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Lot 161
German Bureau, with fall front and 8 drawers, rounded and waved front and stepped top on four curved feet, rounded side and corner columns and pilasters, 6 peaked finial vases and open work carving on top, richly carved wooden ornaments, mounts and knobs all in Rococo style, mahogany veneered on hardwood, original locks, interrior in dark rosewood veneer and leather board, 8 drawers and central door, with carved maple wood ornaments and geometric lines, two envelope drawers with sections, keys, with signs of age and use, 195 x 110 x 58 cm, Northern Germany around 1850
Lot 736
CHRISTMAS: Door garland, with white poinsettia, pine cones, and gold coloured holly etc approx 300cmLong (please note, all these Christmas Lots are cleared from a local Cotswold Manor house, and are in used condition - so please satisfy yourself as to the condition, and potential purchasers are welcome to come to the auction viewing and assemble the trees/inspect the lots)
Lot 737
CHRISTMAS: Door garland, with white poinsettia, pine cones, and gold coloured holly, Green Ribbons etc approx 350cmLong (please note, all these Christmas Lots are cleared from a local Cotswold Manor house, and are in used condition - so please satisfy yourself as to the condition, and potential purchasers are welcome to come to the auction viewing and assemble the trees/inspect the lots)
Lot 739
CHRISTMAS: Large garland decorated with red berries, pine cones, gold and green ribbons, 400cm, and 2 x door decorations (please note, all these Christmas Lots are cleared from a local Cotswold Manor house, and are in used condition - so please satisfy yourself as to the condition, and potential purchasers are welcome to come to the auction viewing and assemble the trees/inspect the lots)
Lot 741
CHRISTMAS: 6 x table/desk/window decorations in shape of tree, 2 small garland and 3 other door decorations/wreaths: (please note, all these Christmas Lots are cleared from a local Cotswold Manor house, and are in used condition - so please satisfy yourself as to the condition, and potential purchasers are welcome to come to the auction viewing and assemble the trees/inspect the lots)
Lot 104
A French late 19th/early 20th century ormolu mounted mahogany, bois satine, amaranth, tulipwood, marquetry and parquetry bedroom suite by Francois Linke (1855-1946)in the Louis XVI styleComprising a pair of tables de nuit, a pair of chaises and a double bed, the bed variously mounted with Hercules' ribbon-tied lion pelts, scrolled cartouches, acanthus leaves, oak-leaf garlands, bellflower pendants, Greek keys, Neoclassical urns and a scallop shell, inlaid with trellis work, stylised strapwork interspersed by rosettes and a main central ribbon-tied berried laurel wreath, terminating in acanthus headed lion paw sabots, each table de nuit with conforming inlay, the moulded marble top above one frieze drawer, over a door enclosing a marble lined interior, on slender cabriole legs, each chaise with a caned back and seat, on slender cabriole front legs and slightly splayed square section rear legs, each piece stamped: 'F. LINKE', the bed stamped twice, each table de nuit: 50cm wide x 34cm deep x 81cm high; each chaise: 44cm wide x 40cm deep x 95cm high; the bed approximately: 167cm wide x 205cm deep x 166cm high, (65 1/2in wide x 80 1/2in deep x 65in high) (5)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 13
A French late 19th/early 20th century ormolu mounted kingwood bowfront vitrine by Francois Linke (1855-1946)Circa 1900, with scrolled foliate, floral and acanthus mounts, the moulded marble top above an arched glazed panel mounted door, enclosing a mirrored interior with three adjustable glass shelves, the door mounted to the base with a central foliate spray-adorned shell and waterfall, on keeled cabriole legs terminating in sabots, two mounts, and probably others likewise, stamped: 'F.L.', 91cm wide x 42cm deep x 168cm high, (35 1/2in wide x 16 1/2in deep x 66in high)Footnotes:A Francois Linke vitrine of the same, or at least virtually identical, design to the offered lot sold Christie's, London, 19 March 2008, 19th Century Furniture, lot 127. This example follows index number 1185. Another similar vitrine by Linke sold Christie's, New York, 26 November 2013, The Opulent Eye, lot 82 whilst a related model, albeit one following index number 208, sold Bonhams, London, 10 July 2007, Fine Continental Furniture, lot 92. A further Linke comparable sold Christie's, New York, 13 April 2017, Opulence, lot 119.Similar 'crab-like' waterfall, shell and foliate mounts to the one appearing prominently on the present vitrine are typically associated with the oeuvre of Francois Linke, and can often be directly linked to the designs of Léon Messagé. However, dynamic variants of this mount can also be found on some of the furniture produced by Joseph-Emanuel Zwiener or the Zwiener firm, especially during the period 1890-c.1900.François Linke was born in Bohemia but moved to Paris where he established his business circa 1880 at 170, Rue du Faubourg Saint-Antoine, and from 1900 onwards he opened a showroom at 26, Place Vendôme. Linke made a huge impact at the Paris 1900 Exposition Universelle at which he presented vigorous reinterpretations of the Rococo style. He was ultimately honoured with a gold medal and his success acquired wealthy patrons from across the world. He was admired so much in France that he was even awarded the 'Croix de la Légion d'Honneur' in 1906.LiteratureC. Payne, Francois Linke 1855-1946, The Belle Epoque of French Furniture, 2003, Woodbridge.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 55
A pair of George III mahogany and kingwood crossbanded urns and pedestalsCirca 1780, of Gillows qualityWith boxwood stringing, each urn wrapped with an alternating reeded and fluted band, the body carved with oak-leaf swags and husk festoons interspersed by flowerhead roundels, with an egg-and-dart collar, the detachable lid with a gadroon carved edge and stiff-leaf clasped upper part surmounted by a pinecone finial, one pedestal with a graduated triple re-entrant panelled and triple tablet inlaid door enclosing one shelf, the other pedestal with three graduated mahogany lined drawers of conforming appearance, on plinth bases, both urns with their metal linings to the interior now missing, both inscribed in white chalk: 'ALTMAYER HARRIS', each urn and pedestal approximately: 49cm wide x 48cm deep x 167cm high, (19in wide x 18 1/2in deep x 65 1/2in high) (2)Footnotes:ProvenanceThe present lot was apparently previously acquired from M. Harris and Sons, London, possibly during the 1950s.Thereafter the offered urns and pedestals were purchased by the current owner and vendor, Christie's, New York, 19 January 2017, Palmetto Hall: The Jay P. Altmayer Family Collection, lot 65.The offered urns and pedestals appear in M. Harris and Sons, A Catalogue and Index of Old Furniture and Works of Art, London, n.d. (circa 1930), No. F20869, p. 407. Two related pairs of urns and pedestals are illustrated in S. Stuart, Gillows of Lancaster and London, 1730-1840, Vol. I, 2008, Woodbridge, pl.'s 342-347, pp.'s 309-310. One pair made during the late 1770s, which is attributed to Gillows, was supplied for Thirsk Hall, North Yorkshire upon behalf of John Bell whilst the other pair, dating to circa 1780, were provided to the Weld family of Lulworth Castle, in Dorset.Of additional interest are a group of three designs for 'pedestals and vases' by George Hepplewhite, first published posthumously in 1787 within The Cabinet-Maker's and Upholsterer's Guide, also featuring in the 1794 third edition, re-published 1969, Toronto, pl. 36. Across these drawings a number of similar characteristics are shared with the present example, including equivalent swag and festoon carving, comparable stiff-leaf clasped elements and re-entrant panelling, along with analogous crossbanding. The same Hepplewhite designs are also replicated in D. Nickerson, English Furniture of the 18th Century, 1967, Frankfurt, fig. 101, p. 95.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 74
A French 19th century ormolu mounted kingwood vitrine attributed to Paul Sormani (1817-1877)Of slightly serpentine form, with acanthus, rocaille, C-scroll, shell and floral mounts, with foliate chutes, the raised central top section of double ogee and bombé outline, above one large and two small shaped glazed panels incorporating a central door, enclosing three adjustable glass shelves and a mirrored interior, over a shaped apron, on keeled cabriole legs terminating in floral and foliate sabots, approximately: 129cm wide x 40cm deep x 168cm high, (50 1/2in wide x 15 1/2in deep x 66in high)Footnotes:ProvenancePurchased: Bonhams, New Bond Street, 10 July 2014, Fine European Furniture, lot 125.A virtually identical Sormani vitrine to the offered lot, one with a lockplate signed: 'P. Sormani, 10 Rue Charlot, Paris', sold Christie's, London, 18 September 2014, The Opulent Eye - 19th Century Furniture, lot 220. Another vitrine of this model, also bearing a lockplate engraved for Paul Sormani, sold Christie's, London, 19 March 2009, 19th Century Furniture, lot 181. A further closely comparable Sormani example, again with similarly stamped lockplate, sold Christie's, 24 February 2000, The 19th Century Interior, lot 75.Paul Sormani was one of the most important ébénistes of the 19th century. Although Italian by birth, his first gallery and workshop were established in 1847 in Paris. It is documented that his business was based at 114, rue du Temple until 1867, from which time onwards it was re-located to 10, rue Charlot. Following Sormani's death in 1877 the firm, which continued under the combined direction of his widow Ursule-Marie-Philippine and his son Paul-Charles, was renamed 'Veuve Paul Sormani & Fils'.Specializing in furniture made in the Louis XV and Louis XVI styles, Sormani advertised his workshop with high praise: 'toute sa production revèle une qualité d'éxecution de toute première ordre'. His most impressive pieces and objets d'art were often exhibited and frequently also rewarded at the major international Exhibitions of the 1860s and 1870s. In fact, Sormani received a medal of première classe at the Exposition Universelle in 1855, followed by another medal at the 1862 Exhibition in London.LiteratureC. Mestdagh, l'Ameublement d'Art Francais, 1850-1900, Paris, 2010.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 77
A mid Victorian ebony, calamander, abalone, mother of pearl, ivory, bone, rosewood, purpleheart, sycamore and fruitwood marquetry collector's cabinet1870-1875, possibly by Jackson and GrahamWith line-inlaid borders and stringing, the top surmounted by a baluster gallery to the rear, above a stylised foliate inlaid frieze comprised of alternating palmettes and lotus-leaves flanked by rosette tablet angles, over a twin double panelled door, the upper panel inlaid with a still life of assorted shells, moluscs, coral and seaweed, the lower door panel inlaid with stylised foliate and scrolled angles, enclosing a total of eleven satinwood veneered and mahogany lined drawers comprised of eight long drawers over three deep drawers, flanked by stylised foliate, palmette and honeysuckle inlaid angles, on a plinth base, the lock stamped: 'CHUBB PATENT, 128 QUEEN VICTORIA ST., ST. PAUL'S, LONDON, 800354', 96cm wide x 67cm deep x 148cm high, (37 1/2in wide x 26in deep x 58in high)Footnotes:The repeating inlay running across the frieze of the offered lot is redolent of some Greek revival or 'Neo-Grec' designs published in 1856 within 'The Grammar of Ornament' by Owen Jones (1809-1868). Worthy of particular comparison are several decorative patterns inspired by ancient Greek vase ornamentation which feature among Plates XVI and XVII, Greek No.'s 2 and 4. Owen Jones was among the most notable designers employed by the renowned cabinet making combination of Jackson and Graham so it seems probable that the present cabinet was indeed executed by this firm. Added to this, the use of ivory (amongst the various other exotic materials) inlaid into ebony, along with its distinctive stylised foliate embellishments, are certainly characteristics very much in keeping with those pieces produced by Jackson and Graham during the period 1865-1875. Jackson and Graham (fl. 1836-1885)Jackson and Graham were one of the most successful and prestigious firms of the early and mid-Victorian periods. Based in London, they were responsible for enhancing the reputation and improving the renown of English cabinet makers throughout the rest of the World. In 1836 the partnership of Peter Graham (1811-1877) and Thomas Charles Jackson (1807-1848) was founded at 37 Oxford Street, but by 1839 the venture had developed to incorporate 37 & 38 Oxford Street, as well as an additional location at 18 Newman Street.In 1845 the company was recorded in the Post Office Directory as cabinet makers, upholsterers, carvers, gilders and house agents. However, by as early as 1866 they had grown sufficiently quickly as to include locations at 29, 33, 34, 35, 37 and 38 Oxford Street, together with the ownership and running of addresses at Perry's Place, Freston Place and Newman's Yard. In the 1860s, as part of their operation, Jackson and Graham employed 250 workers. During the 1850s the firm set up a steam engine for the more rudimentary sawing requirements, however by the next decade they had established machine-carving as well. By 1875 their total number of employees had reached within the region of 600 to 1,000. The rapid rise of the business is summarised in a London Directory advertisement of 1866 in the following way: 'Jackson and Graham announce... that they have recently made great additions to their former extensive premises, which render their establishment the largest of its kind in this or any other country. The Spacious Show Rooms and Galleries are filled with an unrivalled stock, the prices of which are all marked in plain figures at the most moderate rates for ready money. The extensive Manufactory adjoining, with machinery worked by steam power, is fitted with all means and appliances to ensure superiority and economise cost. Each of the departments will be found as complete as if it formed a separate business...' Only one decade on from this, another detailed account of the company is provided in J.H. Pollen's publication of Bevan's 'British Manufacturing Industries' (London, 1876). It elucidates a business which was as almost entirely automated as any other at that time in Victorian Britain, utilising and manipulating steam in order to power their wide assortment of machinery. Yet, despite this fact, the substantial contribution of highly skilled human labour and craftsmanship was also simultaneously championed therein. And, probably in part due to their employment of specialist foreign inlayers or marquetry experts, the firm's output easily rivalled anything then being produced in Europe, as evidenced by the numerous awards they were honoured with over time. Jackson and Graham used every opportunity to display their 'wares' at the various International Exhibitions which took place throughout much of the second half of the 19th century. They did so in order to showcase the very best of what they could produce. Their notable participation at the first and most famous of these, the Great Exhibition of 1851, was described thus by the 'Art Journal': 'Messrs Jackson and Graham, the eminent upholsterers of London are large contributors to the Great Exhibition of many important articles of their manufacture'. At the 1851 Exhibition in London, they received a prize medal for their exhibits.For the 1855 Paris Exhibition the firm showed a large Eugene Prignot-designed cabinet to the public, which was thereafter acquired by the Victoria and Albert Museum for £2,000: W.81-981, where it is still housed today. Among the more significant furniture supplied for the 1862 International Exhibition in London were a pollard oak sideboard and a Louis XVI style ebony and ivory cabinet with an onyx top. Again, they were honoured with multiple awards in London, but also gained similar trophies five years hence at the Paris Exposition. In 1871 an ebony and inlaid cabinet, which followed a design by R.S. Lorimer, was displayed by Jackson and Graham at the International Exhibition. They were also involved at Vienna in 1873 and took part in London the next year. However, it appears that at the 1878 Paris Exposition, which was their ultimate event of this scale and scope, they obtained the Prix d'Honneur for the British section. Whilst for the star item, known as the 'Juno' cabinet, they in fact achieved the 'Grand Prix' before the Viceroy of India bought the piece for £2,000 (now in the Victoria and Albert, W.18: 1-6 1981). Their principal documented commissions include work provided for; the Ball Room at Buckingham Palace; the Palace of the Khedive in Cairo, Egypt; the City Carlton Club; and the Livadia, a yacht belonging to the Czar of Russia.It should be noted that a great deal of the success of this business was allied to the fact that they often employed the major designers of the day. Such prominent figures as Owen Jones, Thomas Jeckyll, Bruce Talbert and Christopher Dresser all worked at one time or another for Jackson and Graham. As on the offered lot, the particular emphasis in the designs of Owen Jones was largely upon ebony pieces inlaid with ivory and sometimes also metal. During the period 1862-c.1864, Alfred Morrison commissioned Jackson and Graham together with Jones to produce extensive work at Fonthill House in Tis... This lot is subject to the following lot symbols: TP Y ФTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 86
A French late 19th century ormolu mounted kingwood, tulipwood, amaranth, stained sycamore, fruitwood marquetry and parquetry grande armoireThe cavetto top above a ribbon wrapped reeded mounted cornice, with a triple panelled frieze below comprising a ribboned foliate garlanded mount centred by a rosette, flanked by quarter veneered tablets with beaded surrounds, with canted faun mask mounted angles, over three doors bordered by beaded and lotus-leaf cast mounts each inset with elongated cube inlay, the large central door mounted with a ribbon tied oak-leaf adorned oval pendant depicting a capriccio of four pastoral figures and a dog, a Tuscan column, classical statue and steps leading up to a triumphal arch, above two foliate headed volute scroll mounts adjoined by a ribboned floral mounted swag, with a stylised Greek key inlaid faux drawer below, enclosing three adjustable shelves, the two end doors with trellis inlaid upper tablets mounted by oak-leaf swags, over ribbon tied floral bouquet pendant inlay flanked by oak-leaf pendant mounts, enclosing five adjustable shelves, with foliate stop-flute mounted angles, on a breakfront plinth terminating in stop-fluted tapering feet, 237cm wide x 62cm deep x 241cm high, (93in wide x 24in deep x 94 1/2in high)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 90
Attributed to Francois Villemsens (French, fl. mid 19th century): An impressive pair of First Universal 'Great Exhibition' gilt bronze Neptune ewersCirca 1851Each with mythological aquatic figural decoration, the elaborate rocaille cast urn bodies with intertwined sea serpent high scrolling handles and eagle pouring lips, the swept upper bodies cast with the sea gods drawn by twin pairs of hippocampi, trumpeting mermaids and mermen, shells and acanthus leaves, above foliate girdles applied with Neptune masks, dolphins and alternating shells and starfish, each raised on mermen and mermaid tripod supports, above rockwork tripartite platform footed bases, 56.5cm high (2)Footnotes:The model of the offered ewers is almost identical to a vase exhibited by the bronzier François Villemsens at the first Universal Exhibition known as the Great Exhibition, held in London in 1851. In the Art Journal illustrated catalogue the entry notes for his work commented: 'the three vases are from the establishment of M. Villemsens of Paris, worker in bronze, and manufacturer of church ornaments; the latter branch of business especially, being largely carried on by this house. During our visit to Paris towards the close of the past year, we saw in his extensive showrooms a vast variety of objects, exhibiting more or less taste in composition, and ingenuity of workmanship; these were principally executed in bronze and in brass, and were adapted as well for the embellishment of the private dwelling as for purposes of ecclesiastical use and decoration - statues, vases, chandeliers, candelabra, delicate rail-work, etc. The three bronze vases and dishes selected from the contributions of this firm are distinguished by beauty of outline and elaborate ornament, approaching very closely to the best antiques'.Likely descended from a family of goldsmiths in the 18th century, François Villemsens established his workshop in the Marais, first at 18 rue Michel Le Comte, then at 71 rue du Temple. In 1834, he exhibited a facsimile of the armour of Francis I, which was hailed by the Archives du Commerce et de l'Industrie (Paris, 1834, p. 157). By 1835, he entered the Réunion des Fabricants de Bronze, heir to the former corporation of foundrymen, and regularly participated in the Expositions des Produits de l'Industrie Française. Winning a silver medal at the Exhibition of 1839, Villemsens joined the 'Bronze of Art and Furnishings' category alongside Thomire & Cie and Victor Paillard before winning a further silver medal at the last Exposition des Produits de l'Industrie Française in 1849. With these successes he approached the Universal Exhibition in London in 1851 where he won a new medal by submitting the vases mentioned above, including the Neptune vase. The success led him to New York where he participated in the Universal Exhibition of 1853 and appeared in the official catalogue of the New York exhibition of the industry of all nations, p. 154, at No. 15 as 'Bronze candelabras, groups, lamps, etc. Villemsens & Co, manu. 71 rue de Temple, Paris'... He was again a medallist at the Universal Exhibition in Paris in 1855 and by 1863 Villemsens had offered to finance the award of a carving prize that would be awarded each year by the Réunion des Fabricants de Bronze. After participating in the Universal Exhibition of 1867 where he presented a cast door from the Baptistery of Florence, he finally retired from business.From the second quarter of the 19th century onwards sculptors, bronziers and goldsmiths particularly appreciated the shape of the ewer to express ornamentation in all its manifestations, giving a free rein to exuberance and eclecticism. Renaissance art was one of their main sources of inspiration, and in particular Mannerism, utilising mythological themes and motifs as illustrated by the present lot. The sculptor Adolphe-Victor Geoffroy-Dechaume and the goldsmith Charles Wagner, who were contemporaries of Villemsens, similarly produced a ewer on the theme of Ondine in 1844, which is reproduced in the Maciet Albums. Characteristically the decoration to this piece does not leave a single part of the vessel plain. Although renowned for the execution of religious ornaments, Villemsens did not limit himself to this field and contributed to renewing the genre of decorative bronzes for a secular and wealthy clientele during the mid 19th century. For a comparable identical pair of vases see Sotheby's Paris, Robert de Balkany, Rue de Varenne, Paris – Evening sale, 20th September, lot 51Related LiteratureD. Alcouffe, A. Dion-Tenenbaum and P. Ennès, Un âge d'or des arts décoratifs 1814-1848, Paris, 1991, op. cit., p. 311, fig. 162a.E. Voirot, Création le multiple : la Réunion des fabricants de bronze (1839-1870), phD thesis, Université Paris Ouest Nanterre - La Défense, 2014This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 297
REINHARDT DJANGO: (1910-1953) Romani-French jazz guitarist and composer, one of the first major jazz talents to emerge in Europe. An extremely rare vintage signed and inscribed 7 x 9.5 photograph of Reinhardt in a head and shoulders pose smoking a cigarette. Photograph by Teddy Piaz of Paris. Signed by Reinhardt in dark fountain pen ink to a clear area of the image, 'POUR BOB DJANGO Reinhardt', in his semi-literate hand. Autographs of Reinhardt are extremely rare in any form as both a result of his lack of formal education and his untimely death at the age of 43. Some very light, minor surface creasing and areas of silvering to the image, about VG Provenance: The present photograph is accompanied by a statement of provenance signed by Lorraine Klaiss Myers in which she states that the signed photograph was 'given to my father in Paris, France where he met Django at his club, La Roulotte, during WWII in 1943', further explaining 'My father, Bob Klaiss, was a professional bass player from Philadelphia. PA, playing in Army bands during the war. He has since passed, but told me what a memorable experience it was to meet and hear the famous jazz guitarist perform at his club in Paris'. The statement also makes reference to an original 2.5 x 3 snapshot photograph taken by Bob Klaiss (included in the present lot) which depicts the entrance to La Roulette and features Reinhardt's name above the door. The photograph is annotated to the verso 'Paris, France, 1943', and also signed by Klaiss.
Lot 655
‘I therefore come to ask you….to put an end to a state of affairs which is for me a terrible torture, physical and moral, and of which I am yet to understand the usefulness as well as the justice’ PROUDHON PIERRE-JOSEPH: (1809-1865) French philosopher, socialist and politician, the founder of mutualist philosophy and the first person to declare himself an anarchist. A.L.S., P.-J. Proudhon, two pages, 8vo, Citadel of Doullens, 4th May 1850, to 'Monsieur le Directeur', on the printed stationery of La Voix du Peuple, in French. The imprisoned Proudhon writes to plead with his captor, in full, 'D'apres un mot que m'a dit hier le major, et cela, autant que je puis presumer, de votre part, il dependrait de vous de faire cesser mon isolement. Si j'avais cru que cette affaire etait laissee a votre discretion, il y a longtemps, Monsieur le Directeur, qu'au lieu de solliciter le ministre, qui ne repond pas, je me serais adresse directement a vous. Je n'aurais pas cru plus indigne de moi, je vous jure, de frapper a la porte du subordonne qu'a celle du superieur. Je viens donc vous prier, Monsieur le Directeur, de mettre fin a un etat de choses qui est pour moi un terrible supplice, physique et moral, et dont je suis encore a comprendre l'utilite ainsi que la justice. Depuis quinze juurs que je suis sequestre, les agitations nerveuses, les transports au cerveau, auxquels je suis d'ailleurs sujet, se sont multiplies chez moi d'une maniere inquietante. D'autres infirmites m'arrivent encore, a la suite de ce regime debilitant, a tel point que s'il se prolongeait, je serais force de croire que l'administration n'en veut pas seulement a ma plume, mais a ma vie. Jusqu'ici je me suis efforce de tromper les heures par la lecture et le travail: mais la lecture et le travail, chez un homme sequestre, deviennent vite des causes de malaise et d'impossibilite de lecture et de travail: aujourd'hui je suis hors d'etat de m'occuper et de rien faire. Daignez donc, Monsieur le Directeur, porter remede a mon etat, me permettre de me promener et de voir mes amis. Songez aussi, je vous en supplie, que j'ai une malheureuse femme qui pleure pour moi quand je ne puis que souffrir et qu'elle serait heureuse d'apprendre que j'ai ete enfin rendu a la liberte....de la prison' (Translation: 'According to a word that the major said to me yesterday, and that, as far as I can presume, on your part, it would depend on you to put an end to my isolation. If I had believed that this matter was left to your discretion, a long time ago. Monsieur le Directeur, that instead of soliciting the Minister, who does not answer, I would have addressed myself directly to you. I would not have thought it more unworthy of me, I swear to you, to knock on the door of the subordinate than on that of the superior. I therefore come to ask you, Monsieur le Directeur, to put an end to a state of affairs which is for me a terrible torture, physical and moral, and of which I am yet to understand the usefulness as well as the justice. During the fifteen days that I have been sequestered, the nervous agitations, the transports of the brain, to which I am moreover subject, have multiplied in me in a disquieting manner. Other infirmities still happen to me, as a result of this debilitating regime, to such an extent that if it were prolonged, I would be forced to believe that the administration does not only want my pen, but my life. So far I have tried to deceive the hours by reading and working: but reading and working, in a sequestered man, quickly become causes of discomfort and of the impossibility of reading and working: today I am in no condition to occupy myself and do nothing. So deign, Monsieur le Directeur, to remedy my condition, allow me to walk around and see my friends. Consider also, I beg you, that I have an unhappy wife who cries for me when I can only suffer and that she would be happy to learn that I have finally been set free….from jail.'). With blank integral leaf. Some very light age wear and a few extremely small, minor tears to the lower edge, otherwise VG In June 1849 Proudhon had been arrested for insulting Louis-Napoleon Bonaparte (Napoleon III), the first President of France (1848-52) and was imprisoned for three years. In December 1849, whilst in prison, he married 27 year old Euphrasie Piegard, with whom he had four daughters.
Lot 21
Heavy Rock LPs, nine albums comprising Led Zeppelin (III, Houses Of The Holy, In Through The Out Door), Taste - Same, Ten Years After (Ssssh, Alvin Lee & Company), Free - Live, Black Sabbath - Sabbath Bloody Sabbath and Mott The Hoople - All The Young Dudes - mix of original and later pressings - all mainly in Excellent to EX+ condition
Lot 4
Pentangle / Bert Jansch / John Renbourn LPs, eleven albums comprising Pentangle (Basket Of Light, In The Round, Open The Door (Signed on rear)), Bert Jansch - (Same, Sketches, From The Outside (signed on rear), A Rare Conundrum), Bert Jansch / John Renbourn - Bert and John, Bert Jansch / Rod Clements - Leather Launderette, John Renbourn (Sir John A Lot, Another Monday) - Mainly all in Excellent to EX+ condition
Lot 1012
Georgian pagoda topped longcase clock in mahogany case, the hood flanked by reeded and brass capped and inlaid columns with ball and spire finials enclosing arched painted dial decorated with peonies, calendar aperture, moonphase indicator and subsidiary seconds dial, the straight sided case with broken-arch door on pedestal base, 254cmCondition ReportDial width 33cm door not warped, not the correct screws on the hingesWe do not guarantee working order, although not set up it does appear to work when tension applied to pulleys. Movement fairly clean
Lot 1060
20th century teak wall unit with shelves above sliding doors, on tapering supports Condition ReportSurface scratches, scuffs and knocks. Areas of fading, discolouration and staining. Water spots to the cupboard doors and legs. Legs are sturdy and door open freely. General wear and tear. H. 174 x W. 122 x D. 30cm
Lot 1076
Edwardian white painted dressing chest, the mirrored top with two drawers over two short and three drawers on shaped feet H 165cm x W 114cm x D 51cm together with a similar white painted wardrobe with single mirrored door, single shelf over two short drawers above two door cupboard on bracket feet H 196cm x W 104cm x D 49.5cm (2)Condition ReportNot the same suite, different handles and drawer fronts.
Lot 1111
James Shoolbred, London, Edwardian mahogany wardrobe with floral, scroll and griffin inlaid decoration, pair of cupboards above two long drawers, on bracket feet, 130cm wide approx. Condition ReportSurface scratches, scuffs and knocks to the wood. Accretions, areas of fading and discolouration. Some staining to the wood and the interior fabric. Split to the side of the base section. Areas of loss to the veneer and area of loss to the parquetry on the cornice. Left door panel slightly bowed. Chips to some corners of the drawers. General wear and tear. H. 221 x W. 134 x D. 66cm
Lot 353
A Victorian burr-walnut davenport with satinwood interior enclosed by sloping hinged lid, inset tooled leather writing surface & with pierced brass gallery, fitted four graduated drawers to one side enclosed by fielded panel door, on turned supports with carved scrolls & bun feet with recessed ceramic castors, 22” wide x 35½” high x 22” deep.
Lot 494
Mahogany dial clock, diameter 39cm, painted dial with Roman numerals, signed W Potts & Son, Leeds, single fusee movement.Condition report:Wooden parts of the case are good, hinged doors to either side of the case and another door to the base, brass bezel and glass is good, dial has a number of small scratches and one poor repair, movement has a pendulum but is not currently working.Further images have been uploaded to the lot page on our website for you to view.
Lot 497
Mahogany longcase clock, the hood with moulded cornice, (adapted), fluted columns, trunk with long door, bracket feet, 12" brass dial with cast spandrels, subsidiary seconds dial and date aperture, signed L Bradley, London, eight day movement striking on a bell, 205cm, as found.Condition report:This clock has two weights and a pendulum with it, however they may not be the originals, the longcase clocks in the property were a little unorganised and we have associated these with the clock. Image uploaded to the lot page on our website for you to view.
Lot 499
Walnut longcase clock, the hood with moulded cornice, turned columns, long arched door, plinth base, arched brass dial, cast spandrels, the lunette with calendar, silvered chapter ring with subsidiary seconds dial and date aperture, signed Josephus Williamson Londini, Hora Indicatur Apparentes Involu tis Equationibus, part equation movement striking on a bell, 236cm.Condition report:There is a pendulum and weights, perhaps associated, the part of the movement that is there seems to run but no equation parts. The case has had numerous repairs and work over time but is currently sound.
Lot 503
Oak longcase clock, the hood with moulded cornice, turned columns, long door, bracket feet, 13" painted dial with floral spandrels, subsidiary second dial and date aperture, signed Grocott, Holywell, eight day movement striking on a bell, 212cm.Condition report:There is a door key but doesnt work too well, no weights, has a pendulum.
Lot 506
Oak longcase clock, the hood with moulded cornice, turned columns, trunk with long door, bracket feet, 12" brass dial with cast spandrels, silvered chapter ring, subsidiary seconds dial and date aperture, signed John Williamson in Leeds fecit, eight day movement striking on a bell, 193cm.Condition report:Has a pendulum and weights, probably associated. Does not work, case is generally ok.
Lot 198
11th-13th century A.D. A pair of zoomorphic bronze door handles, each composed of a domed openwork plate and cylindrical shaft balustered towards the finial, which is formed as the forequarters of a leaping feline; embellished with light blue inlays to the animals' eyes, openwork knotwork to their chests and openwork foliate motifs to parts of the shaft; engraved geometric and floral decoration across the body. Cf. Fehervari, G., Islamic Metalwork of the Eighth to the Fifteenth Century in the Keir Collection, London, 1976, pl.38, no.114, for a similar protome; Allan, J.W., The Metalwork Industry in Iran in the Early Islamic Period, Oxford, 1976, pl.88; Allan, J.W., Nishapur: Metalwork from the Early Islamic Period, New York, 1982, figs.173, 175, 176, 178, 182. 6.39 kg total, 62-64 cm (24 3/8 - 25 1/8 in.). Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11512-193701. The function of these objects seems to have been to act as a pair of handles for a big bronze door. A near identical specimen (with similar inlays of blue stones for the eyes) published by Fehervari, who considers the animal to be a lion or a hare, was thought to be a leg of a large vessel, or part of a baluster shaft of a lamp stand. The history of Khorasan in the second half of the twelfth century was extremely turbulent, during which a great amount of metalwork was presumably lost or melted down. Therefore, it is quite remarkable that such an important pair has survived. [2] [A video of this lot is available to view on Timeline Auctions Website.]
Lot 10
Les Portes Fermées Ou Les Doubles Surprises, 32mo. (78 x 58mm) - six miniature cards Le Portrait, Le Temple De Diane, Méphistophélès, La Tentation, La Française, and Le Fleurs - each card representing a character standing in front of a door, movable by the reader, which when opened, discovers a second character and then via a transparency a third, hence the title of Doubles Surprises; all contained in a pink cardboard box with printed title label, French c.1820.NB:According to a New York Public Library's video featuring Assistant Curator Charles Cuykendall Carter reviewing a similar booklet acquired for the Pforzheimer Collection, less than five of these are known to exist worldwide (Video available on YouTube).
Lot 375
MATCHBOX SERIES - Moko Lesney boxed diecast vehicles and accessories, 25 items to include a No 2 Major pack Walls Ice Cream Bedford Articulated, 2 x No 3 accessory pack double door garages, other model numbers include 5, 7, 10, 11, 13, 21, 23 x 2, 24, 25, 26, 29, 33, 35, 36, 39, 42, 48, 56, 58, 59 and 60, some of the models appear slightly playworn with most appearing to be in very nice condition, fifteen of the boxes are missing part of their end flaps
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