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Lot 423
Group of silver items to include a silver twin-handled trophy on a wooden plinth (stamped silver), 12cm high, an Edwardian silver mounted hair brush with relief angel and floral decoration, London 1908, contemporary silver circular pill box with engraved scrolling decoration, approx 5cm diameter, silver lidded glass vanity jar, dessert fork, teaspoon, salt spoon, sugar tongs and a French silver bone-handled pickle fork, together with a white metal fluted bud vase, 20cm high, and a pair of silver plated sugar tongs
Lot 222
WILHELM SCHMIDT: AN EXCEPTIONAL BOULDER OPAL, GEM-SET AND HARDSTONE BUST, CIRCA 1890Portraying Mars, the Roman god of War, in Ajax helmet surmounted by a vulture, sculpted from a single boulder opal, his bearded face and neck and the vulture's legs and bald head carved in dark brown ironstone matrix resembling deeply patinated bronze, the winged helmet and the vulture's plumage highlighted by utilising the thin layers of precious opal within the host rock, the opal with additional intricately engraved feather and scroll detail, the helmet and vulture's eyes inlaid with brilliant-cut diamonds, the vulture wearing a ropetwist collar, backed in engraved yellow gold. The torso clad in engraved fish-scale gold armour, the draped folds of the toga rendered in carved chalcedony, with rose-cut diamond fastening. Mounted on a silver circular collar with gold acanthus leaf scrollwork and set with three cabochon turquoises and a single cabochon emerald. The whole on a rectangular tapered, polished hardstone pedestal of exquisite purple and green colouration. Each face of the pedestal in-set with an oval cameo withing gold ropetwist frame; an idealised Roman goddess in sardonyx at the front, and three labradorite cameos to the sides and back variously depicting Minerva, Cleopatra and Isis, on a green hardstone base, signed W.Schmidt on reverse of toga, repair in chalcedony toga, three diamonds deficient, lengths: 31 cm total, the bust 14 cm, the plinth 14 cm, Footnotes:ProvenanceHerbert Maxwell Stuart (1842-1921) The date of purchase by Maxwell Stuart is unknown but the sale is mentioned in a typed transcript of a letter of reminiscences, written in 1926, by Wilhelm Schmidt to his friend and business associate Dr George Frederick Kunz of Tiffany, 'Bust of Mars, in opal matrix, size 5 inches, face and neck in brown matrix, Ajax helmet in opal of finest quality...Purchased by Mr Herbert Maxwell Stuart of Scarthingwell Hall, Tadcaster.' Schmidt continues, 'Mr Herbert Maxwell Stuart, the lineal descendant of the Stuarts and owner of their estates in Scotland and Yorkshire was a purchaser of many of my works. He was greatly interested in precious stones.'Maxwell Stuart amassed a large collection of unmounted specimen gems, including the largest facetted topaz, known as the Maxwell Stuart Topaz. Part of his collection was sold after his death at Christie's on 22 June 1921, including several opal cameos, unattributed in the catalogue but most likely carved by Schmidt. This bust was not part of the sale. It was purchased, unattributed, as a beautiful object of vertu by the family who currently own it. This highly important signed opal carving by the prodigiously gifted Victorian cameo engraver Wilhelm Schmidt (1845 – 1938) represents a uniquely important example of Schmidt's pioneering opal carving technique, the scale of ambition setting it apart from his other known works. Until recently, it was believed Schmidt never signed his work and this is the only fully signed piece so far traced, underscoring its exceptional importance. Wilhelm Schmidt was born in Idar Oberstein, the European centre of the mineral, gemstone and lapidary trades, where large deposits of carnelian and other agates, found during the 16th - 17th centuries, gave rise to an illustrious gem engraving industry. This instilled in Schmidt 'a great love of art in every expression' and despite being born with an eye defect, he conceived a passion for gem engraving from an early age. In 1860, at the age of fifteen, he was sent to Paris, as an apprentice in the lapidary studio of his cousin, Louis Purper. The head of the studio was the cameo-cutter, Arsène, whom the young Schmidt came to admire greatly and who trained him in the waning neo-classical tradition.Schmidt stood out as a remarkable talent, winning prizes for drawing and draughtsmanship, but by the time he graduated, the voracious thirst for cameos and intaglios by connoisseur collectors and students of antiquity was rapidly drying up. Schmidt's cousin closed his studio to pursue a more profitable career as a pearl dealer, whilst Wilhelm struggled on for several tough years trying to make ends meet as a gem engraver. He found work by cutting portrait cameos and an early commission was from an elderly American, Mr Fox, whom Schmidt described as 'practically the only important dealer in precious stones in New York', for onyx cameos of General Grant and Abraham Lincoln, heroes of the American Civil War.At the outbreak of the Franco-Prussian War, Schmidt was expelled from Paris and returned home in 1869. Much to his relief, he was not called up to fight against his adopted country, or Napoleon III, to whom he referred patriotically as 'mon Empereur'. He remembered in old age, 'I shall always gratefully remember France, as the country where I learnt and studied the art of precious stone engraving. Therein I found pleasure, happiness, and contentment throughout my long life.'In 1870, he emigrated for the second time, setting up in London an engraving business trading alongside his gem-importer brother Louis. London directories from 1870 list 'Schmidt and Nourick, importers of precious stones' at 59 Hatton Garden, and by 1872, the firm was styled 'Louis Schmidt', below whose name appeared 'Schmidt, W., Cameo Engraver'. In the same way he took his French identity to heart whilst living in Paris, Schmidt became thoroughly anglicised, calling himself William, speaking excellent English and proudly becoming a naturalised citizen in 1887.London, like Paris, had a rapidly dwindling pool of specialist patrons of the glyptic arts but Schmidt successfully navigated the macro-economics of the jewellery industry by adapting to new tastes and by pioneering innovative techniques. He carved and sold numerous cameos, for use in ornamental jewellery, to the best London jewellery firms working in the fashionable Archaeological Style, including John Brogden, Guiliano, Castellani, Child & Child and Edwin Streeter, as well as to leading jewellers in America such as Marcus and Tiffany. Although these carvings were unsigned and the retailers did not credit the engraver in their finished jewels, this and his portrait cameo business, afforded him enough money to live comfortably with his second wife, six daughters and one stepson.Schmidt's gemstone-dealing brother supplied him with a plentiful source of unusual and rare specimens with which he could work. His wide repertoire of materials included labradorite, malachite, tourmaline, crocidolite, moonstone, zircon, tourmaline, malachite, lapis lazuli, sapphire, amethyst, topaz and, most unusual of all, opal that was to become his trademark.In 1874, Schmidt invented a distinctive and challenging new technique of carving opal to create striking three-dimensional sculptures through its contrasting layers. To quote the late scholar Gertrud Seidmann, a connoisseur of Schmidt's work, to whom we are indebted for much of our knowledge of him:'Opal cameos, if rare, were not unknown (in the 19th century) but Schmidt had invented a novel technique: instead of carving the whole cameo from precious opal, he used blanks with a thin layer of precious opal overlaying the matrix, in the same way in which the contrasted layers of agates were traditionally used to set off the background.'In 1878, London jeweller John Brogden unveiled a necklace set with opal cameos - carved by Schmidt - at the Paris Exhibition. The necklace caused a sensation and was awarded a gold medal and high praise from the press. The Telegraph described it as a 'wonder of wonders'. However, only Brogden was credited and awarded the Cross of the... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 440
AFTER GIAMBOLOGNA (ITALIAN, 1529-1608), A BRONZE FIGURE OF MARS ITALIAN, 18TH CENTURY On later plinth base 41cm high overall, the base 16 x 10cmProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseThis bronze is a cast of the sculpture by Giambologna which was cast in 1587. A similar example can be seen in the V&A, Accession number: A.99-1956Born in Flanders Giovanni Bologna (1524-1608), or short Giambologna went to Rome to study antique sculpture from about 1550 to 1553. He then travelled through Florence where he was persuaded to stay. He became sculptor to the Medici family in 1561 and thus became one of the most influential sculptors of the late 16th and early 17th centuries. He drew attention to many artists from Northern Europe and disseminated his style mainly through small bronzesCondition Report: wear to patina from age, use and handling- notably to exposed limbs, back , signs that some of this has been retouched under strong light- lower guard to sword reattached Condition Report Disclaimer
Lot 443
AFTER THE ANTIQUE, A BRONZE GROUP PLUTO AND PROSERPINE ITALIAN OR FRENCH, 18TH CENTURYNow set on a variegated red/white marble plinth base 33.5cm high overall, the base 13 x 9.5cmProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. damage to her left ankle and around his feet from previous mounting- joint above his left ankle working looseSurface rubbed to extremities with patina loss- her left knee, right calf etc. pin joint heads visible Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Lot 526
A LARGE PAIR OF BRASS COLUMNAR TABLE LAMPS 19TH CENTURY Of fluted tapering form, square plinth bases, now electrified each 59.5cm high (including fitment), the bases 19cm wideProvenance: Property from the Phillip Lucas Collection, Spitalfields HousePlease note: All brass feet are present to both lamps as illustrated online. Condition Report: surface dirty- possibly traces of prior gilding visible. one missing wick winder keyWear, marks, knocks and scratches as per age, handling, use, and cleaning. Please note: All brass feet are present to both lamps. Three of the feet to one lamp are professionally cast and matched replacements Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Condition Report Disclaimer
Lot 532
A PAINTED PINE BANK OF DRAWERS18TH CENTURY AND LATEROf narrow proportions 89cm high, 103cm wide, 27cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Old chips, splits and losses. The top, plinth base and back boards are later. As illustrated the painted surface has various losses, wear, chips, cuffs and knocks. The front of the chest has two layers of paint visible - one original and one later. Both appear to be 19th century. The sides have a later coat of paint, probably 20th century. Please see additional images for visual reference to colour variation. Handles are replacements and vary from one another. There is filler used to fill the old holes of previous fixtures and to help secure handles. There are also some vacant holes visible to drawer fronts. Locks and escutcheons are later but of 19th century in date. No key is present but all drawers are open. Two lock plates are lacking. Four drawers are lacking their escutcheons. Two sections of replacement timber inset between drawer fronts. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 533
A PAIR OF GILT AND PAINTED SIMULATED LAPIS WOOD LAMP BASES 20TH CENTURY Of twin handled swag decorated form each 28.5cm high (including fitment)Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: These are single sided- designed to be placed on a shelf or mantelpiece not viewed in the round, both with drill holes to bases and remnants of light fitting which will need renewing for useBoth with wear from use- one shrinkage crack to plinth and urn lifting from base- the other old damage and loss to stemCondition Report Disclaimer
Lot 556
A PAIR OF REGENCY WHITE MARBLE PEDESTALS IN THE MANNER OF JOHN SOANE, EARLY 19TH CENTURY Of tapering form with bands of scroll decoration each 120cm high, the tops 30cm square Provenance:Christie's, The Hone Collection, 2016 (£22,500 hammer) Property from the Phillip Lucas Collection, Spitalfields House Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The bases and sides with some corner and edge losses- lower section of one column with sections of old restoration above plinth- tops slightly rough. Some scratching and scuff wear to sides, Retains one old Christie's label lot 39- some old stains and marks from use- carved on three sides with recessed carved stylised foliate friezes near the bases and light engraved decoration near the tops . As the tops are canted the usable parts of the tops for display are 10 ½ ins (26.6 cm.) squarePlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 561
A REGENCY LAMP BASE BY HUMPHREY HOPPER, CIRCA 1816The plaster figure with bronzed finish, supporting later gilded glass pan around electrical light fitment, incised to reverse "JANy 1816 H HOPPER London" the figure 58cm high, the base 18.5cm diameterProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Later drilled to base reverse and sections of drapery for electrical wire- now absent- right arm restored- glass pan broken and repairedWear and rubbing to exposed surface- folds feet and details- edge of plinth with old nibbles and wearCondition Report Disclaimer
Lot 570
AFTER THE ANTIQUE, A MARBLE TORSO OF A YOUNG MAN ITALIAN, 19TH CENTURY Of fragmentary form, now set on modern base the figure 34cm high, 13cm wide, 35.5cm high overall Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Fragmentary with loss to head, right shoulder and both legs- some loss looks to be relatively modern, later bored and fitted with brass rod for plinth mounting- some dirt marks- scuffing and wear to legs reverseCondition Report Disclaimer
Lot 604
A GILT BRASS LAMP BASESECOND QUARTER 19TH CENTURYConverted oil lamp top on fluted acorn and leaf banded column, square plinth base 68.5cm high overall, the base 15cm squareProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: gilding rubbed from handling and cleaning, surface with accretion of dirtWear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use.Condition Report Disclaimer
Lot 637
AFTER THE ANTIQUE, A LARGE SIENA MARBLE CISTERN OR LABRUM ITALIAN, 19TH/20TH CENTURY Of oval lobed form, pedestal base 46.5cm high, 70cm wide overallCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Surface to interior with a matt finish- this together with use of UV and touch is indicative that the top section has had professional conservation and restoration throughout. UV showing later infill and wear around the fault lines and cracks to body. Base with plinth chip to one sidePlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 642
THE VICTORIA AND ALBERT MUSEUM MARBLE DISPLAY PEDESTAL FOR HIRAM POWER'S 'EVE DISCONSOLATE' BUST PROBABLY ITALIAN, LATE 19TH CENTURY Inscribed "MARBLE BUS. EVE DISCONSOLATE. by HIRAM POWERS American sculptor (B.1805; d.1873). GIVEN BY MRS HELEN POTTER 127-1906", octagonal base also with acquisition number the column 30cm diameter, 116cm high overall, base 45cm wideHiram Power's "Eve Disconsolate" sculpture is recorded as being the gift of Mrs Helen Potter and recorded as being gifted to the museum in 1906 (ACCESSION NUMBER 127-1906). According to the V&A records the bust was a copy executed by Powers in the third quarter of the 19th century in Italy. This column was probably created at roughly the same time and formed part of the gift.Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The column with wear and loss from the surface- notably to top and sides - additionally the base edge which has chipped throughout above plinth Section of the top has old repair- the top itself with plugged centre, some old blue paint splashes Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 688
A CARVED STONE BIRD BATH 20TH CENTURY approximately 62cm high, the top 41cm wideCondition Report: Weathering resulting in some surface lichen and wear- - some losses to plinth- will require cement/fining for stable usePlease see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 690
A LARGE COMPOSITION STONE VASE CENTREPIECE IN NEOCLASSICAL TASTE, 20TH CENTURY Of Amphora form approximately 150cm high, 65cm wide ON AN ASSOCIATED COMPOSITION STONE PLINTH 92cm high, 49cm wide, 49cm deep- 242cm high overallCondition Report: damages including loss to both handles- stem with repairs, loss and signs of cracks- other hairline cracks visible to bodyBase with signs of infill to vertical crackPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.Condition Report Disclaimer
Lot 702
A STONE COMPOSITION MODEL OF A CLASSICAL MAIDEN IN THE MANNER OF AUSTIN & SEELEY, 20TH CENTURY On an associated carved Cotswold stone plinth 169cm high (including plinth), 40cm wide, 40cm deepCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Variance in colour from weathering with some old lichen and moss. Slight loss of definition to features and detailing. Face with what looks to be old restoration points around mouth and end of nose. Base with wear and loss to edges. Please see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 706
A PAIR OF COMPOSITION STONE PLINTH BASES LATE 20TH CENTURY tops 57cm square, 74cm highCondition Report: Weathering - leading to some colour variance- one top edge looks to have lifted slightly from base and with some edge loss- wear and minor loss to lower edges of basesPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.Condition Report Disclaimer
Lot 1139
Reid & Son, Newcastle upon Tyne: a Victorian mahogany bracket clock, the painted roman dial with two train fusee movement, the case with undulating top and decorative carved foliate and scrollwork frieze and apron, on swept plinth base, with pendulum, 50cms high.From the Leslie Southall Collection.
Lot 1141
Japy Freres: a French black marble mantel clock, the eight-day movement striking the hours and half-hours on a bell with outside count wheel, the backplate stamped with the mark of Japy Freres and numbered 4780, with twin-tube mercury compensating pendulum, the black dial with gilt roman numerals centred by a visible escapement, with decorative cabochon bezel, the black marble case with glazed front to allow viewing of the pendulum, shaped mounts to the side and variegated marble to plinth base, ornate leaf and ring handles, gilt metal lion mask and paw feet, 59cms high.From the Leslie Southall Collection.
Lot 1144
S. Marti & Cie: a 19th Century French black slate mantel clock, the enamelled roman dial with visible brocot escapement, two train movement striking on the hour and half-hour, with outside count wheel, bimetallic pendulum, within a black slate case with bevelled glazed panel, on scroll supports and rectangular plinth base with brass feet, with pendulum, 40.5cms high.From the Leslie Southall Collection.
Lot 1154
An ornate late 19th Century French bronzed spelter, marble and gilt metal mantel clock, the enamelled arabic dial with two train French drum movement striking on a bell, the case modelled as a putto and marble plinth, on red marble base with swag pattern mounts, spirally fluted feet, with pendulum, 56cms high.From the Leslie Southall Collection.
Lot 1155
A Victorian black slate three-dial calendar clock, the main enamelled roman dial with visible brocot escapement, two train movement striking the hours and half-hours on a bell, calendar dial with moon phase, month, date and day subsidiary dials, and aneroid barometer, malachite inlays and engraved detail, with presentation inscription to plinth base, with separate black pedestal on brass feet, the pedestal 62cms high overall, with mercury pendulum.From the Leslie Southall Collection.
Lot 1212
Thomas Meekins, Amesbury: an 18th Century inlaid and oyster veneered walnut longcase clock, the 11in. brass dial with silvered roman chapter ring, with matted centre, subsidiary seconds and date aperture inscribed 'Thomas Meekins, Amesbury, Fecit', mask and foliate spandrels, two train movement with anchor escapement, the case with ornate cherub and vase-pattern cornice above an oyster veneered frieze, square glazed front and sides with spiral twist cornice, the lower section with star inlaid waist door incorporating a lenticule, oyster veneered sides and star inlaid panel base on plinth, with weights and pendulum, 208cms high.
Lot 1215
The Mansion House Clock: a fine and historically interesting early 18th Century faux tortoiseshell year-going and striking longcase clock, the brass dial with silvered roman chapter ring, matted centre with subsidiary seconds dial, the arch with silvered disc bearing the coat of arms of Newcastle upon Tyne, and two nameplates engraved 'Math. Featherstonhaugh, Esqre. Mayor' and 'Francis Rudston, Esqre. Sheriff', with six wheel train and anchor escapement, striking on a bell, complete with a pendulum and two large weights, the circular tapered weight weighing approx 26 kilogrammes, the rectangular weight weighing approx 31 kilogrammes, with swept caddy-style hood with brass finials, ogee frieze below and arched waist door flanked by columns, the waist with rectangular door, decorated overall with chinoiserie scenes of mounted figures in landscapes, pagoda and exotic birds, on plinth base, 274cms high.Footnote: This clock was purchased during the Mayoral year of Matthew Featherstonhaugh, who was Mayor in 1711, and was a Freeman of the Merchants Company of Newcastle. He, together with Francis Rudston, Sheriff in the same year, grew wealthy from the vast amount of trade between Newcastle and London at the end of the 17th Century and the beginning of the 18th Century. From its arrival, the clock, which stood in the Mayor's chamber, was wound each year on New Year's night with great ceremony.After a Council Committee meeting late in 1834 to discuss the building's heavy expenses, the Mansion House was abandoned in 1835. The clock, together with numerous other items from its collection, was sold at auction in 1837. The purchaser was Sir Alderman Dunn of Newcastle, and it remained in his family for almost 150 years, in various parts of the country, until 1980, when it was sold at Anderson & Garland by his last surviving relative Miss A.M. Dunn. It was purchased at the auction by well known local publisher Frank Graham. Frank, lived in Jesmond but sadly passed away some years ago and his family have decided to offer the clock for auction again.The vacated Mansion House was later used for warehousing and sadly burnt down in 1895.Literature:North Country Clockmakers by C.L. Reid.Eneas Mackenzie: A historical account of Newcastle upon Tyne, including the Borough of Gateshead, pages 232-234.Pendulum Publications - Was Fromanteel the Mystery Maker? The Mansion House Clock - Keith Bates, January 1982.
Lot 1227
After Giambologna (Italian 1529-1608): Mercury flying on the breath of Zepher, after the antique, green patinated bronze, and mounted on a black marble plinth with patinated bronze frieze depicting putti, 66cms high. Notes: The most celebrated sculpture by Giambologna is the Mercury, known in four versions whose chronology is uncertain. His first design, a heavy wingless figure, is preserved in a model in Bologna. When Giambologna returned to Florence, he referred to his earlier work in a second version, a flying Mercury, now lost or identical to one in Vienna. This bronze was sent by Cosimo as a diplomatic gift to the Holy Roman Emperor Maximillian II, when they were negotiating the marriage of Maximilian's sister Giovanna to Francesco de' Medici. The messenger G od was Maximilian's protector and the pose was based on a medal of Maximilian by Leone Leoni (1551).The fourth, a flying variant in Museo Nazionale del Bargello, Florence (of which this lot is a copy) was completed by 1580, when it became a fountain figure at the Villa Medici, Rome. Mercury balances on a bronze column of air issuing from the mouth of Zephyr, over which flowed water, increasing the illusion that he was floating. The god assumes an arabesque, balanced precariously on his toes, and points upward to Jupiter. It is Mannerist in that it can be appreciated from all angles and is elongated and elegant, yet these features contrast with its amazing physicality and an evident study of weights and balances. The preciosity of "Maniera" is blended with what became Baroque illusionism and the freedom derived from wax.
Lot 1237
Agatha Walker (1888-1980): a painted wax statuette, Jean Forbes-Robertson in the role of Peter Pan, 1930, inscribed, dated and signed in monogram to the plinth 34cm high. This wax figurine is modelled on the actress Jean Forbes-Robertson (1905-1962) in the title role of J M Barrie's 1904 children's play 'Peter Pan'. Jean Forbes-Robertson first played the part at the Gaiety Theatre, Christmas 1927, and subsequently became one of the best-known actresses associated with the role, playing it at the Garrick Theatre, 1928/1929; at the St James's, 1929/1930; and at the Palladium for five consecutive Christmases, from 1930 until the end of the 1934/35 season. Other actresses took the part subsequently at the Palladium, but Jean Forbes-Robertson returned to play it for the last time there for the 1938/39 season. This is one of several wax figurines modelled by Agatha Walker in the 1920s and 1930s, mostly of actors and actresses in costume for roles in successful productions on the London stage. There had been a craze for ceramic figurines of performers in the 19th century and Walker attempted to revive this tradition with her limited edition sculptures. They were modelled from life in plaster and coated with a fine wax layer which was then coloured. In 1931 there was an exhibition of her wax figures at the Fine Art Society.
Lot 1258
An early 20th Century Arts & Crafts style embossed copper and mahogany fire surround, the bowfront plinth above ogee cornice, fluted and shaped uprights, embossed copper panel within decorated with leaves and fruit bowfront fender, 173 x 127cms high to top of plinth, the copper panel 148 x 111cms high.
Lot 1299
A large and impressive George III mahogany breakfront secretaire bookcase, with stepped and inlaid cornice above four glazed astragal doors enclosing adjustable shelves, lower section with a central secretaire drawer opening to reveal a fitted interior of satinwood veneered drawers and pigeon holes, panel cupboard below with single shelf flanked by a pair of taller cupboards with two adjustable shelves, the whole on plinth base, 245 x 62 x 268cms high.Provenance: By repute, purchased from the widow of Percy Macquoid, who published the History of English Furniture in 1906.
Lot 1310
A richly carved Victorian oak side/pier cabinet with a sporting theme, the rectangular top with carved and moulded lunette border, above two short drawers to the frieze flanked by carved dog heads, large single panel door below relief carved with ribbons, horn, bow and arrow, knives, rifle, powder flask and bag, all within an oak leaf and acorn surround, carved game bird uprights, carved roundel side panels, on plinth base with bun feet, 102 x 45 x 116cms high.
Lot 1319
A Victorian matched dining room suite, comprising: a highly carved Victorian oak sideboard, the rectangular top with carved foliate borders, above three leaf-carved frieze drawers with lion mask and ring handles, intersected by carved masks, the lower section by a pair of panelled doors depicting lions, recess below with carved shell and leaf cover, flanked by a pair of medallion panel doors, figural uprights on leaf carved and plinth base, 214 x 70 x 99cms high; a large refectory dining table, the rounded rectangular plank top on carved square tapering column supports and cross pattern feet, 201 x 98 x 73cms high; and a set of six late 19th/20th century rustic oak spindle-back and rush-seat dining chairs, includes two carvers.
Lot 2641
Ernst Seger - a German Art Nouveau carved alabaster figure of a nude maiden holding a billowing robe above her head, the base bearing incised signature, raised on a marble plinth, height 49cm (probably made originally as a light fitting).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2621
A 19th century patinated spelter model of a Medici lion, raised on a shaped ebony plinth, width 22cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2124
An Edwardian walnut chest of two short and three long drawers with brass handles, on a plinth base, height 123cm, width 122cm, depth 55cm, together with a Victorian mahogany swing frame mirror.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2081
Two similar Victorian cylindrical 'pillar box' bedside cabinets, each with inset white marble tops, one in burr walnut, the other in figured mahogany, height 72cm, diameter 38cm (section of plinth lacking).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
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