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Lot 434
New Zealand Red Wine12 bottles Stoneleigh Organic Pinot Noir 2019; Trinity Hill Homage 2017; Lansdowne Pinot Noir 2014; Te Kano Pinot Noir 2017; Isabel Pinot Noir 2019; Remarkable Pinot Noir 2017; Summerhouse Pinot Noir 2019; Rapaura Springs Reservoir Pinot Noir 2017; Rohe-Awatere Pinot Noir 2018; Limestone Terrace Pinot Noir 2018; Rohe-Southern Valleys Pinot Noir 2018; Hawkshead First Vines Pinot Noir 2018
Lot 487
Canadian Red Wine12 bottles Hidden Bench Terroir Caché Unfiltered 2016; Strewn Three 2015; Strewn Cabernet Sauvignon 2015; Noble Ridge Reserve Cabernet Sauvignon 2016; Reif First Growth Cabernet Sauvignon 2016; Inniskillin Montague Vineyard Merlot 2017; Mission Hill Compendium 2016; East Dell Black Label Cabernet Franc 2017; Black Sage Cabernet Sauvignon 2017; Trius Red The Icon 2017; The Foreign Affair The Conspiracy 2017; The Foreign Affair Dream 2017
Lot 493
Canadian Red Wine12 bottles Reif First Growth Pinot Noir 2016; Rust Wine Co Syrah 2017; Red Rooster Syrah 2017; Red Rooster Meritage 2017; Reif First Growth Merlot 2016; Inniskillin Reserve Cabernet Franc 2017; Road 13 Fifth Element 2017; Sue-Ann Staff Cabernet Franc 2017; Peller Estates Signature Series Cabernet Franc 2017; Mission Hill Quatrain 2016; See Ya Later Rover 2017; Sunrock Shiraz 2016
Lot 46
French school c. 1630, follower of Leonardo Da VinciThe Virgin of the rocks On its original canvasold restorations67,7 x 46,1 in.PROVENANCEChâteau de la Pierreuse in Marigny-les-Usages (Loiret), c.1840Remained in the family of the former owners to the present dayOur version of the Virgin of the rocks is an early testimony of France’s fondness for Leonardo da Vinci because the original, now in the Louvre (ill. 1), arrived there very early, around 1508, several years before the master’s arrival in Amboise in 1516.The Virgin of the rocks (ill. 1) was commissioned by a lay brotherhood for the chapel of the Immaculate Conception in the church of San Francesco Grande in Milan, which was destroyed in 1806. It was to be placed in the centre of a complex altarpiece built by the woodcarver Giacomo del Maino. A contract bound Leonardo and his pupils Ambrogio and Evangelista de Prédis to deliver their artwork for the feast of the Immaculate Conception in May 1484 (we attribute to the last two the angels on the side panels). The artists deemed that they had spent too much money on the altarpiece’s gilding and that what they had received was too little, after which they complained to Ludovico Le More (Ludovic Sforza, Duke de Milan). They stated that they had received a much higher offer for the Virgin of the rocks. Twenty-five years of litigation ensued between the three companions and the brotherhood. Leonardo probably yielded his painting, although it is unknown whether it was offered to Louis XII or François Ist. Furthermore, with the participation of the Predis brothers, he produced a replica with some variations that is now in the National Gallery in London (ill.2). Amongst the principal differences between the two paintings most noticeable is the gesture of the angel pointing to the little Saint John at the Louvre, a detail that is absent in the London version. In the English version the figures are haloed and Saint John holds a cross. The sfumato is slightly more shaded, more tanned, and the choice of plant species, with Marian connotations, has been rethought. This holy conversation fascinates us due to the psychological relationship between the four figures. Their presence is strange, both recluse in a cave and inserted in a mountain landscape. Their interaction with the nature that surrounds them is metaphysical. The composition is very simple at first glance, a pyramid as a symbol of elevation, but which breaks down into a very skilful triangulation, reinforced by the stalagmites in the background. The great spirituality that emerges from the image is counterbalanced by the naturalism of the volumes. The alpine topographic realism and the scientific description of each plant species reveal the harmony of Nature and Creation. This balance of contradictory forces, between the microcosm and the macrocosm - a reduced model imitating the entire complexity of the universe - made this painting incredibly innovative at the time and still remains fascinating today. The space is suggested by delicate gradations of colors creating a diffused light. To position his group in space, Leonardo did not rely on a building or an architectural perspective, as had been invented by the painters of the Florentine Renaissance, but on a subtle structure in motion, where the air revolves around the figures and the landscape reflects their state of mind.Leonardo da Vinci’s body of painted works is very small, only fifteen religious compositions and five portraits, though revolutionary, matured and reflected, all of which have marked the history of painting. His studio and his pupils in Milan produced replicas of his paintings at various stages of execution 1. Dozens of replicas of the Saint Anne, the Redeemer and the Virgin of the Rocks are known 2.We do not know the exact date when the latter arrived in France; it was either given to Louis XII, confiscated by Charles II d’Amboise, or offered by the ambassador to François Ist. WHO IS THE AUTHOR OF OUR VERSIONOur painting can be dated in the early 17th century, so outside the sphere of Leonardo’s Milanese pupils. There is every reason to believe that only court artists had access to the paintings in the royal collection at the Château de Fontainebleau. From the 1540s onwards, the collection was exhibited in the Appartement des bains, a suite of rooms built on the model of ancient baths, on the ground floor of the François Ist’s gallery. It consists of three bathrooms and four small salons ending in a vestibule, which were demolished in 1697 to create new accommodations 3. Fontainebleau, which was visited by the last Valois but left untouched, was one of the favourite residences of Henry IV, who wanted to establish himself as the successor to François Ist. From 1593/1594, he undertook major works that doubled the surface area of the palace. Little is known about the layout of the royal collection at this time, as sources are incomplete and contradictory. We have to wait for the inventory of Father Dan in 1642 for precise data. Between April 1594 and May 1600, the date of the Fontainebleau Conference, the arrangements were completed, and the easel paintings were transferred from the hot and humid ovens, to the painting room on the second floor of the central pavilion of the Stoves wing, rebuilt under Henri II. In the baths, the originals were replaced by copies of the same dimensions, inserted into the existing stucco frames. Logically, Henri IV entrusted this task to the artists working on the castle site. Ambroise Dubois reproduced Titian’s Magdalene, his son Jean Dubois reproduced Raphael’s Belle Jardinière, Jean Voltigeant reproduced Raphael’s Saint Margaret slaying the Dragon and perhaps also Sebastiano del Piombo’s Visitation, and Jean Michelin reproduced the Virgin of the rocks 4. This copy was transferred under Louis-Philippe to the Trianon chapel in Versailles5 (for reasons of dates, this Jean Michelin does not seem to be the painter born in Langres in 1623, follower of Le Nain). We propose to attribute our version to the bellifontain milieu of the first third of the 17th century. The deep and soft shadows, the blue (lapis-lazuli) and green of the draperies evoke the palette of Ambroise Dubois’ original creations. The copy of the Mona Lisa, kept at the Clos-Lucé for the last ten years, for example, is attributed to him (the earth tone undercoat of this painting is quite close to that of ours, ill. 3). A direct and late copy of our painting and not of the painting in the Louvre- is known in the church of Boigny-sur-Bionne 7 (ill.4), that is to say a few dozen kilometres south of the castle. This is another element in favour of a bellifontain origin of our work. Here, the painter is committed to transcribing as faithfully as possible the Italian master: the modelling of the volumes, the famous «sfumato», is transcribed in a virtuoso manner, particularly in the faces and bodies of the children, the most difficult parts to reproduce. The fact that he simplified the description of the plants, for example the leaves on the vault of the cave, shows a history painter more attached to and accustomed to figures and narration than to a profusion of details. However he has kept those that are essential to the symbolic and poetic atmosphere of the painting: the swamp iris, the aconite, the St John’s wort... The leaves of the rhapis palm on the left are less detailed and a little larger than at the Louvre.
Lot 103
A good mid 19th century carved mahogany floorstanding regulator showing centre secondsSigned Anderson, ElginThe drum shaped hood with intricate carved floral decoration centred by a rose, a shamrock and a thistle over a glazed trunk door framed by bold scrolls on a carved base, the heavy bezel secured via a pair of lift-off bayonet fittings, the 11 inch silvered dial now signed for Anderson of Elgin, with outer Arabic seconds track enclosing subsidiaries for Arabic minutes and Roman hours, each with a trefoil-tipped blued-steel hand, the movement with substantial plates united by four heavy pillars, with Harrison's maintaining power to a jewelled deadbeat escapement, with wooden-rod pendulum and large lenticular bob, driven by a small brass-clad weight. 1.86m (6ft 1in) high. (Puller)Footnotes:In common with other 19th century regulators, evidence to the rear of the dial indicates that Anderson was not the first maker/retailer of this clock. An Anderson (no first name) is listed as working in Elgin in 1861. This clock probably served in another clock or watchmakers workshop, or perhaps a retail jewellers as a time standard for the other timekeepers on the bench or for sale.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 11
A first half of the 19th century brass inlaid rosewood quarter chiming table clockJohn Palmer, Great Marylebone Street, LondonThe arched top case over fish scale side frets, side handles and mother of pearl escutcheon on brass ball feet, the 5.75 inch signed silvered arched Roman dial with Breguet style hands with strike/silent subsidiary, the twin gut fusee movement with anchor escapement rack striking the hours on a bell and the quarters on a nested rack of 8 bells and 8 hammers, the backplate with running foliate border, two labels inside the left door jamb for Hart Bros. Jewellers & Watchmakers, Muswell Hill, London. Ticking and striking, sold with a case key and winding key. 37 (14 1/2ins) high (4)This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 22
A first half of the 18th century ebonised table clock with pull cord repeatRichard Peckover, LondonThe caddy top with knopped handle and moulded cornice over circular and shaped side panels on a moulded plinth base, the 7 inch arched brass Roman and Arabic dial with silvered chapter ring with blued-steel hands, the matted centre with recessed oval signature cartouche and mock pendulum aperture, with subsidiaries for date, strike/silent and rise-and-fall regulation, the twin gut fusee movement with pivotted verge escapement rack striking the hours on a bell, chiming the quarters on a nest of 6 bells and hammers, the signature within a symmetrical engraved pattern of rolling foliage. Two labels attached to the inside of the rear door from Hart Bros. Jewellers & Watchmakers, Muswell Hill, London dated 1918, 1936 and 1940. A further circular label is on the left rear door jamb for Steinmann, London no.153. Ticking and striking, sold with a case key and an associated winding key. 47cms (18 1/2ins) high (3)Footnotes:Richard Peckover may have been born in 1685 in St. Giles, Cripplegate parish, London. He was active circa 1700-1754, based in Change Alley from 1735 and the Royal Exchange from 1751. He probably took over Quare & Horseman's business in 1733. He is buried at St Helen's Bishopsgate.For further information on this lot please visit Bonhams.com
Lot 3
A rare early 20th century SWISS SILVER STRIKING AND MINUTE REPEATING SMALL MONTRE PENDULETTE DE VOYAGERetailed by Tiffany & Co, supplied by Stauffer & Sons Co., Les Ponts-de-MartelThe case with C-scroll handle over polished sides on button feet, with strike/silent lever mounted below, hallmarked with the London import mark for 1908, the circular white enamel dial with Arabic numerals and blued steel hands signed for the retailer Tiffany & Co., the gilt plated movement signed Stauffer & Sons with platform lever escapement striking and repeating on a pair of wire gongs. Sold with a leather travelling case . 4 in (10cm) high including handle.Footnotes:Provenance: The collection of Dr Eugene Antelis. Tiffany & Co. opened their London store on Regent Street in 1891. Many small silver travelling clocks were made in the run up to the First Great War, but few had the ability to repeat the time to the nearest minute - an expensive, but extremely useful complication.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 40
A fine mid 19th century small engraved gilt carriage timepieceProbably by Aubert & Klaftenberger, London, No. 4361, the case signed L. Lange, No. 1098The case engraved all over with leafy scrolls set against a hatched ground, the handle with leaf-cast uprights over ball finials and foliate-cast pillars to each corner, on a shaped base and button feet, the silvered Roman dial with Breguet style blued steel hands against a foliate engraved centre, the movement with rectangular plates joined by six pillars, fusee and chain to a lever escapement, the monometallic balance mounted vertically on the numbered backplate Size: 5 ½ in (14cm) high including handleFootnotes:Provenance: The collection of Dr Eugene Antelis. Little is known of L. Lange save for the fact that he was an early maker of carriage clock cases. Allix and Bonnert (Carriage Clocks, ACC 1984, p.443) note numbers from 108 up to 968, and mention is made of the fact that in the later multi-piece cases each of the glazed panels is first set in its own frame before it is slotted into the main case. Roberts (Roberts, D. (1993) Carriage and Other Travelling Clocks. Pennsylvania: Schiffer Publishing, p347) further notes that Lange supplied the cases for some of the English carriage clock makers and illustrates an example numbered 1601.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 45
A VERY RARE and HISTORICALLY INTERESTING SECOND QUARTER OF THE 19TH CENTURY CARVED MAHOGANY FLOORSTANDING STRIKING REGULATOR WITH ORIGINAL HANDRWITTEN RECEIPT MADE TO THE FIRST OWNER, MR SPIERS, DATED JANUARY 22ND 1832John Moore & Son, Clerkenwell, London, No.8687the drum hood with carved snake bezel over an elaborate ionic capital carved with foliage on a tapering reeded trunk to a panel base with applied moulded edge on a moulded plinth with carved ropetwist border, the 12 inch one-piece silvered dial with outer Arabic minute ring enclosing the subsidiaries for running seconds and Roman hours, with blue steel hands, the signed and numbered weight-driven movement with shouldered plates and cast feet, repeat numbered on the frontplate and united by five heavy knopped pillars, the deadbeat escapement to a long crutch and wooden-rod pendulum terminating in a heavy lacquered brass bob with engraved rating nut, the strike train unusually sounding on a pair of linked hammers to a pair of nested bells. 2.14m (7ft) high.Footnotes:This clock retains the original receipt made out to the buyer in 1832:' A very superior eight day clock, 12 inch round engraved dial with dead escapement, large bob and wood rod, the hour to shew in a circle below the centre, seconds above & the minutes in the centre, to strike on a steel spring instead of a bell, in a handsome mahogany carved case to order with brass rings & convex glass name John Moore & Son Clerkenwell......£21'. The receipt mentions a 'steel spring' - a gong in modern parlance - to sound the hours instead of a bell. This is a very early use of a gong on a longcase clock- they are never common, and those that do appear are generally from the latter half of the 19th century. It appears that Mr Spiers, or another owner, had a change of heart and decided to substitute the gong for a bell at some stage. Perhaps even more remarkably, payment was received 189 years ago to the day, 22nd June 1832.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 49
A 19th century contiental quarter chiming, musical picture clockThe 2 inch enamel Roman dial set into an oil on canvas depicting a clock tower at the edge of a wood, a set of steps to the right hand side and a river flowing into the centre distance with various figures in boats, in a gilt wood frame hinged at the top and lifting to allow access for winding the three separate movements: the first being two train, with anchor escapement and outside countwheel strike on a gong for the hours and halves, the second mounted separately and sounding the quarters on a pair of gongs and hammers, the third a later addition by Reuge accompanied by a handwritten tune card by Keith Harding, 93 Hornsea Rd, London, N7 giving the six airs, namely 'Minuet by Mozart; Polonaise by Bach; Gigue by Handel; Allegro by Mozart; March by Bach and Gavotte by Handel' all played via a 11.5cms (4.5ins) long pinned barrel.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 5
A first half of the 18th century ebony table timepiece with interesting provenanceJames Snelling, LondonThe case surmounted by a knopped and foliate handle over an inverted caddy top and moulded cornice, over arched glass side panels on a raised base, with applied label to the rear door, the 5.75 inch signed arched brass dial with Roman and Arabic chapter ring with matted centre and chamfered apertures for the mock pendulum and the date, with blued steel hands, framed by Indian head spandrels, the single wire fusee movement now with a later anchor escapement, the backplate signed 'J. Snelling, London' within foliate scrollwork set within a wide wheatear border. Sold with a winding key and case key. 43cms (16 1/2ins) high (4)Footnotes:James Snelling was active from 1712-1751.A printed label for Jump & Sons, 93 Mount Street, London, is applied to the inside of the rear door with the handwritten name 'Lord Elphinstone'. This presumably relates to a time when the clock was serviced in the early 20th century. It is not known how long it had been in the Elphinstone family at that time. Sidney Buller-Fullerton-Elphinstone, 16th Lord Elphinstone (1869-1955) was a Scottish nobleman who married Lady Mary Bowes-Lyon on 24 July 1910 in St Margaret's Westminster. She was the daughter of Claude Bowes-Lyon, 14th Earl of Strathmore and Kinghorne and the sister of Queen Elizabeth the Queen Mother and godmother to her daughter, Queen Elizabeth II.For further information on this lot please visit Bonhams.com
Lot 69
A fine and very rare late 17th century ebony veneered quarter repeating table timepieceThomas Tompion, Londini Fecit, un-numbered, circa 1680-85Surmounted by a bold facetted foliate-bud handle on internal pommels set on flowerhead mounts, the caddy with four applied foliate scroll mounts set against red silk, the moulded cornice over long rectangular glazed side panels to a moulded plinth base on turned bun feet, the front door with pierced brass sound fret over twin escutcheons to the uprights. The 6 inch square gilt brass dial signed 'Tho. Tompion Londini Fecit' along the lower edge within a single line border enclosing the winged cherub's head spandrels, the silvered chapter ring with five-minute Arabic numerals, minute track and Roman hours divided by meeting arrow-head half-hour markers and inner quarter hour track, the finely matted centre with good blued steel hands, and typical three latched dial feet to the movement.The movement united by six latched, knopped and ringed pillars, the frontplate measuring 15cms x 21cms (6ins x 8.25ins) and cut to accommodate part of the elaborate brass and steel quarter striking train, the larger backplate measuring 16.5cms x 21cms (6.5ins x 8.25ins) cut with an arched aperture to accommodate the protruding hour bell, and further cut for the pivotted quarter striking levers, signed across the centre 'Tho Tompion Londini Fecit' in a rectangle, the lower third of the plate decorated with symmetrical flower heads on stalks emanating from the lower edge, the upper portion of the plate with a further six flowerheads within foliage. The verge escapement mounted on a knife edge and driven by a chain fusee and short pendulum with pear shaped bob. The hours and quarters struck at will by pulling a cord from either side of the case (each repeat cord passing through a brass ferrule), struck on two bells and hammers. 35cms (13 1/2ins) highFootnotes:Jeremy Evans lists only five un-numbered 8-day spring driven timepieces by Thomas Tompion. All are in ebony Phase One cases and all have the bell set into a cut-out aperture in the large backplate. Two emanate from two of the great 20th century collections, the first from The Wetherfield Collection, inventory number 23, which with the added complication of an alarm train sold at Christies, London, June 2011 for £289,000. The second from the Iden collection, (illustrated in Percy Dawson's overview published by the Antique Collectors Club 1987 on page 87) which is now in private hands.The cut out was necessary because at this time Tompion used a backplate that was larger than the frontplate. It is a rare feature, but others are known, the latest known to us dates to circa 1687. R.W. Symonds in his standard work illustrates three backplates with cut-outs for the bell:Figure 174 - the backplate of clock number 22, the angle of the shoulders are comparable with the current lot, however the repeat slots run all the way to the edge of the plate, the signature sits within a full pattern of flowers and foliage. Figure 176 - the backplate of clock number 66 has smaller, shallower shoulders and the repeat is activated via a Z-bar. The engraving is lighter than figure 174 and more comparable to the current lot. Figure 181 clock number 96. A similar engraved backplate with cut-out but a Z-bar repeat system was sold in these rooms and is illustrated in Dzik, 'Engraving on English Table Clocks: Art on a Canvas of Brass 1660-1800', 2019, Wild Boar Publications, p.109, Fig.7.10.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 81
A late 18th century Chinoiserie decorated tavern clockWilliam Stevens, CirencesterThe 28 inch black and gilt circular dial with well moulded bezel framing the gilt Roman and Arabic numerals and minute band over a pair of ears and the two-line signature 'Willm. Stevens, CIRENCESTER', the 19 inch shaped trunk door with Chinoiserie scenes incorporating two birds flying over buildings and a pair of walking figures, the sides decorated with flower heads, the chisel-foot base with applied and decorated moulding, the weight driven movement with tapered plates united by four knopped pillars, the four-wheel train with large barrel and anchor escapement TO COMEFootnotes:Provenance:Single family ownership for 23 years. Purchased from Strike One, Islington, London, June 1998.Literature:Discussed in Gatto 'The Tavern Clock', Bath 2010, p.173. Previously housed in the Scole Inn, Norfolk.Rose, E.D. (1978) English Dial Clocks. Suffolk: Antique Collectors' Club. 1978, illustrated in colour page 70, and detail shots page 72.William Stevens was a working member of the Clockmakers Company between circa 1775 and 1812, first in Gloucester, later in Cirencester at The White Hart Inn.This 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 3011
Victorian British NCOs swagger stick, 14th Foot (later West Yorkshire Regiment) dates to 1878-1881, L: 68 cm. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)Condition Report: Badge incorporate Prince of Wales feathers from 1878 and changed entirely 1881. Some small dents to metalwork, stick marked but good.
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