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Lot 6
A set of five terracotta painted composition figures of muses and goddesses after the AntiqueIncluding Thalia represented with a comic mask, Athena dressed in armour, two with dogs by their sides and one with a sheep, all mounted on square plinth bases, 22cm wide, 16cm deep, 53cm high (8 1/2in wide, 6in deep, 20 1/2in high) (5)
Lot 125
A JAIN BRASS SHRINE, WESTERN INDIA, CIRCA 17TH CENTURY of lobed arched form, with central figure of a tirthankara seated on a stepped plinth under a parasol lustrated by elephants, flanked by an ankus and crescent, surrounded by the other 23 tirthankaras and a pair of chauri bearers 18cm high It is not clear which of the twenty four tirthankaras is represented here, as the symbols of Ajitanatha (elephant goad, or ankus) and Candraprabha (crescent moon) both appear.
Lot 304
A PAIR OF WEDGWOOD BLUE JASPER VASES AND COVERS, CIRCA 1900 each ovoid body sprigged in white with a frieze of Apollo and the Nine Muses and set with a pair of upright fluted handles, each raised on a spreading circular foot and square plinth base, the lightly concave covers with vase finials, with Neo-classical borders each of a different motif throughout, impressed mark WEDGWOOD / ENGLAND 26cm high, some restoration The shape, 1316, is based on a lebes gamikos, an ancient Greek marriage vase. The frieze combines figures from an earlier set of Apollo and three muses, with six further figures supplied by John Flaxman to Wedgwood in 1777. Associated literature: Robin Reilly, 'Wedgwood', London, 1989, Vol.II, Fig.912.
Lot 375
ËœA PAIR OF GERMAN PARCEL-GILT-SILVER FIGURES OF MONARCHS, L. NERESHEIMER & CO., HANAU, EARLY 20TH CENTURY modelled after the statues of Clovis I, King of the Franks and Ferdinand I, King of Portugal, with carved ivory faces, each with detachable sword and his heraldic shield, Clovis with spiked crown and full beard, Ferdinand with hinged visor to his helmet, each on a cut-cornered square plinth with openwork cast foliate sides, stamped '925', Reichsmark and maker's mark 24.5cm high The original statues of 1509 are part of an extraordinary set of twenty-eight early 16th century larger-than-life bronzes by a number of artists, which surround the cenotaph of the Holy Roman Emperor Maximilian I at the Hofkirche in Innsbruck. The story goes that there was no known portrait of Ferdinand, hence the visor.
Lot 30
A 1920s Walker & Hall silver trophy, The twin handled trophy with spreading circular foot, inscribed 'Camelot School, House Cup for Games, Presented by Dr & Mrs McConnell,' raised on a Walker & Hall plinth, hallmarks for Walker & Hall, Sheffield, 1928, height 20.3cm, gross weight 13.8ozt.Condition report: Overall condition good to fair Cup slightly misshapen, off round shape A couple of dents to base and cup Inscription worn Height of trophy on plinth 27cm
Lot 378
Late 19th century Japanese bronze figure of an Elephant being attacked by two Tigers, outstretched trunk with ivory tusks, naturalistic grained skin to Elephant, Tigers with acid etched striped markings, height 38cm (15"), width 28cm (11"), all standing on stained wooden plinth.Condition report: Both Tigers with glass eyes missing, green oxidisation to tail area of Elephant.
Lot 340
Masons ironstone Neapolitian ever on plinth circa 1850, modelled with two cherubs and elaborate scroll and leaf work, decorated in an imari palette, impressed 'Masons Patent Ironstone China' to base, the ewer measures 68.5cmn high, the wood plinth stands 67cm high CONDITION REPORT: The bolt which holds the piece together has become loose, however the nut has rusted to the threads meaning that the piece is difficult to stand up and balance in its current state. One cherub has lost a finger. There is a stapled repair to the base. There are a several firing cracks to the piece generally as well as some wear to the gilding and lustre glaze. No restoration. The wood base has lost one section of moulding. It shows signs of age.Condition report: The bolt which holds the piece together has become loose, however the nut has rusted to the threads meaning that the piece is difficult to stand up and balance in its current state. One cherub has lost a finger. There is a stapled repair to the base. There are a several firing cracks to the piece generally as well as some wear to the gilding and lustre glaze. No restoration. The wood base has lost one section of moulding. It shows signs of age.
Lot 571
A Regency mahogany bracket clock, with a brass carrying handle above a domed top, the sides and front with gilt grilles, on a plinth base and ball feet, the 20cm dial with Roman numerals, indistinctly inscribed, possibly Frodsham, Portsea, with a twin fusee movement striking on a bell, 46cm high x 30cm wide
Lot 142
Auguste Puttemans, (Belgian 1886 - 1922), a patinated bronze model of a Bacchante, dated 1917, portrayed in dance and playing the pipes, the base inscribed in the maquette with signature, dated and numbered 'No.9', above a green marble plinth 53cm high Provenance: Previously at Cherkley Court, former home of the Barons Beaverbrook
Lot 162
Ï’ A Regency rosewood library table, attributed to Gillows, circa 1815, the shaped top with a tooled leather inset and moulded edge, above a pair of drawers and a pair of opposing drawers, above twin tablet moulded supports and plinth bases decorated with reeded scroll terminals, on carved lion paw feet with carved shell terminals, on concealed castors, 75cm high, 153cm wide, 92cm deep For a virtually identical mahogany library table attributed to Gillows, see Sothebys, Arts of Europe, 4th December 2012, lot 521 (£18,750). For a further example see Christie’s, Important English Furniture (Property from the collection of the late Sir Frederick Richmond Bt., 29th November 2001, Lot 260 (£14,100). The fine construction and distinctive features of this table are consistent with the output of Gillows. A closely related example of library table was supplied by Gillows to John Cust, 1st Earl of Brownlow (d.1853) for Belton House, Lincolnshire and Carlton House Terrace, London (subsequently sold Christie's house sale, Belton House, 30th April - 2nd May 1984, lot 88. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 169
A Regency pollard oak and brass marquetry circular table, by George Bullock, circa 1815, the top decorated with brass marquetry depicting repeating foliate designs, the turned stem with ebonised detail, above a shaped triangular plinth decorated with further foliate brass marquetry, and three downswept legs surmounted by ebonised roundel terminals and on ball feet, 73cm high, the top 75cm diameter For a table by George Bullock that is almost identical in overall design and scale to the current table being offered (but adopts alternate marquetry also based on the Wilkinson Tracings) see Christie’s Important English Furniture, 27th November 2003, Lot 160 (£65,725). The table sold by Christie’s also had firm provenance to Great Tew Park. Bullock had supplied the table with various other items of furniture to M. R. Boulton (d. 1842) and by descent to Major Eustace Robb, Tew Park, Great Tew, Oxfordshire (sold Christie's house sale, 27-29 May 1987, lot 33) The remarkably similar table supplied for Tew Park was made for the Drawing Room and invoiced in 1817 as '1 Circular Oak Loo Table richly inlaid with Holly & white mouldings £28'. George Bullock's 'sketch' for the centre table for Matthew Robinson Boulton's Drawing Room is likely to have been the pattern sent in January 1816 following his December visit to Tew 'with the view to the preparations of the furniture'. Named a 'Loo table' after a card-game, its circular 'altar' form on Grecian-scrolled 'claw' evolved from the monopodium table illustrated in Thomas Hope's Household Furniture and Interior Decoration, 1807 (pl. XXXIX). The inlay patterns survive in the 'Bullock' tracings executed by Thomas Wilkinson from George Bullocks designs in 1820 (preserved in the Birmingham City Art Gallery) as they do also for the main marquetry elements of the current table. Another remarkably similar centre or ‘Loo’ table is illustrated in George Bullock: Cabinet-Maker. London: John Murray Ltd., 1988, page 100. The illustrated example has identical marquetry to the example currently being offered at the centre of its top, however the illustrated example lacks the outer border of ‘etruscan laurel’ marquetry that the current example is decorated with. A sofa table attributed to George Bullock, decorated with Etruscan laurel marquetry banding closely relating that which decorates the current table was offered at Christie’s, London, Important English Furniture, 6th April 2000, Lot 123 (£44,650). Other pieces firmly attributed to or known to be by George Bullock also feature the same or very closely related design of marquetry. This includes a tripod table (also incorporating brass inlay) supplied in 1814 by Bullock to John, 4th Duke of Atholl for Blair Castle, Perthshire (illustrated in C. Wainwright, George Bullock, Cabinet-maker, 1988, p.67, fig.8.).
Lot 174
Ï’ A Regency rosewood side cabinet, circa 1815, the rectangular top above a two pleated silk and glazed doors opening to a shelved interior, on a plinth base, 91cm high, 99cm wide, 36cm deep Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 181
A Regency mahogany breakfront side cabinet, attributed to Gillows, circa 1815, the pierced gilt metal three quarter gallery, above the moulded frieze decorated with patera terminals, the central pair of panelled cupboard doors opening to an arrangement of sixteen solid mahogany lined drawers, flanked on each side by a further panelled cupboard door opening to five sliding trays, on a moulded shallow plinth and turned feet, 95cm high, 158cm wide, 47cm deep For a closely related example but with interior shelves rather than fitted drawers, see Christie's London, Important English Furniture, 9th June 2005, Lot 271 (£26,400).The form and specific carved and moulded detailing to this rare model of library cabinet demonstrates a design of cabinet introduced by Gillows circa 1810. Closely related library furniture was supplied by Gillows for the Library at Tatton Park, Cheshire, and also to neighbouring Mere Hall in 1815 (see Christie's House sale, Mere Hall, 23 May 1994, lots 188-192).
Lot 209
Ï’ A Charles X rosewood and marquetry circular centre table, circa 1830, the top with a central reserve and border of foliate marquetry incorporating fruiting vines, the tapering triangular stem on a plinth and turned feet, 77cm high, the top 121cm diameter Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 221
An Anglo-Indian carved carved hardwood console table, first half 19th century, carved profusely throughout beaded and foliate boarders, the rectangular top above the frieze and twin end supports carved and pierced profusely depicting winged serpents, on a shaped plinth and feet, 93cm high, 140cm wide, 60cm deep
Lot 228
A pair of patinated and parcel gilt metal columnar table lamps in the manner of Louis Philippe candlesticks, first half 20th century, the foliate cast sconces above conforming fluted shafts descending to triform bases cast with infants' masks and floral swags, each on a further triform plinth, 79cm high overall including silk and circlet-trimmed shades
Lot 50
A pair of fine gilt and patinated bronze three light figural candelabra in late Louis XV taste, by Henri Vian (French, 1860-1905), late 19th century, the foliate and fruiting sconces above scrolled conforming reeded arms supported by putti, the rockwork socles above waisted and guilloche moulded square section bases, each inscribed h. Vian to the plinth 45cm high, 32cm wide Henri Vian's Parisian foundry was well-known for its production of fine quality bronze lighting and ornament in various 18th century styles. The putti adorning the present lot are closely inspired by Roman Baroque models, said to have originated in the circle of Francois Duquesnoy (1597-1643) and Alessandro Algardi (1598-1654). The putto playing the horn is usually depicted with a further similar instrument below (see for example Christie's New York, The Abbott Guggenheim Collection: A New York Kunstkammer, 28 January 2015, lot 105), while the second seated infant is often portrayed with a conch. Two pairs are also held in the Wallace Collection. In the Museum's catalogue, Robert Wenley makes specific mention of the models' popularity as mounts for candelabra in later centuries. One such pair similar to the present lot, dating from the early 19th century, is illustrated there. See Robert Wenley, French Bronzes in the Wallace Collection, London 2002, p. 84
Lot 56
An Italian patinated bronze model of the Dancing Faun after the Antique, late 17th century, portrayed nude, depicted with a cymbal in each hand and with his right foot on a scabellum, mounted to a stepped rectangular variegated grey and white marble plinth, 28 cm high overall The Dancing Faun is first recorded in a treatise on Roman costume by Albert Rubens, published in 1665 (eight years after the author's death in 1657). There the Ancient marble is mentioned as being in the collection of the Grand Duke of Tuscany in Florence. This grinning faun was much admired by artists across Europe, with sculptor Massimiliano Soldani Benzi even calling it the 'most beautiful statue to be seen' in 1695. Several bronze statuettes of the Faun manufactured by the workshop of Soldani Benzi have in fact appeared on the market, see for example Christie's, Sculpture, 2 December 1997, lot 120. It is of course possible that the present lot (which has similar dimensions) originates from the same prolific workshop, however unlike these examples the present Faun has a fig leaf covering his genitals. The many subtle differences between the various 17th and 18th century versions of the Roman marble show the often creative and interpretive process of creating sculptures after the Antique. Literature: Francis Haskell and Nicholas Penny, Taste and the Antique, Yale University Press, 1981, pp. 205-208
Lot 60
A George II mahogany breakfront library bookcase, circa 1755, in the manner of Thomas Chippendale, the moulded and arched pediment with central plinth section, above three astragal glazed doors each opening to a shelved interior, the lower section with a blind fretwork frieze above a central panel door opening to four graduated drawers, flanked on each side by a panel door opening to a divided interior, on shaped bracket feet, 258cm high, 132cm wide, 39cm deep Please note: The estimate for this lot should read £4,000 – 6,000 (reduced from the original estimate)
Lot 700
A late 19th Century Chinese cabinet, interior accessed by multiple sliding panels and drawers, profusely decorated with Shibayama style mother of pearl inlay depicting traditional scenes and motifs, warriors, rural scenes, insects, butterflies etc, raised on elaborate plinth, approx 122cm in width, 49cm in depth, 120cm in height
Lot 587
Victorian mahogany sideboard the raised back with shelf over rectangular moulded edge top with three panel doors below with turned pilasters on plinth base. 183 cm wide x 134cm high x 50cm deep.Condition:Top badly marked and split. repair to top edge shelf. Overall veneer losses to edges, plinth etc.
Lot 604
Pair of early 19th century mahogany dining room pedestals each with domed top over frieze drawer over arched panel door cupboard enclosing shelves and drawers on plinth base. 51cm wideCondition:Cabinet 1 - Marks to top. Split and repair to side veneer. Missing moulding. General wear and tear.Cabinet 2 - Mark to top. Missing moulding. Split and repair to side. General wear and tear.
Lot 168
A large Wedgwood diced tri-colour jasper vase, cover and stand, 19th centuryOf campana form, the pale blue jasper dip engine turned through to white with a diced pattern, with sprigged vertical bands of laurel, each white check applied with a pale brown flowerhead, the square plinth base with gilt metal mounts, on a cylindrical stand similarly decorated, 52.5cm high, impressed WEDGWOOD (3)
Lot 360
A good Swansea plate from the Lysaght service, circa 1820Finely painted by Henry Morris with a basket filled with garden flowers, including ranunculus, poppy and bluebell, a garland of flowers below the stone plinth upon which the basket rests, the rich blue border elaborately gilded, 24.5cm diam
Lot 312
A large Chamberlain biscuit bust of the Duke of York, circa 1827-30Modelled on a plain square plinth, the circular socle with a narrow turned band around the edge, the Duke with his head turned slightly to his right, 22.8cm high, incised to reverse 'H. Chamberlain and Sons/ Royal Porcelain/ Manufacturers/ Worcester/ and /155 Bond St/ London'
Lot 564
FRENCH EMPIRE GILT BRONZE MANTEL CLOCK EARLY 19TH CENTURY with a figure of Eros seated on a plinth holding a ewer above an oil lamp on a column, the Roman numeral dial on a rectangular base with a trophy mount, raised on scrolled feet, the eight-day movement striking a bell (Dimensions: 39.5cm high, 30cm wide)(39.5cm high, 30cm wide)Condition report: Lyon & Turnbull does not guarantee any clock to be in working order. Condition reports are supplied on general appearance and condition. Please see our Conditions of Sale for Buyers, item 12(2) for additional information on the purchase of clocks, timepieces and mechanical instruments. pendulum, NO WINDER general good appearance with original colour some signs of oxidation tot he gilding in places rubbing/wear to the numbers on the dial] clock is lacking the cover to the movement; the movement is dirty and dusty and hasn't been serviced in a while; movement stamped P/478/O and again L in script and 84 the bell is lacking
Lot 111
SCOTTISH GEORGE III MAHOGANY LONGCASE CLOCK, THOMAS REID, EDINBURGH LATE 18TH CENTURY the dentil moulded swan neck pediment over an arched brass dial with silvered Roman and Arabic chapters, subsidiary seconds dial and a large calendar aperture, the arch with an engraved and signed silvered brass demilune panel, with pierced brass spandrels and flanked by fluted columns, above a shaped trunk door flanked by fluted quarter columns, on a plinth base; the eight day movement striking a bell (Dimensions: 49cm wide, 212cm high, 24cm deep)(49cm wide, 212cm high, 24cm deep)Condition report: Lyon & Turnbull does not guarantee any clock to be in working order. Condition reports are supplied on general appearance and condition and not done by professional clock restorers. Please see our Conditions of Sale for Buyers, item 12(2) for additional information on the purchase of clocks, timepieces and mechanical instruments. with pendulum, two weights, case key and a winder case and movement are in unrestored condition the movement is dirty and hasn't been serviced in a long time. The smaller wheel that connects and turns the calendar dial is lacking. the dial is dirty and tarnished, with some wear around the chapter and spotting here and there the hood with losses to the scroll pediment and mouldings trunk door is warped somewhat with a chip to the upper L corner plinth is untidy and appears to lean slightly
Lot 398
VICTORIAN MAHOGANY SMALL BOOKCASE 19TH CENTURY the moulded cornice above a plain frieze and carved foliate brackets, over a pair of glazed doors enclosing adjustable shelves; the projecting base with a concave frieze drawer over a pair of moulded panel doors, on a plinth base (Dimensions: 109cm wide, 203cm high, 39cm deep)(109cm wide, 203cm high, 39cm deep)
Lot 430
LATE VICTORIAN POLLARD OAK BOOKCASE 19TH CENTURY the moulded cornice above a frieze carved with triglyphs, over a pair of glazed doors opening to adjustable shelves; on a projecting base with pair moulded panel doors, raised on a plinth base (Dimensions: 116cm wide, 238cm high, 44cm deep )(116cm wide, 238cm high, 44cm deep )Condition report: 2 keys
Lot 320
Y VICTORIAN ROSEWOOD WELLINGTON CHEST 19TH CENTURY the rectangular top above seven graduated drawers and a hinged locking panel, on a plinth base (Dimensions: 58cm wide, 110cm high, 40cm deep)(58cm wide, 110cm high, 40cm deep)Footnote: Provenance : The Estate of the Late Dr. Virginia Glenn Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/Condition report: general good condition and appearance one key one knob with a small loss veneer patch to the front L facing corner of the base light scores, scuffs and scratches consistent with use and age
Lot 403
DAVID WATSON STEVENSON (1842–1904) MARBLE BUST OF A GIRL (MARIA), DATED 1879 bears inscription verso D.W. STEVENSON A.R.S.A. SC./ EDIN. 1879; raised on an associated mahogany column plinth, with carved floral swag decoration, the fluted sides with husk-carved stop fluting (Dimensions: bust 56cm high; column 108cm high) (Qty: (2))(bust 56cm high; column 108cm high)Footnote: Note: Renowned for his portrait sculptures in bronze and marble, David Watson Stevenson is arguably most recognised for his bronze rendering of William Wallace, which can still be seen on the Wallace Monument in Stirling. His naturalistic depictions of figures such as Mary, Queen of Scots, James VI of Scotland and Robert Tannahill won him many accolades, shortly after his 8 year apprenticeship with sculptor William Brodie in the 1860s. Stevenson frequently exhibited at the Royal Academy in London and, by 1876, he was elected Associate at the Royal Scottish Academy.Condition report: Bust: In good general condition although with quite a lot of surface dirt and a few scuffs to marble here and there, eg fringe, folds of blouse One or two tiny chips here and there; one to lace trim, LH facing puff sleeve and a larger chip to LH facing puff sleeve One or two minor further marks here and there across the piece Matched column: In reasonable condition with crisp carved detail Top rim has two large chips running along the moulding The garland has a few minor chips here and there to petals but nothing significant Otherwise minor marks, nicks, scuffs and surface scratches here and there, consistent with age and use
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