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Lot 24
An early 19th century English gilt bronze mounted crackle glazed Chinese porcelain vasethe mounts in the manner of Benjamin Vulliamy (1747-1811) and Benjamin Lewis Vulliamy (1780-1853)the grey crackle glazed baluster body with a relief moulded biscuit undulating key border and scalloped girdle, the foot with a similar narrow band, the whole with applied stylised lion drop ring handles, the rim with applied flared fluted and lobed rim mounts, the foot rim mount with trellis cast border, the vase raised on an a shallow square porphyry plinth base, the vase 36.6cm high, 39cm high overall including the plinth (2)Footnotes:Benjamin Vulliamy and his son Benjamin Lewis Vulliamy (1780-1854) who traded in London as Vulliamy & Son, belonged to a family of Swiss extraction whose original business of making clocks and watches expanded rapidly during the last quarter of the 18th century due much to the entrepreneurial spirit of the senior member of the family, Benjamin. Trading from 74 Pall Mall, their surviving Ornament and Clock Books contain extensive details regarding their business practices which clearly indicate that their craftsmen were not necessarily employees of the firm, but were 'individuals or firms largely resident in London who were working independently for their own account,' (See: Furniture History, 1967, Geoffrey de Bellaigue, 'The Vulliamys and France,' pp. 45-53). Besides mechanical movements for their watches and clocks, they also designed and had made elaborate cases which incorporated porcelain figures which were supplied by William Duesbury of Derby. In addition they supplied ornamental metalwork in many guises and, as de Bellaigue remarks, 'they were prepared to supply their customers with anything from a chimney-piece to a door handle, from a piano to a button.' The Vulliamys were fully aware of current taste on the Continent and France, not only utilizing published French designs, but also copying actual French objects or their components. They are also recorded as actually purchasing works of art in Paris, either on commission or for resale, and also utilized the workshops of the Delafontaines, 'who were among the most eminent bronze manufacturers active in Paris in the beginning of the nineteenth century,' (Bellaigue, op. cit.). The Delafontaines are shown in Vulliamys' books 'as suppliers of bronze mounts, chased but not gilt, which were incorporated into candelabras, inkstands, clocks and mounted porcelain jars,' as seen on the present vases. The Vulliamys had an illustrious list of clients, including many members of the aristocracy and eminent personages, together with the patronage of the Royal Family including the Prince Regent to whom they supplied elaborate mounts, all with comparable square bases, for several Chinese porcelain vases which in the Royal Collection. These included three Chinese famille rose jardinières (RCINs 48 and 101659.1-2) and a set of four jardinières with bowls of dark blue Spode ware in imitation of Chinese porcelain (RCINs 700.1–4).For further information on this lot please visit Bonhams.com
Lot 3
A pair of Louis XVI gilt bronze and white marble cassolettesthe urn shaped nozzles with beaded rims and spiral moulded scrolling handles on leafy pedestal supports and milled socles, the covers with fruiting knopped stiff leaf finials, each raised on an integral half column pedestal and square shallow plinth base with beaded and foliate borders, 21cm high (2)For further information on this lot please visit Bonhams.com
Lot 35
After Giambologna, called Giovanni da Bologna or Jean Boulogne (Italian, 1529-1608): An Italian patinated bronze equestrian model of a pacing stallionperhaps 18th / 19th century the trotting horse with curling mane and slightly curling tail, its head slightly tilted to the right and mouth open, the right foreleg and rear left leg raised, raised on a red porphyry shallow rectangular plinth base, 17.5cm high, 18cm long 7.5cm deep Footnotes:The stance of this equestrian subject, which was one of the sculptors favourite models, is a reduction of the horse from the monumental bronze statue of Duke Cosimo I de' Medici, erected in the Piazza della Signoria, Florence in 1594. Giambologna was inspired by the antique over-sized bronze of the Emperor Marcus Aurelius (now in the Capitoline Museum, Rome), which had been set up as the focus of Michelangelo's rearrangement of the Piazza del Campidoglio, Rome. A version of the pacing horse was sent as a diplomatic gift to Henry, Prince of Wales, in 1612 and was inherited by his brother, King Charles I.For further information on this lot please visit Bonhams.com
Lot 35A
After Giambologna, called Giovanni da Bologna or Jean Boulogne (Italian, 1529-1608): A paintated bronze figure of Neptune and dolphinprobably 19th century, the cast a Grand Tour type reduction edition of the original fountain figurethe bearded male god standing in contrapposto, hit left arm extended, his right arm to his back (lacking his trident), his right foot resting on the head of a dolphin, raised on a rosso antico marble square plinth base, 29cm high Footnotes:The Fountain of Neptune is a monumental civic fountain located in the Piazza del Nettuno, next to Piazza Maggiore, Bologna, Italy, An example of Mannerist taste of the Italian courtly taste, its construction was commissioned by the Cardinal Legate Charles Borromeo, to symbolize the fortunate recent election of Borromeo's uncle as Pope Pius IV. The design and assembly of the fountain was completed by the Palermitan architect Tommaso Laureti in 1563 and the fountain was completed in 1565,An early design by Giambologna, who had submitted a model for the Fountain of Neptune in Florence, but had lost the commission to Baccio Bandinell, the over-life-size bronze figure of the god Neptune was completed and fixed in place around 1566. Emerging majestically from centre of the fountain, the mannerist figure of Neptune is surrounded by four putti holding dolphins as allegorical representation of he major rivers from the then-known corners of the world comprising the Ganges, the Nile, the Amazon, and the Danube. The figure stretches his left hand in a lordly gesture possibly to placate days which today is interpreted as symbolic exaltation of the new power of the Pope Pius IV.For further information on this lot please visit Bonhams.com
Lot 58
Victor Paillard (French 1805-1886): A pair of important and impressive First Universal 'Great Exhibition' gilt bronze and Sèvres style 'Bleu Céleste' turquoise glazed porcelain ground vases and coversin the Louis XV style, the mounts to each vase stamped Victor Paillard Paris 1851 and with printed at 6 Rue Saint-Clarde manufacturers / retailers paper labels for Victor Paillard to the inner sectional components, circa 1851each of inverted pear shape form with a pair of elaborate applied fruiting vine entwined scrolling figural handles formed as twin pairs of nude putti picking grapes above grotesque animal masks, united by fruiting oak twin garlands, beneath pierced gadrooned galleried rim mounts and raised on strapwork and formalised acanthus and pierced foliate scroll and flowerhead footed bases, the porcelain bodies with twin acanthus and rocaille moulded shaped oval cartouches, each finely enamelled to one side with classical figural scenes in the manner of Francois Boucher (French, 1733-1770) depicting resting female nudes and putti, possibly emblematic of Spring/Summer and Autumn, the former with three reclining female nudes and a sleeping putto within a garden setting beneath floral garlands, the later with two sleeping female nudes and a baby satyr, a winged cupid looking on, surrounded by fruiting vines and an upturned ewer or urn within a garden setting beneath similar floral garlands, the opposing sides enamelled with bouquets of colourful garden flowers and fruit including roses, convolvulus, daisies, chrysanthemums, dahlias, honeysuckle, auricular/primroses and grapes, the acanthus clasped, fluted and oval cabochon moulded swept lower sections on moulded strapwork pedestals with twin small cartouches further enamelled with grapes and flowers, the lobed domed figural covers with gilt bronze circular collars surmounted by white glazed groups, one depicting a putto feeding grapes to a recumbent panther clad in fringed saddle, the other of a similar putto holding aloft a fruiting garland whilst seated on a similarly saddled recumbent goat, the porcelain bodies and covers all with gilt bandings and enrichments, 103cm high (panther and putto cover), 97cm high (goat and putto cover)Footnotes:Victor PaillardThe son of Charles Paillard, a small landowner, Victor Paillard's artistic talents were first noticed by the Count of Guzmán, who sent him to hone his skills in Paris. After attending the Royal School of Drawing and training as a chiseler, he became the pupil of Jean-François Denière and a collaborator of Ferdinand Barbedienne. By 1830, Paillard had quickly established himself as a maker of 'bronzes of art and furnishing', first at 105 Boulevard Beaumarchais Paris and later at 6 Rue Saint-Claude, Paris. Although he initially specialised in producing small objects including candelabra and statuettes he began exhibiting at the Exposition des produits de l'industrie in 1839 and this led on to him experimenting with gilt and silvered bronze in the 1840s.The 1851 Great ExhibitionIn 1851 his refined techniques in metal finishing caused great admiration at the London Great Exhibition where a Mr E. Beres commented 'Mr. V. Paillard excels in the novel art of oxidising bronze. His silver hues are perfect and, at first glance, deceive even an expert eye...'. In the Art-Journal Illustrated Catalogue for the first universal exhibition, Paillard's entries are listed as including a Louis XV style gilt bronze clock and a group of tableware and sculptures. Additionally on page 289, a near identical single vase with goat and putto finial to the cover is shown in a black and white outline along with other decorative pieces which bears almost exact similarities to one of a pair of vases offered. The accompanying text for the illustration reads as follows:'In an early page of the catalogue we introduced two single examples of the BRONZES of MR M (sic?) PAILLARD of PARIS. We now bring forward a GROUP composed from his numerous contribution's in the exhibition. In the centre is a Noble VASE, of porcelain, in the Louis style, with bronze ornaments, festoons of flowers and figures. To the right is the well known group of THE CUPIDS STRUGGLING FOR THE HEART'. The remainder of the composition is made up of statuettes, candelabra, vases and other objects.'Commissions and ClientsVictor Paillard amongst others worked for the cabinet maker Alexandre-Georges Fourdinois, Honoré de Balzac, the Prince of Galliera, Abel Laurent, Louis-Constantin Detouche, Officer of the Legion of Honour, and Knight of the Iron Crown in Austria and numerous Russian nobility. He was appointed a member of the jury of the 1855 Universal Exhibition and in 1874, a Councillor of Paris and Mayor of the 3rd arrondissement. He also received many official commissions, notably during the decoration of the hotel of the Minister of Foreign Affairs at the Quai d'Orsay (French Foreign Ministry) in Paris.Palliard is perhaps best remembered for his work the Quai d'Orsay which was located on the left bank of the Seine River. In the Ministry, the Salon du Congrès and the Salon de l'Horloge in particular display his great artistic and technical brilliance. Originally called the Salon des Attachés, the former was later renamed in memory of the 1856 Congress of Paris which ended the Crimean War. Dominated by an impressive Renaissance style chandelier decorated with putti and arabesques, the room also featured a patinated and gilt bronze clock resting on a green marble plinth emblematic of architecture and painting, two pairs of candelabra - one depicting The Three Graces, the other pair decorated with putti and bouquets of flowers and a pair of torchieres in the form of chimera, with flowers and garlands. Paillard also produced the famous clock in the Salon de l'Horloge from which the room takes its name along with bronze mounts for the impressive chimneypiece. As well as undertaking his own commissions Paillard also undertook the casting for a number of the most famous sculptors of the day including Barye, Carrier-Belleuse, Feuchère, Pradier, Preault and Klaggmann. As such he was to run one of the most successful and admired foundries in FranceRelated Liberature:Kjellberg, Pierre, Les Bronzes du XIX siècle, Dictionnaire des Sculpteurs, Les Editions de l'Amateur, (Paris), 1989; p.662.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 75
Jean Jacques (James) Pradier (French, 1790 -1852): A bronze figural group of Zephyr and Florasigned to the drapery J.PRADIER, the base inscribed and dated J.Pradier / 1851, brown patina, raised on a black marble oval moulded plinth, 42.6cm highFootnotes:Provenance:Acquired by a private UK collector, Sotheby's, London, 29 November 1991, 19th Century Sculpture, lot 64.Jean-Jacques Pradier was a Swiss-born, French sculptor. He won the Prix de Rome and studied there from 1814 to 1818. He then worked under Jean-Auguste-Dominique Ingres in Paris. In 1827 he became a member of the Académie des Beaux-Arts and Professor at the École des Beaux-Arts. Amongst his chefs-d'oeuvre are the figures of Renommées in the spandrels of the Arc de Triomphe and the twelve Victoires surrounding Napoleon's tomb in the Invalides.For further information on this lot please visit Bonhams.com
Lot 85
A large and imposing George III mahogany commode attributed to a St. Martin's Lane of London cabinet maker1770-1785, probably the forerunner to a design by Thomas ShearerThe large inverted breakfront central bank of drawers of serpentine form, the overhanging half-veneered top with an ogee moulded edge, above four long graduated oak-lined drawers flanked by two smaller banks totalling eight drawers, each bank comprising four short graduated oak-lined drawers, over a reverse ogee moulded plinth base, on shaped ogee bracket feet, the Rococo handles are 18th century, 164cm wide x 67cm deep x 106cm high, (64 1/2in wide x 26in deep x 41 1/2in high)Footnotes:The present lot appears to be closely comparable to a design by Thomas Shearer from his 1788 publication, 'Cabinet-Makers' London Book of Prices', which is illustrated in R. Fastnedge, Shearer Furniture Designs, 1962, London, pl. 17, fig. 1 & p.22. This same drawing also appears replicated in the Pictorial Dictionary of British 18th Century Furniture Design, compiled by E. White, 2000, Woodbridge, pl. 20 fig. 1, p.185. The offered commode has certain characteristics which have traditionally been solely associated with the documented output of Thomas Chippendale's workshop, especially during the third quarter of the 18th century. Two examples of these elements which are evident on the present chest are the use of red wash to the secondary timbers in parts, as well as the incorporation of 'stacked' or 'laminated blocking' to the bracket feet.However, following research undertaken in more recent years, it appears to have been the case that a number of cabinet makers operating in England during the second half of the 18th century employed many of the same or similar constructional features as Thomas Chippendale. At that time the vast majority of such firms, which were producing fashionable furniture to an extremely high standard largely but not exclusively for a wealthy and/or noble clientele, were located on St. Martin's Lane in London (or at least within its immediate environs). Aside from Chippendale, it is recorded that cabinet makers and 'upholsterers' as prominent and historically important as William Hallett, John Channon, William and John Linnell, William Vile and John Cobb, Benjamin Goodison and James Paine had their businesses located in this historically renowned area of the city. Another aspect of this striking commode is the exceptional quality of its densely grained mahogany timber which is particularly notable with regard to the half veneered top. Whilst the top itself, with its strikingly overhanging rear ends, elegant shaping overall and lovely moulded edge, is certainly reminiscent of some of Chippendale's finest output of the 1760s and 1770s.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 87
Edwin Whitney-Smith (British, 1880-1952): 'The Baltic Fountain', an important and impressive patinated and polished bronze figural fountain commissioned for the Baltic Shipping Exchange, London, 1907cast by the A. B. Burton Foundry, Thames Dittonthe female nude probably representing a sea nymph, holding aloft a model of a galleon in her upheld hands, standing on a shell and rockwork plinth issuing four sea serpent head spouts, signed and dated within the cast E. Whitney Smith, 1907, above a circular dished basin, raised on an octagonal open plinth cast with seaweed and foundry inscription A. B. Burton, Founder, Thames Ditton, the spreading circular base cast with sea scallop shells above a capitalised Latin presentation inscription to the outer border translating as 'This fountain was given by Edward Power and Edward John Power, father and son, well known/distinguished merchants (67) who for many years were members of the Baltic co/council/consigliore and who were its leaders 1907.', 281cm high x 136cm diameter approximatelyFootnotes:Bonhams is delighted to offer the Baltic Exchange fountain in our 'Fine Decorative Arts: Through the Ages' sale.The fountain, which formerly sat in the lobby of the Exchange's headquarters at 38 St Mary Axe, London however cannot be housed in the new designs of the building.Earlier this year the sale of the fountain was postponed while alternative options were investigated. One of these options was to donate the fountain to the National Maritime Museum in Greenwich. However, it was then concluded that the piece was 'outside the Museum's collecting remit'. The amount raised will go towards funding a new Baltic Exchange lifeboat at Salcombe for the Royal National Lifeboat Institute (RNLI).'The Royal Academy Exhibition', The Building News, April 26th, 1907, Vol 92, p. 607.'Of the other works in the Central Hall, Mr. E. Whitney Smith's 'Drinking Fountain,' No. 1664, is the most delicately beautiful, with its fanciful base of seaweed, and its group of large shells surrounding a rock, on which a nude figure stands, holding the hull of an ancient galleon in her outstretched arms;...' Edwin Whitney-Smith: Born in Bath, Somerset, Edwin Whitney-Smith studied sculpture at Bath and Bristol Schools of Art. He also worked as assistant to William Harbutt, the inventor of plasticine and headmaster of Bath art school. Smith subsequently moved to London and began exhibiting at the Royal Academy and Paris Salon. Shortly afterwards, he began to hyphenate his name and thereafter styled himself as 'Whitney-Smith'. He received many commissions for portrait busts as well as creating small statuettes and, as was typical of his generation, a number of war memorials. Amongst his portrait sitters of note were the art critic Adrian Stokes, the painter Sir Alfred Munnings and perhaps also very pertinently given the maritime theme of the offered lot, the Liverpool shipping magnate, Sir William Forwood. In spite of several Academician proposals by prestigious sculptors and artists of the day during his career (including the sculptors Frederick William Pomeroy, Henry Alfred Pegram and Francis Derwent Wood in 1922 and the artists Samuel John Lamorna Birch and William Russell Flint in 1935), he was unsuccessful in being elected to the Royal Academy although ironically, the renowned sculptor Sir William Reid Dick, who was an early assistant in his studio in the early 1900s went on to secure his own membership two years after Whitney-Smith's death in 1954. The A. B Burton Foundry, Thames Ditton:As one of Great Britain's leading firms of bronze founders, the Thames Ditton Foundry operated from 1874 to 1939 under various owners producing numerous fine major statues and monuments. Established by Cox & Sons, a large firm of ecclesiastical furnishing suppliers, it cast ornaments and statues in bronze for sculptors and commercial suppliers. From 1902 to 1933 the firm came under the sole ownership of Arthur Bryan Burton (1860-1933). Originally apprenticed to Cox & Sons, Burton had later opened his own foundry in Kingston but returning in 1897 to become a co-owner with Arthur John Hollinshead. Burton served as a councillor on Surbiton Council, deacon of Surbiton Park Congregational Church, Sunday school teach, benefactor of the Scout Movement and a Special Constable during World War I.Works of particularly note cast by A. B. Burton from the same period include George Frederic Watts's Physical Energy in Kensington Gardens dating from the same year as the Baltic Exchange fountain, Adrian Jones equestrian statue of the Duke of Cambridge in Whitehall dating from 1909 and the forty-ton Quadriga on the Wellington Arch in Hyde Park Corner dating from 1910-11 which is one of the largest bronzes ever cast in Britain.The Baltic Exchange:Baltic Exchange Ltd, a community of hundreds of shipping companies and tracker of maritime transportation markets, was based at 24-28 St Mary Axe in the City of London. The exchange can trace its roots back to 1744 in Threadneedle Street. It was incorporated as a private limited company in 1900.In the early 20th century the firms main premises designed by Smith and Wimble and completed by George Trollope & Sons were opened in 1903. The building had an impressive and distinctively Cathedral-like trading hall housing an unusual stained glass war memorial completed after the first world war (now in the permanent collection of the National Maritime Museum). The building was subsequently used as a film location for a number of period drama films including Howards End, released in 1992.In 1992 on 10 April, the facade and parts of the building were badly damaged by an IRA bomb attack which very sadly saw three people killed and ninety one injured. The fountain suffered some minor damage in the attack but was later re-instated in the replacement modern premises which were rebuilt on land adjacent to the original site.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP 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 9
A pair of second half 19th century French equestrian bronze figures of Henry IV and Charles I (2)both clad in armour and holding ceremonial staffs on ribbon tied caparisoned horses, brown patina, mounted on rectangular Verde Antico and black marble stepped plinth bases, 41cm and 41.5cm high overall including plinth basesFootnotes:Provenance:Acquired by a private UK collector, Christie's, London, 22 January 1986, Sculpture, lot 76.For further information on this lot please visit Bonhams.com
Lot 1998
A mahogany moon phase longcase clock: the eight-day duration movement striking the hours on a bell with the thirteen-inch painted break-arch dial having black Roman numerals, subsidiary seconds dial and date aperture, strawberry decoration to the four corners and indistinctly signed to the centre, the arch with a moonphase disc painted with cottage and seascape scenes, with blued-steel hands, the oak case having mahogany crossbanding, fluted quarter columns, a raised plinth to the base, with the hood having fluted columns and a swan-neck pediment, all standing on bracket feet, height 214cm.
Lot 2097
A Victorian mahogany and leather inset partners desk in George III style, last quarter 19th century,: the top with tooled green leather skiver and ovolo moulded edges; the front and back each with an arrangement of nine drawers around the kneehole, all with twin turned handles; the plinth bases concealing castors; 76cm high, 153cm wide, 105cm deep
Lot 2134
A mahogany and glazed breakfront library bookcase in George III style, late 19th / early 20th century,: the 'broken pediment' with ogee moulded and dentilled architrave, above a dentilled cornice and fluted frieze; the central section with two glazed doors above two short and two long drawers; flanked to each side by another glazed door above a panel door; on a plinth base; 238cm high, 240cm wide, 52cm deep
Lot 2140
A mahogany and glazed cabinet bookcase, second quarter 19th century,: the moulded cornice above twin glazed doors with Gothic arched astragals; flanked by half-round pilasters with carved acanthus capitals; the base section with blind frieze above twin panel doors flanked by scrolling acanthus carved corbels, above a plinth base; 243cm high, 125cm wide, 35cm deep
Lot 2229
A Victorian walnut, marquetry and glazed pier cabinet, circa 1870,: the rectangular top above a frieze of inlaid foliate arabesques, the door enclosing shelves and flanked by conforming marquetry panels with foliate cast gilt metal mounts above and below; the plinth base with bracket feet; 103cm high, 79cm wide, 32cm deep
Lot 2230
A Victorian walnut and marquetry pier cabinet, circa 1870,: the rectangular top above a scrolling foliate and floral frieze, the glazed shallow arched door and flanking pilasters with conforming marquetry and gilt bronze mounts; with velvet covered shelves within; on a plinth base with serpentine apron; 104cm high, 79cm wide, 30cm deep
Lot 2253
A Victorian walnut and inlaid serpentine fronted Davenport, circa 1870,: decorated with boxwood lines and stylised foliate designs, the superstructure with a lidded fitted stationery compartment with pierced brass three quarter gallery, sloping hinged tooled leather inset writing surface enclosing a maple veneered interior, above twin spiral fluted columnar supports to a plinth base, on castors; with four drawers to the right side and faux drawers to the left; 88cm high, 53cm wide, 54cm deep
Lot 2281
A mahogany and glazed stacking bookcase by Globe-Wernicke Co. Ltd. London, early 20th century,: with moulded cornice above five sections, all with metal holding brackets at the sides and ivorine maker's plaques within; to a plinth base with ogee moulded front; 177cm high, 87cm wide, 32cm deep
Lot 358
Military figures. One British, one American Paratrooper from a very limited edition. Soldiers on Wooden Plinths with regimental logos in metal fixed to the Plinth, The American Soldier has a broken off hand, (clean break can be glued back), fair condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £9.99
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