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Lot 232
A Meissen porcelain rococo clock-case and a stand, 19th century, traces of blue crossed swords mark to clock, blue crossed swords mark to stand, the central part modelled as a waisted rocaille-moulded plinth edged with scrolls, the fielded panels painted with hunting scenes, a dog seated at the front, the upper right-hand corner with a winged head of Time, Diana seated on the left with a bow and a quiver, her left arm supporting a scroll-moulded case fitted with a movement, the enamel dial with Arabic numerals and outer minute track, with timepiece movement, signed Terond & Delorme No.1170? signed to reverse, a hinged pierced circular gilt-metal door at the reverse, a pierced aperture above, the shaped rectangular spreading stand with shells at the canted corners, the moulded panels painted with further vignettes, 49.7 cm high, (2)Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.
Lot 242
A pair of Naples terraglia two-handled oviform vases, probably first half of the 19th century, indistinct impressed marks, each decorated in silver lustre with a band of fruiting vine at the shoulders divided by handles surmounted by helmeted warriors, on circular socles and square plinth feet, one applied with a paper label inscribed (T)erraglia antica / Giustiniani / Napoli in sepia script, 28.5cm high (2)
Lot 310
After John Adams Acton, British, 1830-1910, a terracotta bust of Charles Haddon Spurgeon, on an integral stepped plinth, with facsimile signature of Spurgeon to front, the reverse inscribed Published By The Rev. George Dunnet / MANUFACTURED By ROBINSON & LEADBEATER STOKE ON TRENT / JOHN ADAMS ACTON FECIT 1878, the right side inscribed COPYRIGHT, 35.4cm highProvenance: The Property of the Late Reverend John Watson. Footnotes: Note: Charles Haddon Spurgeon, 1834-1892, was an English Particular Baptist preacher who was highly influential among Christians of various denominations, and was often referred to as the 'Prince of Preachers'. He opposed the liberal and pragmatic theological tendencies in the Church of his day.
Lot 345
After Aime-Jules Dalou, French, 1838-1902, Homme avec Brouette, second half 19th century, a bronze roundel depicting a farmer pushing a wheelbarrow of hay, cast signature DALOU and inscribed cire Perdue, the reverse stamped 2 above 58900, on a green marble plinth, 8cm diameter, 13cm high overallProvenance: Sotheby's, Olympia, 29 April 2003, lot 113. The Property of the Late Reverend John Watson. Footnotes: Note: Jules Dalou, a dedicated republican and former communard, was a fervant champion of the working man. Towards the end of his life, the artist began an ambitious personal project to create a monument “à la glorification des travailleurs”. Taking it upon himself to visit mines, factories, and farms, the artist created numerous studies of every type of labourer, imbuing them with great dignity and respect.
Lot 374
An English black japanned longcase clock, mid-18th century, the case with chinoiserie decoration of figures, buildings and floral motifs, the moulded cornice above columns, the trunk with moulded door, on plinth base, the brass break arch dial with a plaque signed JONATHAN LEES BURY in the arch, the silvered chapter ring enclosing subsidiary seconds dial and inscription Lo here,, I Stand,, all in thy Sight / To tell the hours of day and night / Do thau a warning take by me / And serv thy God and serv thee, with cast cherub head and foliate spandrels, the four-pillar eight day movement striking a bell, with pendulum and weights, 221.5cm highPlease note that Roseberys do not guarantee the working order or time keeping of any timepiece. Footnotes: Note: Jonathan Lees is recorded as working in Bury (Lancs) c.1730-c.1760, then Middleton (Lancs) where d.1785 - Loomes, Brian, Watchmakers and Clockmakers of the World, Complete 21st Century Edition, N.A.G. Press, 2022, p.474.
Lot 408
A George III mahogany sarcophagus cellarette, last quarter 18th century, the hinged top enclosing lead liner, twin brass handles, on plinth base and bun feet, 50cm high, 49cm wide, 37cm deepCondition Report: scratches, stains and old gouges throughout, some veneer missing, a chunk of wood missing from the base at the back, structurally sound
Lot 409
A George III mahogany pedestal cellarette, last quarter 18th century, the top with two hinged panels, above lead lined drawer, cupboard door and a lead lined wine cooler drawer, on plinth base, with key, 85cm high, 49cm wide, 48cm deepCondition Report: scratches, stains and old gouges throughout, some beading repaired near the top, small split to top of back panel, structurally sound, overall very good condition
Lot 410
A pair of Edwardian line inlaid mahogany wine cisterns, of George III style, earlyr 20th century, with hexagonal shaped urns and brass taps, above cupboard door, on plinth base, 174cm high, 45cm wide, 44cm deep (2)Condition Report: scratches, stains and old gouges throughout, some veneer missing and some repaired on both, one with split to back and right side panel, the other with large split to back panel, both with splits to lids of urns, both with splits and possible repair to the stem of the urns, structurally sound, overall good condition
Lot 419
An English mahogany breakfront library bookcase, of George III style, first quarter 20th century, the stepped cornice above four astragal glazed doors and four cupboard doors, enclosing adjustable shelves, on plinth base, 254cm high, 207cm wide, 40cm deepCondition Report: scratches, knocks and old gouges throughout, some beading missing from three paneled doors, structurally sound, overall good condition
Lot 420
An English mahogany breakfront library bookcase, of George III style, first quarter 20th century, the stepped cornice above four astragal glazed doors and four cupboard doors, enclosing adjustable shelves, on plinth base, 254cm high, 207cm wide, 40cm deepCondition Report: scratches, knocks and old gouges throughout, some beading missing from two paneled doors, two panes of glass are missing, structurally sound, overall good condition
Lot 429
An English mahogany partners desk, of George III style, last quarter 19th century, the tooled green leather writing surface above an arrangement of nine drawers and two doors, on plinth base, with keys, 77cm high, 150cm wide, 90cm deepCondition Report: scratches, knocks, stains and old gouges throughout, scratches and scars to leather, some areas of lifting to leather, three splits to one side of one pedestal and a split to the door, the other with large split to one side and small splits to the other side, some veneer missing, structurally sound
Lot 434
A Regency mahogany breakfront library bookcase, first quarter 19th century, the stepped dentil cornice above four astragal glazed doors, eight short and four long drawers, on plinth base, lacking shelves, 243cm high, 193cm wide, 62cm deep Condition Report: scratches, stains and old gouges throughout, some moulding missing from doors, split to veneer to left side of top section, one crack to three glass panels, two split to veneer to top right section, split to veneer on top left side of bottom section, split to veneer of bottom of left bottom section, two splits to veneer on flat surface above drawers, split and repair to front of bottom right short drawer, split to front of thee of the left side drawers
Lot 468
A Victorian oak shop display cabinet for Winsor and Newton, last quarter 19th century, the glazed hinged sloping top above two plan drawers with rising front and an arrangement of twelve drawers, on plinth base, 120cm high, 102cm wide, 74cm deepCondition Report: Scratches, stains and old gouges throughout, structurally sound, overall good condition.
Lot 476
An Edwardian satinwood and rosewood breakfront display cabinet, early 20th century, boxwood and ebony inlaid, mirrored back, on plinth base and turned feet, 164cm high, 115cm wide, 39cm deepCondition Report: scratches and knocks throughout, no veneer missing, structurally sound, overall very good condition
Lot 507
A Napoleon III brass, ivory and mother-of-pearl inlaid ebonised breakfront cabinet, third quarter 19th century, gilt bronze mounted, marble top above door, on plinth base and toupie feet, with paper label for Rue de la Roquelle 21 SCHAMBER FABRIQUE & MAGASIN DE MEUBLES DE LUXE Genre Boule & Bois de Rose PARIS, 110cm high, 146cm wide, 45cm deepIvory submission reference: FEYN9YND Provenance: Property from the apartment of Madame Dewi Soekarno, Avenue Montaigne, Paris.Condition Report: some splitting to the lacquer, some lifting to brass inlay, split to the left side panel, structurally sound
Lot 251
An Egyptian limestone statue of Sekhemankhptah Old Kingdom, 5th Dynasty, circa 2389-2255 B.C.Statue: 121cm high x 51cm wide x 40cm deep; plinth: 91cm x 71cm x 61cmFootnotes:Provenance:Tomb G7152 at Giza, excavated by George A. Reisner and the Harvard University-Boston Museum of Fine Arts Expedition, during the digging season of 1926-1927.This statue is referenced in Reisner's diary entry of 29 January 1927 (vol. 20, p. 667): 'uncovered the two seated statues at door of G 7152, and a broken standing statue at north side of door, fallen in several pieces'.Vincent (1886-1967) and Olga (1906-2000) Diniacopoulos collection, Canada, acquired from the Khawam Brothers, Cairo and likely brought to Canada in 1951.Property from a Canadian Private Collection, a portion of the proceeds intended for the benefit of Concordia University, Montreal; Sotheby's, New York, 5 June 1999, lot 25.Private collection, New York, acquired at the above sale, until 2018.Published: La Presse, Montreal, 15 May 1954 (illus.).V. and O. Diniacopoulos, Collection Monsieur et Madame D., Vincent et Fils, Valleyfield, 1954, p. 5, no. 6.R. Belle-Isle, Exposition d'art antique, Chambly, Quebec, 1965, p.5.J.E. Francis and G.W.M. Harrison, Life and Death in Ancient Egypt, The Diniacopoulos Collection, Montreal, 2004, p.59, fig. 5.6.J.M. Fossey and J.E. Francis, The Diniacopoulos Collection in Quebec: Greek and Roman Antiquities, Montreal, 2004, p. 22, fig. 1.4 for a photograph of Vincent and Olga unboxing pieces including Sekhemankhptah at the Séminaire de Valleyfield in 1955.Exhibited: Séminaire de Valleyfield, Quebec, Diniacopoulos Collection, from 1954. Ecole Gérard Filion, Chambly, Exposition d'art antique, 1965.The tomb of Sekhemankhptah is dicussed in the following publications:G.A. Reisner, A History of the Giza Necropolis I, Cambridge, 1942, pp. 210, 312. W.H. Smith, A History of Egyptian Sculpture and Painting in the Old Kingdom, London, 1946, p.200 (recording the decoration of the interior of the offering-room of the tomb: 'The east wall retains a fragment of an agricultural scene, and the north wall is decorated with scenes showing the care of cattle. The west wall has a presentation of animals').B. Porter & R.L.B. Moss, Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings 3: Memphis, 1974, p. 191.A. Bedawy, The Tombs of Iteti, Sekhem'ankh-Ptah and Kaemnofret at Giza, Berkeley, 1976, pp.15-24, figs. 18-24, pls. 14-23, including detailed description of the decoration of the tomb and drawings of such. Sekhemankhptah's titles are listed on p.22.N. Strudwick, The Administration of Egypt in the Old Kingdom: The Highest Titles and Their Holders, London, 1985, pp.134-5. V.G. Callender, 'A Contribution to the Burial of Women in the Old Kingdom', in F. Coppens (ed.), Abusir and Saqqara in the year 2001. Proceedings of the Symposium, Prague, September 2001, Archiv Orientálni 70, no. 3, 2002, p. 303, no. 15.Sekhemankhptah was a highly important Egyptian official during the 5th Dynasty of the Old Kingdom. His mastaba tomb is located southeast of Khufu's pyramid in Giza, one of 'the most important necropolises for Egyptian royalty and the upper echelons of officialdom during the Old Kingdom' (P. Der Manuelian, 'Excavating the Old Kingdom, the Giza Necropolis and Other Mastaba Fields', in Egyptian Art in the Age of the Pyramids, New York, 1999, p. 139). It was excavated in 1926 by George Reisner, and the hieroglyphic texts on the interior demonstrate the pre-eminent role Sekhemankhptah played in the royal court. Sekhemankhptah is named as 'Count; Sole companion of Pharaoh; Chief judge, vizier; Staff of the people; Mouth of all the people of Pe; Royal chamberlain; Privy to the secret; Overseer of the scribes of the documents of the king; Scribe of the documents of the king; Overseer of all the works of the king; Overseer of the embalming house of Pharaoh; Overseer of the embalming house'. These titles suggest that Sekhemankhptah was second only to the king himself. His wife, Bwnefer, is named as 'Real royal daughter', suggesting she was the daughter of a Pharaoh (Reisner refers to Sekhemankptah as 'husband of a princess'). They had two children, a son named Seshemnefer and a daughter named Meritites.The extraordinary, monumental, size of this statue, highly unusual for a non-royal sculpture, is further testament to Sekhemankhptah's high status. It is also an exceedingly rare example of an unfinished Old Kingdom sculpture of a non-royal personage, which offers a fascinating insight to the technique and skill of the earliest sculptors of Pharaonic Egypt. Sekhemankhptah retains original chisel marks, and the carving of the wig and kilt are clearly unfinished. The surface has also not been polished to the typical degree. It has been suggested that the figure was coated in plaster, with the finer details rendered in paint, though it seems more likely that the statue was placed in front of the tomb prior to being finished (as no traces of plaster or pigment remain). The group of statuettes of King Menkaura of the 4th Dynasty at the Museum of Fine Arts, Boston (acc. no. 11.732), each in varying degrees of completion, further elucidate how these figures were finished after being installed in their final locations. Artists began by hammering out the approximate shape of the statue from a large block of stone, before refining details of the head and limbs with chisels in a series of stages of increasing refinement. After this carving and refining, rubbing stones and powdered abrasive were used to polish the surface, before an inscription was added to identify the owner. These last stages had not been completed before work on this statue of Sekhemankhptah seems to have ceased.The Diniacopoulos Collection of Ancient ArtVincent and Olga Diniacopoulos amassed one of the largest and most impressive private collections of antiquities in Canada during the 20th Century, of almost unparalleled breadth and quality. Vincent Diniacopoulos (1886-1967) was born in Constantinople to a Greek family, and was enamoured by the ancient world from childhood. From the 1920s he was participating in archaeological digs across the Middle East and undertaking art restoration, living between Paris and Cairo. His wife Hélène Olga Nicholas (1906-2000), was also Greek, and was born in Cairo. After moving to Paris in 1923 she studied archaeology at the Louvre and Sorbonne and met and married Vincent. In the late 1920s and 1930s the couple travelled extensively throughout the Middle East and Egypt, building their collection of antiquities as well as acquiring objects for major institutions including the British Museum, Louvre and Metropolitan Museum. During these formative years, they built up an extensive collection including ancient Egyptian, Babylonian, Assyrian, Hittite, Cypriot, Greek and Roman objects, ranging from sculpture and coins to ceramics, glassware and bronzes.For further information on this lot please visit Bonhams.com
Lot 268
An Egyptian polychrome wood figure of Ptah-Sokar-Osiris Late Period, circa 664-332 B.C.55cm high x 47cm longFootnotes:Provenance:Gifted ca. 1960s-70s to Elly Georgiadis (born ca.1913-d.1980s) while living in London; and thence by descent to the present owner (photographed ca. 1990 in the Kensington family home).The text down each long side of the plinth giving an offering formula which mentions 'Cool water which issues from Elephantine'. The owner's name is not recorded.For further information on this lot please visit Bonhams.com
Lot 316
Four West Country Friendly Society brass staff heads, comprising Bishop Sutton with pierced heart motif, 22cm high; Cannington with pierced crown surmount, 17cm high; Yeovil, of ‘bed post’ type, 19cm high; and an unidentified example cast as a dolphin, mounted on wooden block plinth, 15cm high overall (4)
Lot 342
Edwardian oak stationery box, of rectangular twin handled form the gently domed hinged lid with bramah lock opening to a fall front compartment enclosing writing slope with leather skiver and compartments with inkwells and interior fitted with compartments over two drawers, raised on plinth base, 37cm x 21.5cm x 28.5cm high
Lot 352
Pair of 19th century French gilt bronze and marble cassolettes in the Louis XVI style, the ovoid bodies with domed cover and pinecone finial, reversing to cylindrical candle nozzle over lion mask headed downswept tripod supports, united by swagged chains and milled collars on lions paw feet, on conforming spreading base raised on square gilt metal mounted marble plinth, 23cm high overall
Lot 571
Pair of French Empire-style bronze and gilt metal table lustres, each with cut glass drip pan enclosing gilt metal nozzle, over faceted beads and droplets and an eagle with outstretched wings, a ring in its beak, on cylindrical plinth mounted with foliate swags on spreading stepped foot, 36.5cm high
Lot 577
Irish Interest - Pair of 19th century rosewood veneered and gilt metal mounted pier or console tables, the verde antico marble breakfront tops over plain frieze and four cylindrical supports with gilt metal mounts to the front, backed with rectangular mirror with gilt metal slip, above breakfront plinth base on compressed bun feet, one stamped 'D7627' the other with remants of printed label for 'Mack Williams & Gibton...Dublin', 83cm x 28cm x 104cm high
Lot 613
Early 19th century French Empire patinated bronze and ormolu figural mantel clock, circa 1810, in the manner of Alibert or Lesieur, modelled 'au negre portefaix' as a barefoot and bare-chested slave with brimmed hat, carrying a bale of cotton on a frame upon his back, a gourd water bottle tied around his waist, a detached (but present) sugar cane walking stick to reattach to his left hand, his right hand now empty, the 3.25-inch convex white-enamelled dial with Roman hours and Arabic minutes, the anonymous two-train movement, numbered 1685, with silk suspension, outside countwheel-striking on a bell, the canted rectangular plinth base with three applied mounts; a monkey between palm fronds, and two baskets with perching birds, on toupie feet, 33cm highThe form of the current lot is based on a design registered by Jean-Andre Reiche in January 1808. Literature: see Niehuser, Elke, 'French Bronze Clocks' p.149)
Lot 82
Early to mid 19th century mahogany Estate-made bookcase on cabinet, with cavetto-moulded cornice and dentil frieze above a pair of glazed doors with wooden circular and lozenge tracery enclosing four adjustable shelves, the lower stage of two quartered doors on plinth base, 148cm x 42cm x 233cm high
Lot 552
Carousel Signed 1/18th scale No.4751 AAR Eagle - blue/white, racing number 36, 1967 Grand Prix of Belgium-Spar Winner - Dan Gurney (Signed by driver on plinth) - Eagle/Gurney West Lake V12 - Excellent Plus (couple of display marks on bonnet panel) with inner packing in Near Mint outer box with Good transit carton.
Lot 168
A VARIEGATED BROWN MARBLE & GILT METAL COLUMN the square plinth top 27cm x 27cm, with a square base, overall 112cm high. Condition Report : Top with chipped corner; base lacking marble facings to two sides. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
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