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Lot 480
dating: 18th/19th Century provenance: France, Wooden grip with metal ring-nuts at the ends, ivory pommel of spherical shape with narrow base. Double-edged blade of a smallsword of the late 18th century, of lozenge section, first part engraved with a figure, 'Camilus' and floral motifs. Wooden haft with metal chape. length 104 cm.
Lot 512
dating: Third quarter of the 19th Century provenance: USA, Octagonal, rifled, 4', cal. 31 barrel, with fore-sight and remains of marking on the back. Six-shot cylinder with smooth diligence drawing. In working order. Frame and barrel sides engraved with rinceaux. Some pitting. Brass bands and trigger-guard, engraved en suite, ivory grip. Serial number '197xxx'. Traces of silvering on the grip. Together with a screwdriver with grip with monogram 'M.L.'. length 22,5 cm.
Lot 539
dating: 1874 - 1876 provenance: London, Round, rifled, blued, cal. 30 rimfire barrel, with fore-sight, company's marking in two lines with Hartford address, British stamps, caption 'COLT NEW 30', marking 'F.T.B. BAKER / 88 FLEET St. LONDON'. Five-shot cylinder with long flutes (bluing) and test-bed stamps. In good working order. Frame with spur-trigger. Case hardening. Grip with ivory grip scales (one with long crack). SN '9xxx'. length 14,7 cm.
Lot 540
dating: 1873 - 1884 provenance: USA, Round, rifled, cal. 32 rimfire barrel for 2-1/4', with fore-sight, remains of company's marking in two lines. Five-shot cylinder with short cylinder flutes. In working order. Frame with spur-trigger. Some pitting. Finely engraved rinceaux on a grained ground. remains of nickel-plating. Caption '32 CAL.' on the left side. Grip with ivory grip scales. SN '8xxx' matching on the grip and barrel. length 15,7 cm.
Lot 559
dating: 1883 provenance: USA, Cylindrical, 5-1/2' barrel, with remains of marking 'COLT'S PT. F.A. MFG. Co. HARTFORD CT. U.S.A.'. Groove and core in good conditions. Fore-sight with patent. Six-shot cylinder. Frame with patent marking. In good working order. Preserves a good part of antique nickel-plating. Caliber caption '45 CAL.' on trigger-guard and six-tip star. Frame and grip straps with matching serial number '91xxx'. Checkered, ivory grip scales. In a wooden case, re-lined with purple velvet, complete with some accessories and original hammer (hammer mounted on a pistol is of modern production, installed by the owner to avoid the damage of the antique one). A leather belt is present as well, decorated with eyelets for eighteen cartridges and a holster (height 28.5 cm) suitable for revolver transportation, in leather as well, decorated with floral motifs. length 28 cm.
Lot 586
dating: Third quarter of the 19th Century provenance: London, Octagonal, rifled, cal. 32 rimfire barrel, provided with rib, swiveling upwards, marked 'J. LANG 22 COCKSPUR LONDON'. Six-shot cylinder with London test-bed stamps. Frame with spur-trigger. In good working order. Remains of antique nickel-plating. Ivory grip scales. In a wooden case, with internal lining in blue velvet, provided with screwdriver and ramrod. Interesting arm of English production, strongly inspired by the revolver S&W Model No. 1-1/2 First Issue. length 18 cm.
Lot 166
dating: 1840-60 provenance: Naples, Straight, double-edged blade, in fine damask, of hexagonal section, first part of lenticular section, short tang. Elegant, iron hilt with double shell-guard with decorated border. Quillons, loop-guard and quillon block chiselled with grooves, smooth pommel with reduced base and big, diamond-coated button. Ivory grip, finely checkered and with grooved sides. Iron scabbard with grooved mounts, two suspension rings. length 99 cm.
Lot 235
dating: 19th Century provenance: Turkey, Typical ,slightly-curved blade with groove at the back, decorated with silver, Arabic writings and geometrical and floral motifs. Copper hilt with remains of silver finishing, decorated with filigree and cabochon corals. Big, walrus-ivory grip scales. length 80 cm.
Lot 270
dating: 19th Century provenance: Balkans, Strong, straight, double-edged blade, in fine damask, with grooves, thin raiser in the center and flower chiselled at the base. Walrus ivory grip, embossed in a typical shape and with central band. Beautiful, wooden scabbard, completely covered with silver foil, engraved with floral motifs, scales and geometrical motifs, cap decorated with filigree and richly pierced. Suspension ring. length 41 cm.
Lot 402
dating: about 1870 provenance: Brescia, Round, rifled, 9 mm cal. barrel, with octagonal base, signed 'G. Glisenti Brescia', slightly engraved and with high fore-sight; six-shot cylinder engraved with floral motifs. Frame finely engraved with floral motifs, iron mounts, engraved en suite. Extractor and loading gate. Ivory grip scales, suspension ring. SN '4xx'. In its original case, lined with beige velvet. length 28 cm.
Lot 409
dating: 1880 provenance: Liege, Octagonal, rifled, 7.3 mm cal. barrel, marked on sides 'PIRLOT FRERES A LIEGE' and 'CHAMELOT & DELVIGNE IN..ON B.TEE', with finely engraved base and with fore-sight; six-shot cylinder, finely engraved with flowers and leaves; frame engraved with floral motifs. Loading gate, extractor and folding trigger. Ivory grip scales with frame and butt-plate decorated en suite. In its wooden case with brass mounts, lined with velvet inside, the two tools with ivory handle. Brass box marked 'CARTOUCHES'. Complete with a key. length 26 cm.
Lot 3008
PETSCHAFT, Ende 19. Jh. Silberbasis vergoldet in Form eines Säulenkapitells, monogrammiert „Eb“, Feingehaltspunze 850 und Meistermarke RMU (Robert Merath Ulm), Handstück aus Elfenbein in Wieselform geschnitzt. H: 9 cm. Alters- und Gebrauchsspuren, ein Ohr des Wiesels abgebrochen. EXPORTBESCHRÄNKUNGEN AUSSERHALB DER EU. PETSCHAFT, End of the 19th century. Gilded silver base in the form of a column chapter, monogrammed “Eb”, hallmark 850 and master's mark RMU (Robert Merath Ulm), handpiece carved from ivory in the shape of a weasel. H: 9 cm. Signs of age and wear, one of the weasel's ear broken off. EXPORT RESTRICTIONS OUTSIDE THE EU.
Lot 54
A Victorian Aesthetic movement silver three-piece tea service together with a trayservice Walter & John Barnard, tray Frederick Elkington, London 1879The service rectangular form with outswept curved sides, with Japanesque engraving of prunus trees and song birds, dragon handles, the teapot with ivory insulators, the ovoid form tray with simulated bamboo border, engraved with song birds among blossoming prunus trees, fan shaped and geometric motifs, length of tray 31cm, length of teapot 17.5cm, weight total 46.5oz. (4)This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 58
An important pair of German late 18th century ormolu and brass mounted mahogany 'mechanical' reading/writing/card/games tables attributed to David Roentgen (1743-1807)Circa 1785, each with a triple foldover top, the first hinged top enclosing an inset baize playing surface, the second inlaid with a chess and draughts board, the third surface on one table inset with a baize surface incorporating a hinged rest and a lever-activated opposing 'pop-up' hinged box, enclosing an ebony and stained fruitwood inlaid backgammon playing surface encompassed by ivory playing discs, flanked by two compartments with line-inlaid tambour sliding lids, the other table inset with a gilt-tooled leather surface incorporating a hinged writing rest and a lever-activated opposing 'pop-up' hinged box, enclosing a void interior, each with panel mounted friezes and flute mounted angles, with a catch-activated release for the rear gateleg and a secret drawer, on four detachable screw-in square tapering legs each with two mille raie outer facings headed by collar mouldings, terminating in moulded block and peg feet, each: 99cm wide x 48.5cm deep x 81cm high, (38 1/2in wide x 19in deep x 31 1/2in high) (2)Footnotes:ProvenanceFormerly with Didier Aaron, Paris.Purchased: Koller Auctions, Zurich, 26th March 2015, Furniture, Porcelain and Decoration, lot 1184.Auction ComparablesA single games table of this same type sold Sotheby's, Zurich, 7th December 1994, lot 257. Another similar Roentgen table, albeit a very slightly earlier model dating to circa 1780, sold Christie's, London, 7th July 2008, Important European Furniture, lot 535.Forerunners and Further ComparablesTwo precursors to the offered lot, in terms of form, Neoclassical design and multifunctionality, feature in W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, 2012, New York, fig.'s 24 & 27, pp.'s 108-9 & 116-119, which was published to accompany the important and hugely successful exhibition of the same title held at the Metropolitan Museum of Art, New York in 2012. The first table is dated circa 1774-1780 and the second 1774-1775, and as a result of their earlier dates of production both of these incorporate marquetry which is totally absent on the offered pair.However the closest comparables to the present tables include one, dated 1780-1783, also illustrated and analysed in W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, fig. 45, pp.'s 163-5. And another, circa 1785, that is housed at the Palace of Pavlovsk in St. Petersburg features in both Greber, J.M. Abraham und David Roentgen, Mobel fur Europa, 1980, Starnberg, Bd. 1, S. 235, Bd. 2, S. 320, 321 and in D. Fabian, Abraham und David Roentgen, Das noch aufgefundene Gesamtwerk ihrer Mobel- und Uhrenkunst in Verbindung mit der Uhrmacherfamilie Kinzing in Neuwied, 1996, Bad Neustadt/Saale, fig. 103, p. 62. The New Restrained Roentgen StyleThese 'tables a jeu a quatre variations', examples of which are very rare to come across in pairs, display all of the features typically found on those pieces emanating from the workshop of Neuwied-based David Roentgen during the 1780s. By that time Roentgen's output had become increasingly restrained, incorporating the linear forms and antique elements of the new Neoclassicism. Instead of marquetry which had gradually fallen out of fashion, Roentgen took to simple but costly mahogany veneers with sparingly elegant use of gilt bronze ornamentation, thus completing the process of artistic emancipation from his father, Abraham Roentgen (1711-93). And yet arguably the most notable feature of David's works were now their complex mechanisms, in this case the rising box for 'tric-trac', the lateral compartments with tambour covers, the detachable screw-in legs, and the skilfully concealed, or essentially 'secret', drawer.The Development of Roentgen's Mechanical Furniture The earliest mechanical tables of Neoclassical design by David Roentgen were supplied in 1771 for the country house at Worlitz on behalf of Prince Leopold III Friedrich Franz von Anhalt-Dessau, where they are still located, D. Fabian, Abraham und David Roentgen, 1996, No.'s 47a-b. Roentgen provided a further pair to his main client of the mid-1770s, Prince Charles of Lorraine, Governor of the Austrian Netherlands, but these are now housed at the Museum fur Angewandte Kunst in Vienna, D. Fabian, Op. Cit, No.'s 67 & 68. Both sets employ abundant colourful marquetry but by the 1780s Roentgen had rejected this aesthetic in favour of plain mahogany with delicate mounts and this proved to be preferred by the princely patrons throughout that decade, as evidenced by the Pavlovsk model which was delivered along with many other items to the Russian court from circa 1783 onwards, Op. Cit, No. 103. For his most mechanically complicated pieces, Roentgen worked closely with Peter Kinzing, a highly gifted clockmaker likewise from Neuwied, and after they had supplied Marie Antoinette with an automaton in 1785, the position of Ebeniste Mecanicien du Roi et de la Reine was even conferred upon Roentgen. This was a rare and distinguished Royal appointment which one of the most famous cabinet makers of the 18th century, Jean-Francois Oeben (1721-1763), had previously been honoured with in 1760, during the reign of Louis XV.Famous Admirers of RoentgenInterestingly, it was this mechanical element of Roentgen's output that was held in the highest esteem by his peers and various notable contemporary figures. Roentgen was even revered by the literary, cultural and scientific polymath and major German Romantic, Johann Wolfgang von Goethe (1749-1832) who epitomised the zeitgeist. Goethe, author of the seminal Faust, Parts I and II probably encountered a games table similar to the offered examples while working at Weimar Palace as Privy Councillor to Duke Karl August von Sachsen-Weimar-Eisenach. This is believed to be the case due to an 1810 inventory of the assembly room at the Weimar Palace which documents a: 'game table veneered with mahogany, and decorated with brass mouldings. With a hidden 'Tocadille' [backgammon board]', 3 feet 4 inches long, 1 foot 8 inches deep. By Rontchen.', W. Koppe, Idem, p. 164.Analysis of the Offered LotAt first appearance the present tables are misleadingly simple in form and decoration, but it is clear that Roentgen's choice of superb mahogany veneers is perfectly matched and beautifully highlighted by his restrained, yet visually striking, use of both gilt bronze and brass mounts. The natural grain of the mahogany is effectively manipulated so that it runs horizontally along the length of the leaves whereas the flame figuring is vertical on each frieze. The mounts are brilliantly incorporated into the overall scheme to create a visually thrilling sense of depth. In particular, the projecting mouldings are brought out with bronze applications, the mille raie fields on the front and outer side facings of the legs are gilded, and the classical fluting to the angle blocks are lined with brass.In relation to the mounts, evidently Roentgen was influenced by the practice of contemporary Parisian ebenistes, who ordered their mounts directly from specialists working solely within that field. By 1779 Roentgen was employing the same process and in fact many of his mounts from that date onwards were supplied by the renowned maitre-doreur, Francois Remond (1747-1812) who was also based in Paris, C. Baulez, David Roentgen et Francois Remond, Une Collaboration Majeure dans l'Histoire du Mobi... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 85
Sir Alfred Gilbert, A.R.A., R.A., M.V.O (British, 1854-1934): A rare and probably unique patinated and parcel gilt bronze 'double size' figure of St Georgeordered by John Charles Williams of Werrington Park, Launceston, Cornwall directly from the sculptor and probably cast by Broad & Son, circa 1895-6the figure with helmeted downcast head modelled in contrapposto and clad in elaborate armour with shell cast pauldrons and winged poleyns, one arm raised and with a slightly turned hand, the other arm down and outstretched, his straight sword with a corpus crucifix to the hilt (now lacking finial), on swirling base, raised on an ebonised shallow square plinth, the figure, 88cm high, 93cm high overall including wood plinth base Footnotes:ProvenanceJohn Charles (J.C.) Williams (1861-1939), Werrington Park, Launceston, Cornwall.Ordered by J.C. Williams in 1895 as apparently the first part of a commission for four double size figure replicas, St George being the first figure representing England, the others as the second part of the commission being saints representing Ireland, Scotland & Wales (these three figures apparently never realised).Thence by descent.John Charles Williams (1861-1939) of Caerhays Castle, St Austell, Cornwall was an English Liberal Unionist politician, collector and keen horticulturalist, noted for his philanthropic interests in botany.Affectionately known as 'J.C.', he was the second son of the miner, landowner and banker John Michael Williams (1813-1880) and Elisabeth Maria (d. 1884), of Caerhays Castle and was educated at Rugby School and at Trinity Hall, Cambridge. The Williams family of Caerhays, Burncoose and Scorrier were prominent owners of mines and smelting works for several generations during the Cornish Industrial Revolution. In 1882 'J.C.' Williams acquired the estate of Werrington, an 18th century house with earlier origins (then in Devon, but since 1974 in Cornwall) as his home and set about furnishing with furniture and artworks, some possibly from an earlier dispersal sale of the original contents but the majority acquired himself from other sources following the fashions of the day. His own wealth combined with the fact that his elder brother Michael Williams took over running the family's business interests meant that he was able to devote time to collecting including amassing three major noted mineral collections and in particular his interests in breeding rhododendrons, camellias and daffodils amongst other plants. He married Mary Christian Williams (1861-1922), the second daughter of Sir Frederick Martin Williams, second baronet of Tregullow in 1884 and in that same year he returned to live at Caerhays Castle when his mother died. However, he remained Squire of Werrington Park even when he returned to his ancestral home as he reputedly enjoyed the good hunting on the Werrington estate and as such it is recorded that the he and his family lived partly at Caerhays and partly at Werrington in the late 19th and early 20th centuries. Elected at the 1892 general election as the MP for Truro, he held the seat until he stood down at the 1895 general election and was also High Sheriff of Cornwall in 1888, and Lord Lieutenant of Cornwall from 1918–36.During the Great War Werrington was turned over to the Red Cross becoming Auxiliary Home Hospital Werrington and accepting injured troops from the frontlines in France and Belgium. Mrs Williams is recorded as being 'Officer in Charge and Organising Secretary' and the hospital treated 1128 patients between January 1915 and March 1919.John Charles and Mary Christian Williams had five sons and one daughter: The Honourable Charles Williams of Caerhays Castle, Conservative MP for Tavistock 1918-1922 and Torquay 1924-1955.John Francis Williams, killed in 1916 serving as Sub-Lieutenant of the St. George flotilla on the 'HMS Russell'.Alfred Martin Williams, CBE, Conservative MP for North Cornwall 1924-29.Robert Williams, killed in 1915 serving as Second Lieutenant of the 1st Guards Brigade, 2nd Battalion of the Grenadier Guards at the Battle of Loos.Peter Michael Williams, known as 'PM', High Sheriff of Cornwall, 1952.May Williams, who nursed her father after her mother's death. Alfred Gilbert's St George and The Duke of Clarence MemorialAlfred Gilberts depiction of St George can perhaps be described as the emblematic zenith of the New Sculpture movement. However its conception and realisation on what was perhaps Gilberts most prestigious commission of the his career, that of the tomb of the The Duke of Clarence in the Albert Memorial Chapel at Windsor Castle was also the cause of much controversy.Ten years previously however, Gilberts accent to the position of England's premier sculptor had seemed a natural and inevitable progression following the death of his former master and sculptor to the Royal family, Joseph Edgar Boehm in 1890. His success was subsequently sealed with the most prestigious commission of the day from the bereaved Prince and Princess of Wales to design a tomb for their eldest son, Prince Albert Victor, Duke of Clarence and Avondale who had tragically died from influenza on the 14th January 1892. Summoned three days after the funeral to discuss plans with the royal couple, Gilbert's preliminary sketch for the tomb of her grandson was approved by Queen Victorian on the 6th March 1892.Although the finished tomb itself was a tour de force of the sculptors art incorporating an effigy of the recumbent Prince in his Hussar uniform beneath the figure of a kneeling angel holding a heavenly crown realised in bronze, brass, aluminium and white & coloured marble, it was the extraordinary hybrid Gothic and late Victorian surrounding grill designed to pay homage to the tombs of Cardinal Wolsey / Henry VIII that led to the inception of the figure of St George.After seeing a monograph of the Wolsey / Henry VIII tomb prepared by the scholar Alfred Higgins and also seeing its inspiration which was the earlier tomb of Henry VII, Gilbert decided to emulate the use of such similar grills to these tombs incorporating twelve polychrome niche figures of saints into a fantastically elaborate design. The royal family were then consulted as to which saints should be represented. These were in order around the tomb, St George, The Virgin, St Elizabeth of Hungary, St Michael, St Margaret, St Patrick, St Catherine of Siena, St Edward the Confessor, St Hubert of Liege, St Ethelreda of Ely, St Nicholas of Myra and St Catherine of Egypt. Of these saints, St George is undoubtedly the most famous and was the first to be cast. Epitomizing the last traces of Pre-Raphaelitism merging into Art Nouveau but perhaps also idiosyncratically paying homage to the armour of French and German medieval tomb figures rather than those of the Italian Renaissance, the warrior saint is depicted as a sinuous long limbed effete youth clad in fantastical separately cast armour incorporating swirling shell motifs. The first figure of St George, cast in 'white metal' by George Broad & Son with carved ivory hands and face, was presented to the Prince and Princess of Wales. Delivered to Sandringham in November 1895 and intended as a private 'household' memorial to the Duke of Clarence it was subsequently installed in the Church of St Mary Magdalene at Sandringham.The second figure of St George, cast in aluminium, again by George Broad & Son with carved ivory hands and face was the model that was installed at the tomb. As the first of the twelve saints surrounding the tomb to be cast, it was unveiled by Queen Victoria and positioned in its niche in July 1898. Nevertheless at that moment in time, five figures of saints were still missing and it was not until 1928 that the tomb was actually finally completed, thirty six years after the o... For further information on this lot please visit Bonhams.com
Lot 24
A Tabriz carpet of Ardabil designNorth West Persiathe rich madder field of flowering vines and spiralling tendrils centred by an ivory medallion with hanging lamp pendants, framed by a dark blue border containing pistachio and madder cartouches,716cm x 440cmFootnotes:The Ardabil carpet:The original carpet (now on display at the Victoria and Albert Museum) was made in the town of Ardabil in north-west Iran. It was here that Sufi leader, Shaykh Safi al-Din Ardabili, (ancestor of Shah Ismail, founder of the powerful Safavid dynasty) was buried. Edward Stebbing, a British carpet dealer, bought the carpet then resold the piece to the Victoria and Albert Museum in 1893 for £2000. Designer William Morris advised the museum in the acquisition and said that the carpet was of 'singular perfection ... logically and consistently beautiful.'The central medallion is said to resemble the interior of the dome of the Sheikh Lotfollah Mosque in Isfahan. The two differently sized lamp motifs are now seen as an early use of graphical perspective. Some have suggested that when viewed from the end with the smaller lamp the two appear to be the same size. However there are some historians who argue that that there is no clear proof that graphical perspective was used in Iran during that period. Other historians and critics suggest that the carpet acted as reflection, and that the lamps mirror those hanging from the ceilings of mosques and shrines of the time.Today in the Victoria and Albert Museum the carpet is displayed in the Jameel Gallery. The lights above the carpet are turned on for only ten minutes on the hour and half hour. This not only highlights the fragility of such a piece but adds to the drama and sense of theatre when viewing it.Please note that this lot is subject to the US embargo on the import of carpets of Iranian origin as of 06.08.2018This 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 25
A very large Mahal carpetNorth West Persialate 19th century, on rich dark blue ground with interlacing palmettes, lotus flowers and spiralling tendrils, the border filled with madder, ivory and light green/blue geometric foliate detail,638cm x 533cm Footnotes:Please note that this lot is subject to the US embargo on the import of carpets of Iranian origin as of 06.08.2018This 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 12
dating: Second half of the 19th Century provenance: Turkey, Straight, double-edged blade, in damask, with central raiser and double fuller, engraved base. Grip with ivory grip scales (small damages and parts missing), embossed with double 'T' and with silver mounts, decorated with filigree. Wooden scabbard, completely covered with silver foil, embossed and finely engraved with floral and geometrical motifs. length 43.8 cm.
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