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Click here to subscribeVictorian silver repousse teapot, with bird finial over a floral scroll design with engraved initial panel, bird head spout and pierced scroll feet, Sheffield 1853, Roberts and Hall, 18 cm high, total weight 22.5 ozCondition Report: Ivory insulators cracked and discoloured, engraved initials to one panel, appears to be in good condition, requires cleaning
An Art Deco four piece tea set; Sheffield 1937 by Mappin and Webb.Rounded rectangular with elongated stepped pad feet; the teapot and hot water jug with ivory finials and reeded scroll handles; the sugar basin with angled side handles. 78.22 ozt. With original purchase receipt from Mappin and Webb.Condition report: This tea set is also in generally good condition.There are no dents, obvious scratches or repairs. The marks though clear have some signs of rubbing. It is pretty tarnished. Both the covers on the teapot and the hot water jug are very slightly lifted. The pin at the base of the hot water jug handle is slightly protruding. There are hairline cracks in all the ivory components.
Thomas Sautelle Roberts (1760-1826) "Cottage on a Riverbank, probably on the Blackwater River," watercolour, 39 cms h x 54 cms W (15½" x 21¼") (1) Although better-known for his views of castles and great houses, the Waterford-born artist Thomas Sautelle Roberts also had an eye for picturesque humbler dwellings, as in this view of a cottage by a river, with mountains rising in the distance. The setting is likely in Wicklow, with the Sugarloaf mountain rising in the distance. Under the patronage of Lord Hardwicke, first Viceroy under the Act of Union, an exhibition of Roberts?s paintings was held in 1802 in the former parliament building at College Green, Dublin. The views were mainly of Wicklow landscapes and included Military Road, Gold Mines River, A View of Powerscourt and A View of the Valley of Glencree. Interest in the county had been spurred by the discovery of gold in the late eighteenth century, and by the building of the Military Road?intended, as the name implied, to facilitate the movement of troops and quell rebellion. Although his Wicklow paintings formed part of a project of depicting scenes throughout Ireland, this remained unrealised. Roberts also painted views on the river Blackwater, a number of which were translated into aquatint prints, including Lismore Castle, a view showing the Tudor period building partly in ruins, before its rebuilding in the nineteenth century. Around 1795, he produced an aquatint of Dromana House, also on the Blackwater, showing a sailing boat drifting down the placid waters, with just the upper storey and roof of the house visible above the trees flourishing on the steep bank of the river. His not dissimilar rendering of Blackrock Castle, on the River Lee in Cork, was also published as an aquatint. In 1816 a book containing prints of Dublin street views, after originals by Roberts, was published. Born in Waterford city in 1760, Sautelle Roberts was the son of architect John Roberts and his wife Mary Susannah Sautelle. When his brother, the artist Thomas Roberts, died young in 1778, Roberts added his name to his own. Originally apprenticed to the architect Thomas Ivory, in 1777 Roberts enrolled in the figure drawing and landscape schools of the Dublin Society. Moving between London and Dublin, he commenced exhibiting at the Royal Academy in 1789, and eighteen years later was showing at the British Institution. From around 1799 he appears to have settled in Dublin where from 1800 onwards he exhibited with the Society of Artists of Ireland. Over the next decade, he showed over sixty works with the Society. In 1823 Roberts was a founder of the Royal Hibernian Academy, but died three years later at his home in Richmond St. Portobello. Dr. Peter Murray, 2022
GREENAWAY (KATE)Almanack for 1883-[1895], 1897, 1924-1929, a complete set with some variants and duplicates, together 51 vol., first editions, colour illustrations by Kate Greenaway, some spotting and browning, occasional finger soiling, various publisher's bindings, some bindings soiled and chipped, glassine on 1920s volumes chipped and torn [Schuster & Engen 3-22], 12mo & oblong 12mo, Routledge, Dent or Warne, [1882-1894], [1896] and [1923-1928] (51)Footnotes:Including: 1883 [Schuster & Engen 3.1a, 3.1d], 1884, 13 copies [4.2a, 2 copies; 4.2b, 5 copies; 4.2c, 6 copies]; 1885 [5.3a, 5.3c], 1886 [6.4a], 1887 [7.5a, 7.5b], 1888 [8.6b, contents loose and loss to front free endpaper, 8.6d WITH ORIGINAL MAILING WRAPPER], 1889 [9.7a, 2 copies; 9.7c WITH ORIGINAL MAILING WRAPPER, and another binding with no contents], 1890 [10.8a, 2 copies, one WITH ORIGINAL MAILING WRAPPER], 1891 [11.9a], 1892 [UNLISTED VARIANT in stiff white scalloped-edge paper covers, front cover with lily-of-the-valley design, tied in ivory ribbon, g.e.], 1893 [13.11a, 2 copies, one WITH ORIGINAL MAILING WRAPPER, the other contents loose, 13.11c, rubbed], 1894 [14.12a], 1895 [15.13a], 1897 [16.14a, 2 copies, one with diary filled in, 16.14b/c with green leatherette but J.M. Dent, filled in, corners lightly restored].This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
CARLO BUGATTI (Milan, Italy, 1856 - Molsheim, France, 1940).Coffee table, ca. 1890.In walnut wood, inlaid with pewter and bronze, bone, mother-of-pearl, copper and vellum.Inscribed: "Casati".It shows restoration on the surface, as well as some wear due to time and use.This piece is in Italy and is awaiting an export permit.Measurements: 78 cm x 60 cm octagon.The present table was designed by the artist and designer Carlo Bugatti for the legendary and very rich Marquise Luisa Casati Stampa (Milan, 1881-London, 1957). For Bugatti, producing works of design featuring the Marquise's surname was a great prestige for his career, as Luisa Casati was one of the great patrons of the 19th century, driven by the desire to become a work of art herself.As can be seen, the orientalist or "maroquinerie" style, very much in vogue in the first decade of the 1900s, enriches the entire piece.Through restrained craftsmanship and design, the Milanese artist succeeded in turning these decorative pieces into absolute luxury objects with a curiously exotic and colourful appearance.The forms used evoke the Moorish style, from the use of the horseshoe arch and legs simulating columns, to the ornamental work of geometric and naturalistic forms inlaid with pewter, copper and bone, highlighting the painting of a graceful stork on the surface.Carlo Bugatti showed his creative and artistic talents from an early age and was enrolled by his father at the Brera Academy, where he met the artist Giovanni Segantini, and subsequently attended the Ecole de Beax-Arts in Paris. Later, in the late 1970s, Bugatti worked for the cabinetmaker Mentasti, owner of the Piccolo Stabilimento di Lavorazione del Legno in Via San Marco, Milan.From 1888 onwards, there is evidence of a Bugatti workshop in Via Castelfidardo 6, Milan. In the same year, Carlo established himself as a cabinetmaker at the Italian Exhibition in London. His furniture is unique, using precious woods as well as ivory, copper, mother-of-pearl, camel and fallow deer hide. These creations were particularly appreciated and harmonised well with the exotic and Moorish taste typical of the time. As early as 1890, the famous cabinetmaker had opened a studio-workshop in Paris, where, at the Universal Exhibition of 1900, his furniture was awarded prizes marking the international triumph of Art Nouveau.Settling in Paris in 1903, he met the art dealer and founder Adrien A. Hèbrard (1865-1937), who persuaded him to devote himself to sculpture, commissioning objects and ornaments from him, including a fantastic bestiary which Hèbrard exhibited in his gallery in 1907. After leaving Paris in 1910, Bugatti moved to Pierrerfonds in the Oise, where he became mayor. The last years of his life were marked by dramatic events, such as the suicide of his son Rembrandt in 1916, the death of his daughter Deanice and finally that of his wife Therese. In 1935 he decided to move to Alsace, to Molsheim, where his son Ettore had opened the famous Bugatti car factory, and where he died in April 1940.
CARLO BUGATTI (Milan, Italy, 1856-1940, Molsheim, France).Cabinet, ca. 1900.In ebonised walnut wood, inlaid with pewter, copper and vellum.Signed.There are slight cracks at some angles, as well as wear due to time and use.This piece is in Italy and is awaiting an export permit.It has small cracks in the corners.Measurements: 80 x 80 x 100 cm.Important and rare cabinet made by the Italian artist and designer Carlo Bugatti in the early 1900s. Bugatti's most creative and exotic production was made at the request of a demanding clientele who loved the new taste of the turn of the century, and this piece is a faithful example of this.The curious structure of the present object shows a central body in the shape of a cross in which eight small doors are housed and which communicate with each other on the inside. The frame is supported by four points of support in the form of horseshoe arches which, in turn, culminate on three small columns. The upper part, meanwhile, is made up of another body in the shape of a cross, this time rotating, from which drawers emerge at each end.This piece of design is a clear example of the "Bugatti style", where the orientalist taste enriches the whole piece. From the small columns whose shafts are decorated with copper sheets embossed with natural motifs, to the arches, which feature subtle pewter birds, as well as the kufic motifs that accompany them.In addition, the goldsmith's work on the copper plates deserves special attention, as each of them contains a different ornamental treatment, both in the centres of the horseshoe arches and those that decorate the inside of each of the doors of the central body.Finally, the mobile part, which crowns the entire structure, is finely enriched by arcades that are always decorated by means of the handcrafted process of inlaying, from which birds, kufic script and vegetal elements continue to emerge.This cabinet represents one of the most exquisite and rare works of the Italian designer's production.Carlo Bugatti showed his creative and artistic talents from an early age and was enrolled by his father at the Brera Academy, where he met the artist Giovanni Segantini, and subsequently attended the Ecole de Beax-Arts in Paris. Later, in the late 1970s, Bugatti worked for the cabinetmaker Mentasti, owner of the Piccolo Stabilimento di Lavorazione del Legno in Via San Marco, Milan.From 1888 onwards, there is evidence of a Bugatti workshop in Via Castelfidardo 6, Milan. In the same year, Carlo established himself as a cabinetmaker at the Italian Exhibition in London. His furniture is unique, using precious woods as well as ivory, copper, mother-of-pearl, camel and fallow deer hide. These creations were particularly appreciated and harmonised well with the exotic and Moorish taste typical of the time. As early as 1890, the famous cabinetmaker had opened a studio-workshop in Paris, where, at the Universal Exhibition of 1900, his furniture was awarded prizes marking the international triumph of Art Nouveau.Settling in Paris in 1903, he met the art dealer and founder Adrien A. Hèbrard (1865-1937), who persuaded him to devote himself to sculpture, commissioning objects and ornaments from him, including a fantastic bestiary which Hèbrard exhibited in his gallery in 1907. After leaving Paris in 1910, Bugatti moved to Pierrerfonds in the Oise, where he became mayor. The last years of his life were marked by dramatic events, such as the suicide of his son Rembrandt in 1916, the death of his daughter Deanice and finally that of his wife Therese. In 1935 he decided to move to Alsace, to Molsheim, where his son Ettore had opened the famous Bugatti car factory, and where he died in April 1940.
An early 19th century Irish silver sifter spoon, with bright-cut decoration, maker's mark worn, Dublin 1805, six Georgian silver bright-cut tea spoons, a similar pair of sugar nips, two silver butter knives with ivory handles, four tea spoons, a pair of sugar nips, a mustard spoon, a pierced small circular dish, Birmingham 1912, and a Continental miniature sauce boat, import marks for David Bridge, London 1894, 9oz weighable. (qty)
New costume jewellery in gilt metal and warm neutral tones, a large bead necklace with red ceramics, painted wooden and straw covered beads, 80cm; another similar three strand 60cm necklace; six 150cm ropes of neutral coloured flat beads spaced by banded heart shaped spacers; two cream and gilt metal satin finish fringe necklaces; a twisted silk cord necklace with ceramic and glass beads to front; an Anat Collection bead necklace; six 45mm wide cream open ended bangles each with a cluster of seashells and a similar necklace; three chunky ivory coloured necklaces with three rows of 12mm mottled grey beads to each side, cord and hook fastener, 40cm.
A three tier jewellery box with vintage costume jewellery, paste brooches; Victorian style close belcher link chain; simulated pearls; paste buckle; faux tortoiseshell hair combs; pendants; beads; pair of Packer black metal bracelets on elastic; crystal necklace; faux ivory bracelet; two lockets on bar brooches etc.
An Early 19th Century Balkan Large Khanjar, the 32cm double edge curved steel blade with raised medial ridge to each side, with marine ivory hilt and leather scabbard set with a band of coiled metal chain links, 49cmCondition report: Black patching to blade. Scuffing and wear to the scabbard.
A 19th Century Indonesian Kris, with 33cm pamor steel blade, gilt metal filigree and copper banded mendak, the dark patinated scroll ivory hilt richly carved with a winged figure standing on the back of an elephant, a further figure on a horse, a bird perched with outspread wings and foliage, with copper scabbard, 45cmCondition report: Rust pitting to blade. Age cracks to the hilt. Small dents to the scabbard.
A Late 19th Century Nepalese Kukri, the 29cm curved steel blade with three narrow fullers to the back edge, with nickel bolster, ivory knopped grip and wood pommel, the silver scabbard pierced and embossed with foliage, inset with a foliate chased gold panel and blue velvet panels, 43cmCondition report: Small areas of black patching to the blade. Small dents to the silver scabbard.
A Pair of Mid-20th Century Baule Male and Female Diviner Figures, Ivory Coast, each standing naked on a shallow plinth base, with elaborate coiffure and scarifications to the face and torso, the male with long twisted beard, 64cm and 61cmCondition report: The male with a fine split through the left shoulder blade, the female with chips to both ears, hair tip, left thumb and right nipple, with repairs to both calves.
A Baule Yaure Portrait Mask, Ivory Coast, with double domed combed coiffure, oval face with split coffee bean eyes, slender nose and small mouth, with diapered collar, covered in a textured brown pigment, 36cm; a Dan Zakpai Fire Mask, Ivory Coast, with dished oval face, red cloth backed pierced circular eyes and open mouth with silver painted teeth, 26cm; a Dan Passport Mask, Ivory Coast, of red and brown painted wood, with pierced eyes and mouth, 19cm by 13cm (3)Condition report: 1 - split to upper and lower back.2 - Small chips to back edge.3 - Splits through upper and lower lips.
A 19th Century Belgian Percussion Pocket Pistol, the 7cm round turn-off steel barrel with Liege proof marks, numbered 2360 to the underside, with foliate engraved box lock and concealed trigger, with ivory bag butt, 16.5cmCondition report: Action works, holds at full and half cock. Fine pitting to metalwork. Age cracks to the ivory grip.
A Georgian gentleman's travelling vanity, comprising razors, manicure items, ivory curling tongs, mirror, and various silver topped bottles and pots, on pot lid by Solomon Royes, London, 1832 and some others by Archibald Douglas, London, 1835; all enclosed within a leather case, marked H. Rodrigues, 27cm x 17.6cm x 9.2cm
A pair of late 19th century French, Louis XVI style, gilded fauteuils (armchairs), relief moulded with flowers, foliage, beading and ribbon work, the shaped backs and bowed seats covered in an eau-de-Nil green and ivory silk damask, with fluted baluster shaped legs, some staining, some damage, needs re-covering, a pair (2)Condition report: Fabric stained, including one seat cushion stained and torn. Seat rail cover torn and worn, some seams opening. Frame minor chips and dents. One seat needs recovering.
Two German silver models of knights, import marks for Israel Freeman & Son, London 1959, each modelled in full decorative armour holding shields and weapons with carved resin faces and raised on canted rectangular bases, each approx 29cm high, total weight approx 46oz (2)Condition report: Hallmarks clear, in our opinion these are resin/ivory imitation-looks to be signs of moulding and no obvious growth lines that are seen in natural ivory, general wear and small dings, refer to images
A large heriz carpet, circa 1900, with central indigo and ivory medallion on a madder field575 x 367cmProvenance:Crepping Hall, SuffolkCondition report: All over low pile especially around the central medallionLosses to the ends wich have been conserved with webbingSome losses to the selvage
English School, 19th century Portrait miniature of Lieutenant Richard George Robinson (1797- d. at Antigua 1816) in the uniform of the 63rd (West Suffolk) Regiment of Foot, circa 1815watercolour on ivory6.5 x 5.5cm; With an officer’s silver button of the 63rd Foot, circa 1815, found at the site of the officer’s barracks at Shirley Heights, Antigua, mounted on the frame.Condition report: 15.5 x 13cm (framed)
An Edwardian rosewood Display Cabinet with ivory inlaid panels of classical figures and foliate scrolls, having swan neck pediment above a pair of bevelled glass doors, the lower section fitted two small drawers above a pair of glazed doors flanked by cupboard doors, 7ft H x 5ft W. Overall very good condition, few pieces of molding missing, split top left, all glass panels intact
A Hancocks ivory ware Art Deco part coffee service. CONDITION REPORT: This is an adult size service. It is in generally good condition and is free from any significant damage, repairs or restoration. All pieces are a little dirty. The saucers have feint visible crazing. There are some minor scratches to some of the paintwork and the foot rims are all a little dirty. The underside edge of the coffee pot lid has a glaze rub or imperfection and is a little rough to touch in one place.
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![GREENAWAY (KATE)Almanack for 1883-[1895], 1897, 1924-1929, a complete set with some variants and duplicates, together 51 vol.](https://cdn.globalauctionplatform.com/53592cc0-e59f-46df-bcaf-ae5500afca79/34a67ed7-e6ee-492b-93fd-ae5500b08d23/468x382.jpg)
