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Click here to subscribeA Chinese lacquered mandarin fan, 19th century, the leaf painted with noble figures, each with applied painted ivory face, the reverse painted with a riverside trading post with figures and boats, the sticks painted in gilt with figures in a garden 49cm open, 26.5cm longCondition report: The guards each have a very fine hairline crack to their shoulders.The sticks seem OKThe leaf is split in the middle.
A Chinese telescopic lacquered Mandarin fan, Canton, mid 19th century, both sides of the leaf painted with noble figures with attendants, each with applied painted ivory heads, the lacquered guards each painted in gilt with a figure of a boy, 41cm wide, 27.5cm long extended, 22cm long when closed
An Eastern Kard and scabbard, The ivory handle mounted with a niello worked ricasso, pommel and fore-end and well-marked wootz steel single-edged blade. With a simple gilt brocaded fabric-covered scabbard. 34 cm long overall. Together with An Eastern damascene worked Kard and conforming wootz steel case with hinged cover. 35.5 cm
A Louis XV style carved and painted Duchess Brisee, late 19th century. With decorative ivory damask upholstery. On cabriole supports. 82 cm wide x 189 cm long 85 cm overall height, 40 cm height to the seat.Condition report: Generally good order with age-related marks to frameThe rear hoops of the frames show some slight natural gaps due to shrinkage but the frames are secure.
A Louis XV style carved wood and gilt gesso chaise longue with arched cresting with floral mantle above swept and moulded arms and ivory Damask stuff over upholstery. Supported by shaped squat cabriole supports. 76 cm wide x 181 cm overall length x 91 cm high, 55 cm height to the seat.Private collectionCondition report: Good structural orderLoose squab is damaged
Attributed to Nicholas Sageot (1666-1731) an important red Boule and engraved brass contre partie marquetry bureau Mazarin, Louis XIV late 17th early 18th century. Decorated with whimsical scenes in the style of Jean Berain with sphinx and other fantastic creatures, monkies and a colourful figure below a lambrequin canopy inlaid with mother of pearl, stained ivory, hardstone and copper foil. Fitted a central kneehole with three shaped drawers flanked on each side by three bow-fronted pedestal drawers and canted carcass. Supported on similarly inlaid Vitruvian or "S" scroll legs united by shaped under stretchers and gilt turned feet. 148 cm long x 77.5 cm deep x 86 cm overall heightProvenance: Lot 24, Sotheby’s Ariane Dandois sale, New York, 25 October 2007.Footnote: Nicolas Sageot (1666-1731), received Master 1706: He was born in Samaize-les Bains and appears to have become active around 1690 and is first recorded as working in Grande rue du Faubourg-Saint-Antoine in 1698 where, before being accepted by the cabinet-makers guild, he had worked as an ouvrier libre. He married, in 1711, Marie Brigitte Roussel, the daughter of the ébéniste Jacques Roussel and his workshop appeared to prosper until around 1720, when he stopped working and sold his stock. His production seems to have principally consisted of important armoires, commodes and bureaux. He entered into a commercial arrangement with Léonard Prieur, `Marchand Mercier Grossier joaillier Priviligié suivant la Cour', on 26th July 1720. As a result of this, he sold furniture and various materials to him for 16000 livres; the armoires, priced from 400 to 1000 livres were the most expensive pieces (see Grand op. cit.,). Upon the death of his wife, in 1729, the inventory of their workshop records an important stock of brass and tortoiseshell.For similar examples of bureaus attributed to Nicholas Sageot see lot 810, Lempertz, sale 17/05 2019 (sale 1131)Condition report: Please note this lot is 307 The top has some old tortoiseshell repairs in the form of infilled red lead shellac also some signs of old repairs to the tortoiseshell at the borders where small pieces have come away from the ground and have been glued back in position The condition is generally good but shows signs of old polish/ varnish applied to the interior linings of the drawers.All of the drawers are lined in French walnut and the six pedestal and top frieze drawers are veneered on brown oak the two recessed drawers below the central frieze drawer are veneered on a contemporary pine ground. No key is present and the right-hand top drawer is locked shut.To sum up, the desk is in good order both structurally and cosmetically but could do with a revision of some of the old cosmetic restoration to bring up to current standards of conservation but the existing work could be improved with a little workViewing of this collection is available by prior appointmentJRL 24/03/2022
An Eastern silk on silk carpet with ivory ground 20th century, probably Indian, with central star-shaped Medalion and corresponding corners within floral and urn decorated borders, fringed at both ends. 306 cm long x 195 cm wide.Private collectionCondition report: Some slight marks, but no major damage evident
Edward Ladell (British, 1821-1886)Still lives of fruit with a roemer and an ivory casket on a marble ledge a pair, both signed with monogram (lower left)oil on canvaseach 35.6 x 30.7cm (14 x 12in). (2)Footnotes:ProvenanceWith Mandell's Gallery, Norwich.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
Transitional Romanesque-Gothic Christ, 13th-14th century.Carved wood, remains of polychromy.Measurements: 46.5 x 40 x 5 cm. (figure); 49.5 x 42 cm.(total).Christ with three nails, with the head leaning on the right arm and the eyelids closed. As was usual in Romanesque carving, the anatomy lacks naturalistic pretensions. Despite the fact that in terms of period we could be looking at a Gothic piece, it remains faithful to Romanesque solutions: the body is resolved in a synthetic manner, abstracting from the elemental, magnifying the hands and heads as the parts that are mainly intended to be shown. The cloth of purity is still of considerable length, but in the following centuries it will be shortened, leaving the thighs visible. The folds are marked with vertical incisions, in accordance with the medieval solutions of Castilian carvings.During the Romanesque period, sculpture was most often conceived as part of the architecture, as in the Gothic period. However, there were also examples of free-standing sculpture, the most frequent themes being the Crucifixion and the Virgin and Child (the pantheon of saints was still small). There were two models, the "colobium" and the "perizonium". The first is a Christ nailed to the cross, still alive, with a talar robe and four nails. It is a rare model, as it was only made in certain European territories (in Spain, only in the Crown of Aragon, especially in Catalonia, but always coexisting with the second model). The "perizonium" is also a Christ on the cross with four nails, dead or alive, but dressed in a cloth of purity. The piece presented here belongs to this second group. During the Romanesque period, four-nailed Christs were the norm, but this one has only three nails, a characteristic possibly due to the influence of external sources. The perizonium was the model that persisted, as the "colobium" was only made during the Romanesque period. They were also often polychrome pieces, whether worked in wood, metal, ivory or stone. This type of piece was designed to decorate the interiors of churches, mainly the chapel area, as they were not yet decorated with canvases.
Romanesque Christ, 12th-13th century.Polychrome wood. Support on wooden board upholstered in red.Size: 17.5 x 15.5 x 3 cm (Christ); 29 x 22.5 cm (panel).Round sculpture representing Christ crucified while still alive, with the wound in his side, his head fallen on his chest and his eyes open. Formally, the anatomy of Christ stands out: as was usual in the Romanesque, it lacks naturalistic pretensions; his anatomy is extremely synthetic, reduced to the elementary, representing concise elements detailed by incision, such as the hair or the cloth of purity.During the Romanesque period, sculpture was most often conceived as part of the architecture, as in the Gothic period. However, there were also examples of free-standing sculpture, the most common themes being the Crucified Christ and the Virgin and Child (the pantheon of saints was still small). There were two models, the "colobium" and the "perizonium". The first is a Christ nailed to the cross, still alive, with a talar robe and four nails. It is a rare model, as it was only made in certain European territories (in Spain, only in the Crown of Aragon, especially in Catalonia, but always coexisting with the second model). The "perizonium" is also a Christ on the cross with four nails, dead or alive, but dressed in a cloth of purity. The piece presented here belongs to this second group. During the Romanesque period, four-nailed Christs were the norm, but this one has only three nails, a characteristic possibly due to the influence of external sources. The perizonium was the model that persisted, as the "colobium" was only made during the Romanesque period. They were also often polychrome pieces, whether worked in wood, metal, ivory or stone. Such pieces were intended to decorate the interiors of churches, mainly the chapel area, as they were not yet decorated with canvases.Romanesque sculpture pursued mainly didactic purposes, and its images were conceived as a visual narrative, which should always be clearly legible. At this time, prior to the search for naturalism that would emerge during the Gothic period, the language is purely conceptual, and functions on the basis of symbols and conventions accepted by all. In this sense, anatomy is synthetic, representative rather than a reflection of the natural, as is the treatment of the face.
Romanesque Christ, Spain, 13th century.Copper.Measurements: 17,5 x 13,5 cm .Christ crucified with three nails, the head is crowned and fallen on the chest with open eyes. Formally, the anatomy of Christ stands out: as was usual in the Romanesque, it lacks naturalistic pretensions; its anatomy is extremely synthetic, reduced to the elementary, representing concise elements detailed by means of incision, such as the ribs or the cloth of purity.During the Romanesque period, sculpture was most often conceived as part of the architecture, as in the Gothic period. However, there were also examples of free-standing sculpture, the most frequent themes being the Crucified Christ and the Virgin and Child (the pantheon of saints was still small). There were two models, the "colobium" and the "perizonium". The first is a Christ nailed to the cross, still alive, with a talar robe and four nails. It is a rare model, as it was only made in certain European territories (in Spain, only in the Crown of Aragon, especially in Catalonia, but always coexisting with the second model). The "perizonium" is also a Christ on the cross with four nails, dead or alive, but dressed in a cloth of purity. The piece presented here belongs to this second group. During the Romanesque period, four-nailed Christs were the norm, but this one has only three nails, a characteristic possibly due to the influence of external sources. The perizonium was the model that persisted, as the "colobium" was only made during the Romanesque period. They were also often polychrome pieces, whether worked in wood, metal, ivory or stone. Such pieces were intended to decorate the interiors of churches, mainly the chapel area, as they were not yet decorated with canvases.Romanesque sculpture pursued mainly didactic purposes, and its images were conceived as a visual narrative, which should always be clearly legible. At this time, prior to the search for naturalism that would emerge during the Gothic period, the language is purely conceptual, and functions on the basis of symbols and conventions accepted by all. In this sense, anatomy is synthetic, representative rather than a reflection of the natural, as is the treatment of the face.
Romanesque Christ. Spain, 12th-13th century.Bronze.Measurements: 16,5 x 14 cm .Round sculpture with a hollow at the back, which represents Christ crucified, with the wound in his side, his head fallen on his chest and his eyes open. Formally, the anatomy of Christ stands out: as was usual in the Romanesque style, it lacks naturalistic pretensions; its anatomy is extremely synthetic, reduced to the elementary, representing concise elements detailed by incision, such as the hair or the cloth of purity.During the Romanesque period, sculpture was most often conceived as part of the architecture, as in the Gothic period. However, there were also examples of free-standing sculpture, the most common themes being the Crucified Christ and the Virgin and Child (the pantheon of saints was still small). There were two models, the "colobium" and the "perizonium". The first is a Christ nailed to the cross, still alive, with a talar robe and four nails. It is a rare model, as it was only made in certain European territories (in Spain, only in the Crown of Aragon, especially in Catalonia, but always coexisting with the second model). The "perizonium" is also a Christ on the cross with four nails, dead or alive, but dressed in a cloth of purity. The piece presented here belongs to this second group. During the Romanesque period, four-nailed Christs were the norm, but this one has only three nails, a characteristic possibly due to the influence of external sources. The perizonium was the model that persisted, as the "colobium" was only made during the Romanesque period. They were also often polychrome pieces, whether worked in wood, metal, ivory or stone. Such pieces were intended to decorate the interiors of churches, mainly the chapel area, as they were not yet decorated with canvases.Romanesque sculpture pursued mainly didactic aims, and its images were conceived as a visual narrative, which should always be clearly legible. At this time, prior to the search for naturalism that would emerge during the Gothic period, the language is purely conceptual, and functions on the basis of symbols and conventions accepted by all. In this sense, anatomy is synthetic, representative rather than a reflection of the natural, as is the treatment of the face.
Y A REGENCY MAHOGANY SIDE TABLECIRCA 1820With ivory handles to the two cedar lined drawers, opposing false drawers77.5cm high, 55cm wide, 42cm deepPlease note: the handles of this item are ivory and therefore this lot should be marked for CITES and may be subject to CITES regulations. Condition Report: There are some marks, scratches, stains, chips, splits and abrasions consistent with age and use, some to the extremities and edges.There are some losses including a section of crossbanded veneer to the edge of the top and some small divider sections to the drawer interior.There are two keys that operates the drawers.There are some splits to the sides and the drawer lining bases.Please refer to the additional images for a visual reference of condition. Condition Report Disclaimer
Y A VIZAGAPATAM IVORY BOXCIRCA 1780Engraved with pavilions and trees, the hinged top enclosing divisions9cm high, 31.5cm wide, 23cm deepFor related boxes engraved with comparable pavilions, fences and distinctive stylised two tier trees, see Christie's, London, Interiors - Style and Spirit, 1st April 2014, Lot 207 (£10,000), and Christie's, London, The English Collector, 3rd November 2011, Lot 157 (£9,375). See Jaffer, Amin; Furniture from British India and Ceylon, 2001 for related examples.
Y A GEORGE IV MAHOGANY DESK OR WRITING TABLEIN THE MANNER OF GILLOWS, CIRCA 1825Veneered to all sides, the front panel enclosing recesses and drawers, the frieze drawer with a writing slope and fittings125cm high, 110cm wide, 58cm deepSee Susan Stuart, Gillows of Lancaster and London 1730-1840, Volume I, 2008, Plate 6, for the design of this writing table, first published in the Lancaster firm's General Sketch Book 1810 and then reproduced in A C Loudon's Cottage, Farm and Villa Furniture published in 1833.A drawing by Gillows for a closely related 'secretaire-cabinet' or desk from 1818 is held in the Westminster City Archives. Please note: the handles of this item are ivory and therefore this lot should be marked for CITES and may be subject to CITES regulations.Condition Report: Marks, scratches and abrasions comensurate with age and useSome old repairs, some minor old losses. Old splits and chips. Some additional indented marks. There is a partial dark ring mark to the top surface. Careful polishing by a restorer could likely improve the appearance of this. Some of the pigeon holes to the interior bear old ink inscriptions (see images) probably of 19th century date. The leather insets with marks, abrasions and some discoloration. The main central leather panel with some untidiness and losses at the edges and some lifting (see images) Some staining to drawers interiors including some old ink stains(see images) The main writing drawer with evidence of a split to the floor of the drawer. (see image)Some fairly straightforward attention appears likely to be required (by a restorer) to the fitting/ fixture of the sliding top above the writing surface and the section of timber above it. None are damaged or broken but may need simple adjustment/ re-fixing in order to operate entirely satisfactorily. The drawer handles to the interior all appear to match and be original. They are generally in fair original condition. They are ivory. Lacking keys but the lock is open. The lock appears original. The desk/ writing table is finished very well on all sides so can be a free-standing piece of furniture if required. Please refer to all additional images for visual reference to condition. Condition Report Disclaimer
Y A SINHALESE EBONY AND SPECIMEN MARQUETRY OCCASIONAL TABLE AFTER DESIGNS BY THOMAS KING, CIRCA 1840-60Incorporating ivory, and white metal stringing74cm high, 60cm wide, 52cm deep Provenance: Private Collection, St. Peter Port, GuernseyThe design for these tables is taken from Thomas King's The Modern Style of Cabinet Work Exemplified, pl. 14, first published in 1829 (A. Jaffer, Furniture from British India and Ceylon, 2001, p.372), although the carved ornament is influenced by local Ceylonese tradition. Ceylonese models are distinguishable from their European counterparts by the introduction of a specimen wood top, decoration unique to the Galle district, and for the absence of a suspended pouch for needlework. Renowned for sophisticated craftsmanship, the inlaying of specimen woods from the Galle district was considered to surpass any specimen of English Tunbridge ware. Early references to these tables appear in the second quarter of the 18th century, but their popularity ensured that they continued to be made into the early 20th century. Such tables were made for British colonists in Ceylon and India as well as for export to England.A number of comparable tables with similar inlay of exotic woods and ivory are known, including one formerly at the Royal Commonwealth Society and another table which was on view at the Ceylon Court of the Paris Exhibition of 1855. A closely related table was sold Christie's, London, 31 October 2012, lot 257 (£8,750 including premium)For a further closely related table, see Christie's, South Kensington, Christie's Interiors - Style & Spirit, 1st April 2014, Lot 203 (£7,500). Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.The top has some sections split/opened up and some sections lifting so that, as you might expect, the top is not smooth flush flat. There are some areas lacking the finish (almost as if something like nail varnish removed has been on some irregular areas). Some replacement geometric veneers.There is a frieze drawer with robust ebony drawer lining sides, an exotic timber as the drawer lining base. There is an original brass lock with no key.The feet have some minor chips, with some opening to the joints of the legs.Please refer to the additional photographs as a visual reference of condition.The vendor acquired this table from a private collection in St Peter Port, Guernsey - this was a private acquisition, not in a documented house sale. Condition Report Disclaimer
Y A GEORGE IV ROSEWOOD DAVENPORTATTRIBUTED TO GILLOWS, CIRCA 1825With a pen drawer, slide and side drawers 90.5cm high, 50cm wide, 57cm deepA drawing by Gillows for this design of davenport, dated 1819, is held in the Westminster City Archives (ref: 344/100 folio 3003)Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. The tooled leather inset surface is possibly original and bears the expected wear and losses. One small ivory handle to interior drawers is loose. Some knocks to pierced gallery. No keys present, all locks are open. One drawer with lock plate lacking. Section of moulding at the top of one turned corner section is detached but present. The sliding top is slightly 'sticky' when moved. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A 19th Century Indo Persian horn and ivory hinged casket, of rectangular form, the raised lid and body decorated with fretwork panels with central shaped cartouche decorated with Indian goddess and sacred bull having ivory strapwork decoration 21.5cm wide x 16cm deep x 7cm high with some damages to fretwork and ivory together with a white metal tooth pick and a white metal and agate writing tool engraved A Holyoak
A boxed Norev 'Spot-On' 111/A1 Ford Thames Trader, in British Railways livery together with four other boxed Norev recreations of models from the 'Spot-On' range including 104 MGA in green, 105 Austin Healey Six metallic blue/cream, (5) 107 Jaguar XKSS in ivory and 108 Triumph TR3 in red. All of the Spot-On models recreated by Norev are limited editions of 1000 pieces and all of the models in this lot are VG/E boxed. (5)
A GEORGE III SILVER TEAPOTOf squat circular form, with partly fluted decoration, crest engraved, with beaded rims and fitted with an ivory handle and finial to to lid, London 1808, no maker's mark, gross weight 783gmsHinge to lid very wobbly. Finial and handle are probably replaced. Fittings to handle and pins have been released and reassembled.Dent to centre of bottom of the teapot. No maker's mark. There are lead solder repairs around the edge of the top of the bottom of the teapot.Otherwise generally a bit tired.
AN EARLY EDWARDIAN SILVER BREAKFAST DISHOf oval form, with a pivoting lid, oval drop-in liner, with fruiting vine decoration to the handles, the tapered fluted legs raised from paw feet, by Mappin & Webb, Sheffield 1901, length 32cm, height 21.5cm, crest and motto engraved, gross weight 2775 gmsCondition Report: We can confirm that the drop-in liner is silverSplit either side where the screw down pivot position is within the base. There is some distortion to the base.It is possible to unscrew and remove the ivory button which has a central threaded post.Staining inside the inner drop in dish, which does not fit snugly in to position.Otherwise would benefit from careful, professional cleaning.
A CHINESE CARVED IVORY AND FILIGREE BRACELETMounted with a row of six ivory panels carved and pierced with figures in garden settings, alternating with filigree links, on a snap clasp, length 19cm, gross weight 36 gms, with a fitted wooden case, the hinged lid carved with blossomCondition Report: The filigree has no markings and looks to be over-gilded. There is some damage to the connecting links of the filigree. Four of the ivory panels have small hair cracks to the backs. The ivory panels look to be in good condition. Personal viewing recommended. There is slight damage to the carving of the lid of the wooden box. Length of box, 23.3cm.
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