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Lot 644
Medals & Paraphernalia: World War One, (Mercantile Marine Medal) Hanrahan (Timothy), a group of two Medals and ribbon (in original packets) together with letter and form of authority to wear, also his Metropolitan Public Carriage Licence and Pouch, his Compass, Water Bottle, also a ring of brass Tram Tokens, all together in a green ivory issue Tin Box. As a collection, w.a.f. (1)
Lot 22
Y RARE CANTON CARVED IVORY PUZZLEBALL CHESS KING PIECE QING DYNASTY, 19TH CENTURY清 象牙鏤雕喬治三世西洋棋子 finely carved as King George III as part of a chess set, he stands on an elevated platform atop elaborately carved ball-within-a-ball ‘puzzleball’ pedestal bases (Dimensions: 16.5cm high) (Qty: 1)(16.5cm high)Footnote: Provenance: Private Scottish collection
Lot 225
Y GROUP OF THREE JAPANESE IVORY PATCH BOXES MEIJI PERIOD 明治 象牙雕蓋盒（一組三件） comprising: a cylindrical box with separate lid, the body carved in high relief with scenes of tigers hunting an elephant, sitting upon a recessed base, the underside and interior both etched with small insects; a container of squat form, sitting upon a circular base, with separate lid topped with an elegant finial; a miniature container sitting upon a circular base, with separate lid topped with an elegant finial (Dimensions: largest: 7.3cm high) (Qty: 3)(largest: 7.3cm high)Footnote: Provenance: Private Scottish collection
Lot 229
Y FINE JAPANESE IVORY OKIMONO OF A FISHERMAN MEIJI PERIOD 明治 宗玉款 象牙雕漁民置物 carved on an integral plinth, shown barefoot, wearing a traditional garment and fibre hat slung across his back, striding forward, he holds a net in his right hand and a fish in the left, a basket with long rope handles rests on his forearm, shown tipping slightly to the side with a loose fish falling to the ground, with inked detailing throughout, the base inscribed with 'Sogyoku' (Dimensions: 14cm high) (Qty: 1)(14cm high)Footnote: Provenance: Private Scottish collection
Lot 23
Y CARVED IVORY CHESS PIECE QING DYNASTY, 19TH CENTURY 清 象牙雕象棋子 carved as a standing elephant with circular tower, the trunk curves backwards to its front left leg, the podium carved in deeper relief with flowers and leaves (Dimensions: 8.5cm high) (Qty: 1)(8.5cm high)Footnote: Note: For a comparable piece, see the collection by The Met Museum, Accession Number: 48.174.75a–p, aa–pp
Lot 231
Y GROUP OF JAPANESE IVORY OKIMONO OF FISHERMEN MEIJI PERIOD 明治 正一款 法壽款 等 象牙雕漁民置物（一組三件）? comprising: a fisherman shown wearing a rough fabric apron over robes decorated with falling leaves, he stands barefoot, handling a net, the base with 'Masakazu'; a cormorant fisherman holding a recent catch in his right hand, the left clutching a rope supporting the basket slung across his back in which the cormorant stands, pecking at his shoulder, the base with a mark; a fisherman standing barefoot, holding a small basket from which he pulls a fish, another fish lying at his feet, the base with 'Hoju' (Dimensions: tallest: 16.5cm high) (Qty: 3)(tallest: 16.5cm high)Footnote: Provenance: Private Scottish collection
Lot 232
Y JAPANESE IVORY OKIMONO GROUP SCENE OF A PEANUT SELLER MEIJI PERIOD 明治 宗久款 象牙雕人物置物 the figures finely carved with a large sack of peanuts in the foreground, the smallest child leans over with a toy in his right hand, the elder child kneels by an empty basket holding an abacus whilst the father stands with peanuts raised in his left hand, with fine incised detailing on the robes, the underside signed 'Munehisa' (Dimensions: 14.5cm high) (Qty: 1)(14.5cm high)Footnote: Provenance: Private Scottish collection
Lot 233
Y JAPANESE IVORY OKIMONO OF A MONKEY TRAINER MEIJI PERIOD 明治 光壽款 象牙雕人物置物 the figure shown in loose fitting over garments tied at the waist, pointing down to the monkey which grabs him by the leg, holding the leash in his left hand and wearing a drum at his hip, a frog partly shielded by leaves sits below, the underside signed 'Mitsutoshi' (Dimensions: 23.5cm high) (Qty: 1)(23.5cm high)Footnote: Provenance: Private Scottish collection
Lot 234
Y IVORY OKIMONO OF A FISHERMAN MEIJI PERIOD 明治 香川款 象牙雕漁民置物 a fisherman standing on an integral plinth, shown cradling a recent catch in his left hand, the right holding a fishing rod, a basket sits on his right hip, the base signed ‘Kagawa’ (Dimensions: 27.5cm) (Qty: 1)(27.5cm)Footnote: Provenance: Private Scottish collection
Lot 236
Y PAIR OF JAPANESE IVORY OKIMONO MEIJI PERIOD 明治 靜之、心之款 象牙雕人物置物（一組兩件）comprising: an elderly man shown standing and wearing traditional garments, clutching a large rooster with tail feathers reaching down to the ground, a hen stands at his feet, pecking at the ground, the base inscribed with 'Suiyuki'; a jovial man, perhaps a monkey trainer, carved with a monkey perched on his right shoulder holding an umbrella, the base with 'Shinyuki' (Dimensions: 15cm and 12.5cm high) (Qty: 2)(15cm and 12.5cm high)Footnote: Provenance: Private Scottish collection
Lot 237
Y JAPANESE IVORY OKIMONO OF A FISHER BOY MEIJI PERIOD 明治 心光款 象牙雕漁童置物standing barefoot on an integral plinth, the boy wears a traditional robe tied at the back, he holds the openwork basket in both hands, the eyes detailed in ink, the underside signed 'Shinko' (Dimensions: 13.5cm high) (Qty: 1)(13.5cm high)Footnote: Provenance: Private Scottish collection
Lot 238
Y PAIR OF JAPANESE IVORY OKIMONO OF GEISHAS MEIJI PERIOD 明治 友真、松雲款 象牙雕美人置物（一組兩件） consisting: a standing geisha wearing a kimono, her right hand held up combing an elaborate coiffure, the left clutching a hat by her side, the base bearing the 'Yushin'; another standing geisha, showing holding a bouquet of long stem flowers, with petals strewn at her feet, the base bearing the 'Shoun' (Dimensions: 20.5cm and 18cm high) (Qty: 2)(20.5cm and 18cm high)Footnote: Provenance: Private Scottish collection
Lot 240
Y GROUP OF THREE IVORY OKIMONO OF KANNON MEIJI PERIOD 明治 壽山、壽款 等 象牙雕觀音置物（一組三件） comprising: a Kannon wearing an elaborate headdress and holding Buddha in her right hand, standing upon a double lotus podium, 'Juzan' to the base; a Kannon standing on a rocky podium with foliage beneath, holding a lotus flower in her right hand, ‘Ju’ to the base; a Kannon wearing an elaborate headdress, holding a lotus within a vase in her right hand, the left palm facing outwards, with a three-character mark on the base (Dimensions: tallest: 30.5cm high) (Qty: 3)(tallest: 30.5cm high)Footnote: Provenance: Private Scottish collection
Lot 241
Y JAPANESE IVORY PAGE TURNER MEIJI PERIOD 明治 象牙雕鹰猴鬥書匕 the handle carved with a gripping monkey reaching towards a perched eagle, its talons reaching downwards, the silver band with hallmarks for London 1896 (Dimensions: 46cm long) (Qty: 1)(46cm long)Footnote: Provenance: Private Scottish collection
Lot 243
Y TWO JAPANESE IVORY OKIMONO MEIJI PERIOD 明治 象牙雕人物置物（一組兩件） comprising: an elderly man shown standing on an integral plinth with a dragon at his feet, shielding his head with a leaf fan and wearing robes decorated with swirling clouds; a young man standing on a small integral plinth, wearing a yukata, long tied belt and boots, his hands clasped together, with wooden stand (Dimensions: 24.5cm and 20cm high) (Qty: 2)(24.5cm and 20cm high)Footnote: Provenance: Private Scottish collection
Lot 254
SATSUMA VASE MEIJI PERIOD 明治 亮山款 薩摩燒描金風景人物紋瓶 sitting on a recessed circular base, ovoid body and flaring rim, painted with a festival scene set in gardens on an ivory ground, cherry trees in bloom, Mount Fuji behind, the base with 'Ryozan' (Dimensions: 29cm high) (Qty: 1)(29cm high)Footnote: Provenance: Private Scottish collection
Lot 26
Y CANTON CARVED IVORY CARD CASE QING DYNASTY, 19TH CENTURY 清 象牙雕人物紋卡片盒及襟針（一組四件） of rectangular form, carved intricately with leisure scholars in pavilions surrounded by trees; together with THREE IVORY MOUNTED BROOCHES, each carved with similar themes with figures in a garden setting (Dimensions: card case: 11.2cm high) (Qty: 4)(card case: 11.2cm high)
Lot 260
SATSUMA CHARGER MEIJI PERIOD明治 薩摩燒人物及龍紋大盤 sitting on a ring base with shallow sides, painted in thick gilt, the central scene depicting Susanoo slaying the Yamata no Orochi on an ivory ground, surrounded by a tiled style border (Dimensions: 41cm diameter) (Qty: 1)(41cm diameter)Footnote: Provenance: Private United Kingdom collection
Lot 237
Three Indo-Persian knives, one with a bi-colour long steel blade with engraved decoration, brass shaped animal head handle, 37.5cm W, further knife, the handle with brass ebony, ivory and bone banding, 24cm W, and a third knife with an engraved steel blade, leather bound iron grip handle and leather sheath, 22cm W, all case mounted.
Lot 302
A collection of various cigarette boxes, writing slope, jewellery boxes, etc, together with a quantity of various 20th Century pens, including Tage by Schaeffer, Parker, etc and a large collection of various costume jewellery to include bangles, necklaces, brooches, silver medallions, ivory manicure items, a pair of gold spectacles, etc
Lot 304
A Chinese ivory fan with hand-painted and ivory embellished panel of multi-figures in an interior with faces painted on ivory, cased CONDITION REPORTS The carved guards have some light surface scratches, fading and discolouration, accretions - as do the sticks themselves. There is a split to the top of one of the top of the sticks, next to the guard. Areas of loss to the paint, mainly on the folds. Wear to the gilt edge and areas of loss also. An old repair to the bottom of one of the leaves just above the stick where it has been repaired with some selotape. Possibly some fading and discolouration to the silk clothing of the figures and also to the leaves on both sides. Some small tears to the top of some of the leaves. Some of the ivory faces on both sides are missing. General wear and tear commensurate with age and use. See photos for more details.
Lot 248C
A pair of carved bronzed wood panels by Anton Leone Bulletti, Florence, dated 1864, in the baroque style, featuring baskets of flowers, Satyrs, , grotesque masks each with elaborate foliate scroll carving and ivory painted grounds, each 290cm high and of varying widths between 80cm and 89cm Provenance: Lartington Hall, Co. Durham Literature: Rosamond Allwood, `The Eminent Italian Artist, Signor Bulletti', Furniture History Vol. 25 (1989), pp. 250-256, figs. 2 and 3. Following a visit to Rome in 1854 the fourth Duke of Northumberland decided to redecorate the interiors of Alnwick with wood carvings in an Italianate seicento manner, under the direction of the architect Anthony Salvin. This was in contrast to Salvin's chosen mediaeval style for the exteriors and rather than import the wood-work from Italy, Salvin saw this as an opportunity to set up a school of Italian style carving at the castle. It was on this basis that he invited the Tuscan carver Anton Leone Bulletti (b.1824), to be its director with the Alnwick carver John Brown acting as foreman. A total of twenty-one carvers were engaged from London, Newcastle, Sunderland, Edinburgh and Glasgow in advance of the carving studio's opening in 1855. It was here that the ornately carved doors, shutters and ceiling panels were produced for the castle. By 1860, the majority of the interior work was complete at which point Bulletti left his post at Alnwick to set up a business as a carver and draftsman at 30 High Bridge, Newcastle. One of his first commissions was for the Rt. Revd. Monsignor Witham, at Lartington Hall, Co. Durham. This followed Withham's decision to embark on an ambitious programme of building works under the direction of the architect Joseph Hanson. These included a grand entrance corridor and port cochere completed in 1863, for which Witham commissioned Bulletti to make a twelve foot high mirror frame and a series of carved wall panels including the present lot. Further carvings are thought to have been supplied by Bulletti for Thomas Witham's private suite above the servant's hall. Unlike the style of his work at Alnwick, Bulletti's work at Lartington was heavily influenced by the carvings of Giuseppe Maria Bonzanigo who produced carvings for the Royal palaces in Turin during the 1780s. In contrast to his English contemporaries such as Gerard Robinson and the Warwick school of carvers, who worked in a more three dimensional style, Bulletti's mounted his carving on panels of contrasting colour. The entrance hall mirror frame was described in the Teesdale Mercury in 1863 ... A Splendid specimen of wood carving of the highest order. In the centre of the bottom of the frame is the crest of Mr Witham supported on either side by dragons with eagle's heads. From these spring the conventional foliage, which in the present instance consists of the thistle, the convolvulus and the Primrose. About the centre of each side of the frame, the allegorical figures of two storks destroying a serpent are introduced and above these is a panel bearing on one side the date, and on the other side the motto, 'solo virtus victit'...This magnificent work of art arrived at Lartington Hall last week. Bulletti was also commissioned by the Silvertops of Minsteracres, near Consett, Co. Durham - unsurprisingly they had close connections with the Withams and similarly employed Joseph Hanson. In 1865 Bulletti moved to Newcastle's bustling Grey Street where he remained until 1869. His achievements during this period included a carved walnut table exhibited at the Fine Art Exhibition at Newcastle town hall in 1866. This was favourably received....`a magnificent work of art, poetical, vigorous in conception and design whilst manipulative skill displayed in the execution is of the most exquisite character'. However despite the table's great merit it still remained for sale in 1870 at the price of 400 guineas. In the 1871 Newcastle census Bulletti described himself as a designing artist of forty seven and a widower with two sons. He remained in the city until 1878, variously listing himself in local directories as a sculptor, carver, gilder and more intriguingly as a carpet designer. Despite their contrasting styles, Thomas Tweedy, proprietor of Newcastle's leading carving firm, commissioned Bulletti to carve a large panel for Sir Hugh Taylor at Chipchase Castle. It was titled 'The March of Time' and its carving was executed in higher relief than his work at Lartington and stylistically it was more akin to early 17th century Flemish work. At the end of 1878 Bulletti moved to London to take up a position as chief instructor at the newly created `School of Art Wood- Carving' at 3 Somerset Street, Portman Square, before transferring to rooms at the Albert Hall. However the school gained a reputation for attracting titled women students for whom carving was a pleasant hobby rather than a job. Consequently the school was not popular with the trade and furthermore its first exhibition of students' work in 1880 drew criticism from the Cabinet Maker. In 1882 Bulletti left the school due to ill health. However the school continued under the management of Miss Eleanor Rowe, one of his most talented pupils, until 1902. Bulletti continued to produce designs, including an 'Artistical Sideboard' which incorporated elements based on his work at Lartington some twenty years earlier. Bulletti was last recorded at Maude Road, off the Fulham road in 1885 but was no longer listed in directories as a carver. A small Bulletti panel sold Anderson & Garland, 18 June 2019, lot 466 and a further example is in the collection of the National Trust at Hughenden, Buckinghamshire.
Lot 248
A pair of carved bronzed wood panels by Anton Leone Bulletti, Florence, dated 1864, in the baroque style, featuring baldechins and goats heads each with elaborate foliate scroll carving and ivory painted grounds, each 290cm high and of varying widths between 80cm and 89cm; together with a pair of architectural spandrels, with some losses to carving, 196cm high, 180cm wide Provenance: Lartington Hall, Co. Durham Literature: Rosamond Allwood, `The Eminent Italian Artist, Signor Bulletti', Furniture History Vol. 25 (1989), pp. 250-256, figs. 2 and 3. Following a visit to Rome in 1854 the fourth Duke of Northumberland decided to redecorate the interiors of Alnwick with wood carvings in an Italianate seicento manner, under the direction of the architect Anthony Salvin. This was in contrast to Salvin's chosen mediaeval style for the exteriors and rather than import the wood-work from Italy, Salvin saw this as an opportunity to set up a school of Italian style carving at the castle. It was on this basis that he invited the Tuscan carver Anton Leone Bulletti (b.1824), to be its director with the Alnwick carver John Brown acting as foreman. A total of twenty-one carvers were engaged from London, Newcastle, Sunderland, Edinburgh and Glasgow in advance of the carving studio's opening in 1855. It was here that the ornately carved doors, shutters and ceiling panels were produced for the castle. By 1860, the majority of the interior work was complete at which point Bulletti left his post at Alnwick to set up a business as a carver and draftsman at 30 High Bridge, Newcastle. One of his first commissions was for the Rt. Revd. Monsignor Witham, at Lartington Hall, Co. Durham. This followed Withham's decision to embark on an ambitious programme of building works under the direction of the architect Joseph Hanson. These included a grand entrance corridor and port cochere completed in 1863, for which Witham commissioned Bulletti to make a twelve foot high mirror frame and a series of carved wall panels including the present lot. Further carvings are thought to have been supplied by Bulletti for Thomas Witham's private suite above the servant's hall. Unlike the style of his work at Alnwick, Bulletti's work at Lartington was heavily influenced by the carvings of Giuseppe Maria Bonzanigo who produced carvings for the Royal palaces in Turin during the 1780s. In contrast to his English contemporaries such as Gerard Robinson and the Warwick school of carvers, who worked in a more three dimensional style, Bulletti's mounted his carving on panels of contrasting colour. The entrance hall mirror frame was described in the Teesdale Mercury in 1863 ... A Splendid specimen of wood carving of the highest order. In the centre of the bottom of the frame is the crest of Mr Witham supported on either side by dragons with eagle's heads. From these spring the conventional foliage, which in the present instance consists of the thistle, the convolvulus and the Primrose. About the centre of each side of the frame, the allegorical figures of two storks destroying a serpent are introduced and above these is a panel bearing on one side the date, and on the other side the motto, 'solo virtus victit'...This magnificent work of art arrived at Lartington Hall last week. Bulletti was also commissioned by the Silvertops of Minsteracres, near Consett, Co. Durham - unsurprisingly they had close connections with the Withams and similarly employed Joseph Hanson. In 1865 Bulletti moved to Newcastle's bustling Grey Street where he remained until 1869. His achievements during this period included a carved walnut table exhibited at the Fine Art Exhibition at Newcastle town hall in 1866. This was favourably received....`a magnificent work of art, poetical, vigorous in conception and design whilst manipulative skill displayed in the execution is of the most exquisite character'. However despite the table's great merit it still remained for sale in 1870 at the price of 400 guineas. In the 1871 Newcastle census Bulletti described himself as a designing artist of forty seven and a widower with two sons. He remained in the city until 1878, variously listing himself in local directories as a sculptor, carver, gilder and more intriguingly as a carpet designer. Despite their contrasting styles, Thomas Tweedy, proprietor of Newcastle's leading carving firm, commissioned Bulletti to carve a large panel for Sir Hugh Taylor at Chipchase Castle. It was titled 'The March of Time' and its carving was executed in higher relief than his work at Lartington and stylistically it was more akin to early 17th century Flemish work. At the end of 1878 Bulletti moved to London to take up a position as chief instructor at the newly created `School of Art Wood- Carving' at 3 Somerset Street, Portman Square, before transferring to rooms at the Albert Hall. However the school gained a reputation for attracting titled women students for whom carving was a pleasant hobby rather than a job. Consequently the school was not popular with the trade and furthermore its first exhibition of students' work in 1880 drew criticism from the Cabinet Maker. In 1882 Bulletti left the school due to ill health. However the school continued under the management of Miss Eleanor Rowe, one of his most talented pupils, until 1902. Bulletti continued to produce designs, including an 'Artistical Sideboard' which incorporated elements based on his work at Lartington some twenty years earlier. Bulletti was last recorded at Maude Road, off the Fulham road in 1885 but was no longer listed in directories as a carver. A small Bulletti panel sold Anderson & Garland, 18 June 2019, lot 466 and a further example is in the collection of the National Trust at Hughenden, Buckinghamshire.
Lot 44
ϒ Pair of ivory and brass mounted opera glasses, later 19th century, the glasses adjustable, 4.5cm high, 12cm wide, 9cm deep; and four various magnifying glasses, to include an ivorine mounted example; one with brass handle; and two modern moulded glass examples, the largest 37cm long This lot is to be sold without reserve. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 55
ϒA Chinese pierced ivory double gourd ivory pomander, Qing Dynasty, 19th century, carved with trailing branches of blossoming prunus, gourds and foliage, all reserved on a lattice ground, 11cm long x 5.5cm widest point This lot is to be sold without reserve ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 248B
A pair of carved bronzed wood panels by Anton Leone Bulletti, Florence, dated 1864, in the baroque style, grotesque green man masks, goats heads and a dancing maiden in a central roundel, each with elaborate foliate scroll carving and ivory painted grounds, each 290cm high and of varying widths between 80cm and 89cm Provenance: Lartington Hall, Co. Durham Literature: Rosamond Allwood, `The Eminent Italian Artist, Signor Bulletti', Furniture History Vol. 25 (1989), pp. 250-256, figs. 2 and 3. Following a visit to Rome in 1854 the fourth Duke of Northumberland decided to redecorate the interiors of Alnwick with wood carvings in an Italianate seicento manner, under the direction of the architect Anthony Salvin. This was in contrast to Salvin's chosen mediaeval style for the exteriors and rather than import the wood-work from Italy, Salvin saw this as an opportunity to set up a school of Italian style carving at the castle. It was on this basis that he invited the Tuscan carver Anton Leone Bulletti (b.1824), to be its director with the Alnwick carver John Brown acting as foreman. A total of twenty-one carvers were engaged from London, Newcastle, Sunderland, Edinburgh and Glasgow in advance of the carving studio's opening in 1855. It was here that the ornately carved doors, shutters and ceiling panels were produced for the castle. By 1860, the majority of the interior work was complete at which point Bulletti left his post at Alnwick to set up a business as a carver and draftsman at 30 High Bridge, Newcastle. One of his first commissions was for the Rt. Revd. Monsignor Witham, at Lartington Hall, Co. Durham. This followed Withham's decision to embark on an ambitious programme of building works under the direction of the architect Joseph Hanson. These included a grand entrance corridor and port cochere completed in 1863, for which Witham commissioned Bulletti to make a twelve foot high mirror frame and a series of carved wall panels including the present lot. Further carvings are thought to have been supplied by Bulletti for Thomas Witham's private suite above the servant's hall. Unlike the style of his work at Alnwick, Bulletti's work at Lartington was heavily influenced by the carvings of Giuseppe Maria Bonzanigo who produced carvings for the Royal palaces in Turin during the 1780s. In contrast to his English contemporaries such as Gerard Robinson and the Warwick school of carvers, who worked in a more three dimensional style, Bulletti's mounted his carving on panels of contrasting colour. The entrance hall mirror frame was described in the Teesdale Mercury in 1863 ... A Splendid specimen of wood carving of the highest order. In the centre of the bottom of the frame is the crest of Mr Witham supported on either side by dragons with eagle's heads. From these spring the conventional foliage, which in the present instance consists of the thistle, the convolvulus and the Primrose. About the centre of each side of the frame, the allegorical figures of two storks destroying a serpent are introduced and above these is a panel bearing on one side the date, and on the other side the motto, 'solo virtus victit'...This magnificent work of art arrived at Lartington Hall last week. Bulletti was also commissioned by the Silvertops of Minsteracres, near Consett, Co. Durham - unsurprisingly they had close connections with the Withams and similarly employed Joseph Hanson. In 1865 Bulletti moved to Newcastle's bustling Grey Street where he remained until 1869. His achievements during this period included a carved walnut table exhibited at the Fine Art Exhibition at Newcastle town hall in 1866. This was favourably received....`a magnificent work of art, poetical, vigorous in conception and design whilst manipulative skill displayed in the execution is of the most exquisite character'. However despite the table's great merit it still remained for sale in 1870 at the price of 400 guineas. In the 1871 Newcastle census Bulletti described himself as a designing artist of forty seven and a widower with two sons. He remained in the city until 1878, variously listing himself in local directories as a sculptor, carver, gilder and more intriguingly as a carpet designer. Despite their contrasting styles, Thomas Tweedy, proprietor of Newcastle's leading carving firm, commissioned Bulletti to carve a large panel for Sir Hugh Taylor at Chipchase Castle. It was titled 'The March of Time' and its carving was executed in higher relief than his work at Lartington and stylistically it was more akin to early 17th century Flemish work. At the end of 1878 Bulletti moved to London to take up a position as chief instructor at the newly created `School of Art Wood- Carving' at 3 Somerset Street, Portman Square, before transferring to rooms at the Albert Hall. However the school gained a reputation for attracting titled women students for whom carving was a pleasant hobby rather than a job. Consequently the school was not popular with the trade and furthermore its first exhibition of students' work in 1880 drew criticism from the Cabinet Maker. In 1882 Bulletti left the school due to ill health. However the school continued under the management of Miss Eleanor Rowe, one of his most talented pupils, until 1902. Bulletti continued to produce designs, including an 'Artistical Sideboard' which incorporated elements based on his work at Lartington some twenty years earlier. Bulletti was last recorded at Maude Road, off the Fulham road in 1885 but was no longer listed in directories as a carver. A small Bulletti panel sold Anderson & Garland, 18 June 2019, lot 466 and a further example is in the collection of the National Trust at Hughenden, Buckinghamshire.
Lot 248A
A pair of carved bronzed wood panels by Anton Leone Bulletti, Florence, dated 1864, in the baroque style, bearing strapwork framed cabochons inscribed 'MAECENATI SUO IDIBUS DECUMBRIS. 1864.' and 'ADDICTISIMUS' , each with elaborate foliate scroll carving and ivory painted grounds, each 290cm high and of varying widths between 80cm and 89cm Provenance: Lartington Hall, Co. Durham Literature: Rosamond Allwood, `The Eminent Italian Artist, Signor Bulletti', Furniture History Vol. 25 (1989), pp. 250-256, figs. 2 and 3. Following a visit to Rome in 1854 the fourth Duke of Northumberland decided to redecorate the interiors of Alnwick with wood carvings in an Italianate seicento manner, under the direction of the architect Anthony Salvin. This was in contrast to Salvin's chosen mediaeval style for the exteriors and rather than import the wood-work from Italy, Salvin saw this as an opportunity to set up a school of Italian style carving at the castle. It was on this basis that he invited the Tuscan carver Anton Leone Bulletti (b.1824), to be its director with the Alnwick carver John Brown acting as foreman. A total of twenty-one carvers were engaged from London, Newcastle, Sunderland, Edinburgh and Glasgow in advance of the carving studio's opening in 1855. It was here that the ornately carved doors, shutters and ceiling panels were produced for the castle. By 1860, the majority of the interior work was complete at which point Bulletti left his post at Alnwick to set up a business as a carver and draftsman at 30 High Bridge, Newcastle. One of his first commissions was for the Rt. Revd. Monsignor Witham, at Lartington Hall, Co. Durham. This followed Withham's decision to embark on an ambitious programme of building works under the direction of the architect Joseph Hanson. These included a grand entrance corridor and port cochere completed in 1863, for which Witham commissioned Bulletti to make a twelve foot high mirror frame and a series of carved wall panels including the present lot. Further carvings are thought to have been supplied by Bulletti for Thomas Witham's private suite above the servant's hall. Unlike the style of his work at Alnwick, Bulletti's work at Lartington was heavily influenced by the carvings of Giuseppe Maria Bonzanigo who produced carvings for the Royal palaces in Turin during the 1780s. In contrast to his English contemporaries such as Gerard Robinson and the Warwick school of carvers, who worked in a more three dimensional style, Bulletti's mounted his carving on panels of contrasting colour. The entrance hall mirror frame was described in the Teesdale Mercury in 1863 ... A Splendid specimen of wood carving of the highest order. In the centre of the bottom of the frame is the crest of Mr Witham supported on either side by dragons with eagle's heads. From these spring the conventional foliage, which in the present instance consists of the thistle, the convolvulus and the Primrose. About the centre of each side of the frame, the allegorical figures of two storks destroying a serpent are introduced and above these is a panel bearing on one side the date, and on the other side the motto, 'solo virtus victit'...This magnificent work of art arrived at Lartington Hall last week. Bulletti was also commissioned by the Silvertops of Minsteracres, near Consett, Co. Durham - unsurprisingly they had close connections with the Withams and similarly employed Joseph Hanson. In 1865 Bulletti moved to Newcastle's bustling Grey Street where he remained until 1869. His achievements during this period included a carved walnut table exhibited at the Fine Art Exhibition at Newcastle town hall in 1866. This was favourably received....`a magnificent work of art, poetical, vigorous in conception and design whilst manipulative skill displayed in the execution is of the most exquisite character'. However despite the table's great merit it still remained for sale in 1870 at the price of 400 guineas. In the 1871 Newcastle census Bulletti described himself as a designing artist of forty seven and a widower with two sons. He remained in the city until 1878, variously listing himself in local directories as a sculptor, carver, gilder and more intriguingly as a carpet designer. Despite their contrasting styles, Thomas Tweedy, proprietor of Newcastle's leading carving firm, commissioned Bulletti to carve a large panel for Sir Hugh Taylor at Chipchase Castle. It was titled 'The March of Time' and its carving was executed in higher relief than his work at Lartington and stylistically it was more akin to early 17th century Flemish work. At the end of 1878 Bulletti moved to London to take up a position as chief instructor at the newly created `School of Art Wood- Carving' at 3 Somerset Street, Portman Square, before transferring to rooms at the Albert Hall. However the school gained a reputation for attracting titled women students for whom carving was a pleasant hobby rather than a job. Consequently the school was not popular with the trade and furthermore its first exhibition of students' work in 1880 drew criticism from the Cabinet Maker. In 1882 Bulletti left the school due to ill health. However the school continued under the management of Miss Eleanor Rowe, one of his most talented pupils, until 1902. Bulletti continued to produce designs, including an 'Artistical Sideboard' which incorporated elements based on his work at Lartington some twenty years earlier. Bulletti was last recorded at Maude Road, off the Fulham road in 1885 but was no longer listed in directories as a carver. A small Bulletti panel sold Anderson & Garland, 18 June 2019, lot 466 and a further example is in the collection of the National Trust at Hughenden, Buckinghamshire.
Lot 187
ϒ A collection of plated wares, including: an electro-plated hot water urn in neo classical style, the spigot with an ivory handle, 52cm (20 1/2in) high; a four bottle decanter stand, with a cut glass navette dish sitting above the main frame, 37cm (14 1/2in) high; an old Sheffield plate hot water urn, the spout replaced; another plated hot water urn, smaller; an oval revolving breakfast dish; a twin handled navette pedestal soup tureen; a sauce tureen similar; and other items This lot is to be sold without reserve ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
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