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Lot 4148
A vintage stone sink converted to a trough, height 25cm, width 77cm, depth 56cm, and a two section slate mantelpiece, width 180cm (2).PROVENANCE: The Raymond Rush Collection. Mr Rush was an engineer, farmer and lay preacher who lived at Golden Cross Farm in Siddington, Cheshire. He was also a historian, broadcaster, author and speaker who regularly gave talks on local history, agricultural history and historic curios. In addition, he was also an accomplished maker of corn dollies.PLEASE NOTE: This lot is being sold in-situ from a local farm house in Siddington. Collection within the week by Friday 26th. Full collection and payment information will be emailed with invoice following the sale.Additional InformationThe trough has its draining hole blocked up and is heavily worm along the one edge. he mantelpiece is grubby and scratched with chips and losses throughout.
Lot 13
Attributed to Baccio (Bartolommeo) Bandinelli (Italian, 1493-1560): A good mid-16th century Florentine carved white marble oval profile portrait relief of a gentlemanpossibly depicting the Duke Cosimo I de'Medici the sitter with curling hair and beard and elaborate scroll embroidered collar, 34cm high x 26cm wide overallFootnotes:Baccio or Bartolommeo Bandinelli, actually Bartolommeo Brandini (1493-1560) was a Renaissance Italian sculptor, draughtsman, and painter.Comparative literatureVolker Krahn in, Baccio Bandinelli, Scultore e Maestro (1493-1560), exh. cat, ed. Detlef Heikamp and Beatrice Paolozzi Strozzi, Museo Nazionale del Bargello, Florence, 2014, pp. 352-55, nos. 26-27 (the small bronze busts); compare for the large busts of Cosimo in marble and bronze, pp. 304, no 17 and p. 310, no.20); for a 'young' marble bust in New York, p, 582, no. XI; and for a chalk portrait of Cosimo in three-quarters view, pp.42-21, no 53.The imageThis intimately conceived portrait oval is of good quality and is possibly from the world of the great Medicean sculptor and bitter rival of Cellini, Baccio Bandinelli. The chips at the edge of the oval edge suggest it might have been roughly prised out of a tight frame or setting into a wall, perhaps on a Mannerist tomb or mantelpiece.The subject, wearing a contemporary lace-trimmed collar, resembles Cosimo I de' Medici, who was Bandinelli's employer as a court sculptor, though the profile of the nose varies slightly from other marble portraits and small bronze medals commemorating the Duke's reign and principal successes in public architectural and sculptural projects. Bandinelli's career and aspirationsBorn eighteen years after Michelangelo (1475-1564) who was his hero and the target of his emulation and seven years before Cellini (1500-1571) who conversely was his arch-rival, enemy and nemesis in terms of reputation, Bandinelli was a major sculptor of the High Renaissance in Florence and later in Rome. It was however his fate to be overshadowed by the 'divine' and 'terrifying' Michelangelo however hard he tried to match his achievements and to be blackguarded by the jealous Cellini in his autobiography. Bandinelli's and Cellini's professional rivalry and personal animosity famously deteriorated into schoolboy behaviour with the two making rude gestures and shouting insults at one another in the street much to the disapproval of the strait-laced Spanish grandee and Duchess, Eleonora da Toledo. To add to Bandinelli's misfortunes on the public relations front, Giorgio Vasari, painter, impresario of Medici commissions and latterly biographer of Florentine artists, also took against him, on account of his social pretensions and obsession with outdoing their joint hero, Michelangelo. In artistic terms this led him obsessively to produce self-portraits, emphasising his status as a Florentine aristocrat and a Knight of the Order of Santiago.The Identity of the sitterBandinelli's oeuvre in marble is to be found mainly in Florence and Rome, runing to some twenty commissions comprising many individual statues and reliefs (e.g. the 88 panels of the choir enclosure in Florence Cathedral, some of which are signed and dated 1555) as well as several portrait-busts or reliefs of Duke Cosimo made in rivalry with Cellini, and of the Duke and his wife on their tomb in SS, Annunziata, as well as other distinguished, affluent or noted Florentines.The depiction of the gentleman on the present oval for which no very distinguished provenance can be claimed at present closely resembles a similarly small portrait relief of Cosimo that seems to have been cut down into a neat rectangle of even smaller size - 22 x 17.5cm (Fig. 1). The two portraits share the same intense stare which seems to have been a specific feature of the sitters face with the eyes sometimes shown as exophthalmic, perhaps owing to an over-active thyroid. This comparable turned up in the posthumous sale of the distinguished collection of Giorgio Uzielli (1903-1984) after the death of his widow at Sotheby's New York on the 26 January 2012, lot 303. A decade or so later the same relief was subsequently re-offered at Christie's New York, on 22 April 2021 catalogued more positively by Eike Schmidt (Director of the Uffizi Gallery in Florence) and Janet Sisk as 'attributed' to Bandinelli, rather than to 'his workshop'. The unusually bulbous line of the upper forehead (with a shock of hair combed forward over it) rising above a distinct indentation is very close to the Uzielli image. As such if this is also a portrait of the Duke, it could be that the slightly aquiline ridge of the nose here is truer to the sitter in real life with the straighter and thus more flatteringly Grecian and 'ideal' line shown on most of his portrait depictions. Here the chin is strong and firm although perhaps a little less projecting than in the other portraits and the hair of the beard is less closely cropped and more curling.For further information on this lot please visit Bonhams.com
Lot 1626
Large white marble fire surround having a moulded mantelpiece, above a central urn with bows and swags and reeded column side supports with capitalsHas two large chips to corners at front and back.Overall size 47ins high x 59ins wide.Fire opening 35.5ins high x 34ins wideI believe this fire surround to be a later 20th Century piece
Lot 1
A Pair of George IV or Later Cut-Glass Scent-Bottles, by John Blades or His Successors Blades and Jones, London, Probably First Half 19th Century, each modelled as the Royal crown, with central detachable scent-bottle with finial formed as an orb and cross, each damaged, one with staple repairs, 12cm high It would seem certain that John Blades was making items such as these as early as 1823 when a view of his upper show room at 5 Ludgate Hill was published by Ackermann, after John Gendall (British Museum Heal,66.11). A close examination shows, among lavish glass for lighting and the table, a number of crown shaped objects. The most compelling comparison for the present scent-bottles is an object showing on the right of the mantlepiece. It is depicted apparently under a glass dome, suggesting it was treated as a very precious item. The mantelpiece shows another similar example in coloured glass and a third on the table which is in white and coloured glass. It is possible that these examples were made as a souvenir for the coronation of George IV which was held on 19 July 1821. John Blades was no stranger to Royalty, having held a Royal Warrant to George III and being known to have supplied diplomatic gifts on behalf of the crown, some of which were designed by the architect J. B. Papworth, see for example a pair of lustres from the Royal Collection, (RCIN 53130). A very similar example is in the collection of the Victoria and Albert Museum (C.791 &A-1936), having been gifted by Queen Mary.. There is significant damage to each with one being re-glued and the other with staple repairs. There are further chips to the glass overall.
Lot 587
A BLACK AND PARCEL GILT CAST IRON GRIFFIN FIRE FENDER IN THE MANNER OF THOMAS HOPE, 19TH CENTURYEach griffin seated, with gilt chain in mouth, plinth support mounted with the head of a "Indian or bearded Bacchus", central adjustable section with central floral scroll designthe griffins 46cm high, the fender at full extension 127cm wideFor two similar but plainer pairs of griffin andirons (provenance William, 4th Earl Fitzwilliam (d. 1833) and by descent at Wentworth Woodhouse until 1998) please see lots 14 and 15 Christie's Fine English Furniture, London, 11th February 1999. Plate 58 from Hope's 'Household Furniture and Interior Decoration, London', 1807, illustrates a mantelpiece/fireplace with pair of griffins, lion-bodied eagles sacred to the sun-god Apollo, as guardian firedog 'chenets' after the French antique manner.Please note, this lot measures 127cm when fully extended and 107cm at its smallest extension, and not as printed in the catalogue.Condition Report: At its smallest- approx. 107cm. In generally good order with no signs of breaks or repairs. Clean and very presentable. Reverse of central section stamped- possibly "*21- GT"? Difficult to read or photograph. Please see additional images which form part of this condition report Please note, this lot measures 127cm when fully extended and 107cm at its smallest extension, and not as printed in the catalogue.Condition Report Disclaimer
Lot 1155
An exceptionally attractive French Ormolu and porcelain mantle Clock the two-train movement by Leroy & Fils, Paris, serial No. 16549 striking the hours and passing half hours on a bell, the porcelain face 3 1/2" diameter decorated in blue and gold having a colourful atmospheric depiction to the central reserve of a romantic scene in a classical garden with a chateau visible in the distance, the hours marked within individual reserves with Roman numerals.The decorative pendulum has a gilded bob-weight featuring a pair of opposing butterflies clinging to a sphere and it swings before a shaped porcelain panel with a scene of a planted urn on a stone walled terrace whilst beyond in a wooded valley with tall flowering plants is a viaduct enveloped in vegetation leading to a chateau with a pillared terrace high on the valley side. Beneath the pendulum is another flat porcelain panel set into the base, this beautifully portraying a Mediterraneanesque coastal scene with the turquoise seascape framed by an overhanging tree bough and a Yucca. These porcelain panels have various annotations to the reverse in red/brown freehand script with the numbers 16458, which ironically is one digit at variance from that of the mechanism. The very grand Ormolu frame features much symbolism with Angelic faces bearing crowns of fruiting Vines and elsewhere is much trailing foliage, leaf-scrolls and Fuchsia-like flower blooms. The cylindrical clock housing stands on a platform in turn supported on canted porcelain/enamelled Cobalt blue tapering square pillars with Ionic capital design scrolls and fruiting Vine crowned Angelic faces and at their bases Olympic torches, Rose blooms and ribbons. The whole is supported on four leaf-scroll detailed feet whilst the pediment is formed by a Cobalt blue and gold urn, the reserves front and rear illustrating colourful and skilfully portrayed flowers. The time piece is 14 1/4" high, 10" wide and 4 3/8" deep. This clock is sold together with a pair of associated Ormolu and porcelain two-light candelabra having been together for some considerable time. The candelabra each has a plinth base with a porcelain frieze raised on four compressed circular feet and a Cobalt blue, gold and white boss to the stem decorated with colourful flower blooms and with similarly decorated sconces supported on scrolling budded stems, each candelabrum also having a central finial surmounted by an opening flower bud. 11 3/8" high, 7 3/4" wide and 3 3/4" deep. Altogether forming a most magnificent mantelpiece garniture set. The winding key is present as is the smaller key for regulation of the movement from the front via the spindle for such purpose located above the twelve o'clock position. The clock has been running satisfactorily during cataloguing and in the run-up to the auction.
Lot 65
Jitka Palmer, "Coiled", Portland stone, 2019, 33 x 40 x 11cm. Hand carved stone sculpture, polished. The piece is a poetic expression of a safe and undisturbed shape we sometimes need to find to rest and hide from the intensity of the world around us. Best displayed on the mantelpiece, floor or even on the wall in the garden. Located in Bristol, UK shipping £35.
Lot 489
* After Daniel Maclise, (1806-1870). Benjamin Disraeli as a Young Man, monochrome watercolour heightened with bodycolour on paper, full-length portrait of Disraeli standing in nonchalent pose leaning one elbow on a mantelpiece, with a long smoking pipe resting on the sofa behind, and a sheath of ornamental daggers hanging on the wall, titled to lower margin, 12.6 x 8.5cm (5 x 3.25ins), verre eglomise mount, framedQty: (1)NOTESAfter the portrait of Disraeli executed by Maclise for 'Fraser's Magazine' and published in lithograph by James Fraser in 1833. The National Portrait Gallery has a pen & ink drawing of Disraeli by or after Daniel Maclise which is almost identical in compostion (NPG 3093). Novelist and statesman Benjamin Disraeli (1803-1881), who served twice as Prime Minister, was famous for his dandyism. Maclise's portrait, with its flamboyant dress style, careless pose, and smoking pipe, portrays him in this guise.
Lot 100
A stained pine chimneypiece in George III style, 20th century, with vacant moulded rectangular panel over the mantelpiece, the surround with central shell above the flanking voluted and panelled pilasters, 231cm high overall, 146cm wide, the aperture 96 x 86cmCondition Report: Marks, knocks, scratches, abrasions, consistent with age and use,The stained surface appears to be simulating mahogany, this is uneven and there is further watermarking to the surface, also other marks and wear. It would probably benefit from re-staining or painting.Some chips and losses, old splits and cracks, Signs of old woodworm, including some losses to edges, There is an area of staining/discolouration to the middle of the central panel, this has perhaps had a mirror or a picture hung here previously.There are some cut away segments of timber, this was obviously from where it 'fitted' before removal - some additional timber may be required when it is 'fitted' in a new position by the purchaser. Condition Report Disclaimer
Lot 251
Bedeutende und in höchster Qualität gefertigte Empire-Kaminuhr mit figürlicher Gestaltung von Claude Galle (1759 "" 1815) Höhe: 56 cm. Breite: 59 cm. Tiefe: 18,5 cm. Paris, um 1810. Bronze, vergoldet und schwarz patiniert, grüner Marmor. Der Aufbau betont vorrangig die skulpturale, bildkünstlerisch hervorragende Leistung als klassizistische Plastik, als das in der Gesamterscheinung untergeordnete Uhrwerk. Die Betonung der beiden Farbwirkungen Schwarz und Gold verleiht gediegene Eleganz. Der grünfarbene getreppte Sockel in Vert de Mer-Marmor erscheint dabei zurückhaltend, durch die vergoldeten Rundfüße jedoch mit dem Figurenwerk verklammert. Gezeigt ist eine schwarz patinierte Récamière, reich mit vergoldeten Applikationen besetzt, auf der eine bacchantische Mänade auf einem Kissen liegt. Der Körper nur mit einem um die Hüften gelegten Tuch bekleidet. Die Körperhaltung zeigt sie räkelnd, mit hochgenommenen Armen, wobei sie eine große Traube mit Blättern über dem Gesicht hält. Ihr Blick ist verschleiert, nahezu weintrunken wiedergegeben. Zu ihren Füßen ein Tamburin mit Tyrsosstab zwischen zwei Weinkannen am Fußende des Bettes. Dem antiken Thema entsprechend beziehen sich auch die Applikationen an der Vorderseite der Liege auf das Bacchusthema: Zwei Panther die sich an Trauben in einem Korb laben. Es sind die Attributtiere des Weingottes Bacchus, wurde er doch der Legende gemäß von einer Pantherin aufgezogen. Seitlich Panflöten, darunter erscheinen die Masken des gehörnten Pan an den Bocksfüßen der Kline. Ein hochsteigender Bock sowie ein Widderkopf-Rhyton an der Lehne ergänzen das Bildprogramm. Das Uhrwerk im Zentrum unterhalb der Récamière eingefügt. Das weiße Emailzifferblatt zeigt römische Stunden und arabische Viertelstunden, über der VI bezeichnet "A Paris". Das Werk mit runden Messingplatinen, durch vier Pfeiler verbunden. Ankerwerk mit Pendel an Fadenaufhängung. Vierzehntagegehwerk. Schlossscheibenschlagwerk für Halbstunden- und Stundenschlag auf versilberte Glocke. Das Thema der figürlichen Darstellung lässt sich auf reiche antike Sagenstoffe zurückführen, die von dem römischen Dichter Ovid überliefert wurden. Dabei spielt die vorgeschichtliche Erfindung der Weinherstellung eine übergeordnete Rolle, etwa die Legenden von Bacchus und Erigone, der Tochter des Ikarios. Hier wird erzählt, Bacchus hätte die Herstellung des Weines verraten, ohne die Folgen der Betrunkenheit zu erwähnen, woraufhin Ikarios getötet wurde. Aber auch ohne diese Vorgeschichte fand das Motiv der trunkenen Mänade im Gefolge des Bacchus vielfach Anregung zu künstlerischer Gestaltung. Und dies auch in der Plastik, in Zusammenhang mit Uhrengehäusen. So hat Clodion ebenfalls eine Bacchusnymphe in Marmor auf einer Liege gestaltet, für eine Musikuhr, die in die Sammlung von Prinz Napoleon in Brüssel kam. Als ein weiteres Vergleichsbeispiel kann eine ähnliche Kaminuhr zitiert werden, gefertigt von Courvoisier & Compagnie, La Chaux-de-Fonds, mit der ebenfalls vergoldeten Bronze von Thomire, Paris (Inv. Nr. IV-693). Die Zuweisung an Thomire basiert auf einem Entwurf im Stockholm National Museum of Fine Arts. Letztlich jedoch verrät uns ein Katalog des Hotel Drouot, Paris, (Salle M. Etienne Ader, Lot Nr. 121) vom 18. Juni 1848, mit Abb. den Bronzier Claude Galle (1759-1815). Der Uhrmacher unterhielt sein Atelier laut seiner Briefadresse in der Rue Vobert N. 1 sowie Rue Vivienne Nr. 9, wurde 1786 Meister, dann Lieferant für die Ausstattung der Schlösser Fontainebleau, Les Touileries, Compiégne und Rambouillet. Auch außerhalb Frankreichs belieferte er höchstrangige Auftraggeber, wie etwa das Savoy-Schloss Stupinigi bei Turin oder den Quirinal in Rom. Unter Napoleon I galt er als einer der bedeutendsten Bronzehersteller Frankreichs. Als Hersteller und Distributeur unterhielt er im Jahre 1811 nahezu 400 Mitarbeiter, somit eines der größten Unternehmen. 1806 wurde er anlässlich einer Kunstindustrieausstellung mit einer Medaille ausgezeichnet; für eine figürlich gestaltete Uhr, die sich heute im Museum des Chateau Malmaison befindet. Nicht allein der Entwurf, sondern auch die hervorragende Fertigung macht dieses Objekt zu einem der markantesten Beispiele des Pariser Empire und ist ohne Zweifel als bedeutend museal zu bezeichnen. Tadelloser Zustand. Das Pendel sowie ein Schlüssel vorhanden. A.R. Provenienz: Privatsammlung Mulhouse. Literatur: Michael Shapiro, Monsieur Galle, Bronzier et Doreur, in: The J. Paul Getty Museum Journal, Vol 6/7, 1978/1979, S. 57-74. Louna Zek, Bronzes d'ameublement et meubles français achetés par Paul I-er pour le Chateau Saint Michel de Saint Petersbourg 1798/99, in: Bulletin de la Société de l"THistoire de l"TArt Francais, 1994. Jean Dominique Augarde, Une nouvelle vision du bronze et des bronziers sous le Directoire et l"TEmpire, in: L"TEstampille "" L"TObjet "Tart, Januar 2005, Nr. 298, S. 62-85. (1251196) IMPORTANT HIGH-QUALITY EMPIRE MANTELPIECE CLOCK WITH FIGURAL DESIGN BY CLAUDE GALLE (1759 '''' 1815) Height: 56 cm. Width: 59 cm. Depth: 18.5 cm. Paris, ca. 1810. Bronze; gilt and black patina, green marble. The composition predominantly emphasizes the excellent neo-classical sculpture while the clockwork is subordinated to the overall appearance. The accentuation of black and gold as the dominating colours makes for a very elegant design. A bacchanalian maenad is reclining on a cushion on a black patinated recamier, richly decorated with gilt mountings. The subject of an intoxicated maenad in Bacchus''T entourage was popular and lent itself as inspiration for artistic designs, as in the sculpture on offer for sale here, in conjunction with a clock case. Clodion also designed a bacchanalian nymph in marble on a lounger for a musical clock held at the collection of Prince Napoleon in Brussels. A further comparative example is a similar mantelpiece clock manufactured by Courvoisier & Compagnie, La Chaux-de-Fonds, also with a gilt-bronze by Thomire, Paris (inv. no. IV-693). The attribution to Thomire is based on a design held in the Stockholm National Museum of Fine Arts. Finally, a catalogue from Hôtel Drouot, Paris, (Salle M. Etienne Ader, lot 121) dated 18 June 1848, with illustration of the bronze maker: Claude Galle (1759 - 1815). Not only the design but also the excellent manufacture makes this object one of the most striking examples of the Paris Empire period and can undoubtedly be considered of museum-quality. In pristine condition. Provenance: Private collection, Mulhouse. Literature: M. Shapiro, Monsieur Galle, Bronzier et Doreur, in: The J. Paul Getty Museum Journal, vol. 6/7, 1978/ 1979, pp. 57-74. L. Zek, Bronzes d''Tameublement et meubles français achetés par Paul I-er pour le Château Saint Michel de Saint Petersbourg 1798/99, in: Bulletin de la Société de l''THistoire de l''TArt Français, 1994. J. D. Augarde, Une nouvelle vision du bronze et des bronziers sous le Directoire et l''TEmpire, in: L''TEstampille '''' L''TObjet d''Tart, January 2005, no. 298, pp. 62-85.
Lot 615
ARR * Maze (Paul Lucien, 1887-1979). Interior scene with fireplace, gouache on pale brown paper, depicting a fire ablaze in a hearth, with bellows and coal scuttle, a picture hanging on the wall above a crowded mantelpiece, and to one side a standard lamp, bureau, chair, and stone bust, 39 x 54cm (15.25 x 21.25ins), mounted, framed and glazed, frame with attribution labelQty: (1)NOTESPossibly depicting the artist's own house.
Lot 198
A Regency burr oak and ebony library table, in the manner of George Bullock, circa 1815, the rectangular top with gilt tooled green leather inset and the crossbanding incorporating ebony banding cornered by marquetry acorn terminals, above a pair of drawers and an opposing pair of false drawers, the frieze cornered by a carved acorn pendant finial, above twin turned supports carved with oak leaf and acorn collars, above turned acorn feet and brass casters, 76cm high, 182.5cm wide, 80cm deepFor a related design of library table adopting the same materials and with twin pillar supports, see Christie's New York, Important English Furniture,9th April 2003, Lot 129 (28.680 USD). The scale of the current table and the inclusion of distinctive pendant finials to the corners of the frieze could similarly be attributed to the designs ofRichard Bridgens. Bridgens and Bullock did work together and Richard Hicks Bridgens (d. 1846) working relationship with Messrs George Bullock (d. 1818) and William Bullock, proprietors of Piccadilly's 'Egyptian Hall', was established by 1812, and they collaborated in such projects as Sir Henry Godfrey VassalWebster's historic 'Hastings' Hall at Battle Abbey, Sussex, whose furniture featured in Rudolph Ackermann's Repository of Arts, 1817. This pattern of table to which the current table relates was invented in 1823 to correspond with the 17th Century Jacobean mantelpiece in James Watts's great library at Aston Hall,Birmingham, where it featured in situ in A.E. Everitt's 1854 watercolour (pl. 96B). The design was later included amongst Bridgens' Aston furnishingsin the Elizabethan, Gothic and Grecian manner published in Designs for Furniture with Candelabra and Interior Decoration, 1838 (V. Glenn, 'GeorgeBullock, Richard Bridgens and James Watt's Regency Furniture Schemes', Furniture History, 1979, pls. 96B, 102B and 103A). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Metalware original. No key present, both locks open. A board to the bottom of one drawer is detached but present. Inset leather top is a sympathetic replacement. Leather with some additional scratches and marks. Some small sections of replacement veneer to three corners of one end base. Condition Report Disclaimer
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