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Click here to subscribeA platinum, aquamarine and diamond ring, collet set with a square cut aquamarine between baguette cut diamond set stepped shoulders, detailed 'Plat', weight 3g, ring size approx M1/2.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 9ct gold oval signet ring, crest and motto engraved, London 1990, ring size approx H1/2, and a 9ct gold wedding ring, Birmingham 1947, ring size approx N1/2, total weight 5.2g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Walter James Steggles - 'The Yare at Whitlingham', 20th century oil on canvas, signed recto, titled label verso, 37.5cm x 58cm, within a painted and gilt composition frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 9ct gold, sapphire and diamond ring, mounted with a circular cut diamond within a surround of twelve circular cut sapphires, London 1978, ring size approx M, a 9ct gold, black onyx and diamond signet style ring and a 9ct gold ring, mounted with a pear shaped colourless gem, total weight 8.5g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
E.J. Pegrum - 'The Great Britain' (Maritime Portrait of the Ship in a Stiff Breeze off a Coast), late 19th/early 20th century oil on canvas, signed and titled, 87.5cm x 118cm, within a swept gilt frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An 18ct white gold and diamond single stone ring, claw set with a circular cut diamond, London 2003, weight 3.3g, ring size approx O1/2, and a 9ct gold ring, claw set with the principal circular cut diamond between diamond three stone shoulders in a tapered twistover design, weight 2.7g, ring size approx J.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A George VI silver rectangular dish with tab handles, raised on a rectangular foot, Birmingham 1937 by Mappin & Webb, weight 142.5g, length 17cm, and a Continental .800 silver cream jug, embossed with flowers and 'C' scrolls, weight 60.8g, height 7cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A gold ring, mounted with a cultured pearl, detailed '14K', weight 2.9g, ring size approx O, a 9ct gold, sapphire and diamond cluster ring (one sapphire lacking) and a 9ct gold heart shaped amethyst and diamond ring, total weight 5.8g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Two pairs of 9ct gold earrings, a 9ct gold stickpin with initial 'J' finial, total weight 4.5g, another pair of gold hoop earrings, unmarked, weight 1g, and five further pairs of earrings.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A group of mostly costume jewellery, including a silver and dyed green chalcedony brooch of lozenge openwork foliate form, detailed 'Silver', a silver and dyed green quartz bi pendant, total weight 9.7g, an oval nephrite jade, carved with a dragon motif, a silver gilt and blue and colourless paste pendant necklace, detailed '925', weight 6.4g, a Connemara marble bead necklace, other bead necklaces and various brooches.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Stanley Francis Smitheman - 'A Brig being pulled into Harbour by the Tug Monarch in Heavy Weather', 20th century oil on canvas-board, signed recto, titled label verso, 38.5cm x 48.cm, within a gilt composition frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Georgian gold backed and silver set brooch, mounted with a cushion cut citrine within a colourless paste set surround, unmarked, weight 4g, width 1.9cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A tricolour gold necklace on a boltring clasp, detailed '9K 375', weight 2.8g, length 41cm, and a small group of mostly costume jewellery, including a silver oval hinged bangle with engraved decoration, London 1982, a silver and onyx pendant with a silver neckchain, the boltring detailed '925', with a matching pair of earrings, a silver and niello bracelet, detailed 'Silver', total weight 28.1g, and various paste set brooches and necklaces.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A George III silver coffee pot of baluster form, the domed hinged lid above an ebonized scroll handle and scroll moulded spout, on a stepped circular foot, London 1762 by Louis Black, weight 710.9g, height 23.5cm (later bird finial).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An American sterling part canteen of cutlery by Roden Brothers Ltd, comprising six sterling handled table knives, six table forks and spoons, six sterling handled dessert knives, six dessert forks and spoons, six soup spoons, five teaspoons, six coffee spoons and various serving utensils, weight excluding knives 1739g (some faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An Edwardian silver envelope 'Stamps' case, Birmingham 1902, length 2.8cm, two silver vesta cases, each with engraved decoration, and a silver rectangular card case, the front enamelled with a flag above 'T.S.S. Ascanius', weight 76.7g, together with six silver and mother-of-pearl folding fruit knives.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A group of mostly silver jewellery, comprising a Blue John and marcasite ring, ring size approx J1/2, an amethyst cameo ring, six further gem set rings, a pendant locket with a horseshoe motif, Birmingham 1912, another pendant locket, a heart shaped pendant, a cameo brooch, two further brooches and a pair of cufflinks.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Italian School - Madonna and Child, late 17th/early 18th century oil on canvas, 89.5cm x 69.5cm, within a painted composition frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A pair of gold, diamond and cultured pearl earstuds, each mounted with a single cultured pearl below a circular cut diamond, each butterfly detailed '18', and a pair of gold and pink cultured pearl earstuds with post and butterfly fittings, detailed '750', total weight 8g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Emily Murray Paterson - Sailing Vessels at Anchor, late 19th/early 20th century watercolour, signed recto, label verso, 37.5cm x 28cm, within a swept gilt composition frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 9ct gold, sapphire and diamond oval cluster ring, collet set with the oval cut sapphire within a surround of circular cut diamonds, Birmingham 2000, weight 2.8g, ring size approx K, and a gold, tanzanite and diamond three stone ring, claw set with the circular cut tanzanite between two circular cut diamonds, detailed '18ct', weight 2.9g, ring size approx L1/2.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 9ct gold, sapphire and colourless gem set cluster pendant, length 1.7cm, with a gold neckchain, the boltring detailed '9K', length 40.5cm, a 9ct gold circular pendant locket with a gold neckchain, the boltring detailed '9K', a 9ct gold, sapphire and colourless gem set cluster ring and three pairs of 9ct gold earrings, total weight 9.2g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Circle of Henry Stone, after Anthony van Dyck - Half Length Portrait of King Charles I wearing Armour, late 17th/early 18th century oil on canvas, 34cm x 29cm, within a gilt composition frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A pair of George V silver sauceboats, each with shaped rim and scroll handle, on a stepped oval pedestal foot, London 1920 by Charles Stuart Harris & Sons Ltd, total weight 617.8g, length 19.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Thomas Kent Pelham - Young Girl holding a Basket of Fruit, 19th century oil on panel, signed recto, labels verso, 90cm x 47cm, within a gilt composition frame of wide section. Provenance: Sotheby's Victorian Paintings, Drawings, Watercolours, 26th September 1990, lot no. 191.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Stanley Francis Smitheman - 'H.M.S. Victory leading the line at Trafalgar 21st October 1805 No 2', 20th century oil on canvas, signed recto, titled verso, 55cm x 85.5cm, within a gilt composition frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
John Flint - 'Old Timers' (Trompe l'Oeil), oil on board, signed and dated 1985 recto, exhibition labels verso, 30.5cm x 25.5cm, within a stained wood frame. Note: this work was exhibited at The Royal Academy Summer Exhibition in 1985, catalogue no. 396.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A pair of Victorian silver and mother-of-pearl handled butter knives, Sheffield 1885, cased, together with a pair of silver butter knives, Sheffield 1894, cased.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 9ct gold, sapphire and diamond oval bangle, the front collet set with the circular cut sapphire between two diamonds in a twist design, London 1989, weight 6.5g, inside width 5.8cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A gold, half-pearl and red gem set ring, mounted with two cushion cut red gemstones alternating with three half-pearls, weight 3g, ring size approx O1/2, with a case.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A gold necklace in a curved curblink design, on a sprung hook shaped clasp, detailed '750', weight 45.5g, length 45.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 9ct gold and diamond ring, claw set with the principal circular cut diamond between diamond set shoulders, import mark London 1991, ring size approx S, a 9ct gold, sapphire and diamond cluster ring, a 9ct gold, amethyst and blue topaz five stone ring, a 9ct gold and opal triplet ring (one triplet lacking), total weight 10.4g, and a gold and diamond three stone ring, unmarked, weight 2g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A platinum, aquamarine and diamond ring, mounted with four square cut aquamarines alternating with three rows of three circular cut diamonds between diamond set shoulders, detailed 'Plat', weight 3.9g, ring size approx O.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
British School - Half Length Portrait of a Gentleman wearing a Black Jacket, White Waistcoat, Black Stock and a Bejewelled Brooch, 19th century oil on canvas, 65.5cm x 53cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Edward Wesson - Estuary Landscape, possibly Chichester Harbour, 20th century oil on board, signed, 19cm x 25cm, within a painted wood frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An 18ct gold, sapphire and diamond oval cluster ring, claw set with the oval cut sapphire within a surround of circular cut diamonds, weight 2.5g, ring size approx N1/2, a 9ct gold and diamond cluster ring and a 9ct gold and opalite three stone ring with colourless gem set shoulders, total weight 4.2g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Erté [Romain de Tirtoff] - 'Melisande' (Costume Designs from Pelléas and Mélisande), a pair of watercolours with gouache, both signed recto, titled and dated 1931/1932 to gallery label verso, each 29.5cm x 11cm, both within arched mounts and gilt frames.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
RÜCKRIEM, ULRICH1938 DüsseldorfTitel: Ohne Titel. Datierung: 1990. Technik: Syenit, gespalten, gesägt und partiell poliert. Maße: Ca. 166,5 x 67 x 65cm. Zu der Arbeit liegt ein signiertes Fotozertifikat des Künstlers vor.Die Skulptur kann nach Rücksprache am Niederrhein besichtigt werden.Provenienz: - Privatsammlung Nordrhein-Westfalen (direkt vom Künstler)- Zeitlos, schönes Werk in dem alle Rückriemschen Arbeitsprozesse vereint sind- Wechselspiel zwischen naturbelassener und polierter Oberfläche erzeugt ein interessantes Spannungsfeld- Rückriem zählt zu den bedeutenden Vertretern der deutschen Minimal ArtDie hier angebotene Skulptur ist ein eindrucksvolles Beispiel für die reduzierte Formensprache des Bildhauers Ulrich Rückriem. Die besondere Technik des Künstlers besteht seit den späten 1960er Jahren darin, Stein mit verschiedenen Techniken zu spalten und dann wieder in seiner ursprünglichen Form zusammenzusetzen. Aufgrund seiner künstlerisch reduzierten Ausarbeitung seiner Werke steht er ganz in der Tradition der ursprünglich in Amerika entstandenen Kunstströmung des Minimalismus. Seine Steinskulpturen sind auf einfache und geometrische Grundstrukturen reduziert und überzeugen durch ihre schematische Klarheit. Er geht planend und kontrolliert vor und organisiert seinen Werkprozess, so wie es ein Architekt bei einem Bauvorhaben tut. Das Material spielt hierbei eine übergeordnete Rolle. Am Anfang steht die Auswahl des Steinrohlings in einem Steinbruch. Hiernach fertigt er eine Skizze an, nach der ein Facharbeiter oder Steinmetz die Teilung vollzieht. Dies geschieht generell durch Spalten mit einem Hammer und Eisenkeilen oder Schneiden mit der Kreissäge. Die so entstandenen Versatzstücke werden schlussendlich zur ursprünglichen Form wieder zusammengefügt, sodass sich für den Betrachter eine unverwechselbare visuelle Wechselwirkung zwischen den Spuren der Teilung und der Ursprungsform ergibt. In der angebotenen Skulptur aus Syenit sind alle Rückriemschen Arbeitsprozesse wie das Spalten, Sägen und Polieren in einem Werk meisterlich vereint. Der Stein wurde vierfach gespalten. Zum einen lassen nur feine Linien die Spaltung des Steins erahnen. Zum anderen erzeugen die Einschlagstellen der Eisenkeile für eine serielle Struktur. Zum einen ist die Oberfläche grob und naturbelassen. Zum anderen sorgt die nach hinten versetzte polierte Partie für einen eigenständigen künstlerischen Ausdruck. Genau diese Gegensätze machen dieses zeitlos, schöne Einzelstück zu einem spannungsreichen Werk.Erläuterungen zum Katalog
AN EARLY 19TH CENTURY 13 BORE SINGLE BARREL PERCUSSION SHOTGUN BY PATRIC, LIVERPOOL with twist browned barrel signed 'Liverpool' to the top flat, engraved breech with platinum line inlays, blued signed lockplate engraved with foliage and pheasant, engraved dolphin hammer and blued engraved trigger guard on a figured walnut stock with chequered grip and forend, blued engraved butt plate121cm overall
GILBY PATENT, A RARE 19TH CENTURY DOUBLE PERCUSSION BREACH LOADING RIFLE having twist browned barrels with signed flat rib, tip-up hinged breech-blocks signed 'GILBY'S PATENT', blued sliding breach releasing levers and scroll engraved plates with matching hammers on a figured walnut half stock with chequered grip and forend and blued engraved butt plate 114cm overallIn very nice order with strong action and working correctly, the barrels look to have been re-browned to a very high standard, the rest of the metalwork retains its original finish, there is minor surface corrosion to the top of the sprung action, the stock has surface scratches consistent with age, no splits, losses or repairs. The bore is in good condition, Width from either side of the hammer screws is 6.4cm.
AN EARLY 18TH CENTURY FRENCH 13 BORE FLINTLOCK SPORTING GUN SIGNED THIOSSIERE FRERES with 50" octagonal to round browned sighted barrel with engraved breech and gold inlaid tang, signed blued lockplate with recessed tail engraved with a goose and boar, gold inlaid and engraved swan neck hammer, the pan and frizzen also gold inlaid, the brass side plate finely engraved with a hunting scene, highly figured walnut full stock finely carved behind the tang and to the ramrod aperture with silver inlay surrounding the engraved brass butt plate, brass engraved trigger guard surrounded by raised carved edge, original steel ramrod167cm overall
THOMAS BAKER, FLEET STREET, LONDON. A MID 19TH CENTURY 13 BORE BIG GAME PERCUSSION RIFLE with original browned twist octagonal barrel signed in full along the top flat behind the folding sights, case-hardened border engraved tang decorated with foliate scrollwork, signed flat scroll engraved lockplate and hammer, walnut half-stock with blued border engraved steel mounts decorated with scrolling foliage to the trigger-guard and buttcap, hinged circular border engraved patch-box cover decorated with a tiger in a landscape, vacant oval silver escutcheon, wood ramrod with brass tip124cm overall
A 19TH CENTURY FRANK WESSON BREECH-LOADING TWO-TRIGGER RIMFIRE RIFLE having a blued octagonal barrel with folding sights signed to the top flat, cartridge extraction lever to the side, blued action and triggers on figured walnut stock - SECTION 5896cm overallIn very good original condition, some surface scratched to the stock, has nice colour and patina, no damage to the barrel, original blueing to the hammer and triggers, some minor discolouration to one side of the plate below the trigger, no pitting. We can pack and post in-house.
EMMA MACDERMOTT : A superb large patinated bronze figure of ARKLE AND PAT TAAFE; mounted on a polished granite base, incised marks to the bronze base, " EMcD 2013" and "11/27", also inscribed "For Andrew Clowes Who Knew Him". Andrew Clowes was one of the Trustees of the Anne, Duchess of Westminster Charities. On the 57th Anniversary of the birth of Arkle, Emma McDermott unveiled her life size Bronze of Arkle, IN Ashbourne, County Meath. She also produced an edition of 27 quarter life size bronzes, representing his 27 wins, of which this is number 11. Number 2 of the edition was presented to Her Majesty The Queen Elizabeth II (now the Late Queen Elizabeth II), on Behalf of the People of Ireland. Height 72cm x 70cm W (number 3 has recently sold in ireland for hammer price 6000euros)
Regency mahogany scissor action extending dining table, with leaves, . Fully extended: approx 280cm fully extended. X 123cm Wide x 73cm High. Seats 10/12 comfortably .functional. Top surface could do with a polish and some small area of damage/restoration needed on one hinge/underside and one castor needs re-attaching on leg - see photos . PROVENANCE: from local Oxfordshire farmhouse clearance, (bought Christies Scotland 27th November 1997, lot number 819. Hammer price £6,500)
A George I gilt gesso side table1720-1726, possibly by John BelchierThe top with an ovolo moulded edge and re-entrant front angles, decorated with shallow-relief strapwork decoration comprising a central rosette within a shaped and scrolled cartouche, the cartouche border interspersed with lozenge medallions, encompassed by scrolled foliage and bellflower pendants, above an acanthus and scallop shell ogee shaped frieze, over an everted apron centred by a swagged acanthus spray within a scrolled foliate cartouche, on griffin bust, acanthus, bellflower pendant and rosette clasped scroll eared square section cabriole legs, terminating in shell wrapped feet, probably very slightly reduced in height, 108cm wide x 56cm deep x 70.5cm high, (42 1/2in wide x 22in deep x 27 1/2in high)Footnotes:An almost identical gilt gesso side table to the offered lot is located in the Second Best Bedchamber at Erddig, a large historic house near Wrexham in Wales. It is first documented in a 1726 inventory undertaken at Erddig, and consequently is believed to date from the period 1720-1726. This closely comparable George I side table is illustrated and analysed in A. Bowett, Early Georgian Furniture, 1715-1740, 2009, Woodbridge, fig.'s 5.19 & 5.21, pp.'s 210-211.It is interesting to note that a silvered table of related form, size and proportions was supplied by the cabinet maker John Belchier for the Withdrawing Room at Erddig in 1726, also featuring in Ibid, fig. 5.20, pp.'s 210-211. According to what is recorded in Belchier's bill, this silvered piece of furniture cost John Meller £14 at that time. And the glass top is even engraved and painted with the Arms of the Meller family who then resided at Erddig.Although both of these examples have a number of shared characteristics including distinctive punched grounds, elegant cabriole legs and similar shallow-relief decoration, there are however evident variations as well. The two tops are different whilst the gilt one at Erddig, as with the present model, has an ogee frieze whereas a cavetto one appears on the silvered table. Arguably the latter, despite its beautiful swags running between the front legs and apron (absent on the others), does not incorporate some of the finer details such as the more pronounced and confidently carved scrolls and shallow griffin busts featuring to the tops of the legs on both the offered table and the gilt one at Erddig. In addition, a white bole is evident underneath the surfaces of the silvered table, in place of the dark red bole which was clearly used for the others.Consequently, it seems possible, but definitely by no means certain, that John Belchier was responsible for executing both of the aforementioned upon behalf of John Meller at Erddig. Thus, by extension the same uncertainty likewise applies to the current example too. Regrettably, in the absence of any relevant paperwork, it appears likely that we may never definitively know who made either the Second Best Bedchamber version or indeed the offered version. Unfortunately, this equivocation is only intensified by the fact that Meller also purchased furniture from other cabinet makers like John Pardoe and John Gumley at approximately the same time.At Erddig, pairs of marble topped tables can be found in rooms such as the Hall and Salone. This fact suggests that the gilt Second Best Bedchamber model was perhaps also one of a pair that was commissioned by Meller, and if this was indeed the case then it would mean that the present lot was possibly originally housed alongside its companion in the revered Welsh historic home. But to be clear this is just one of a number of various postulations concerning such furniture.To conclude, Adam Bowett asserts that: 'the design of the Erddig tables is typical of the 'claw' cabriole-leg style which superseded pillar legs from circa 1715 onwards'. He also notes that the gilt model at Erddig had a protective leather cover or case which was standard practice for such tables of this type and period. It is thus a fair assumption that the offered one also had this same type of covering at some point.A further related example sold Christie's, London, 9 December 2010, The Gothick Pavilion - Byron to Beaton, lot 33.LiteratureA. Bowett, Early Georgian Furniture, 1715-1740, 2009, Woodbridge.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
After Pierre Reymond (French, c.1513-after 1584): A 19th century Limoges style grisaille and coloured enamel oval platter depicting Abraham Rejecting the Goods of the King of SodomBy Samson et Cie, ParisThe central reserve depicting Abraham kneeling before the barefoot king of Sodom resplendent in his armour, the king's right arm raised, his armies to the right, the immediate background with the palace entrance to the left and wooded vegetation with an undulating stream flowing from a far townscape to the horizon, the bottom right with a faint gilt 'C-S' monogram for Samson, set within an interlaced gilt border, the outer rim with an elaborate border depicting mythical winged and cloven footed beasts, chimera, shells, birds, figural terms, caparisoned elephants and chariots all united by foliate scrolls, the reverse with a figure of Hercules within a canopied tent with laurel fronds, vases, snails, winged grotesques and a central mask-head within drapery hung pendant strapwork, the outer rim border with fine gilt scrolls, 48.8cm wide, 38.5cm deep, 6.7cm high overallFootnotes:A comparable Limoges enamel platter by Pierre Reymond, dating from circa 1577, was formerly in the collections of both J. Pierpoint Morgan and William Randolf Hearst but is now in the permanent collection of Los Angeles County Museum of Art. This platter features an almost identical subject and border but lacks the two brownish streams to the landscape which feature on the present lot.In the story of Sodom and Abraham from the book of Genesis, chapter 14, the King of Sodom comes out to meet Abraham and orders him to 'Give me the people; keep the goods.' To this Abraham responds: 'I have raised my hand to the Lord, God most High and have taken an oath that I will accept nothing belonging to you, not even a thread or the thong of a sandal, so that you will never be able to say, 'I made Abraham rich, I will take nothing but what the young men have eaten, and the share of the men who went with me.'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
A Limoges grisaille and gilt enamel plaque depicting Neptune calming the storm, the scene derived from an early engraving of 'Quos Ego, Neptune calming the storm' and further scenes from Virgil's 'Aeneid' by Marcantonio Raimondi (Italian, c.1480-1534) c.1515-16,the enamel probably mid 16th century and possibly attributable to Jean Pénicaud II (French, fl. circa 1515-1588)The central circular plaque depicting the bearded nude sea god holding his trident aloft and riding in a scallop shell chariot pulled by four hippocampi amidst tempestuous waves, the four angry winds blowing above, two figures in distress within the foaming sea to the foreground, shipwrecks to the background, the narrow black border bearing a LL gilt monogram, set within a reeded gilt brass circular inner frame within four black and gilt enamel corner plaques painted with scrolling ribbon and foliate trophies, the outer border with a confirming square reeded frame united by flowerhead button mounts, mounted on a stained wood backing, the rear of the central circular plaque with painted numbers in red 237/27 and later 20th century applied paper label with typed inscription LIMOGE EARLY 16TH CENTURY/ PAINTED IN GRISAILLE/ REPRESENTING NEPTUNE, MADE BY LEONARD LIMOUSIN, SIGNED LL/ AFTER AN ENGRAVING BY MARC ANTON/ FROM COLLECTION ALPHONESE DE ROTCHILD {sic}/FORMERLY NATHAN ROTHCHILD{sic}, VIENNA, the plaque 14.1cm diameter, the frame 23cm x 23cmFootnotes:ProvenanceBy repute possibly originally from the collections of Mayer Alphonse James Rothschild (French, 1827-1905) and formerly Nathaniel Meyer von Rothschild (Austrian, 1836-1905). Collection of Sir Michael and Lady Oppenheimer DD (3rd Baronet, British, 1924-2020), Jersey. Thence by family descent. Sir Michael Oppenheimer's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire which was the Harvey Baronet's main family seat from 1788 until 1945.Sir Michael's paternal family wealth was derived from mining interests in South Africa and his father Bernard Oppenheimer, as Chairman of the South African Diamond Corporation, received a baronetcy from George V in 1921 for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The Oppenheimer family was involved with the prestigious De Beers brand over the subsequent decades of the 20th century and Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Although the present lot bears the initials 'LL', which might prima facie suggest that the plaque was attributable to the hand of the famous enameller Leonard Limosin {also known as Limousin} (French, c.1505-c.1577), this is unlikely to be its maker. Limosin is thought to have entered the service of Francis I as a painter and varlet de chambre in 1530. He was definitely known to have been working at the court by 1536 and he was subsequently appointed Valet de Chambre and Emailleur du Roi to Henry II in 1548 where he executed for both monarchs a series of portraits including several plaques depicting Diane de Poitiers in various characters, together with plates, vases, ewers, cups and other decorative works for the royal palaces. These works were produced in jewel-like colours and also in grisaille on a black or blue ground.However, disregarding the 'LL' monogram, which may possibly have been spuriously added at a later date, an attribution to Jean Pénicaud II seems more readily plausible given that he is known to have copied Marcantonio Raymond's Quos Ego print and a comparable of this known subject attributed to him is in the British Museum's Waddesdon Bequest Inv. WB.21. Similarly, an oval plaque depicting Jupiter in the Louvre Museum, Paris, Inv. OA951 is also attributed to Jean Pénicaud II in which the pose of Jupiter is very similar to the figure of Neptune in the current lot. Further comparables to the painting evident on the offered example can be made between the 'Combat de Cavalier' plaque also in the Louvre, Inv. OA 965 and its companion 'Chasse au Lion', Inv. OA 964. Although these plaques are actually attributed to Jean Pénicaud III and their depictions are perhaps less accomplished than those on the present lot. Largely executed in grisaille, a technique in which dark enamel shows through varying thicknesses of white enamel to create tones varying from white to dark grey, the colouring similarly suggests that it may have been manufactured in the enamelling workshop of the Pénicaud family in Limoges, most likely by the skilled master enameller Jean Pénicaud II or perhaps (although less likely) Jean Pénicaud III who was probably his son. It is possible that this plaque was once in the collection of Mayer Alphonse James Rothschild (French, 1827-1905) given the printed label to the rear. A successful financier and member of the famous banking firm, he was also an art collector, vineyard owner, philanthropist and racehorse owner/breeder. Over his lifetime, Alphonse de Rothschild put together a massive collection of art works and was an avid collector of the Dutch Masters and Islamic works of art. In 1885 he was made a member of the Académie des Beaux-Arts and subsequently he donated and bequeathed approximately 2,000 pieces from his collection to many different museums.Additionally, it is also possible that the plaque, prior to being in the collection of Mayer Alphonse James Rothchild was formerly in the collection of Nathaniel Meyer von Rothschild (Austrian, 1836-1905), art collector and patron.As the eldest male of an Austrian banking dynasty, Nathaniel had been expected to take over the running of the family business. However, he fell out of favour with his father who considered him extravagant and financially irresponsible, so he then spent his remaining adult life as a philanthropist, socialite and aesthete who built and purchased a number of palace-like residences to house his collections. These included the Palais Nathaniel Rothschild in Vienna-Wieden, Enzesfeld Castle purchased from the Counts of Schönburg-Hartenstein and Hinterleiten Palace in Reichenau an der Rax which was close to the Villa Wartholz owned by the Habsburg Archduke Karl Ludwig of Austria. On his father's death in 1874, Nathaniel and his brother Ferdinand (1839–1898), owner of Waddesdon Manor, inherited most of the family's property and art collection.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
A striking mythological, military Flemish tapestryLate 16th/early 17th centuryThe main field depicting a lively ambush scene, possibly the story of Elymian (Western Sicilians) attacking the Greek camp which was beseiging Segesta in 397BC, the unwitting camp emerging from tents and sitting at tables as their armed attackers encircle them, a fallen soldier to the immediate foreground as his opponent spears him in the chest, a citadel to the upper right hand and a starry skyscape to the upper left, some detachment to lower edge and later reduced, 397cm x 283cmThis 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
An Italian carved white marble figural frieze depicting the Battle of the Centaurs and Lapiths After the antique, probably 18th/19th century and possibly originally forming part of a sarcophagusThe Greek warriors all depicted nude with flowing capes and bearing arms, the centaurs with flowing locks and bearded, the scene flanked to one side with two distressed female figures, 110cm long, 40cm wideFootnotes:The sculpted decoration of the Parthenon, which the present lot is derived from, originally included ninety-two metopes showing scenes of mythical battles. To the south flank of the temple was a series of friezes featuring scenes depicting human Lapiths in deadly combat with Centaurs. The Lapiths, a neighbouring Greek tribe, are shown making the mistake of giving the Centaurs wine at the marriage feast of their king, Pirithous. The Centaurs are then depicted attempting to rape the women, with their leader Eurytion trying to carry off the bride. The ensuing battle is then shown, with the Lapiths ultimately victorious.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
ATTRIBUTED TO CLAUDE MICHEL, CALLED CLODION (FRENCH, 1738-1814) OR PERHAPS JOSEPH CHARLES MARIN (FRENCH, 1759-1834): A TERRACOTTA BUST OF A BACCANTECirca 1800The young female with downcast eyes, her curling hair adorned with a fruiting vine wreath, her head turned slightly to dexter, her right arm adorned with an amulet and her loose drapery exposing her right breast, supported on a swept and beaded gilt bronze circular socle and raised on a 'bleu turquin' marble dwarf plain column pedestal with shallow stepped circular and square gilt bronze base, 32cm high overallFootnotes:ProvenanceThe collection of Sir Michael and Lady Oppenheimer DD (3rd Baronet, British, 1924-2020), Jersey, thence by family descent.Sir Michael Oppenheimer's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire which was the Harvey Baronet's main family seat from 1788 until 1945.Sir Michael's paternal family wealth was derived from mining interests in South Africa and his father Bernard Oppenheimer, as Chairman of the South African Diamond Corporation, received a baronetcy from George V in 1921 for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The Oppenheimer family was involved with the prestigious De Beers brand over the subsequent decades of the 20th century and Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Claude Michel, called Clodion, was perhaps one of the most celebrated European sculptors of the 18th century. Born in Nancy in northeast France, he was a contemporary of Houdon and Fragonard and in his teenage years he travelled to Paris to enrol in the studio of his uncle Lambert-Sigisbert Adam's sculptural studio working on competitions pieces for the Academy. He subsequently enrolled as a pupil at the studio of Jean Baptiste Pigalle (French, 1714-1785) which fortuitously enabled him to win the prestigious Prix de Rome. Leaving Paris in 1762 to travel to Rome, Clodion spent nine years refining his craft and studying the works of the classical world and antiquity and was undoubtedly influenced by the works of his compatriot Poussin. He also importantly acquired several high-profile clients and patrons including Catherine the Great of Russia and the Duc de la Rochefoucauld. Clodion returned to Paris in 1771 upon the request of the Marquis de Marigny, Directeur des Batiments du Roi and established a studio in an area of the city where the Place de la Concorde is now located. He quickly achieved great success and was awarded several important, large-scale commissions. Despite interest in his larger works, it is however his intimate terracotta groups depicting nymphs, satyrs and cherubs such as in the offered lot which perhaps define Clodion's importance as one of the most famous sculptors of the 18th century. These innovative works, often executed in terracotta in a highly recognisable style were heavily influenced by antiquity and his Bacchanalian subjects were defined by incredibly fine modelling and a meticulous attention to detail.Many of Clodion's terracottas are not dated and many were also left unsigned. The current lot depicts a priestess or female follower of the cult of Bacchus typical of Clodion's output in the late 18th and early 19th century. The Bacchante characteristically wears a wreath of finely modelled fruiting vines in her flowing hair, typically celebrating the themes of Bacchus, the god of wine and fertility. The subject, like much of Clodion's work in terracotta reveals the sculptor's fundamental influences - that of classical and antique sculpture which he studied in Rome alongside the work of his fellow compatriot Poussin. Furthermore, the composition of the bust is stylistically very much in the manner of the sculptor, showing the animated character of the sitter including the detail to the curls and locks of her hair, together with individually tooled bunches of grapes.Joseph Charles Marin was a student of Claude Michel and made several attempts to win the Grand Prix de Sculpture before the French Revolution, only winning it in 1801 with a bas-relief of Caius Gracchus leaving his wife Licinia.Although Marin was a pupil of the sculptor Joseph Chinard (French, 1756-1813), Clodion was perhaps a much stronger influence on Marin's early style in the late 18th century although he subsequently went on to adopt a more austere and severe style in the manner of the later neo-classical sculptors.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
A third quarter 18th century Italian tortoiseshell, mother-of-pearl inset and gold inlaid piqué snuff boxNeapolitan, circa 1760Of arc en arbelette ended rectangular form, the hinged lid depicting a watery scene with Neptune standing on his scallop shell chariot drawn by a pair of hippocampi before a goddess seated on rockwork, probably Salacia, islands with ruins and building to the background, within a moulded rim with waved border, 3cm high, 10cm wide, 7cm deepThis lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A George II giltwood and gilt gesso mirrorCirca 1730The rectangular bevelled plate within a gadroon moulded slip encompassed by a foliate carved frame with projecting upper angles, flanked by tasselled cord-tied drapery, below a shallow-relief scrolled acanthus frieze centred with a scallop shell, the ovolo moulded egg-and-dart cornice surmounted by a swan neck pediment with berried foliate-issuing flowerhead terminals, flanking a central bellflower pendant within a scrolled cartouche cresting, the shaped apron carved with high and low-relief acanthus, stiff-leaves, flowerheads and stylised foliage centred by a Ceres mask wearing a feathered and pearled headdress, the apron probably originally with brass candle arm/girandole attachments, 140cm high x 71cm wide.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
An Italian carved white marble figural relief depicting five of the Labours of Hercules In the antique taste, probably late 16th/17th centuryIncluding the Nemean Lion, the Lernaean Hydra, the Ceryneian Hind, the Erymanthian Boar and the Augean stables, the figures set within arcaded architectural arches with alternating mask heads and figural busts, 180cm long, 55cm wide and 8cm deepFootnotes:ProvenanceArt Antica FlorenceThis 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
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