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Click here to subscribeA Fine Quality Dwarf Breakfront Bookcase/Display Of Small Proportions With Glass Shelves. Decorated In Green Chinoiserie Lacquer, With Chinese Gilt Figures In Garden Settings In High Relief, The Astral Glazed Top Of Unusual Form With Shaped Hand Blown Panels, Supported Below With 4 Drawers And 4 Cupboards, On A Plinth Base. 72 Inches Wide, 80 Inches High, 16 Inches Deep
A DESIGN FOR A CENOTAPH watercolour over pen and ink on paper 37 x 51cm Provenance: Abbott and Holder, December 1999. Design for a Cenotaph, with a lateral depiction of the structure and in the upper right hand corner, the ground plan. The latter shows a square central building, circular on the interior, with each side of the square preceded by a double colonnade, producing a cruciform plan. The whole is raised on a plinth, approached by steps on each side. The building is therefore related to the numerous mausolea designed in the early years of the 19th century along classical lines. The lateral view shows that each colonnade was to be preceded by pairs of mourning figures. The colonnade is ionic, with an arcaded superstructure bearing wreaths and pilasters, surmounted by funerary urns, aligned with the columns beneath. The central space emerges as a drum for a dome, crowned by a broken column which emerges from what seem to be the sterns of ships - suggesting that the design was intended for a naval monument. The words - DESIGN - FOR - A - CENOTAPH - inscribed in ink at the bottom. Edmund Pink was an architectural draughtsman and trader with the firm of Standfast & Co. In 1820 he traveled to The Cape, going on to Rio de Janeiro in 1821. On both legs of the journey he kept a journal and made numerous topographical illustrations. Christies sold these in 1994 and 1997. The albums exceeded their estimates, with the Brazilian collection selling for Å“41,000 and the South African material for Å“22,000. Abbott and Holder acquired a collection of his architectural drawings in 1999. These do not seem to belong to the foreign journeys and some are dated to the mid 1820s. The quality of his architectural drawing, reminiscent of Soane, suggests he was professionally trained, but no buildings by him have yet been traced.
A pair of green and cream painted marble topped commodes, in George III style, 19th century and later elements, each grey veined white marble top above the central relief carved oval fan motif and incorporating a pair of drawers, flanked by fluted pilasters headed by roundel terminals and on a plinth base, 84.5cm high, 150cm wide, 68cm deep
A George III mahogany and marquetry clothes press, circa 1770, the chequer banded and pendant moulded cornice above a bellflower decorated frieze, each panel door centred by a twin handled urn above a bellflower decorated plinth , opening to five sliding trays, the lower section with three long graduated drawers and on outswept bracket feet, 223cm high, 130cm wide, 62cm deep
A pair of carved mahogany and granite mounted semi elliptical side tables, in George III style, early 20th century and later, each shaped top above a central stylised fan motif, flanked by swags and continuing to the remainder of the frieze, above square section legs carved with bellflowers and terminating in plinth feet, each 76cm high, 123cm wide, 60 cm deep
A pair of white painted carved wood pedestals, in George II style, 19th century, in the manner of William Kent, each moulded elliptical top above an acanthus frieze and three female terms surmounting strapwork decorated pilasters, on a moulded plinth base, each 131cm high, 36.5cm wide, 25cm deep
A mahogany four post bed , circa 1780 and later, with silk hangings throughout, the canopy with a pendant moulded cornice, above the pair of carved and turned posts at the front, each with a stylised capital above the hexagonal baluster shaped column section carved with husk terminals, the reeded section above chamfered square uprights, plinth bases and concealed casters, approximately 212cm high, 162cm wide, 216cm long Provenance: T he collection of the late John Marsh, Lawnswood House, South Staffordshire.
A George III mahogany breakfront library bookcase, circa 1780, the dentil and pendant moulded cornice above four astragal glazed cabinet doors opening to adjustable shelves, the base section with four panelled doors opening to fitted drawers, on a plinth base, 245cm high, 366cm wide, 63cm deep, together with a quantity of books and leather bindings Provenance: T he collection of the late John Marsh, Lawnswood House, South Staffordshire. Purchased with the property from Jack Bean in 1966 For a design of bookcase adopting a very similar design of astragal glazing and fitted drawers with circular handles, see Elizabeth White, Pictorial Dictionary of British 18th Century Furniture Design, Antique Collectors Club, 1990, page 243 where Plate 45 illustrates a bookcase design from Hepplewhite s The Cabinet Maker and Upholsterer s Guide . See also Thomas Chippendale, The Gentleman and Cabinet Maker s Director , (Third Edition 1762), Republished John Tiranti Ltd, 1939, Plate LXXXVII, Two Bookcases for a bookcase demonstrating the same design of door panel, the moulding shaped at the corners to accomadate distinctive finely carved patera terminals.Please note: The books in the bookcase that are physically on view in the saleroom are included with the lot. There are not enough to fill the bookcase. The books in the bookcase illustrated in the catalogue are not included with the lot.
Ω A Regency rosewood open bookcase, in Empire taste , circa 1815, the rectangular top with bead moulded caddy edge, above two adjustable shelves , flanked by turned pilasters with gilt metal mounts, on a plinth base with bad moulded edge, 94cm high, 97.5cm wide, 39cm deep Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
A Napoleon III mahogany and gilt metal mounted partners pedestal desk, circa 1870, in the Empire taste, decorated with gilt metal mounts in the neo-classical taste throughout, the rectangular top with gilt tooled leather inset, above three frieze drawers and three opposing false drawers, with a gilt tooled leather inset slide to each shorter end, each plinth section with three drawers, flanked by tapering pilasters surmounted by female portrait terms in the Egyptian taste, on plinth bases, 79cm high, 150cm wide, 85cm deep
Ω A George IV rosewood breakfront open bookcase, circa 1825, the rectangular shaped top above the moulded frieze and three banks of open shelves divided by turned columnar pilasters, the plinth base above turned feet, 89cm high, 183cm wide, 42cm deep Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
Ω A George IV rosewood and marble mounted console table, circa 1825, attributed to Gillows, the variegated black marble top above a moulded frieze and a pair of scroll carved downswept legs surmounted by acanthus carved terminals and terminating in carved lion paw feet, backed by a mirror panel flanked by moulded pilasters and on a plinth base with a bead moulded edge, 90cm high, 98.5cm wide, 44cm deep Provenance: Property from a deceased estate, Berkshire For closely related design of legs and carved detail, see Susan E. Stuart, Gillows of Lancaster and London, 1730-1840, Antique Collectors Club, 2008, page 323, Plate 367. Whilst the book illustrates an elegant mahogany sideboard table (made for Stephen Tempest of Broughton Hall, Yorkshire) , the similarities between key elements of it and the current table being offered are clear. Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
Ω A William IV rosewood octagonal centre table, circa 1835, the top with a tongue and dart moulded edge and lappet moulded frieze, the pedestal base cornered by c-scroll and carved acanthus terminals, the concave sided plinth above lappet carved feet with concealed castors, 73cm high, the top 127cm diameter Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
Ω A pair of William IV rosewood folding tables , circa 1835, each rectangular top opening to a , above a shaped frieze decorated with carved foliate detail and a central stylised anthemion, each hexagonal bulbous shaped stem, above a concave sided plinth base terminating in carved lion paw feet and concealed castors, each 73cm high, 92cm wide, 45cm deep Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
A mahogany library bookcase, circa 1890, the dentil and tongue and dart moulded cornice above three banks of adjustable shelves divided by profusely carved pilasters depicting trailing and intertwining foliate motifs, the lower section with three cupboard doors and the plinth base decorated with repeated lappet borders, 239cm high, 274cm wide, 42cm deep
A Victorian thuya, porcelain and gilt metal mounted octagonal centre table, circa 1870, the crossbanded top above the frieze with elaborate gilt metal mounts centred by multiple floral decorated porcelain panels, the turned uprights above a shaped plinth and hipped downswept legs, on porcelain casters, 72.5cm high, the top 115cm diameter
After Andrea del Verrocchio (1435 ~ 1488), a patinated bronze model of the Equestrian statue of Bartolomeo Colleoni, late 19th century, the general portrayed in full armour, his stern face turned to sinister, his horse with left foreleg raised; later mounted onto a rectangular speckled black marble socle, 59cm high overall, 52cm long The renowned Colleoni Monument is a Renaissance sculpture in the Campo Santi Giovanni e Paolo, Venice, and was executed between 1480 and 1488 by Andrea del Verrocchio. Standing 395cm in height exclding the plinth, it portrays the Venetian general, Condottiero Bartolomeo Colleoni who, on his death famously left a substantial part of his will to the Venetian Republic, on the condition that a statue in his remembrance be set up in the Piazza San Marco. However, no portrait statue could be legally erected in Saint Mark's Square, since the law said that no individual could be honoured above the State, so the government avoided the problem by having the statue erected in its current position, but in front of the Scuola of San Marco instead Verrocchio based the sculpture on Donatello's statue of Gattamelata (1453), as well as on the ancient Marcus Aurelius equestrian group in Rome, the Horses of St Mark's in Venice, and the Regisole (an equestrian group of late antiquity and previously in Pavia, -now lost), amongst other influences; but in a distinct and impressive move away from these earlier groups Verocchio solved the technical problem of the requirement for a support beneath the raised leg of the horse, to support the weight of the group above. Donatello, in his monument at Padua, had only partially solved the problem by putting the raised leg on a sphere. Verrocchio's creation though used a combination of weight distribution and stance in the horse to enable the whole group to be supported on just three legs. In achieving this he could bring a sense of movement to the animal that could not be shown previously, and in doing this Verocchio created one of the great sculptural works of the Renaissance
An Italian walnut commode, second half 17th century, the moulded rectangular top above a shallow frieze drawer with handles formed as Blackamoor busts, the three further long drawer mounted with scroll cast handles centred by a stylised mask, the moulded plinth base incorporating outset corners and block feet, 96cm high, 145cm wide, 72 cm deep
A pair of carved giltwood console tables, circa 1740 and later, each breche violette marble top above a moulded Vitruvian scroll carved frieze and eagle support, each depicted with its wings spread and standing on a naturalistically carved outcrop, the rectangular plinth incorporating a carved frieze incorporating tongue and dart and patera carved motifs, each 83cm high, 97cm wide, 50cm deep Carved and gilt console tables in the form of an eagle with splayed wings were highly fashionable in grand neo-Palladian apartments of the second quarter of the eighteenth century, in both town and country houses. Numerous variations survive, but the treatment of the present example, with fully splayed wings supporting the frieze, is relatively unusual and comparisons may be drawn to a table attributed to William Bradshaw and illustrated in Apter-Fredericks Volume III.
A Continental carved wood, painted and parcel gilt Blackamoor table, 19th century, the circular top painted to simulate marble, the stem formed of a carved figure of a Blackamoor in traditional dress kneeling to support the table, the serpentine fronted plinth base painted also to simulate marble, 81cm high, the top 62cm diameter Provenance: Lord Adrian Foley, 8th Baron Foley.
A Royal Flying Corps Barometer, the case made from a laminated teak propeller boss, set with an aneroid barometer with silvered dial, mounted on a plinth set with a brass plaque inscribed ''World War 1 1914-1918, W.E.HARKER. No.103107 2nd A.M. R.F.C.'', the reverse and top stamped W E HARKER, 26cm
A late 19th century Arts and Crafts golden oak press cupboard, possibly by Talbot, the upper portion with inlaid carved detail, canted corners, a pair of plank panel doors enclosing storage space with three slides, the lower portion as a chest of two over two drawers on plinth base and castors. 201cm high x 124cm wide x 50cm deep.
Feather of Keighley, a 19th century mahogany longcase clock, brass arch top dial with painted rolling moonplace calendar to arch, 15inch face with corner spandrels, Arabic numerals, subsidiary seconds dial at 12, chime / silent indicator and Westminster chimes / 2 gongs indicator, three train movement striking gongs, broken arch hood with glazed door flanked by Corinthian columns, trunk with reeded corners flanking glazed door, moulded top box base with canted corners on low plinth, 250cm high
A late 18th century George III mahogany longcase clock by Wyke and Green Liverpool, swan neck pediment with ebonised finials and carved rosettes, gilt painted foli panels beneath, arch top glazed door fronted by fluted clasters revealing brass face with arch top rolling moon phase, brass spandrels around silvered dial with Roman and Arabic numerals, brass foliate engraved centre with silvered subsidiary seconds dial and date aperture, eight day four pillar two train movement striking on a bell, trunk surmounted by blind fret frieze above shaped and figured trunk door flanked by fluted quarter columns, moulded top plinth base with raised quarter form panel, canted corners, set on bracket feet, 256cm high
NINE BOXED ANNIVERSARY LILLIPUT LANE SCULPTURES, to include 'Cruck End' 1996, 855, and 'Shades of Summer' 1998, L2125, 'Penpals' 1999, L2241, 'Sweets and Treats' 2000, L2315, 'The Old Mill At Dunster' 2001, L2396, 'The Enchanted Garden' 15th Anniversary Collectors edition, L2410, with plinth, 'Roll out the Barrel' 2003 L2588, 'Sowing the Seeds' 18th Anniversary edition L2712, with plinth and 'Daisy Chain Florist' 2005 L2833 (all with deeds) (9)
Regency mahogany cabinet sideboard, rectangular variegated marble top, with central sliding panel flanked by panelled doors, enclosing adjustable shelves, on an inverted plinth vase, with gilt metal mounts, width 160cm depth 38cm, height 87cm.Provenance:Private deceased Estate,Acquired from Hazlewood Castle, nr Tadcaster, June 1972.
Regency mahogany regulator, signed BURLINGHAM, PETERBOROUGH AND LYNN, centre subsidiary dials, indicating hours and seconds, with minute division chapters, weight driven movement, case with a scrolled surmount, and brass stringing to the spandrels of the hood, glazed door, plinth base, height 202cm.
Red lacquered longcase clock, the hood with sarcophagus top, turned supports, the trunk with a lon arched door, plinth base, 12" arched brass dial, cast spandrels, silvered chapter ring with Roman numerals, subsidiary seconds dial and date aperture, signed Jos. Seyton, Portsmouth, eight day movement striking on a bell, 229cm.
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