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Lot 2
VICTORIAN GILTWOOD CREDENZA, shaped white marble top above panelled door centred with oval painted with an angel and two cupids in the manner of Angelica Kaufman, between two bowed glass panel doors, allover husk mouldings, raised on bracket feet, 101.5 h x 140 w x 34cms dProvenance: contents of Machen House, Lower Machen in the County Borough of CaerphillyComments: rubbed.
Lot 371
FINE 19TH CENTURY ROSEWOOD & SATINWOOD MARQUETRY SERPENTINE FRONTED STANDING CORNER CABINET, broken arch pediment above astragal glazed doors on cupboard base, with frieze drawer raised on tapering square legs, profusely inlaid with floral marquetry and including laurel swags to the upper frieze, and foliate trumpet urns supporting fruit to the cupboards, 213h x 82w x 55cmsComments: three glass panes cracked, cupboard door slightly shrunk, later brass finial to cornice, otherwise generally good colour
Lot 38
19TH CENTURY BOULLE-STYLE PIER CABINET, c. 1880, ebonised with cut brass foliate decoration on a red tortoiseshell ground, gilt bronze mounts, the door with raised oval panel, shaped plinth, 111.5 h x 84 w x 39cms dProvenance: contents of Machen House, Lower Machen in the County Borough of Caerphilly
Lot 389
LATE 19TH CENTURY EBONISED WALNUT, PORCELAIN & GILT METAL CREDENZA, of serpentine outline, applied with Sevres-style porcelain plaques in gilt metal frames, glazed side cupboards, central panelled doors between turned pillars, raised on toupie feet, 181 x 46 x 109cms hComments: both pillar capitals split and loose, one door beaded metal mouldings damaged but present, minor scuffs and splits.
Lot 406
EARLY 20TH CENTURY MAHOGANY 8-DAY MUSICAL LONGCASE CLOCK, engraved silvered breakarch dial with applied gilt arabic numerals, oval glazed door, movement striking Westminster, Whittington & St Michael chimes on 9 tubular bells, strike/silent subdial, movement stamped 'Made in England no. 25242/20', with pendulum, weights & winder, 195cm h
Lot 45
18TH CENTURY OAK & INLAID LIVERY CUPBOARD, Cavetto cornice above panelled frieze and doors between inlaid muntin, on base also panelled, stile feet, 181h x 136w x 53cmsProvenance: contents of Machen House, Lower Machen in the County Borough of CaerphillyComments: foot damaged, door moulding split, back panels with old worm
Lot 394
Victorian smoker's cabinet - An oak cabinet with twin brass carrying handles, Reg. No.228187, the bevelled glass door opening to reveal a brass pipe rack and two drawers, one with a silver plated shield inscribed 'Ping Pong March 12th 1902', together with a selection of pipes, one with an amber mouthpiece, height 28cm, width 22cm, depth 17cm.
Lot 526
DANISH MAHOGANY BREAKFRONT BOOKCASE,of Art Deco design, with stepped cornice over a central astragal glazed door with bevelled plates, encolsing adjustable shelves, flanked by two bowfronted doors enclosing further shelving, on tapered block feet, 167cm high, 142cm wide, 74cm deepGood overall condition with only very minor damage to rear of cabinet
Lot 648
EARLY 20TH CENTURY BRASS CARRIAGE CLOCK,18cm high including swing handle, along with a Victorian mapel cased clock (2)Wood cased clock 17cm high, surface marks to case, unable to verify if its working. Brass clock, 15cm high damage to rear glass door,and top glass panel, unable to verify if its working.
Lot 10
CHINESE RED LACQUERED BOW FRONT CABINET,of good quality and attractively decorated with birds perched amongst floral blooms, with two short drawers above cupboard door, 91cm high, 61cm wide, 35cm deepProvenance: Purchased from a French dealership specialising in Asian furniture and works of art.
Lot 190
VICTORIAN MAHOGANY WARDROBE,with two doors over single drawer, 182cm high, 134cm wide, 63cm deep, along with a Georgian oak wall hanging corner cabinet, an oak occasional table and a Victorian mahogany chiffonier, 148cm high (4)Some missing pieces of veneer, some of what appears to be water damage, door locks have oxidised. Thick scratches and chips to the woodwork. Splitting also starting to show.
Lot 298
A BMW Mini Cooper 1,598 cc Petrol three-door hatchback with 6-speed manual gearbox, attractively finished in white with a black roof. DY57 BFZ, First Registered on 1st September, 2007, MOT until the 18th April 2023. Currently showing 89,832 miles, which appears confirmed by the DVLA MOT test history. Has been driven by us around the sale-yard and the vehicle appears to function as intended, starting instantly at the press of the button. One key fob is present, this operating the remote locking normally. This nicely specced car has evidently been cared for, the half leather interior being well presented and the radio/C.D. appears to be working fine. A surprisingly rapid motor car that is only being sold due to the owner's purchase of a new vehicle. Has been used daily until was SORN on the 30th September and has been returning around 55 miles per gallon. Two new front tyres are fitted. The V5C is present. N.B. BUYERS PREMIUM ON THIS LOT 10% + V.A.T. (Total Premium 12% but plus any specific on-line bidding fees).
Lot 299
A BMW 5 Series Diesel Touring 520d SE five-door Steptronic Automatic in Silver, a 1995 cc 4 cylinder Diesel with 6 speed automatic transmission, registration number WV58 XUP, first registered on 10th October 2008, MOT until 8th December, 2022, currently showing 154,748 miles, this appearing to be confirmed by the DVLA MOT history. The car was driven to the sale-rooms and it started readily and appeared to drive satisfactorily when tried out around our sales premises. A safe, comfortable and relaxing to drive load carrying workhorse, ideal for a family or for a sale-goer and capable of very good fuel mileage. The V5C is present as is one key. N.B. BUYERS PREMIUM ON THIS LOT 10% + V.A.T. (Total Premium 12% but plus any specific on-line bidding fees).
Lot 109
Cabinet; Germany, 1820.Mahogany wood with rosewood decoration and mahogany and brass columns.It retains keys and has removable shelves.It has scratches, slight restorations on the right door and the loss of four drawers.Measurements: 192 x 162 x 53,5 cm.Cabinet made of mahogany wood, with an architectural structure of two bodies, topped by a cornice or coping with finials at the corners. It is worth noting that the corners are decorated with a classically inspired column-like decoration with grooves. Inside, there are several compartmentalised spaces, designed to house the drawers that are no longer preserved. The drawer space is accessed through two hinged doors that lead to the interior space. This is characterised by two hinged doors, in each of the bodies that make up the wardrobe.
Lot 134
Louis XV style, Italy, early 19th century. Bois de violette and lemongrass. It shows signs of wear and tear, missing wood and damage to the interior paintwork.Measurements: 225 x 94 x 50 cm (with desk lid closed); 225 x 94 x 86 cm (with lid open). Louis XV style bureau with display cabinet, inspired by French furniture pieces of the rococo period. It has four cabriole legs, typical of the period, with a very stylised outline, decorated (the front ones) with applied metal pieces. This characteristic reveals the taste for mixture and fantasy typical of 19th-century historicism. The front flap has a cut-out with simple mitred curves, following a symmetrical pattern, on which is placed the central body made up of two drawers and the lid. This is decorated with geometric marquetry, classical elements that are closer to Baroque rather than Rococo furniture. The piece has a small sloping body with curved sides. Once the lid is opened, a simple desk is displayed, with two drawers with a recessed front and a tabletop that serves as a writing surface. In the upper part of the central body, there is a display case consisting of a two-leaf door with doors made up of a wooden and glass perimeter, allowing the interior to be seen, which consists of two shelves plus the base. The rectangular structure of the display cabinet is finished off at the top with a warped design typical of the Louis XVI style.The piece is made of bois de violette, an exotic wood used for veneering and marquetry, which was very popular during the 18th century. This wood, which belongs to the rosewood family, is mottled with purple and white highlights.
Lot 82
Salamanca wastepaper basket; 17th and 19th century.Carved and gilded wood and bone.It presents restorations and damages caused by xylophages.Measurements: 51 x 90 x 38 cm; 81 x 107 x 41 cm (total).Salamanca wastepaper basket with a prismatic and robust structure. The sides have the cut-out profile fittings typical of the period, concentrating the decoration on the sample. The sample has a symmetrical composition on three levels which, at first glance, appears remarkably complicated due to the tendency towards horror vacui and the multiplicity of ornamental elements used. The white of the bone elements, some with polychrome details, and other gilded elements stand out, in clear contrast to the wood. The sample is divided into three levels, with a hinged door in the centre and three small drawers inside. This type of desk would continue to be made in Spain until the 19th century due to the strength and appreciation that was (and still is) given to the typology, related to other European examples but always maintaining a series of very particular characteristics and lines. The taquillón, made in the 19th century, is organised in two registers, each with two drawers with its own lock. Unlike the bargueño, this base unit is decorated with carved rectangular recesses with inscribed lozenges, decorated with classical-style borders. The sides of the locker are similarly carved, repeating the proportions of the front, but without carved borders.
Lot 248
Soane (Sir John, 1753-1837), Attributed to. Study of an architectural detail from a door in the Temple of the Sun, Campus Agrippae, Rome, pen and brown ink with brown wash over traces of pencil, inscribed 'Frieze of a Door in a Temple of ye Sun', on 18th century cream laid paper with Pro Patria watermark with lion shown within two concentric circles, with text 'libertate pro patria eiusque', surmounted by a crown, sheet 130 x 310 mm (5 1/8 x 12 1/4 in), inset at edges onto window mount, some handling creases, browning and surface dirt, unframed, [c.1779-1782]; together with an elevation study of a unidentified public building, by an artist working in the circle of Sir John Soane and his Office, pencil, brush and ink, on laid paper with partial text-based watermark '[?]LL', pencil and ink studies for architectural decoration verso, sheet 115 x 410 mm (4 1/2 x 16 1/8 in), minor exposure lines and light browning, unframed, [probably late 18th century] (2)⁂ This architectural detail appears to relate to the group of drawings that Soane and Henry Holland produced during their tour of Italy in 1779-1782. However, the present sheet seems more worked up and finished than the examples found in the sketchbooks held in the Soane Museum [see for instance 'Miscellaneous Sketches', 1780-2 (SM volume 40), and 'Miscellaneous Sketches 1777', largely by Henry Holland (SM volume 38)].
Lot 445
A SCOTTISH REGENCY MAHOGANY DRUMHEAD LONGCASE CLOCKRitchie of EdinburghThe circular 13-inch dial with silvered Roman numeral chapter, seconds and date dials, centred by an enamel painted river view with a fisherman and castle beyond, the case with drum-shaped hood above a rectangular door flanked by fluted columns, on bracket feet, 209cm high, 48cm wide, 21.5cm deepFor further information on this lot please visit Bonhams.com
Lot 205
A rare American silver and enamelled 108 piece 'Lap-Over-Edge' flatware serviceTiffany & Co, New York, circa 1891, stamped 'M' for Edward Moore period (1873-1891) or 'T' for Charles Tiffany period (1892-1902), incuse stamped TIFFANY & CO / STERLING / PAT. 1880 The handles acid-etched and engraved with naturalistic flowers, foliage and others with geometric aesthetic style decoration, hand embellished with polychrome champlevé enamelling, the reverse mostly plain terminating with a script initial 'T', either engraved or etched in relief Comprising:-Thirty six dessert forks decorated with buttercups, daisies, roses, ferns, leaves and various abstract geometric patterns, consisting of: - twelve Moore period, engraved initial - twelve Tiffany period, in relief initial - twelve Tiffany period, in relief initial, the reverse of these with acid-etched foliage, the fronts with differing floral and leaf designs including primroses, thistles, pansies, violets, dahlias, sweet-peas, forget-me-nots and daisiesEighteen dessert spoons designs echoing the above, consisting of:- twelve Moore period, engraved initial- six Tiffany period, in relief initialEighteen large soup / chowder spoonsTiffany period, in relief initial, fronts featuring a broad range of flowers and foliage, including poppies, holly, nasturtiums, carnations, daffodils, blue iris, tulips, lily-of-the-valley, snow drops, amongst others, length 20.5cmEighteen dessert knives with gilt blades, incuse stamped '426', designs echoing the dessert spoons and forks, consisting of:- twelve Moore period, engraved initial - five Moore period, in relief initial - one Tiffany period, in relief initial Eighteen egg spoons with gilt bowls, designs echoing the dessert spoons, forks and knives, consisting of:- eight Moore period, engraved initial - eight Moore period, in relief initial - two Tiffany period, in relief initial weight excluding knives 157 ozweight of knives 37.5 oz. (108)Footnotes:Lot ResearchFor Tiffany & Co., 'Lap Over Edge' is often regarded as the most innovative silver flatware they ever produced. This opulent and ground-breaking design incorporates Japanese style naturalistic motifs, such as flora and fauna, animals and insects, and is in the aesthetic taste. It is not merely an imitation of Japanese decoration, but an adaptation of Japanese artistry and traditional techniques. This cross-cultural hybrid approach generated originality of form, creating a new and exciting experimental approach to silverwork. Tiffany & Co. broke with the rigidity of the past to create a new artistic sensibility, which was in turn both beautiful and functional. To therefore understand why 'Lap Over Edge' is regarded with such high esteem, and why the service on offer here is so rare, it is worth summarising its creation relative to Tiffany & Co.'s history. In 1837, Tiffany & Co. was founded in New York by Charles Louis Tiffany (1812-1902) and partners, as a luxury goods business (formerly known as 'Tiffany & Young', then 'Tiffany, Young & Ellis'). Around 1848, after forming close importing ties with Europe, Tiffany began to focus on two mercantile lines – silver and precious stones, which established the foundation for their future worldwide reputation. From 1847 to 1851, Tiffany retailed silver from several New York silversmiths, which included Henry Hebbard, Gale & Hughes, Wood & Hughes, and John C. Moore amongst others, with pieces they sold always stamped with the maker's mark and also that of Tiffany ('Tiffany, Young & Ellis' at that time). The demand in silverware increased, both for household and presentation pieces, which led Charles Tiffany and his partners to the decision that it made economic sense to bring the silver-manufacturing in-house. John C. Moore was their man of choice, who happened to be one of the finest silversmiths in New York at that time, working from his silver manufactory in Prince Street. Moore was to manufacture exclusively for Tiffany, but they still retailed silverware from other makers besides Moore. Moore was only making the hollow-ware during this period, with the flatware coming from outside makers. In 1853, Charles Tiffany gained total control of the firm on the retirement of his partners Young and Ellis, with the firm officially acquiring the name 'Tiffany & Co.'.Tiffany & Co. was soon regarded as the leading silverware house in New York, but what is of note is that in 1851, soon after the arrangement with John Moore was made, John retired and handed the reins over to his twenty-four-year-old son Edward Chandler Moore (1827-1891). Trained by his father, Edward Moore was a first-rate silversmith and designer, who had the eye and emotional response of an artist. In addition, he had the people skills to manage a silver workshop, combined with an innate entrepreneurial spirit. As a man he was a quiet visionary who did not encourage the limelight, and an educator who liked others to flourish under his leadership. It therefore made sense that in 1868, given the success and size Tiffany's had grown, that Edward Moore's silver manufactory was officially incorporated into Tiffany & Co. Moore was assigned chief designer and director of the firm's silverworks, serving from 1868 until his passing in 1891. Prior to the date of incorporation with Moore, Tiffany's silver was well made but rather conservative and traditional in form, following simple classical lines. The Civil War (fought between 1861 and 1865) negatively impacted many aspects of American life (which included silver design and production) and after such a grim period in the history of the United States, the American people desired change and a sense of newness; a departure from the old. For Moore, trips to Europe and specifically the 1867 Exposition Universelle opened that creative door. After Japanese ports reopened to trade with the West in 1854, shiploads of exotic oriental merchandise began pouring into France. In 1867, to nurture new business opportunities with the West, Japan decided to hold its first formal arts and crafts exhibition at the Paris Exposition Universelle, sharing their pavilion area with China and Siam. The exhibition attracted a great deal of international interest. Attended by Moore, Tiffany & Co.'s first trade show was held at this exhibition and was a relatively modest offering by European standards. To the astonishment of the established order, Tiffany & Co. won the bronze medal, which was the first time an American company had been awarded a medal by a foreign jury. For Moore, the exposure to International Exhibitions helped open up a world outside of the narrow constraints of America and Europe, and he became fascinated by the art which existed outside of the western canon. The possibilities of the exotic 'other', specifically Japanese inspired and 'Orientalism', fuelled his creativity. However, from a business point of view, Charles Tiffany and Edward Moore were also astute enough to know that for the company to achieve financial success, they needed to expand internationally and offer silver that was artistically unique. International Exhibitions and their capacity for worldwide exposure and creative input, were the ideal marketing tool for an American company with big ambitions. Therefore, in response to what he had seen in 1867, Moore began to assemble a significant collection of non-Western art and artefacts, to both educate and inspire Tiffany's designers and craftsmen. Over the following years he acquired over 2000 objects..... For further information on this lot please visit Bonhams.com
Lot 187
French bracket clock French bracket clock, 8-day movement with open escapement, Roman numerals to white enamel chapter ring above secondary dial reading day, date, month and year, both dials set in brass rectangular dial marked Olivant & Botsford, Manchester, mahogany case with white wood inlay to canted corners, door to dial with brass frame and bevelled glass.width 29cm (12"), depth 17cm (7"), height 43cm (17")
Lot 191
William Cozens & Son, London, bracket clock William Cozens & Son, London, bracket clock, double fuse, 8-day movement striking on single bell, painted dial with Roman numerals, figured mahogany case, caddy top with pineapple finial, fish scale grills to each side, back of case with gazed door, also associated mahogany wall bracket with brass gallery.47cm (`18")
Lot 192
19th Century American wall clock 19th Century mahogany and burr walnut veneer American wall clock. Eight day movement, white painted metal dial with black Roman numerals. Body with domed top above a crossbanded arched glass door, flanked by two turned pillars, mirrored back and faux mercury pendulum.88cm high, 41cm wide
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