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Lot 674
A PAIR OF 19TH CENTURY REGENCY STYLE BLUE JOHN GILT AND COLD PAINTED BRONZE FIGURAL URNS the square plinth bases with white marble slips supporting blackamoor figures with shallow urns.27cm high The one with the missing finger looks to have been damaged around the neck and has been filled and painted out, with a small restored chip to the top edge, a chip to the corner of the slate base, and small chips to the blue john edges on the plinth. The other is in good condition apart from small chips to the edges. The figural stands are in good condition.
Lot 690
A LARGE 19TH CENTURY ITALIAN BRONZE SCULPTURE OF THE FLYING MERCURY on a hexagonal Antico Verde marble plinth base.86.5cm high Other than the staff being broken off at the handle it is in very nice condition, with no other losses or restoration. There are some very minor surface scratches consistent with age. The marble base is in very good condition with no chips or cracks. The bronze is detachable from the base, which is original.The total weight is 11.5kg.
Lot 708
MAUREEN COATMAN. A LARGE LIMITED EDITION BRONZE SCULPTURE OF RED RUM the bronze bust inscribed on the reverse "RED RUM. M.M. COATMAN, 1977. 2/25" mounted on a titled granite base with applied bronze plaque showing Grand National results and jockeys, raised on a moulded ebonised plinth64cm high
Lot 720
ATT. TO LOUIS HOTTOT (1834-1905) A LATE 19TH CENTURY MASSIVE LIFE SIZE BRONZED ORIENTALIST SCULPTURE modelled as a female figure dressed in Arabian style costume holding a fan while resting on a table decorated with geometric Moorish patterns in the Alhambra style with large bronzed and gilt vase having intricate Arabic calligraphy amongst arabesque and geometric relief work, the sculpture raised on a stepped wood plinth with canted corners and geometric gilt mounts 193.5cm highThe plinth is the only part that is wooden, the rest is bronzed metal (not solid bronze). In very good condition small areas of the bronzed finish which have worn through and there are two small areas of restoration to her left hand (see images). Small chips to the top of the tabletop. The gilding to the vase and to her bangles have been redone. Restoration to the hand.
Lot 754
AN EARLY 19TH CENTURY BRONZE BUST OF THE DUKE OF WELLINGTON on a sienna marble plinth with bronze collar34cm highThe bronze is in good undamaged condition with nice colour and patina, the marble base has a chip to the back bottom right corner and to the front left corner of the bottom plinth.
Lot 910
REID. AN EDWARDIAN MAHOGANY THREE TRAIN WEIGHT DRIVEN QUARTER CHIMING LONGCASE CLOCK the 10" arched brass dial with crown and cherub spandrels, silvered chapter ring with Roman numerals and matted dial centre fitted a name plaque and seconds dial. The arch with three tune selections for St. Michael Westminster Whittington fronting a substantial weight driven eight-day three train movement playing the tunes on graduated tubes, with anchor escapement and brass weights. The glazed trunk with applied pillars to the arched hood and plinth base.206cm high
Lot 913
A LATE 19TH CENTURY FRENCH SILVERED AND GILT BRONZE PERSIAN STYLE CLOCK GARNITURE The case stamped 'AD' for Auguste-Maximillian Delafontaine being of Eastern design having two metamorphic dragons supporting the clock movement within a pierced ball with butterflies and birds standing on a shaped pierced plinth raised on gilt cabriolet legs on a white marble and ormolu base. The dial with porcelain Roman numerals fronting an eight-day spring driven movement striking the hours/half hours on a bell, together with a pair of matching two branch candelabra 45cm highThe clock is in very nice original condition with no losses or damage, No cracks to th enamel numerals, white marble bases in good condition, slight rubbing to the gilding, the movement ticks and strikes the correct hours.
Lot 927
GEORGE CLARKE, LEADEN HALL STREET, LONDON. AN EARLY 18TH CENTURY BURR WALNUT QUARTER CHIMING LONGCASE CLOCK the arched moulded pediment above a pierced sound fret and moulded edge arched glazed door flanked by gilt brass-capped corinthian reeded columns on a slender trunk with moulded edge crossbanded door on a matching base raised and double plinth. The 12" arched brass dial having an engraved wheatear border and gilt spandrels with a silvered Roman chapter ring surrounding a matted centre with subsidiary seconds dial and calendar aperture, Strike/Not strike lever at 3 o'clock, the large three train eight-day weight driven movement chiming the quarters on eight bells and the hour on a larger bell - comes with original brass cased weights and pendulum231.5cm highThe case has been repolished but is complete with no losses. The movement and dial are original to the case. It comes with original brass-cased weights and a pendulum. The movement is complete and does run and chime but may need a service, we do not guarantee mechanical parts or functionality. The width of the bottom plinth is 54cmThe depth of the bottom plinth is 27.5cmThe width of the trunk is 35 cm.
Lot 929
EDMUND APPLY, AT CHARING CROSS. A WILLIAM AND MARY EBONY VENEERED GILT BRASS MOUNTED BASKET TOP BRACKET CLOCK the gilt embossed floral scrollwork basket with double-sided dolphin's folding handle and red fabric lining above a glazed door with applied brass fretwork panels; glazed sides and back door and moulded plinth base raised on block feet. 6.5-inch brass dial with fine gilded winged cherub's head spandrels, silvered chapter ring with inner quarters markers and matted centre with date aperture below a Strike/Not Strike lever fronting a double fusee gut wound movement with five reversed ringed tapering baluster pillars and verge escapement with bob pendulum, hour strike and pull quarter repeat on a further three bells; the profusely engraved tulip backplate with similarly signed centre cartouche.34cm highThere are plugged holes in the backplate which suggest the clock has had an anchor escapement and then been converted back to verge? The clock functions correctly and the pull quarter repeat works, the movement is original to case, and the seatboard looks to have been changed when converted back from an anchor, having extra screw holes underneath the case, see extra images uploaded.
Lot 937
RICHOND. A LATE 19TH CENTURY FRENCH ORMOLU MANTEL CLOCK the ornate case surmounted by an urn finial above a square bodied case with lion's mask handles on a masked plinth with leafcast paw feet enclosing a 4" gilt and enamel dial with Roman numerals fronting an eight-day spring-driven movement striking the hours/half hours on a bell.39cm high
Lot 941
WILLIAM WALL, RICHMOND. A GEORGE III MAHOGANY EIGHT-DAY LONGCASE CLOCK the 12" arched brass dial with engraved silvered spandrels and chapter ring with Roman numerals enclosing a matted centre with shaped name cartouche and seconds dial, having two corner subsidiary dials for date and strike/silent with rolling moon to the arch. Fronting an eight-day five-pillar movement with rack strike on a bell and anchor escapement. The trunk with reeded pillars and long arch-topped flame mahogany trunk door with plinth base.216cm high The base to the case is missing applied mouldings to the front panel, the bottom plinth has been replaced, the hood door is loose, the hood mask has been replaced. The left column is loose, the movement is complete and original to dial but is dirty and will require attention, comes with weights and pendulum.
Lot 942
PHILIP LONDON. A 19TH CENTURY GEORGE III STYLE THREE TRAIN QUARTER STRIKING MAHOGANY BELL TOP BRACKET CLOCK the 8" arched brass dial with Rococo cast brass spandrels enclosing a silvered chapter ring with Roman numerals and outer minute markers surrounding a matted centre with date wheel below a strike silent function to the arch fronting an eight-day fusee movement with five knopped pillars and engraved backplate having name cartouche, anchor escapement and striking the quarters on eight bells. The mahogany case with folding carrying handle, bell top and arched glazed doors; standing on a plinth base with bun feet51cm handle down.The current vendor who is a private collector has had the movement fully cleaned and serviced and it is in nice working condition, chiming correctly and striking the hours, however, we cannot guarantee the mechanical parts or functionality. The silvering to the chapter rings is slightly discolored and there is losses to the gilding on the matted center. The case is in good order.
Lot 951
A LATE 19TH CENTURY FRENCH GLAZED ORMOLU MANTEL CLOCK The case surmounted by two ormolu cherubs above a glazed bell top pediment supported on acanthus columns and leaf work swags on shaped base, the glazed panels backed by pierced silvered filigree panels enclosing an enamel dial with Roman numerals fronting an eight-day spring driven movement striking the hours/half hours on a bell, stood on later plinth.37cm high without plinth
Lot 966
PATERSON, SUNDERLAND. A MID 18TH CENTURY PINE 30HR LONGCASE CLOCK the 11" brass dial with rococo cast brass spandrels, silvered Roman chapter ring and engraved matted centre, with name cartouche and date aperture fronting a 30 hour weight driven movement with hour strike on a bell and anchor escapement. The pine case with stepped hood and applied pillars, having arched long trunk door and plinth base190cm high
Lot 978
VINER & CO. LONDON. A 19TH CENTURY ROSEWOOD CASED GOTHIC REVIVAL DOUBLE FUSEE MANTEL CLOCK OF SMALL SIZE the engine turned gilt brass dial with swirled centre, Roman numerals and strike/silent to the arch bordered by a shaped gilded slip. Fronting a fine quality signed eight-day double fusee bell striking movement with anchor escapement with rolling pin suspension. Housed in a lancet-top case with outset front cluster columns, side frets and shaped plinth base on turned feet25cm high
Lot 980
A LATE 19TH CENTURY FRENCH WHITE MARBLE MANTEL CLOCK the shaped arch top and moulded sides on a plinth base with engraved gilt scrollwork flower sprays enclosing a 5 1/4" dial with marble chapter ring and gilt Roman numerals surrounding a gilt brass centre with visible Brocot type escapement and jewelled pallets fronting an eight-day spring driven movement striking the hours/half hours on a bell, brass bob pendulum with steel rod47cm high
Lot 985
EDWARD JAMES, LONDON. AN EARLY 19TH CENTURY DOUBLE FUSEE ROSEWOOD MANTEL CLOCK the 4" silvered circular dial with Roman numerals and signed centre fronting a large double fusee eight-day movement with anchor escapement and striking the hours on a bell. The case with leaf cast brass bezel and side sound frets, glass top and moulded plinth base.25.5cm high 18cm wide
Lot 986
A LARGE SIZe LATE 19TH CENTURY FRENCH BOW SIDED LACQUERED BRASS REPEATING CARRIAGE CLOCK WITH ALARM the masked matted gilt dial enclosing an enamel Roman chapter ring and subsidiary alarm fronting an eight-day spring driven movement with silvered lever platform escapement, hour and half hour strike on a gong, alarm function and push button hourly repeat. The case with twisted corinthian topped corner columns, folding handle and bevelled glasses on a moulded double plinth base.21cm high handle up
Lot 993
BUNYAN & GARDENER, MANCHESTER. A MID 19TH CENTURY FIGURED MAHOGANY BRACKET CLOCK with shaped moulded top above canted corners with scroll carved bases on plinth base raised on squat bun feet, the cast brass locking bezel enclosing a painted dial with Roman numerals fronting an eight-day double fusee movement with anchor escapement striking the hours on a gong.43.5cm high
Lot 513
An early Victorian burr walnut and satinwood strung music cabinet, circa 1840, glazed front cabinet opening to an arrangement of shelves with leather interior, flanked by canted corners with scrolling mounts, raised on plinth base with a carved apron on white porcelain castors. 98cm H x 56cm W x 37cm D
Lot 31
A large 19th century Continental carved wood and gesso study of a cherub holding a love apple, seated on a plinth base, height 102cmGood general overall condition, the right arm appears to have been detached at some stage and put back with a crack running through near the shoulder, also missing his little finger on his right hand, visible surface chips and loss to the figure and base, with some natural flaws and cracks running through it as well
Lot 46
A 17th century North Italian carved Istrian stone wall fountainThe shaped arched back with a lion mask fountain head, flanked by undulating ribbons above a twin griffin fruiting vase and twin flowerhead frieze, the shallow bowfront basin with lobed lower section beneath a lotus moulded rim and scrolling floriate frieze border, the baluster vase pedestal support with ribbon tied floral garland decoration, on a fluted socle and integral square plinth base, 119.5 high, 55cm deep, 68cm wide approximatelyThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 55
A pair of George III mahogany and kingwood crossbanded urns and pedestalsCirca 1780, of Gillows qualityWith boxwood stringing, each urn wrapped with an alternating reeded and fluted band, the body carved with oak-leaf swags and husk festoons interspersed by flowerhead roundels, with an egg-and-dart collar, the detachable lid with a gadroon carved edge and stiff-leaf clasped upper part surmounted by a pinecone finial, one pedestal with a graduated triple re-entrant panelled and triple tablet inlaid door enclosing one shelf, the other pedestal with three graduated mahogany lined drawers of conforming appearance, on plinth bases, both urns with their metal linings to the interior now missing, both inscribed in white chalk: 'ALTMAYER HARRIS', each urn and pedestal approximately: 49cm wide x 48cm deep x 167cm high, (19in wide x 18 1/2in deep x 65 1/2in high) (2)Footnotes:ProvenanceThe present lot was apparently previously acquired from M. Harris and Sons, London, possibly during the 1950s.Thereafter the offered urns and pedestals were purchased by the current owner and vendor, Christie's, New York, 19 January 2017, Palmetto Hall: The Jay P. Altmayer Family Collection, lot 65.The offered urns and pedestals appear in M. Harris and Sons, A Catalogue and Index of Old Furniture and Works of Art, London, n.d. (circa 1930), No. F20869, p. 407. Two related pairs of urns and pedestals are illustrated in S. Stuart, Gillows of Lancaster and London, 1730-1840, Vol. I, 2008, Woodbridge, pl.'s 342-347, pp.'s 309-310. One pair made during the late 1770s, which is attributed to Gillows, was supplied for Thirsk Hall, North Yorkshire upon behalf of John Bell whilst the other pair, dating to circa 1780, were provided to the Weld family of Lulworth Castle, in Dorset.Of additional interest are a group of three designs for 'pedestals and vases' by George Hepplewhite, first published posthumously in 1787 within The Cabinet-Maker's and Upholsterer's Guide, also featuring in the 1794 third edition, re-published 1969, Toronto, pl. 36. Across these drawings a number of similar characteristics are shared with the present example, including equivalent swag and festoon carving, comparable stiff-leaf clasped elements and re-entrant panelling, along with analogous crossbanding. The same Hepplewhite designs are also replicated in D. Nickerson, English Furniture of the 18th Century, 1967, Frankfurt, fig. 101, p. 95.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 77
A mid Victorian ebony, calamander, abalone, mother of pearl, ivory, bone, rosewood, purpleheart, sycamore and fruitwood marquetry collector's cabinet1870-1875, possibly by Jackson and GrahamWith line-inlaid borders and stringing, the top surmounted by a baluster gallery to the rear, above a stylised foliate inlaid frieze comprised of alternating palmettes and lotus-leaves flanked by rosette tablet angles, over a twin double panelled door, the upper panel inlaid with a still life of assorted shells, moluscs, coral and seaweed, the lower door panel inlaid with stylised foliate and scrolled angles, enclosing a total of eleven satinwood veneered and mahogany lined drawers comprised of eight long drawers over three deep drawers, flanked by stylised foliate, palmette and honeysuckle inlaid angles, on a plinth base, the lock stamped: 'CHUBB PATENT, 128 QUEEN VICTORIA ST., ST. PAUL'S, LONDON, 800354', 96cm wide x 67cm deep x 148cm high, (37 1/2in wide x 26in deep x 58in high)Footnotes:The repeating inlay running across the frieze of the offered lot is redolent of some Greek revival or 'Neo-Grec' designs published in 1856 within 'The Grammar of Ornament' by Owen Jones (1809-1868). Worthy of particular comparison are several decorative patterns inspired by ancient Greek vase ornamentation which feature among Plates XVI and XVII, Greek No.'s 2 and 4. Owen Jones was among the most notable designers employed by the renowned cabinet making combination of Jackson and Graham so it seems probable that the present cabinet was indeed executed by this firm. Added to this, the use of ivory (amongst the various other exotic materials) inlaid into ebony, along with its distinctive stylised foliate embellishments, are certainly characteristics very much in keeping with those pieces produced by Jackson and Graham during the period 1865-1875. Jackson and Graham (fl. 1836-1885)Jackson and Graham were one of the most successful and prestigious firms of the early and mid-Victorian periods. Based in London, they were responsible for enhancing the reputation and improving the renown of English cabinet makers throughout the rest of the World. In 1836 the partnership of Peter Graham (1811-1877) and Thomas Charles Jackson (1807-1848) was founded at 37 Oxford Street, but by 1839 the venture had developed to incorporate 37 & 38 Oxford Street, as well as an additional location at 18 Newman Street.In 1845 the company was recorded in the Post Office Directory as cabinet makers, upholsterers, carvers, gilders and house agents. However, by as early as 1866 they had grown sufficiently quickly as to include locations at 29, 33, 34, 35, 37 and 38 Oxford Street, together with the ownership and running of addresses at Perry's Place, Freston Place and Newman's Yard. In the 1860s, as part of their operation, Jackson and Graham employed 250 workers. During the 1850s the firm set up a steam engine for the more rudimentary sawing requirements, however by the next decade they had established machine-carving as well. By 1875 their total number of employees had reached within the region of 600 to 1,000. The rapid rise of the business is summarised in a London Directory advertisement of 1866 in the following way: 'Jackson and Graham announce... that they have recently made great additions to their former extensive premises, which render their establishment the largest of its kind in this or any other country. The Spacious Show Rooms and Galleries are filled with an unrivalled stock, the prices of which are all marked in plain figures at the most moderate rates for ready money. The extensive Manufactory adjoining, with machinery worked by steam power, is fitted with all means and appliances to ensure superiority and economise cost. Each of the departments will be found as complete as if it formed a separate business...' Only one decade on from this, another detailed account of the company is provided in J.H. Pollen's publication of Bevan's 'British Manufacturing Industries' (London, 1876). It elucidates a business which was as almost entirely automated as any other at that time in Victorian Britain, utilising and manipulating steam in order to power their wide assortment of machinery. Yet, despite this fact, the substantial contribution of highly skilled human labour and craftsmanship was also simultaneously championed therein. And, probably in part due to their employment of specialist foreign inlayers or marquetry experts, the firm's output easily rivalled anything then being produced in Europe, as evidenced by the numerous awards they were honoured with over time. Jackson and Graham used every opportunity to display their 'wares' at the various International Exhibitions which took place throughout much of the second half of the 19th century. They did so in order to showcase the very best of what they could produce. Their notable participation at the first and most famous of these, the Great Exhibition of 1851, was described thus by the 'Art Journal': 'Messrs Jackson and Graham, the eminent upholsterers of London are large contributors to the Great Exhibition of many important articles of their manufacture'. At the 1851 Exhibition in London, they received a prize medal for their exhibits.For the 1855 Paris Exhibition the firm showed a large Eugene Prignot-designed cabinet to the public, which was thereafter acquired by the Victoria and Albert Museum for £2,000: W.81-981, where it is still housed today. Among the more significant furniture supplied for the 1862 International Exhibition in London were a pollard oak sideboard and a Louis XVI style ebony and ivory cabinet with an onyx top. Again, they were honoured with multiple awards in London, but also gained similar trophies five years hence at the Paris Exposition. In 1871 an ebony and inlaid cabinet, which followed a design by R.S. Lorimer, was displayed by Jackson and Graham at the International Exhibition. They were also involved at Vienna in 1873 and took part in London the next year. However, it appears that at the 1878 Paris Exposition, which was their ultimate event of this scale and scope, they obtained the Prix d'Honneur for the British section. Whilst for the star item, known as the 'Juno' cabinet, they in fact achieved the 'Grand Prix' before the Viceroy of India bought the piece for £2,000 (now in the Victoria and Albert, W.18: 1-6 1981). Their principal documented commissions include work provided for; the Ball Room at Buckingham Palace; the Palace of the Khedive in Cairo, Egypt; the City Carlton Club; and the Livadia, a yacht belonging to the Czar of Russia.It should be noted that a great deal of the success of this business was allied to the fact that they often employed the major designers of the day. Such prominent figures as Owen Jones, Thomas Jeckyll, Bruce Talbert and Christopher Dresser all worked at one time or another for Jackson and Graham. As on the offered lot, the particular emphasis in the designs of Owen Jones was largely upon ebony pieces inlaid with ivory and sometimes also metal. During the period 1862-c.1864, Alfred Morrison commissioned Jackson and Graham together with Jones to produce extensive work at Fonthill House in Tis... This lot is subject to the following lot symbols: TP Y ФTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 80
THE 1926 ASCOT GOLD CUP: an 18 carat gold cup and coverSebastian Garrard, London 1926, inscribed under handle 'Chas. Sykes Sculpt' Of ovoid form, the whole hand-raised, a pull-off part domed cover featuring an organic style cast and chased six-pointed star wrythen finial, the main body with a rolled flaring upper rim transitioning into a gently waisted wide neck adjoining the main body, from the rounded shoulders two cast lug handles project horizontally, both ergonomically curved with fluting and ornamented in a kneeling ribbed character partly clothed by leaf forms, from which two slender arm-like strands return and attach to the main body, their ends curled within applied acanthus leaves, the smooth egg-shape form powerfully gripped at its base by four embossed spined acanthus leaves, a flanged pedestal beneath flowing into four embossed matching acanthus leaves in high and low relief, on a circular spreading foot, the patina of the gold to the whole warm and vibrant, presented on the original circular wooden plinth with applied lettering for 'ASCOT 1926' to one side, to the other a plaque inscribed 'Won by Sir John Rutherford's Solario', height cup without plinth 42cm, diameter handle to handle 34cm, weight 3041gms.Footnotes:ProvenanceAwarded to Sir John Rutherford in 1926 and thence by family descent to the present owners.Lot ResearchThe Ascot Gold Cup stands proudly as the showpiece event and trophy of Royal Ascot week, and is Britain's most prestigious horse racing occasion for 'stayers' – horses which specialise in racing over long distances. It is a Group 1 flat horse race, open to horses aged four years or older, covering a distance of 2½ miles. Ascot Racecourse itself is located in Berkshire, not far from Windsor Castle, and is located on Crown Estate Land. Founded by Queen Anne in 1711, it has a symbiotic relationship with the British Royal family, resulting in the reigning Monarch appointing a representative to run the administration of the racecourse on their behalf. Traditionally the racecourse had been run by the Master of the Royal Buckhounds, but in 1901 this changed and Lord Churchill (Victor Spencer, 1st Viscount Churchill, 1863-1934) was appointed by Edward VII as his first official Representative, becoming Chairman in 1913. In 1926, when this Gold Cup was awarded, Lord Churchill was still very much at the helm and was integral to the design of the trophy on offer.The Gold Cup was first run in 1807 when it was won by Master Jackey, and the first formal Royal procession, starting from Windsor Castle, was introduced in 1825 by George IV. Throughout Royal Ascot week, each race day begins with the Royal Procession, when the reigning Monarch and accompanying members of the Royal family arrive in horse-drawn carriages. While the Royal Standard is being raised, they are driven slowly along the track in full view of the expectant crowds. The Royals and invited guests then spend the day watching the races from the Royal Enclosure. The magnificent Ascot Gold Cup is the prize awarded to the owner of the winning horse by the reigning Monarch, and the cup design has to be approved by the Sovereign each year. It is one of only three perpetual trophies at the Royal meeting that are able to be kept on a permanent basis by the winners, the other two being the Royal Hunt Cup and the King's (or Queen's) Vase. As such, all three trophies are re-made every year, to a different design.Gold Cup Day is traditionally held on the third day of the Royal Ascot meeting held in June, which is known colloquially (but not officially) as 'Ladies' Day'; a day to see and be seen. The term seems to have been coined in 1823, when an anonymous poet described the Thursday of the Royal Meeting as 'Ladies' Day ... when the women, like angels, look sweetly divine.' A strict dress code underpins the spectacle, attracting the very best in fashion, horses, trainers and quality of racegoers alike. Lord Churchill is reputed to have taken personal charge of vetting applications for entrance into the Royal Enclosure, sorting letters into three baskets marked 'Certainly' 'Perhaps' and 'Certainly Not.'On Thursday June 17th, 1926, the Gold Cup on offer was won by 'Solario' (1922-45), a four-year-old thoroughbred, ridden by the jockey Joe Childs (1884-1958) and owned by Blackburn's phenomenally wealthy Sir John Rutherford (1854-1932). George V, accompanied by his wife Queen Mary, awarded Sir John the trophy on offer in the presence of a huge cheering crowd – a design chosen by George V after much deliberation and angst, causing much controversy behind the scenes. This tension over the cup design has come to light since letters held in The Goldsmiths' Company archives, specifically on the design process behind the 1926 Gold Cup, were carefully perused.However, the drama that had played out behind closed doors was not in evidence on that sunny day in June, when 'Solario' reigned triumphant. Originally bred in Ireland by the 4th Earl of Dunraven, 'Solario' was the son of the Triple Crown winner, 'Gainsborough'. In 1923 he was bought as a yearling by Sir John for £3,675 at the Doncaster blood sales, as a handsome horse of elegant build in unmarked brown, with high withers, long legs and a short back – the perfect 'stayer' in form. Under the guidance of his trainer Reginald Day, 'Solario' went on to become one of the most famous racehorses of his day, undoubtedly the best Sir John Rutherford had ever owned, winning numerous prestigious races such as the Exeter Stakes in 1924, the St Leger Stakes in 1925 alongside the Ascot Derby and the Princess of Wales Stakes, and in 1926 the Ascot Gold Cup and the Coronation Cup. He retired to Terrace House Stud in Newmarket, commanding the highest stud fee in the land of 500 guineas a mare and winning the 'Leading Sire of Great Britain & Ireland' award in 1937. Indeed, he was immortalised in oils after his monumental win at Ascot in 1926 by Sir Alfred James Munnings (1878-1959), and in 1932 the painting was bequeathed to Blackburn Museum and Art Gallery by Sir John Rutherford, where it still resides today. His owner, Sir John Rutherford, died in 1932 and 'Solario' was offered in his dispersal at the Newmarket July sale that year. Amidst fear that he would be snatched up by a wealthy American syndicate, bidding was contentious, and a British syndicate headed by Lord Glanely won him at 47,000 guineas, a new record price for a horse at auction. He was returned to stud at Terrace House, where he died in 1945.Solario's owner Sir John Rutherford, 1st Baronet (1854-1936) was originally born in Annan Dumfriesshire, the only son of Mr John Rutherford J.P. of Blackburn, a town which he had a lifelong association with. Sir John was a man with true Northern grit, a multi-faceted character who had been one of Blackburn Rovers first-ever football players, later inheriting his father's partnership in Shaw's Brewery in Blackburn town centre. He gained a Commission into the Duke of Lancaster's Own Yeomanry regiment in 1881, which he commanded for six years, found time to serve as a Conservative Member of Parliament for Darwen, a seat he held for a total of twenty-seven years, and was appointed the Mayor of Blackburn in 1898. His elevation in social standing was cemented by being granted a baronetcy on 27 January 1916, owning the archetypal country estate in Scotland, as well as a now-vanished mansion at Beardwood in Blackburn. As a brewing tycoon, he was wealthy enough to afford to turn down the Aga Khan's offer of £100,000 - equal to more than £3.2 million today - for his colt 'Solario' after it won its first classic, the St Leger in 1925. His interest in horses had begun in 1880, when he originally showed an interest in show jumping and steeplechasing, but his true passion lay with ownership of thoroughbred... For further information on this lot please visit Bonhams.com
Lot 83
A rare Dutch mother of pearl inlaid panel depicting a vase of garden flowers in the manner of Dirck Van Rijswijck (1596-1679)Probably 18th centuryThe classical twin handled pedestal urn containing an arrangement of blooms including roses, carnations, pansies and tulips on a black ground, the mother of pearl inlay with finely engraved detail, the plinth base of the vase appearing to rest on a rosewood ledge, the panel mounted in a later moulded rectangular gilt frame, the panel 26cm high x 21cm wide, the frame 34cm wide x 40cm high Footnotes:Although originally training as a goldsmith, Dirck Van Rijswijck developed his own characteristic style whilst working as a silversmith in Antwerp experimenting with the effects that could be created by the processes of engraving. This led him to perfect an idiosyncratic technique using engraved mother of pearl inlay to represent floral still life subjects using the natural variations of colour apparent in the shell to suggest the colours and surface textures of the various flowers. In terms of creative output, Rijswijck is recorded as producing a number of these mother of pearl inlaid panels depicting vases of flowers some also incorporating a chained monkey. The fine and detailed engraved decoration to the panel in the present lot demonstrates a similarly high degree of technical skill very reminiscent of Rijswijck's work.For further information on this lot please visit Bonhams.com
Lot 86
A French late 19th century ormolu mounted kingwood, tulipwood, amaranth, stained sycamore, fruitwood marquetry and parquetry grande armoireThe cavetto top above a ribbon wrapped reeded mounted cornice, with a triple panelled frieze below comprising a ribboned foliate garlanded mount centred by a rosette, flanked by quarter veneered tablets with beaded surrounds, with canted faun mask mounted angles, over three doors bordered by beaded and lotus-leaf cast mounts each inset with elongated cube inlay, the large central door mounted with a ribbon tied oak-leaf adorned oval pendant depicting a capriccio of four pastoral figures and a dog, a Tuscan column, classical statue and steps leading up to a triumphal arch, above two foliate headed volute scroll mounts adjoined by a ribboned floral mounted swag, with a stylised Greek key inlaid faux drawer below, enclosing three adjustable shelves, the two end doors with trellis inlaid upper tablets mounted by oak-leaf swags, over ribbon tied floral bouquet pendant inlay flanked by oak-leaf pendant mounts, enclosing five adjustable shelves, with foliate stop-flute mounted angles, on a breakfront plinth terminating in stop-fluted tapering feet, 237cm wide x 62cm deep x 241cm high, (93in wide x 24in deep x 94 1/2in high)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 402
A Victorian silver gilt Trophy Ewer, presented for the King’s Cup, Royal Yacht Squadron Regatta, Cowes 1901, Won by Rupert Guinness’s ‘Leander’, the ewer by Robert Garrard, London 1875, the base by James Garrard (R & S Garrard & Co), London 1899, the ewer modelled after John Flaxman’s design for Wedgwood, entitled ‘Sacred to Neptune’, the triton, representing Water, its arms encircling the neck of the ewer, before a dolphin’s mask, suspending a festoon of rushes to either side, with entwined handle, the body engraved with the inscription: ‘WON BY RUPERT GUINNESS’S ‘LEANDER’, AUGUST 10TH’, with lobed decoration below, knopped stem and fluted spreading foot, the ewer mounted on a square section silver gilt pedestal plinth, applied to one side with the Royal Coat of Arms, the front engraved with presentation inscription: ‘ROYAL YACHT SQUADRON REGATTA COWES 1901. THE GIFT OF HIS MAJESTY THE KING.’, the plinth stamped ‘R & S GARRARD & CO. HAYMARKET. LONDON’, height of ewer: 44cm, height of plinth: 14.5cm. £4,000-£5,000 --- ‘Leander’ In the 1880s, yachting had become a popular sport amongst the aristocracy, led by Albert Edward, Prince of Wales, with Cowes Week becoming the focus of lavish entertainment and competitive racing. The Guinness family took to the new sport with enthusiasm. The Hon. Rupert Guinness himself was a keen yachtsman, and member of the Royal Yacht Squadron. Rupert Guinness owned the fine 98-ton, 90 foot yawl named Leander designed by Arthur E. Payne, and built by Messrs. Summers and Payne in the winter of 1889/1900. On 10 August 1901, Rupert Guinness won the prestigious King’s Cup at the Royal Yacht Squadron Regatta, Cowes with Leander. The Sphere Magazine, issue dated 17 August 1901, (an illustrated weekly magazine first published in 1900), printed a photograph of Leander in full sail, captioned beneath: ‘THE “LEANDER”, WINNER OF THE KING’S CUP AT COWES Five yachts, including the German Emperor’s “Meteor” started on Saturday for the King’s Cup, which was won by the Hon. Rupert Guinness’s yawl, “Leander”. She is a fine typical cruiser designed by Payne and built in the winter of 1899-1900, but launched early this year on the return of Mr. Guinness from the front.” The following year in June 1902, Leander was placed second in the Heligoland Cup, the Dover to Heligoland yacht race, (the brainchild of King Edward VI’s cousin, Kaiser Wilhelm, a race open to any cruising yachts of over 70 tons, being a member of any of the Royal or recognised British yacht clubs, built in Britain and owned by a British subject). Leander also competed in the Cowes’ King’s Cup the same year, finishing fourth, the winner being Brynhilde owned by Sir James Pender. Rupert Guinness, 2nd Earl of Iveagh Rupert Edward Cecil Lee Guinness (1874-1967) was the eldest of three sons of Edward Cecil Guinness, 1st Earl of Iveagh, the wealthy Anglo-Irish brewing family. Rupert was educated at Eton and Trinity College, Cambridge. At Eton he had a brilliant rowing career, winning the School Sculling in 1892, rowing in the Eton Eight of 1893, which won the Ladies Plate at Henley. He won the Diamond Sculls at Henley in 1895, and again in 1896, and the same year he also won the Wingfield Sculls, making him the undisputed leading amateur oarsman of his day. Rupert Guinness saw active service between 1899-1900 in the Boer War. He was mentioned in dispatches and awarded the CMG in 1901. In 1928, on the death of his father, he became the 2nd Lord Iveagh, taking up the family seat of Elveden Hall, Thetford, Norfolk, (his father had purchased the property in 1894 from the executors of the will of the Maharaja Duleep Singh, following his death in 1893). A businessman, politician and philanthropist, Rupert Guinness was to take a keen interest in agricultural and medical research, and amongst Rupert’s many achievements number the founding of the Guinness World Records, first published in 1955 and an annual publication now published in more than 100 countries and 37 languages. * * * The design of the Trophy Ewer offered here for sale is one of a pair entitled ‘Sacred to Neptune’, and ‘Sacred to Bacchus’, representing Water and Wine, after John Flaxman, the plaster models supplied by Flaxman to the factory of Josiah Wedgwood in March 1775. The ornamental ewers were produced in different coloured clay bodies, including black basalt and blue and white jasper. These designs were, in turn, based on bronzes from the French sculptor, Michel Sigisbert-François (1728-1811). An example in black basalt can be seen at the V & A Museum (on display in Room 138), circa 1840, after the model made in 1776.
Lot 128
Michel DecouxPanther sculpture, circa 1925Patinated bronze, the feline cast with a textured coat, on black slate and marble plinth.30 x 70.5 x 15.2cmEngraved Decoux on base.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
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