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Lot 498
LGB Lehmann Model Train G Scale Car Assortment (6) piece set 'Rh B Chur-Pontresina' having a locomotive OBB #2095.11 and (5) passenger cars including two #3063 and three #3064 Property from: an Estate, Downers Grove, Illinois Height: 4 inches, Length: 19 inches, Width: 6 1/4 inches (largest) Condition: overall light wear consistent with normal use, having scuffs, a broken door, no boxes Category: Collectibles > Model Trains - G Scale Estimated Sale Time: 4:56 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2
Lot 19
A mid Victorian ormolu mounted figured burr walnut, ebonised, tulipwood crossbanded, purplewood banded, yew wood, stained sycamore and marquetry breakfront low cabinetCirca 1865, possibly by Holland and SonsWith projecting front angles, inlaid with scrolled strapwork and stylised foliage including acanthus, palmettes and bellflowers, the pair of central re-entrant panelled doors mounted with lotus-leaf moulded surrounds and sunflower paterae angles, each door inlaid with a ribbon tied floral and foliate embellished musical trophy, one trophy including bagpipes, a flute, recorder, panpipes, bow and a ewer, the other incorporating a mandolin, hunting horn, oboe, drum, triangle and a goblet, enclosing two long adjustable shelves, flanked by two glazed doors enclosing four short adjustable shelves, interspersed with four flute inlaid pilaster angles, each surmounted by a Bacchus mask mount wearing a grape and vine headdress, on a plinth base with paterae mounted angles, terminating in six large ring turned feet, approximately: 220cm wide x 55cm deep x 110cm high, (86 1/2in wide x 21 1/2in deep x 43in high)Footnotes:A comparable credenza to the present lot, also dated circa 1865, sold Christie's, London, 12 November 2020, The Collector: Live, lot 298. This example, which is attributed to Holland and Son, has similar Neoclassical (or more accurately Greek) revival inlay, matching and contrasting timbers, closely related ormolu mounts and almost identical placing of the mounts on the carcass.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 77
A French late 19th century ormolu mounted rosewood and Vernis Martin serpentine meuble d'appui in the Louis XV styleStamped: 'T. Vincent'The shaped moulded marble top with projecting eared angles, above one long and two short scrolled acanthus and foliate C-scroll embellished panel mounts to the frieze incorporating a long central secret catch-activated and spring loaded frieze drawer, over a rocaille, C- and S-scroll, floral and acanthus cast cartouche shaped mount, encompassing a moulded door surround inset with a Vernis Martin panel decorated with an 18th century fete galante comprising two small groups of courtly figures dressed in elegant attire, enclosing two adjustable shelves, flanked to each side by a similar cartouche shaped panel mount, interspersed with four shell, oak leaf, scroll and acanthus mounted keeled angles, with chutes terminating in rocaille, C-scroll and foliate clasps, over a shaped ovolo apron terminating in four square section cabriole legs each mounted with acanthus scroll sabots, the carcass top stamped: 'T. VINCENT', the panelled back with an old paper label bearing a now illegible ink inscription, approximately: 132cm wide x 53cm deep x 119cm high, (51 1/2in wide x 20 1/2in deep x 46 1/2in high)Footnotes:The present lot is stamped: 'T. Vincent' but, although several cabinet makers with the surname of Vincent are documented as working in Paris during the 19th century, unfortunately their Christian names remain unknown. However, individuals or firms bearing the surname Vincent appear to have been based at the following locations from 1839 onwards; 24 rue des Tournelles; 17 rue de la Croix in 1844; rue Jean-Robert between 1846 and 1850; 65 rue des Gravilliers in 1853; 22 rue des Tournelles in 1856 and 16 on the same road from 1860. It is not obvious whether these addresses are successive ones relating to one specific ebeniste called Vincent, or they perhaps represent a mixture of different businesses operating more or less contemporaneously, D. Ledoux-Lebard, Le Mobilier Francais du XIXeme Siecle, 1989, Paris, p. 616.French 19th century meubles d'appui which incorporate Vernis Martin panels are often by or attributable to some of the most renowned cabinet makers of the period such as Henry Dasson, Joseph-Emmanuel Zwiener, Francois Linke, Paul Sormani and Louis-Auguste-Alfred Beurdeley. And although it is not clear which Vincent was responsible for making the offered lot, it is evident that this particular work is of very high quality, and thus was undoubtedly executed by a firm of some significant repute within this particular field. These cabinets tend to be in either the Louis XV or Louis XVI style, and the above is clearly in the former vein.Arguably the two most notable 19th century figures who produced some of the finest pieces of this type of furniture were Henry Dasson and Joseph-Emanuel Zwiener. Examples of such meubles d'appui which have sold at auction include: one by Henry Dasson, sold Christie's, London, 19 March 2009, 19th Century Furniture, lot 177; one by Zwiener sold Christie's, London, 14 November 2019, lot 563; another Zwiener version sold Christie's, New York, 17 October 2017, The Collector, lot 79; a model attributed to Zwiener, Christie's, New York, 24 October 2006, 19th Century Furniture, lot 491; another attributed to Zwiener, Christie's, New York, 22 October 2010, 500 Years: Decorative Arts Europe, lot 318; and also a further cabinet sold Christie's, New York, 15 April 2011, 500 Years: Decorative Arts Europe, lot 160.A Dasson grand meuble d'appui with an impressive central classical scene in Vernis Martin is illustrated in C. Mestdagh, l'Ameublement d'Art Francais, 1850-1900, Paris, 2010, fig. 282, p. 240 whilst a narrower example by Zwiener appears in D. Ledoux-Lebard, Le Mobilier Francais du XIXeme Siecle, 1989, Paris, p. 645.This lot is subject to the following lot symbols: TP YTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 UK, see clause 13.For further information on this lot please visit Bonhams.com
Lot 81
A French late 19th/early 20th century ormolu mounted tulipwood, amaranth, bois satine, kingwood, sycamore and parquetry pedestal clock1890-1905, after the model by Jean-Henri RiesenerIn two sections, the hood mounted and surmounted with three cherubs amidst billowing clouds and floral pendants, with a later white enamel dial, above a triple panelled cavetto frieze with tablets of lozenge inlay mounted with ribbon tied floral and foliate garlands, over a tablet with an entwined olive leaf branch and sunburst mount centred by a relief cast Apollo mask, the panelled pedestal door inset with a central glass oval and mounted with an elaborate pendant comprised of a ribbon tied flaming torch, opposing flower-filled cornucopiae and wreath crowned urn replete with flowers, acanthus, scrolled sunflower, tasselled floral swagged stem and entwined olive branch lyre-centred musical trophy, flanked by beaded and acanthus clasped scrolled corbel mounts inset with berried rosettes and entwining floral, berried and foliate pendants, on acanthus headed hairy lion paw foot mounts, with a concave quadripartite base mounted with an entwined florid branch and wreath, terminating in four stiff leaf toupie sabots with egg-and-dart moulded collars, approximately: 63cm wide x 32cm deep x 241cm high, (24 1/2in wide x 12 1/2in deep x 94 1/2in high)Footnotes:Several pedestal clocks of the same model to the offered lot have sold at auction this century. These include the following unsigned and unstamped versions; Christie's, New York, 19th Century Furniture, lot 132; Christie's, London, 19th Century Furniture, lot 15 and Christie's, London, 23 September, 500 Years: Decorative Arts Europe, lot 343. However a stamped example, one by Henry Dasson dated 1888, sold Christie's, London, 28 October 2014, Chateau - A Distinguished American Collection of Important 19th Century Furniture, lot 14.The present lot is a copy of the celebrated model attributed to Jean-Henri Riesener (maître 1768; d. 1806), executed in 1785 and now in the Louvre (cat. C.Dr., No. 185). In the mid 19th century, a barometer version of the clock - also in the Louvre - was made by the cabinet maker, Guillaume Grohe (for an illustration of Riesener's original clock and Grohé's barometer, see P. Verlet, Les Bronzes Dorés du XVIIIe Siècle, Paris, 1987, p. 116, no. 145 and p. 384, no. 394).Arguably the most notable 19th century pedestal clocks of this type, or the equivalent 'regulateurs de parquet', are those that were executed by the celebrated cabinet makers, Emmanuel-Alfred (dit Alfred II) Beurdeley, Paul Sormani, Grohe freres and Henry Dasson. Indeed a copy of this type by Dasson is illustrated in C. Mestdagh, L'Ameublement d'Art Francais, 1850-1900, Paris, 2010, fig. 220, p. 192.Another maker, who slightly later on, revitalised this Riesener pedestal clock form was Julius Zwiener. A version of Zwiener's, which is dated 1906, appears in J. Meiner, Berliner Belle Epoque, 2014, Petersberg, Abb. 107, p. 91.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 257
FRASIER: Signed colour 8 x 10 photograph by all five main cast members of the American television sitcom Frasier (1993-2004) individually, comprising Kelsey Grammer (Frasier Crane), Jane Leeves (Daphne Moon), David Hyde Pierce (Niles Crane), Peri Gilpin (Roz Doyle) and John Mahoney (Martin Crane), the image depicting Grammer standing in a full-length pose behind a door as the other four characters, accompanied by Eddie, peer around the entrance. Signed by each in bold blue inks with their names alone to clear areas of the image. About EX
Lot 989
LEOPOLD I: (1790-1865) King of the Belgians 1831-65. An extraordinary A.L.S., with his initial L, three pages, 8vo, n.p., 11th August 1820, to Monsieur Favon ('Conseiller de Legation et Charge d'Affaire de la Cour de Saxe Coburg'), in French. The future King states that he has received his correspondent's letter, but before responding to its contents wishes to inform Favon of a related matter, 'je dois vous dire qui Madame Alexandre m'a ecrit du 3 d'aout. Elle me dit qui Mr. Charles Vaillant lui avait communique, que je comptais faire tous les sacrifices qu'elle desirait et que j'arrangerai tout &c. Je vous avais bien particulierement prie de ne pas me nommer dans toute cette affaire et je regrette beaucoup que Mr. Charles ait su quelque chose de cette transaction, et je vous prie lui demander comment il a pu avoir l'imprudence d'aller le conter a Mad. A. Les motifs qui m'ont engage, a me meler de cette affaire, etaient d'eviter un scandale et comme partie impartiale d'etre mediateur. Mais il serait assez extraordinaire de s'attendre que moi je paye pour les egarements de mon frere; il est bien visible que Mad. A. a change de ton dans l'idee qu'elle n'aurait qu'a demander pour etre paye. Je ne puis pas vous autoriser de lui donner cet argent avant de connaitre les vues de mon frere. Cependant vous pouvez lui donner 1000 francs sous condition qu'elle se conduise bien. Du reste ses menaces sont des balivernes, personne s'interessera beaucoup a l'histoire qu'elle compte publier, et si elle le fait vous lui direz en termes polis que cela fermerait a jamais la porte a tous les avantages qu'elle parait attendre et desirer. Je ne connais pas les lois francaises mais comme Mad. A. n'a pas ete mariee avec mon frere je desirerai savoir quelle reclamation elle peut legalement faire contre mon frere' (Translation: 'I must tell you that Madame Alaexandre wrote to me on the 3rd of August. She told me that Mr. Charles Vaillant had told her that I intended to make all the sacrifices she wanted and that I would arrange everything &c. I had particularly asked you not to name me in this whole affair and I very much regret that Mr. Charles knew anything of this transaction, and I beg you to ask him how he could have had the imprudence to go and tell Mad. A. The motives which induced me to interfere in this affair were to avoid a scandal and as an impartial party to be a mediator. But it would be quite extraordinary to expect me to pay for my brother's aberrations; it is clearly visible that Mad. A. changed her tone with the idea that she would only have to ask to be paid. I cannot authorise you to give her this money before knowing my brother's views. However, you can give her 1000 francs on the condition that she behaves well. Besides, her threats are nonsense, no one will take much interest in the story she intends to publish, and if she does, you will tell her in polite terms that it will forever close the door to all the advantages she seems to expect and desire. I don't know French laws, but as Mad. A. was not married to my brother, I would like to know what claim she can legally make against my brother'). Accompanied by a related envelope (although most likely not that which accompanied the present letter) addressed to Monsieur Flavon in Paris and bearing Leopold's red wax seal to the verso, with two postal cancellations dated November 1820, several months after the date of the letter. With a red ink annotation to the head of the first page of the letter, a minor neat split at the base of the central fold of the bifolium and with some light, minor staining. About VG, 2In the present letter Leopold refers to his elder brother, Ernest I (1784-1844) Duke of Saxe-Coburg and Gotha, father of Albert, Prince Consort, the husband of Queen Victoria.Pauline-Adelaide Alexandre Panam (1789-1840) 'Madame Alexandre'. Greek actress, the lover of Ernest I, Duke of Saxe-Coburg and Gotha.In October 1807 the reigning Duke Ernst and his younger brother, Prince Leopold, travelled to Paris to pay homage to Emperor Napoleon. It was whilst in Paris at this time that the Duke attended a ball and met the young fourteen year old beauty Pauline-Adelaide Alexandre Panam, also known as 'La Belle Greque', and thus began a love affair which would soon attain notoriety. Duke Ernst vigorously courted Madame Alexandre, as she would become to be known, offering her his protection, influence, and his fortune. In April 1808 the Duke returned to Coburg, and Madame Alexandre followed her lover, who had promised that his mother would receive her into her court circle. At the command of the Duke, Madame Alexandre travelled in male attire. Not long after their arrival in Coburg, Madame Alexandre realised that she had been fooled and to his grief the Duke was forced to tell her that his mother would not accept her into her circle because she was French. Nevertheless, she gave birth to Ernst's son in 1809, who was named after his father despite Alexandre being offered a pension if she refrained from identifying herself with the Duke. Madame Alexandre threatened to make details of the affair and pregnancy public, as evidenced in the present letter. Despite Prince Leopold's efforts as a mediator on behalf of his brother, in 1823 Madame Alexandre published her sensational memoir (in both French and English) under the title Memoirs of a Young Greek Lady; or, Madame Pauline Adelaide Alexandre Panam, versus His Most Serene Highness the reigning Prince of Saxe-Coburg. The memoir would later support further rumours and speculation about Duke Ernst's family when his legitimate youngest son, Albert, married Queen Victoria to become her consort.
Lot 379
Aert Schouman (Dordrecht, 1710 - 1792, The Hague) Dutch School An over door of a pheasant and a kingfisher in a landscape Oil on canvas Aert Schouman started his painting career as a pupil of Adriaan van der Burg to whom he was apprenticed for eight years. He came from the town of Dordrecht and was head of the Guild there from 1742 until his death. However, he moved to The Hague in 1748 becoming regent of the Drawing School there in 1751 and it is here that he really spent the majority of his working life. He is known to have been in Middelburg in 1761 and in Great Britain in 1765. His founding of the 'Confrerie' in The Hague (of which he was headman from 1752 - 62) encouraged a blossoming art scene in both Dordrecht and his adoptive city. Schouman specialised in pictures of birds in the manner of Hondecoeter and Weenix but with more flamboyant (and typically 18th Century) colouring and composition. But he was also a prodigious talent in many other areas such as glass engraving and printmaking, as well as a collector and dealer. His most celebrated works of this type are his depictions of scenes from Ovid's Metamorphosis. His thriving studio produced a number of talented Dordrecht painters and his pupils included Joris Ponse, Jan van Os, Jacobus Vonck, and Martinus Schouman. Provenance: Private collection, The Netherlands Dimensions: (Canvas) 15 in. (H) x 36 in. (W) (Frame) 21 in. (H) x 39 in. (W)
Lot 436
Wells (H.G.) and Alvin Langdon Coburn. The Door in the Wall and Other Stories, number 31 of 60 copies signed by Wells and Colburn, woodcut initials, 10 mounted photogravure plates by Coburn, light offsetting, original cloth backed-boards, lettered in gilt on upper cover, paper label to spine (a little browned), some spotting to spine, otherwise an excellent copy, uncut, [Hammond C7], 4to, 1915.⁂ An unusually good copy of this important collaboration. Coburn had been inspired by Wells' work before the two met in November 1905 and became friends. They would frequently exchange philosophical and creative thoughts and each would inspire the other artistically, culminating in the present work.
Lot 865
A WALNUT PHARMACY CABINET the glazed door decorated in gilt with the sign of the Raeapteek, and dated 1422, opening to shelves within, 82cm high x 53cm wide x 35cm deepNote: The Raeapteek is the oldest pharmacy in the Estonian town of Tallin, believed to be one of the longest running pharmacies in Europe.
Lot 6111
H.G. Wells, four titles, all 1st editions, 1st impressions, all original cloth gilt: 'Kipps the Story of a Simple Soul', London, Macmillan, 1905, 'The Country of the Blind and Other Stories', L, Nelson, [1911], 'Meanwhile', L, Ernest Benn, 1927, 'Mr Blettsworthy on Rampole Island', L, Benn, 1928, together with 3 Tauchnitz Copyright Editions, Edgar Wallace: 'The Door with Seven Locks', 1926, Ouida: 'Bimbi Stories', 1882, Edward Bulwer Lytton: 'The Last of the Barons', 1843, 2 volumes in 1, mixed bindings (7)
Lot 295
Resch Brothers, O.M.R.M. Co., 'Remember' - late C19th walnut Vienna wall clock, carved pediment over full length glazed door flanked by 3/4 fluted pilasters enclosing two section white enamel Roman dial, eight day triple weight driven movement striking on two scroll gongs no. 88070 H117cm (a.f.)
Lot 357
Winterhalder and Hofmeier C20th mahogany bracket clock, the plain case having four glazed bevelled panels, the door opening to reveal a silvered dial with applied silvered Roman chapter ring with two small subsidiaries, signed two train movement striking on two scroll gongs stamped W & H SCH 3, H26.5cm
Lot 26
KALM, Pieter. 'Reis Door Noord Amerika, geddan door den Heer Pieter Kalm, Professor in de Huishoudingskonst op de Hoge School to Aobo, en Medelid der Kolninglyke Zweedsche Maatschappy der Wetenschappen,' First Dutch edition, a deficient copy missing fold out plate four, map and extra titlepage (needless to say its binding!), nibbles and toning to edges of leaves but in a surprisingly good condition considering, pagination runs true, J. van Schoonhoven en Comp en G. van den Brink Janz, Utrecht, 1772.This Dutch edition was published in the same year as the first Swedish, which Lande calls "far superior to the [original] Swedish and English editions."
Lot 474
SITWELL, Osbert Eleven works, together with one by Edith Sitwell Titles include Noble Essences of Courteous Revelations, dj discoloured on the spine, unclipped, 1950; Collected Stories, dj torn, 1953; lected Poems Old and New; Escape With Me - An Oriental Sketch-book; Great Morning; Wrack at Tides End; Open The Door; The Scarlet Tree; Sign High Sing Low; Laughter In The Next Room, and Left Hand Right Hand; together with Edith Sitwell's Fire of the Mind.
Lot 1244
John Wignall of Ormskirk: A substantial Victorian North Country mahogany longcase clock, the painted Roman dial with floral spandrels, the arch with painted sun and moon dial, two train movement with anchor escapement, the case with swan neck, shaped waist door flanked by fluted pilasters, on panelled base with ogee bracket feet, comes with weights and pendulum, 62 x 25 x 230cm high.
Lot 1247
H Butterworth of Bacup: A substantial North Country mahogany and banded longcase clock, the painted roman dial with figures representing the seasons, the central dial depicting the death of King Richard, the arch with moonphase dial, two train movement with anchor escapement, the case with swan neck, the shaped waist door flanked by spiral fluted colums, p, on panelled base with ogee bracket feet, comes with weights and pendulum, 70 x 26 x 250cm high.
Lot 1360
An ornate Louis XV style walnut china cabinet/vitrine, late 19th/early 20th Century, the gilt metal pierced gallery and rouge marble top, gilt metal scrollwork frieze with four foliate corbels, above a single door opening to reveal a shelved interior, three vernis martin style panels below with pastoral scenes, raised on slender shaped legs, 67 x 36 x 150 cms high.
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