'THE ROTHSCHILD RAFFAELLI MOSAIC TABLE' AN IMPORTANT ITALIAN MICROMOSAIC AND SIENA MARBLE CENTRE TABLE ATTRIBUTED TO GIACOMO RAFFAELLI AND HIS WORKSHOP, ROME OR MILAN, C.1800-10 the circular top finely inlaid with an outer laurel wreath and a band of rinceaux decoration of scrolling leaves and stylised flowers on a white ground, with an inner border of a ribbon spiralling around a vine with leaves and morning glory flowers, the centre with quarter veneered Egyptian alabaster and a lapis lazuli rondel, the revolving top with a gilt bronze band with engine turned decoration, on a Siena marble base, the stem carved with acanthus leaves, the triform plinth carved with further leaves and fluting with a band of ribbon tied laurel leaves 93.3cm high, 95.8cm diameter Provenance Alfred de Rothschild (1842-1918) the Winter Garden at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3,, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'An Italian circular table, with mosaic top on giallo marble tripod carved with acanthus foliage, £80.0.0.' Catalogue Note Giacomo Raffaelli (1753-1836) was born in Rome and his family were involved in the mosaic industry providing smalti to the Vatican Mosaic Workshop, the material which mosaics are made of. Giacomo studied painting and sculpture at an early age. He became one of the most celebrated artists in hardstones and mosaics and is credited with the invention of micromosaics in about 1775. He was patronised by Pope Pius XV and worked in both the Vatican workshops as well as from his own studio in Piazza di Spagna. Raffaelli executed a wide variety of objects and furnishings and attained international fame that culminated in 1787 when he was awarded the title 'Councillor of Liberal Arts' by Stanislaus II Augustus, King of Poland. In Rome, he had workshops on the Salita di San Sebastianello and later in Vita del Balbuino. Following the French occupation of Rome in 1797 and the collapse of the local mosaic market he moved to Milan to direct a mosaic workshop and school. This had been founded at Napoleon's orders by Eugene de Beauharnais (Napoleon's stepson) who became Viceroy of Italy in 1805. During the Milan period he executed the monumental Last Supper based on a copy by Giuseppe Bossi. He also produced a fireplace and clock that were said to have been presented to Napoleon as gifts from Pius VII and later housed at Malmaison. He returned to Rome around 1817-20 to his home at 92 Via Babuino (which was designed by the Neo-classical architect Giuseppe Valadier) where he passed away in 1936. Raffaelli's output was considerable. Some of his most important commissions were for the Polish court, including a portrait of the King's brother Prince Michael Poniatowski, Bishop of Poland. He also supplied a pair of specimen marble centre tables to Sir Clifford Constable, for Burton Constable (now in Temple Newsam) and the impressive 'Centrepiece of the Viceroy', probably made for Eugene de Beuharnais (displayed in the Villa Carlotta, Cadenabbia). The Attribution Giacomo Raffaelli is considered the only master of both hardstones and micromosaics. The use of both media in our table point to his manufacture. We can observe various techniques in the making of the mosaic table which also points to Raffaelli. For instance, the inner ribbon band uses both oval and rectilinear tesserae in a naturalistic floral pattern which is evident in his other tables. Other trademark techniques are also evident, including horizontal rows of background tesserae, the outlining of leaves with a single row of tesserae and meticulous execution. The use of rinceaux was a popular motif in tables made at the end of the 18th century by Raffaelli and his contemporaries, for example the pair of tables supplied by Pompeo Savini to the Polish Court at Castello Reale, Warsaw and the pair of tables by Andrea and Michelangelo Volpini at Syon House. Two circular table tops using a band of rinceaux on a white ground are attributed to the studio of Raffaelli di San Sebastianello and they are illustrated in 'Giacomo Raffaelli (1753-1836) Maestro di Stile e di Mosaico' by Anna Maria Massinelli pp.262-263, fig.302 and 303. One in a private collection, the other in the Museo Civici in Bologna. Napoleon and Roman Micromosaics Napoleon and his wife Josephine were avid collectors of micromosaic works of art evidenced by the gift of a pair of vases and a clock by Pope Pius VII on his coronation in Paris in 1804. Following the Napoleonic occupation in Rome between 1808-1814 the Vatican workshops became directly responsible to the Imperial Crown and were commissioned to furnish Napoleon's apartments at the Palazzo Quirinale in Rome. The symbolism employed on our table points to the Napoleonic style, in particular the use of a laurel wreath on the top, also the laurel and acanthus on the wonderful marble base and finally the impressive gilt bronze edge. It is interesting to speculate whether this table was made during Raffaelli's period in Milan possibly as a commission by the Napoleonic Court. We would like to thank Dr Jeanette Gabriel for her help in cataloguing this present lot. For recent auction sales of micromosaic tables attributed to Giacomo Raffaelli, see Christie's, Julians Park, Hertfordshire, 8th June 2021, lot 30 which was inlaid with birds, butterflies and grapes and sold for £100,000. Also Sotheby's, New York, 19th century Furniture and Decorative Arts, 15th October 2015, lot 25 for a rectangular table inlaid with rinceaux and a central oval panel of the Doves of Pliny, $181,250, Christie's, Amsterdam, The Decorative Arts Sale, 22nd September 2010, lot 441 EUR 217,000 for an oval table decorated with goldfinch and Brunk Auctions, Asheville, 6th September 2003, lot 260, the micromosaic top on a painted wood base by Thomas Hope, $400,000. Comparative Literature Jeanette Hanisee Gabriel, Micromosaics in Private Collections. Jeanette Hanisee Gabriel, The Gilbert Collection, Micromosaics. Anna Maria Massinelli, Giacomo Raffaelli (1753-1836) Maestro di stile e di mosaico. E. M. Efimova, West European Mosaics of the 13th-19th centuries in the Collection of the Hermitage.
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A FRENCH LOUIS XVI WHITE MARBLE AND ORMOLU MANTEL CLOCK BY BARANCOURT, C.1785 the brass drum twin train movement with an outside countwheel striking on a bell, inscribed 'Barancourt a Paris', the three and three-quarter inch enamelled dial with pierced, scrolling hands, with Roman hour numerals and Arabic minute numerals, inscribed 'Barancourt a Paris', in a case flanked by Venus receiving a dove from Cupid, on a rectangular base with a band of fruiting stiff leaves, above a central torch and quiver of arrows and a swag, on hairy lion's paw feet and a rectangular plinth with a gilt beaded rim, with key and pendulum 35.2cm high, 26.5cm wide, 13.5cm deep Provenance Alfred de Rothschild (1842-1918) Bedroom no.2, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A Louis XVI clock by Barancourt a Paris, in white marble case with ormolu figures of Venus and Cupid, £30.0.0.' Catalogue Note This clock is after the celebrated design by the fondeur François Vion, now in the Bibliothèque Doucet, Paris (VI E 15, Rés.fol.20/1). No.13 in the Livre de Desseins, the subject depicts 'La Douleur', although the flaming torch was replaced with a laurel sprig in execution. Referred to as 'Pleureusé' in contemporary auction catalogues, Vion charged 450 livres for the finished model. The design and a related clock are illustrated in H. Ottomeyer / P. Pröschel, Vergoldete Bronzen, Band I, p.247, figs.4.6.9 and 4.6.10, whilst a further clock of this model, originally in the collection of the Earls of Shaftesbury, St. Giles's House, Dorset, was sold anonymously at Christie's London, 9 December 1993, lot 166. Pierre Michel Barancourt became a Master Clockmaker in Paris in 1779.
An Arts & Crafts miniature walnut dresser by D Rolyat of Battersea, the boarded two tier plate rack with brass cup hooks over a central tobaccco or tea container as two cupboard doors, flanked by small drawers and cupboard doors, raised on a plinth base, inscribed to base in pen and ink "D Rolyat Battersea 28", 38.5 cm wide x 14.5 cm deep x 47.5 cm high, together with a mottled blue glazed terracotta miniature tea set comprising teapot, six cups and saucers and six plates, unmarked
A Victorian black slate mantel clock, the white enamelled dial set with Roman numeral chapter ring, with partially visible movement above a scrolling base to stepped plinth, 30 x 55 x 14cm. CONDITION REPORT: Not tested, no guarantee of working order.Please note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on www.adampartridge.co.uk/services/postage-shipping/
WILLS; a George III oak cased longcase clock, the moulded cornice above brass 12" dial set with Arabic and Roman numerals, centred with subsidiary seconds hand and rolling date aperture, inscribed 'Wills. Truro 1790', crossbanded door to stepped plinth on bracket feet, height 184cm. CONDITION REPORT: with winding key, case key, weights and pendulum
HALLIWELL, WARRINGTON; a George III mahogany cased eight day long case clock, the broken swan neck pediment above arched painted dial, with rolling moon phase, the chapter ring set with Roman and Arabic numerals, with subsidiary seconds and day dial, above a shaped door flanked by quarter reeded pilasters, above a stepped plinth base, height 223cm. CONDITION REPORT: Overall in ok condition, with minor losses to beading in places. Some joints coming away, with further signs of wear visible throughout, including scuffs, scrapes, staining, fading, etc.
Four advertising signs comprising a Rolls-Royce example in the form of the front of a car with a Rolls-Royce logo and 'Spirit of Ecstasy' to a rectangular plinth base, 34 x 23cm, a Rolls-Royce glass plaque display, to pale oak wooden base, 21 x 17cm, a Remy Martin Champagne shop advertisement in the form of a Remy Martin logo centaur, 17 x 22cm (lacking small Champagne bottle) and a vintage Perspex 'Made to Measure' shop display, also two Perspex shop display units, one a four-tier shelf unit, the other a graduating circle pyramid display unit (6).
A Royal Doulton model, Desert Orchid, DA134, modelled by JG Tongue, limited edition 2,849/7,500, signed in gold dated 1997, stepped plinth base, 35cm wide; another, Red Rum, DA218, limited edition 1,089/7,500, stepped plinth base; a Beswick Connoisseur Model, Grundy, Racehorse of the Year 1975, 35cm wide (3)
A George III silver two handled trophy cup and cover, the lid with gadrooned borders and surmounted by an acorn finial above scrolled acanthus handles, raised on a square base, Hallmarked for London 1781, 43cm high, 74oz, decorated with family crest and inscribed "Essex Hunt Steeple Chase 1884 Chasseur Winner, 14 stone Red Coat Race, 5½ miles - 15 run" raised on a square stepped black wood plinth, 52cm overall
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