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Lot 42
An Italian carved white marble sculpture of a knight s helmet , 19th century, possibly Genoa, the top of the helmet with oak leaves above a cross, the plinth in the form of a pile of books inscribed, CODICE CIVILE, COD.DI COMMERCIO, STATUT DI GENOVA, and REGOL.DI M.MAT.CIV.C.... 63cm high, 41cm wide, 29cm deep Provenance : Bonhams, London, 15 December 2011, lot 75
Lot 64
A pair of bronze reductions of the Borghese and Medici vases , 19th century, each rendered in crisp detail with the figures and foliate ornament finely chased and in high relief, 36cm high Comparative Literature : 'Taste and the Antique', Francis Haskell & Nicholas Penny, publ. Yale University, 1981 This pair of vases is modelled after two of the most famous classical Athenian vases from the second half of the 1st century AD: namely the Borghese Vase and the Medici Vase. In 1807 Napoleon Bonaparte purchased the Borghese Vase from the Borghese family and by 1811 it was on display in the Musée Napoléon, now the Louvre. The so-called Medici Vase appeared in the inventory of the Medici collection in the mid 1500's. It was much celebrated in the second half of the 17th Century, featuring in many prints, including one of the earliest and finest prints by Stefano della Bella, dated 1656, depicting the young Medici heir who was to become Grand Duke Cosimo III, sitting drawing the vase. The Medici vase is now in the Uffizi Gallery. From their rediscovery in the mid 17th century, these classical vases were the most admired of antique marble vases and sometimes ascribed to Phidias (5th century BC), the legendary Greek sculptor. The two vases were often compared and copies of them were arranged as companions. Ironically they are not a pair. The Borghese vase is 1.7m tall and the Medici is 1.52m. The Borghese vase does not bear any handles, has a gadrooned lower half and a cabled motif to the base of the stem and finally an octagonal plinth. The Medici vase by contrast does have handles, acanthus leaf carving to the base and stands on a square plinth. However the subject matter could be seen as an interesting juxtaposition: the Borghese vase depicting frenzied, carousing bacchanalian figures escorting an inebriated Silenus, possibly representing the servants of King Midas capturing the prophet for their king. The Medici vase, by contrast, is believed to show the more sombre martial figures of Ulysses, Agamemnon and Iphigenia. Individually or in pairs these two vases inspired the artists catering for the grand tourists. Versions of the vases can be seen in differing scales and media and are often illustrated in paintings and watercolours from the 18th and 19th centuries.
Lot 65
Ω A large Regency mahogany circular extending dining table in the manner of George Bullock , early 19th century, the finely figured top with four semi-elliptical additional leaves decorated with foliate ebony marquetry, attached with numbered pull out supports all above a four column base on turned feet joined by a shaped plinth, with further floral carving and motifs, 71cm high, 232cm diameter with leaves, 155cm diameter without leaves Related tables include an expanding circular dining table with four supports at Wentbridge House, Yorkshire, in the collection at Temple Newsam House, Leeds, illustrated in C. Gilbert, Furniture at Temple Newsam House and Lotherton Hall, Leeds, 1978, no. 413; a table with a similar concave-sided plinth sold Sotheby s London, 2 June 2000, lot 156. A further almost identical table was offered Christie s London, 22 November 2007, lot 700. Both the distinctive monumental base with its central finial and the bold ebony marquetry inner border to the leaves epitomise the work of the leading Regency cabinet-maker George Bullock (d. 1818), who established his Piccadilly `Grecian Rooms in 1812 before also opening a `tasteful repostitory at 4 Tenterden Street, Hanover Square, London. The latter premises were highly commended in Rudolph Ackermann s The Repository of Arts for their magnificent `British Oak furniture and the ebony foliate border here relates to that on a sofa designed by Bullock in Ackermann s Repository of Arts, 1817, pl. 93. The style of the marquetry also has affinities with `Tracings by Thomas Wilkinson, from designs of the late George Bullock 1820 , now known as the Wilkinson Tracings which were acquired by the City Museum and Art Gallery of Birmingham in 1974 (see Clive Wainwright et. al., George Bullock Cabinet Maker, 1988). Two `Jupe patent dining tables with the a very similar pattern of base are recorded in the dining room at Mottisfont Priory (see H. Avray Tipping, `Mottisfont Priory, Hampshire , Country Life, 19 November 1921, p. 656, fig. 9). Please note, this lot may be subject to CITES regulations if exported from the EU.Cites RegulationsPlease note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 7
A bronze and ormolu night clock , early 19th century, the enamel dial signed Bofenschen à Paris with Roman numerals set into a classical vase with lions head handles the reverse with glass projection lens, the main body with ormolu ornamentation supported on a bronze plinth with large ormolu starburst, 51cm high, 22cm wide, 19cm deep This very unusual clock is designed to be used both during the day and at night. The vase contains an oil reserve and wick that can be lit at night which projects the time through an adjustable lens in the reverse. The gilded finial is removed to act as a chimney for the flame. Bofenschen was an expert clock maker and inventor who flourished in Paris between 1780 when he was first recorded and 1813 when he was last recorded operating in the Rue du Temple during which time he worked alongside arguably the greatest of all French horologists Abraham Louis Breguet (1747-1823).
Lot 192
A GOOD PAIR OF 19TH/20TH CENTURY CHINESE HORSE MOUNTED FIGURES OF AN EMPEROR & AN EMPRESS, the emperor with dragon robes, the empress with a phoenix headdress, each armed with a sword, each supported on a rectangular plinth, the stands 8.25in x 3.9in, each figural group 11in & 10.5in high overall.
Lot 808
A FINE FRENCH EMPIRE GILT BRONZE AND BRONZE MANTEL CLOCK, c.1810, the silk suspension movement and outside count wheel, striking on a steel bell, the case with classical woman holding a book, by a book case, supporting a circular enamel dial, with Roman numerals, in a leaf cast frame, on a rectangular plinth, the frieze in relief with cherubs and a central portrait of a woman with helmet amongst scrolling foliage and wreaths, raised on conforming leaf scroll legs, 17" (43cm) high, 11" (28cm) wide. (1)
Lot 860
A VERY UNUSUAL SCALE MODEL OF A RED COLOURED PUB FRONT, the sign inscribed Wines & Spirits, Stouts & Ales, the large window with facsimile pub memorabilia, including a sailing boat with sail, Guinness and other drink advertising posters, an old sewing machine, a dome-top clock, etc., flanked to either side with two entrance doors, recessed again with pub advertising posters attached to the glass, on a grey plinth the sign supported with panel pilasters and scroll corbels, 27" (69cm) x 43" (109cm). (1)
Lot 307
A Coalport two handled Vase and Cover with floral encrusted decoration, the pierced cover having cherub figure with floral garland, painted scene of pair of lovers in a landscape, another with exotic birds and smaller panels painted birds, on plinth with moulded scroll rococo designs, some damage
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