Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, vol.1, pp.82 and 85.According to Sarah Handler, the form of tapering cabinets originated from large chests with panelled doors which, by the Song period, were kept on large tables and used to store silk cloths. See an example of these large chests depicted in a handscroll painting, attributed to the Southern Song dynasty (1127-1279), illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, p.244, pl.15.5. In later times, medium-sized cabinets such as the present examples were often kept in scholars' studios and used to store books, scrolls or writing instruments. A hanging scroll from the set of 'Eighteen Scholars of the Tang Dynasty', dating to the Ming dynasty and in the National Palace Museum, Taipei, depicts a scholar beside a small cabinet about to select a work from the books and scrolls stacked on the shelves; see L.Lin, Catalogue to the Special Exhibition of Furniture in Paintings, Taipei, 1996, pl.9.Compare with a similar huanghuali, burlwood and nanmu round-corner cabinet, late 16th-early 18th century, in the Haven Collection, University Museum, Hong Kong, illustrated by Chu Pak Lau, Classical Chinese Huanghuali Furniture, Hong Kong, 2016, p.227, no.54. See also a related pair of similar huanghuali and burlwood cabinets, 17th century, illustrated by R.H.Ellsworth, Chinese Furniture, New York, 1970, pl.122. A very similar but slightly smaller huanghuali and burlwood round-corner cabinet, 18th century, was sold at Christie's Hong Kong, 6 October 2015, lot 263.圓角櫃上窄下寬，線條優雅，裝飾簡潔，且凸顯出木料與色澤的天然美感，乃古典中式家具之典範。此對圓角櫃各高三尺有餘，櫃帽噴出，作臼窩以納門軸，兩門之間立閂桿，安白銅銅活，櫃內分三層，黃花梨框架與癭木門板相得益彰，櫃體造型挺拔輕盈。圓角櫃是中式櫃架類家具四大門類之一；除圓角櫃外，另有架格、亮格櫃和方角櫃三種。見王世襄著，《明式家具研究》，香港，1990年，卷一，頁82與85。Sarah Handler認為，此種角度傾斜的櫃體之雛型為帶門大箱，宋時多置於案上，用以存放綢緞。現藏於黑龍江省博物館的南宋手捲《蠶織圖》中可見一例，見 S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁244，圖版15.5。隨後，如本例尺寸適中的櫃體多在書房陳設，以存放書籍手捲及文房用具；台北國立故宮博物院所藏明人畫《十八學士圖軸》中就有放滿書卷的小櫃之陳設。見林莉娜著，《畫中家具特展》，台北，國立故宮博物院，1996年，圖版9。香港大學博物館展出晏如居藏品之一件十六世紀晚期至十八世紀早期黃花梨癭木楠木圓角櫃，可資參考，見劉柱柏著，《晏如居藏明式黃花梨家具》，香港，2016年，頁227，編號54。另可比較一對十七世紀黃花梨癭木圓角櫃，收錄於安思遠著，《Chinese Furniture》，紐約，1970年，圖版122。一件十八世紀黃花梨嵌癭木圓角櫃，與本例相似惟尺寸稍小，2015年10月6日售... 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 RARE HUANGHUALI SQUARE-CORNER CABINET, FANGJIAOGUI17th/18th centuryOf rectangular form, the doors with single floating panels of standard miter, mortise and tenon construction enclosed within a frame, the top and sides similarly constructed, the interior with one shelf above a pair of drawers, all above a beaded front apron carved with intertwining scrolling designs, the side aprons similarly decorated, with metal hinges, shaped lockplate, pin and pulls. 123cm (48 1/2in) high x 77cm (30 2/8in) wide x 44cm (17 2/8in) deep.Footnotes:十七/十八世紀 黃花梨方角櫃Provenance: an important private European collection來源：歐洲重要私人收藏The present cabinet is notable for its restrained design, minimalist decoration, elegant proportion and extravagant use of beautifully-grained huanghuali. Constructed entirely from high-quality huanghuali wood, chosen for its rich golden-honey tones, the wide flat surface emphasises the natural beauty of the densely-grained wood.The simple austere lines of these cabinets created a sense of solidity and strength resulting from a slim profile combined with the strong horizontal lines of the top and bottom members. The circular door pivots form an elegant contrast to the square members. In addition, the cabinet has no superfluous ornamentation, except the beaded edge along the plain apron and spandrels towards the feet and the polished baitong mounts. This way, the eye is drawn to the beauty and subtlety of the natural wood which conveys a graceful and soft feel. The functional metal hinges, lock plate and pulls enhance the richness of the wood. These important decorative elements were carefully sized and spaced to complement the proportion of the cabinet. The lockplates are persimmon-shaped, while the pulls are shaped as double fish, subtly intimating auspicious wishes for abundance and wealth.During the Ming and Qing periods, furniture was probably selected from books of designs at the cabinetmaker's workshop and made to the proportions required. This would have allowed certain unique personal preferences in stylistic choices, such as the higher beaded oval feet in the present lot, which lend it its 'unusual distinction'. Subtle variations give individual character to different tapered cabinets.The fact that the panel forming the horizontal top of the present cabinet is also constructed from huanghuali makes it is unlikely that the cabinet had an associated hat chest (additional storage chests holding additional items of clothing). This cabinet was probably made for a scholar's studio, where it would have held painting and calligraphy, implements or treasured artifacts. The lavish use of huanghuali to construct all the inner members, such as shelves and drawer lines, demonstrates an exceptional level of craftsmanship and attention to details. For a detailed discussion about the use of cabinets in China, see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and London, 2001, pp.241-267.Square-corner cabinets with flush-panel doors but constructed without hat chests are rare. A similar cabinet without a hat chest is depicted in an 18th century handscroll depicting 'The Qianlong Emperor's Southern Inspection Tour', dated to 1770, in The Metropolitan Museum of Art, New York, acc.no.1988.350a-d. See also a line drawing of a similarly-shaped cabinet, 17th/18th century, illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, vol.2, 1990, Hong Kong, p.152, D24. A related huanghuali square-corner cabinet, 17th/18th century, was sold at Christie's New York, 22-23 March 2012, lot 1726.「一封書」式方角櫃，方方正正，櫃體光素，只在三面牙條上浮雕卷草紋。櫃門平鑲，兩門之間立閂桿，安葵形面葉。櫃內抽屜架安有兩個抽屜，將內部空間分隔為兩層，下無櫃膛。整體線條利練，設計簡約，盡顯木材自然紋理，乃明清傢俱的永恆經典。明清時期，家具大多依照工匠圖樣、按約定尺寸進行定制。傳世的方角櫃尺寸多樣，本例頂面也使用黃花梨木製成，表明製作時沒有與之相配的頂櫃，且尺寸適中，非常適合置於文人書齋內儲物，兼器物陳設。屜板等櫃內構件也以黃花梨木製成，毫不吝惜木料，原主人的審美品位和日用標準可見一斑。關於方角櫃用途的詳細陳述，參考S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁241-267。無頂櫃的「一封書」式方角櫃傳世不多。現藏於紐約大都會博物館（館藏編號1988.350a-d）、由宮廷畫家徐揚於1770年所作之《乾隆南巡圖》中，繪有一隻形制相似的無頂櫃方角櫃。另參一幅方角櫃線稿，收錄於王世襄著，《明式家具珍賞》，卷二，香港，1990年，頁152，編號D24。一例十七至十八世紀黃花梨方角櫃，售於紐約佳士得，2012年3月22-23日，拍品編號1726，可為參考。... 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 RARE GILT-COPPER-MOUNTED SHELL-INLAID NANBAN LACQUER CABINETMomoyama Period, late 16th/early 17th centuryEmbellished predominantly in gold hiramaki-e lacquer and inlaid with shell, the single-hinged door decorated on the front with a ho-o (phoenix) and a smaller bird standing on a rock among flowering peony and kikyo (Chinese bellflowers), three other birds in flight, the top surface with a pair of four-tusked elephants resting among tall stems of kikyo, plum blossoms and pine; the right side with a bird of prey about to attack one of two smaller birds, one perched on a maple tree; the left side with a pair of monkeys gripping trailing branches of wisteria; the back with meandering branches of clematis; the door opening downwards to reveal an interior panel decorated with meandering branches of kuzu (kudzu vine), and eleven drawers of four sizes decorated with assorted floral designs including camellia, fruiting orange tachibana and nogiku (wild chrysanthemums), all arranged horizontally in four rows and fitted with a gilt-copper chrysanthemum knop surrounding a central drawer fitted with a copper lock plate, all framed by narrow thin bands of gold lacquer zig-zag motifs, the sides with two copper-gilt carrying handles, the corners applied with gilt-copper fittings engraved with stylised cherry, the underside undecorated; with the original key. 64cm (25 1/8in) wide x 43.5cm (17 1/8in) high x 34cm (13½in) deep. (2).Footnotes:日本桃山時代，十六世紀晚期/十七世紀早期 花鳥獣蒔絵螺鈿洋櫃Provenance: an important European private collection來源：歐洲重要私人收藏Crafted in Kyoto's lacquer workshops alongside quite different wares intended for elite Japanese clients, these kinds of Nanban coffers and cabinets decorated in gold hiramaki-e and shell were among the earliest Japanese artefacts to reach Asian and European markets, starting two or three decades after the first landfall by Portuguese adventurers in the mid-sixteenth century. Celebrated today for their lavish, innovative technique and dense ornamentation (inspired in part by wares from other parts of Asia), such pieces brought the Japanese genius for design to global attention and ensured that Japan would be synonymous with 'lacquer' until the present day.Traded along newly-opened global sea routes, Japanese lacquers offered Asian and European monarchs alike a distant glimpse of the splendours of the Momoyama age, when great warlords like Toyotomi Hideyoshi (1537–1598) took overall control of the country. Hideyoshi and his rivals, vassals and successors ordered lavish use of gold—not just on lacquer wares but on folding screens and wall-painting ensembles as well—to brighten the brooding interior spaces of their magnificent palaces and castles.The decoration of this splendid cabinet, with lively animal, bird and flower designs placed within rich floral and geometric ornament, points to a date during the closing years of the sixteenth century or the opening decades of the seventeenth, when such wares partially reflected contemporaneous pictorial trends within Japan.For a discussion about Nanban fall-front cabinets of this type, illustrating comparative examples, see O.Impey and C.J.A.Jörg, Japanese Export Lacquer 1580-1850, Amsterdam, 2005, pp.122-124.For further information on this lot please visit Bonhams.com
A walnut and feather-banded corner cabinet, mid-18th century and later, the door inset with a floral embroidered panel and enclosing shelves, 105cm high, 71cm wide Condition Report: Marks, knocks, scratches, abrasions, consistent with age and use, Please note the panel is associated and sat inside the glass supported with 20th century tape which has perished, this would require a more permanent method of securing before installation and use in a domestic setting. the panel with fading and sun damage, Some chips and losses, old splits and cracks, some losses to veneers The glazing is later with some later timber to the internal of the door It has later hanging hooks to the top and also the back boards have been drilled through apparently as screw holes The lock appears to be original, there is a key present that operates at time of report Please refer to additional images for visual reference to condition Condition Report Disclaimer
Late 19th century French brass carriage clock by Henri Jacot, Paris, signed behind dial, numbered 8231, the case with bevelled glass panels, white enamel dial, twin train movement, lever platform escape, 14.5cms high; and a box for a carriage clock (2) Condition Report: escape is seized. back door seized, case very dirty. rear right foot 'dinged'- some traces of original gilding visible beneath the surface dirt Case probably had a repeater clock to judge from shadows/impressed marks- a little tired and internal lining knocked Condition Report Disclaimer
Assorted decorative glass including 7 millefiori weights, largest 11cms diameter; 4 Victorian green glass dumps with flower interiors, tallest 11cms; A 'door knob' weight, 5cms diameter; Stourbridge stopper with associated drilled Japanese hardwood stand; Stourbridge inkwell and stopper, 15cms high; Small continental painted casket, 7cms wide; Floral decorated pentagonal weight, facetted and with star cut base, 3.7cms high (quantity) Condition Report: All paperweights showing some wear (surface scratching and more where noted) from slightly careless handling, all have wear to bases- none seem to have dated canes. Largest paperweight with vertical internal flaw (possibly from manufacture- but visible throughout and to base) and 2 side contact bruises Blue/pink white weight with bruise, sticky base with remains of old fabric Circular weight with white/pale blue canes and central octagonal cane- scuffing, scratches and marks all-over Smaller millefiori with spiral opaque patter- surface fairly heavily worn Smaller weight with mixed pattern- worn and with a knock to one edge small multi cane- is glued to wooden base Door knob weight- large bruise to side- base scratched Stourbridge stopper- chipped heavily around stem Stourbridge inkwell and stopper, Stopper chipped and bruised Small continental painted casket, metalwork corroded Floral decorated pentagonal weight small chips to top facet and three side facets, Condition Report Disclaimer
George III oak cased eight day brass dial longcase clock, subsidiary at 'XII' and date at 'VI', signed Jacob Ettry Horton, 217cm high Condition: Discolouration to the case in places, front door opens and closes well with key, pieces of decoration missing to the hood of the clock, various chips and scratches present to the woodwork in various places across the whole piece, movement not tested or guaranteed, sold as seen, two weights present, splits present to the case, light scratches and scuffs present to the dial with some damage at 'II', would advise checking the extra images prior to bidding or telephoning the salerooms for more information - **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms. Clocks, Watches, Musical boxes and other mechanical items (ie anything with moving parts) - Whilst we endeavour to mention losses or alterations where obvious, we do not guarantee the movement or accuracy of any mechanical items in the sale and our assessment is purely cosmetic.
Sligh' reproduction wall clock, 76cm long Condition: No major signs of any cracking or damage to the glass door, general condition consistent with age, movement not guaranteed or tested, please check the extra images provided prior to bidding which may show some condition issues. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Early 20th Century satin walnut or birch combination wardrobe, 180cm x 47cm x 204cm, together with an early 20th Century ash dressing table, 107cm x 50cm x 155cm, plus two bed ends Condition: Wardrobe - cornice becoming loose at joints, some losses to edges and corners of mouldings, decorative fret work on left hand side with breaks and splits, left hand door with split and loss to edge. Dressing table - Top with fading and some water marks, also split to wood on upper section of structure. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Pitch pine hall cupboard, 167cm high x 72cm wide Condition: Various knocks, chips and scratches to the woodwork in various places across the whole piece, signs of stains (white paint marks present), hinges of the door appear to be a replacement, inner shelves having stains present to the shelves, door appears to open and close but appears to be warped slightly, please check the extra images provided prior to bidding which may show some condition issues - **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Mid Century four door teak sideboard, 182cm wide Condition: Knocks and scratches present in places, all doors appear to open and close well, please check the extra images provided prior to bidding which may show condition issues - **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Early 20th Century mahogany bow front display cabinet fitted one door, 63cm x 74cm x 130cm high Condition: Wood is a little pale and appears to have been stripped of its original finish, some minor splits and nibbles particularly around the legs and lower areas. **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Early to mid 20th Century lady's 9ct gold wristwatch, white Arabic dial with red 12 and subsidiary at 6, unmarked manual wind movement, 28mm approx excluding crown, with 9ct gold gate-link flexible strap, 26.5g gross approx Condition: Minor dints to rear door, crown maybe a replacement and is gold-plated (now rubbed), strap is detached at one lug and requires re-pinning. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Architectural Salvage - Four early 20th Century green painted door with four herringbone pattern panels, 215.5cm x 70.5cm each and smaller Condition: Areas where plaque signs, fittings, hinges have been screwed to the door leaving holes and losses, some losses to the corners etc, please see images for example of condition **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
IN THE MANNER OF GILLOW, A SUPERB BURR WALNUT, ORMOLU AND MARBLE BREAKFRONT SIDE CABINET, the centre section with a well carved frieze over a pair of glazed doors, flanked by concave glazed sides, with a pedestal to each end having a small drawer with well carved mask and foliate fronts, above glazed cabinet door, all supported on a plinth base. 8ft 8ins long x 4ft 4ins high x 1ft 3ins deep.
A traditional style oak glazed vitrine, believed to have been made by Nigel Griffiths, 20th Century, the upper section with a single glazed door enclosing a single compartment, moulded edges, raised on turned legs with a turned H stretcher, 71cm high, 77cm wide, 39cm deepCondition: Good overall condition though may have been re-polished at a later date, no woodworm detected, minor scuffs but expected
A George III oak and mahogany longcase clock, the enamelled dial inscribed 'Hampton, Prince & Cattles, York', with Roman chapter ring, outer Arabic seconds dial, subsidiary seconds dial and calendar dial, eight day movement, the hood with swan kneck pediment, shaped door to trunk, 224cm high
J.W. Benson, London, with plain rectangular case having a break arch hood, 12inch (30.5cm) signed circular painted dial having 4 pillar 8 day movement, wooden rod pendulum with cylindrical bob, Benson repairer's ticket dated 1903 to inside trunk door 181 cm highCondition report: Dial with flaking paint, hood door with chipped left side is tight to close. Trunk door perhaps just a little warped, otherwise a very original clock. Pendulum suspension spring broken, so movement has not been tested. See images. Deceased estate sale.
Alexander Mason Trotter (1890- 1946), A Fine Modern British Watercolour Drawing of the Red Door, Smith Square, Westminster, London, inscribed to the verso; framed and glazed, 24 inches (60cms) x 18 inches (45cms), with an oil on board, glazed and framed, river landscape, signed Cunk, 25 inches x 15 (2)
A small Arts & Crafts oak wall hanging corner cabinet, the door carved with two entwined fish and the date 1908, height 71cm, together with an Edwardian mahogany two tier occasional table, the triform top carved with three fish over six cabriole legs united by a X stretcher, width 56cm (2).
Edwardian rosewood inlaid bookcase, the shaped surmount marquetry inlaid with foliate scroll over a glazed door with adjustable shelves and three fixed shelves with an escritoire with green leather gilt tooled inset and with pigeonholes, the base with two cupboard doors inlaid with urns with ribbons and foliate swags upon a plinth base, height 231cm x width 120cm
O'KEEFFE, Georgia (1887-1986). A group of 9 letters to Jean Ledoux, 1944-1951.A group of 9 autograph letters signed ("Georgia O'Keeffe" or "Georgia"), comprising 24pp, with original envelopes.O'Keeffe's letters to her friend Jean Ledoux discuss books, art, and the coordination of visits. In her 16 August 1944 letter, she describes her home: "I live on the edge of a strip of many miles of badlands -- the governments largest experiment in erosion controls -- they can't control it -- It starts a stones throw from my kitchen door -- and I can not throw far -- red hills - purple shills with streaks and patches of green earth --- yellow and lavender cliffs very high and far-seeing all around the back -- about half a mile away - with their red foothills...the colors and shapes are so fantastic."After describing travels in her 23 June 1949, letter, she muses: "I intend to settle down and just be a painter." She invites her friend to visit her in New Mexico in her letter of 23 August 1950: "Your moving will not seem so bad when you have been away to a new sort of world." In a 2 July 1951 letter, she apologizes for her slow responses: "Oh I am so slow -- I think so often of you and go on about my life like a squirrel in a cage and do not write in spite of my intentions."In a November 1951 letter, O'Keeffe reports that she will not visit New York in the winter: "I do not plan to go to N. Y. this winter --- it seems so far away to me that I find the years there almost like a dream."Property from Historic Sengen House, Cornwall-on-Hudson, New YorkFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com
Large Victorian ebonised and ormolu mounted credenza, having a central large fielded panelled door featuring a large hand painted ceramic panel depicting lovers in a wood within a laurel and ribbon surround, caryatid mounts, further smaller hand painted porcelain panels of figures and flowers, to each side is a curved glass door opening to reveal two shelves within. Note: one glass panel broken. Brass line inlay throughout, 173cm wide x 41cm deep x 110cm high
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