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Lot 176
A matching pair of contemporary High End British designer industrial hardwood planked wood chest of drawers. Each chest having a bank of two large straight drawers with blind fronts and recessed handles to each side of each drawers. Raised on plinth block supports. Each chest measures 68cm x 91cm x 56cm.
Lot 504
John and Sylvia Reid - Stag - A retro vintage 20th Century 1970's golden oak sideboard credenza / bedroom chest of drawers having three short drawers flanked by three long. Each drawer having vertical square handles with circular centers with being raised on a plinth base. Label for Stag present. Measures 68cm x 121cm x 44cm.
Lot 533
White & Newton - A retro vintage 20th Century oak sideboard credenza having a textured glazed sliding door cocktail compartment flanked by two drawers to the right all fitted to a sloping top. Below a twin door cupboard having a shelved compartment. All raised on a plinth base. Measures 86cm x 122cm 46cm.
Lot 590
A large vintage mid 20th Century haberdashery point of sale shop display cabinet fitting, having sixteen wooden and glass fronted drawers with pull handles and notation slide raised on twin sliding door cupboard plinth base. Finished in white with pale blue window frames. Measures 92cm x 178cm x 58cm.
Lot 832
TASSOTTI, KURT (geb. 1948, stud. bei K.-H. Seemann u. A. Hrdlicka), "Tänzerin, sich die Schuhe bindend", Bronze, brüniert, vollplastische Figur einer Ballerina, sich zum Binden der Schuhe bückend, auf runder Plinthe signiert 'TASSOTTI', H: ca. 75 cm. Minim. Altersspuren. TASSOTTI, KURT (born 1948, studied with K.-H. Seemann and A. Hrdlicka), "dancer, tying her shoes", bronze, burnished, fully plastic figure of a ballerina, bending over to tie her shoes round plinth signed 'TASSOTTI', H: approx. 75 cm. Minim. Signs of age.
Lot 626
MEISSEN 2 Figuren 'Jäger mit Federvieh' und 'Gärtner', 1. Wahl, vor 1924. Auf rundem Sockel stehender Gärtner, der sich mit der linken Hand auf einem Spaten abstützt, in der rechten Hand hält er einen kleinen Blumenstrauß, Entwurf Victor Acier, Modell-Nr. C. 69, H. ca. 19,5cm, Hutkrempe vorne fehlt, Farbabplatzer; auf einem Natursockel stehender Jäger, in der rechten Hand ein erlegtes Federvieh, in der linken Hand eine Flinte, Entwurf Johann Joachim Kaendler, Modell-Nr. 2361, H. ca. 15, Kopf des Federviehs fehlt, Farbabplatzer. MEISSEN 2 figures 'hunter with poultry' and 'gardener', 1st choice, before 1924. Gardener standing on a round plinth, with his left hand resting on a spade, in his right hand he holds a small bouquet of flowers, designed by Victor Acier, model no C. 69, h. approx. 19.5cm, the brim of the hat is missing at the front, paint chips; a hunter standing on a natural base, in his right hand a killed bird, in his left hand a shotgun, designed by Johann Joachim Kaendler, model No 2361, h. approx. 15, head of the bird missing, paint chips.
Lot 43
A pair of Regency rosewood, calamander banded, parcel gilt and simulated rosewood card tablesin the manner of Henry Holland, after the model by Marsh and TathamCirca 1810, each with a swivel-hinged top with canted angles and fluted edges, enclosing a baize inset playing surface, concealing a mahogany-lined interior, on a flared ring turned and reeded inset column, with a concave quadripartite base terminating in winged and volute scrolled lion paw feet, with recessed brass castors, 93cm wide x 46cm deep x 75cm high, (36 1/2in wide x 18in deep x 29 1/2in high) (2)Footnotes:A pair of comparable occasional tables to the offered lot sold Christie's, South Kensington, 2nd July 2014, Ronald Phillips Ltd - Making Room, lot 274 while another similar centre table sold Christie's, 20th-21st September 2004, Property from Two Ducal Collections, Woburn Abbey, lot 1150.The model for these tables derives from designs for Roman candelabrum introduced by the connoisseur Thomas Hope (d. 1842) at his Duchess Street mansion museum and illustrated in his major work, Household Furniture and Interior Decoration, first published 1807, pl. IX and L, No. 3.A further pair of tables, likewise derived from Hope's candelabra patterns, formed part of the drawing room furniture designed by Henry Holland (d. 1806), and supplied in circa 1809 by the Mount Street firm of Marsh & Tatham for Southill, Bedfordshire (G. Jackson-Stops, 'Southill Park, Bedfordshire', Country Life, 28th April 1994, pp.'s 62-67, and F.J.B. Watson, 'The Furniture and Decoration', Southill: A Regency House, London, 1951, pp.'s 29-30, pl. 45).Also, the inset reeded spreading column, concave-sided plinth and giltwood lion paw feet of the offered tables relate to a pair of octagonal tripod tables originally at Oakley House, Bedfordshire, which was fitted for The 5th Duke of Bedford by Holland (Henry Holland, Woburn Abbey, exhibition catalogue, 1971, p. 6 and fig. 8). A pair of tables of this design sold from the collection of Lord and Lady White of Hull, Christie's, New York, 30 April 1997, lot 226, illustrated in E. Joy, English Furniture, 1800-1851, London, 1977, p. 65.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 51
A George III mahogany serpentine commode attributed to Thomas Chippendale (1718-1779)Circa 1770, the overhanging top with a reverse ogee moulded edge, above four long graduated drawers, the mahogany-lined frieze drawer enclosing three open compartments, over three oak-lined drawers, with an ogee moulded plinth base terminating in scrolled and shaped bracket feet, 145cm wide x 68cm deep x 92cm high, (57in wide x 26 1/2in deep x 36in high)Footnotes:ProvenanceDuring the late 18th century it is highly probable that the offered lot was housed at Ham Court, which was located in the Malvern Hills, Worcestershire.Ham Court served as the historic family home of the Bromleys and the Bromley-Martins from the early 17th century until its demolition in 1926.Major Elliott George Bromley-Martin (1866-1946) most likely gained ownership of the present commode at the same time as inheriting Ham Court, his birthplace, from his father George Edward Bromley-Martin (1829-1905).Thence the commode passed by descent to Gerald E. Bromley-Martin (1906-1954), who was the Major's son. Following Gerald's death in 1954, it is listed as a 'Chippendale mahogany serpentine chest of 4 drawers' in the probate valuation undertaken at Hardley Hall, Norwich, by a firm called Irelands, who were likewise located in Norwich (it is interesting to note that at that time the individual value is given as £45).Subsequently this serpentine chest belonged to Gerald's son, Christopher Bromley-Martin (1935-2018), and has clearly remained within the family since 2018.The Attribution to Thomas ChippendaleComparable commodes include one evidently supplied in circa 1770 by Thomas Chippendale to Wilton House, Wiltshire and a pair dating to 1774 apparently also made by Chippendale for Paxton House, in Paxton near Berwick-upon-Tweed upon behalf of Mrs Home-Robertson. Interestingly these two different models both appear illustrated together on the same page in C. Gilbert, The Life and Work of Thomas Chippendale, 1978, London, fig.'s 205 & 206, p. 117.Also, certain characteristics apparent in the construction of the offered lot, when assessed altogether, lead logically to a Chippendale attribution. These characteristics are; the presence of S-shaped keyholes or escutcheons; laminated blocking to the bracket feet; the use of a red wash to the underside and reverse of the drawer fronts; the selection of an extremely fine mahogany timber. Added to this, the design used for the handles (which appear to be original) is also fairly typical of Chippendale's output during the period 1765-1774.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 65
An Italian early 19th century 'Grand Tour' specimen marble and hardstone table top on a George IV mahogany and parcel gilt console tablethe specimen marble top circa 1810, the console table circa 1825The rectangular marble top inset with a grid of one hundred and thirty six squares each inlaid with a different marble or hardstone including malachite, breche violet, alabastro, porphyry, lapis lazuli, Sicilian jasper, Spanish brocatello, onyx, portor and verde antico, on two acanthus clasped and C-scroll carved lion bust-headed front monopodia terminating in paw feet, with panelled rear stiles, on a concave plinth base, 134cm wide x 67cm deep x 90cm high, (52 1/2in wide x 26in deep x 35in high)Footnotes:A comparable specimen marble and pietra dura table top to the offered lot, which was dated late 18th/early 19th century, sold Christie's, New York, 17th October 2003, Important English Furniture, lot 21.This type of specimen marble table top is characteristic of the taste for Italian slabs, often collected by British gentlemen whilst undertaking their 'Grand Tour' of Europe. In the eighteenth century, Palladian architects were influenced by the Italian fashion for marble topped pier tables. Many of these items were ordered by English collectors and returned to their homeland where they had the bases made for these highly prized tops.One of these patrons of the Italian workshops was the connoisseur Patrick Home (d.1808) of Wedderburn Castle and Paxton House, Scotland, who appears to have purchased a quantity of high quality tops in around 1771 in the first year of his Grand Tour. A similar marble table top, inset on a stand made by the Edinburgh cabinet-maker William Trotter, is illustrated in F. Bamford, A Dictionary of Edinburgh Furniture Makers, 1660-1840, Furniture History Society, 1983, pl. 55A. A further related example is believed to have been acquired by Edward, Viscount Lascelles (d.1814) for Harewood House, Yorkshire and subsequently sold, The Humphrey Whitbread Collection, Christie's London, 5 April 2001, lot 412.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 73
An early 19th century Italian Micromosaic and cornelian snuff box, depicting Andromache mourning Hector's ashes, with makers initials B.O.F, the gold mounts marked for Luigi Mascelli, Rome, circa 1804-1825engraved to the inner mount with later presentation inscription 'From Countess Newburgh to Col.Maclean, 13th Drs, in token of his late friend the Hon. John Kennedy, 1846'the lid with inset rectangular panel depicting the mourning female, dressed in a white robe and loose gold shroud, her eyes downcast, facing a large green urn raised on a rectangular plinth, together with a contemporary tooled green leather and satin lined presentation box, 8.9cm long, 6.2cm wide and 1.8cm highFootnotes:It is possible that the Countess in the present lot refers to the 7th Countess Newburgh who married the 4th Marquis Bandini. It is hardly surprising therefore that there would have been links to Italy and, more specifically, any micromosaic workshops in Rome during this period.Lieutenant General Allan Thomas Maclean was born in Pennycross, Isle of Mull, Argyllshire, Scotland on 1 May 1793 to Archibald MacLean and Alicia MacLean. He became an Ensign with the 2nd West India Regiment without purchase on the 4th January 1810. He then became Cornet with the 13th Light Dragoons on the 23rd August 1810 again without purchase and served at Waterloo in 1815. Maclean married Agnes Lisle Robertson Forlong in 1843 and had 3 children. He died on the 9th December 1868 at 3 Oxford Square, London.LiteratureJ. H. Gabriel, The Gilbert Collection, Micromosaics, Philip Wilson, 2000.J. H. Gabriel, Micromosaics, Private Collections, 2016.For further information on this lot please visit Bonhams.com
Lot 83
A matched pair of satinwood and carved mahogany urns and pedestalsone urn and pedestal circa 1775, the other of a later date but probably 19th centuryThe lidded classical urns with pine-cone finials, one enclosing a lead liner, above ovoid bodies with guilloche borders and applied ram's heads and swagged bellflowers, with male and female portrait medallions, above stiff leaves and fluted collars, on stiff leaf carved socle bases and stepped plinths; the square pedestal tops with leaf moulded edges, each front carved with classical urns flanked by scrolling acanthus and grotesque masks, above scrolling riband tied acanthus flanked by angled pilasters, headed by leaf and pine-cone carving with trailing bellflowers, on plinth bases, one pedestal enclosing a lead lined drawer and shelf, with a concealed tap in the top, the later copy entirely in mahogany, each 56cm wide, 56cm deep, 189cm high, (22' wide, 22' deep, 74' high) (2)Footnotes:A related pair of George III carved mahogany sideboard pedestals and urns with applied carving to the pedestals and similar urns are illustrated in F. Lewis Hinckley, Hepplewhite, Sheraton and Regency Furniture, London 1990, p.229. An urn of closely related form with similar lotus-leaf banding and swagged husks and medallions forms part of a cast-iron stove for the Saloon at Castle Coole, Co. Fermanagh by Carron Iron Co., Falkirk, Scotland (the house designed by James Wyatt), see H. Montgomery Massingbird and C. Simon Sykes, Great Houses of Ireland, London, 1999, p.11. Other Stove urns of this type include one in the collection at Temple Newsam, see C. Gilbert, Furniture at Temple Newsam and Lotherton Hall, Bradford, 1978, Vol III., p.629, Fig.773 and another formerly at Compton Place, Sussex and now in the collection of the V&A (M.3-1920).Similar shaped painted urns and pedestals with applied decoration to the pedestals were designed by Robert Adam and supplied to the re-modelled dining room at Saltram circa 1780 and are illustrated in R. Edwards, The Dictionary of English Furniture, Vol. III, 1954, London, p.139, fig.5. Designs for related urns with carved pedestals were published by George Hepplewhite in his 'The Cabinet Maker and Upholsterers Guide, third edition, 1794, pl.35&36.Sideboard pedestals and urns became fashionable in the 1760s. The pedestals themselves provide extra storage and often contained a plate warmer or cellaret drawer. The urns were normally lined to hold either iced water or water for rinsing cutlery in the dining room. Sheraton wrote in his Cabinet-Makers' and Upholsterers' Encyclopeodia (1805) that 'Pedestals with vases at each end of the sideboard, one was used as a plate warmer, while the other sometimes contained a cellaret for wine while the vases 'are used for water for the use of the butler, and sometimes made of copper japanned, but generally of mahogany'.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 85
Sir Alfred Gilbert, A.R.A., R.A., M.V.O (British, 1854-1934): A rare and probably unique patinated and parcel gilt bronze 'double size' figure of St Georgeordered by John Charles Williams of Werrington Park, Launceston, Cornwall directly from the sculptor and probably cast by Broad & Son, circa 1895-6the figure with helmeted downcast head modelled in contrapposto and clad in elaborate armour with shell cast pauldrons and winged poleyns, one arm raised and with a slightly turned hand, the other arm down and outstretched, his straight sword with a corpus crucifix to the hilt (now lacking finial), on swirling base, raised on an ebonised shallow square plinth, the figure, 88cm high, 93cm high overall including wood plinth base Footnotes:ProvenanceJohn Charles (J.C.) Williams (1861-1939), Werrington Park, Launceston, Cornwall.Ordered by J.C. Williams in 1895 as apparently the first part of a commission for four double size figure replicas, St George being the first figure representing England, the others as the second part of the commission being saints representing Ireland, Scotland & Wales (these three figures apparently never realised).Thence by descent.John Charles Williams (1861-1939) of Caerhays Castle, St Austell, Cornwall was an English Liberal Unionist politician, collector and keen horticulturalist, noted for his philanthropic interests in botany.Affectionately known as 'J.C.', he was the second son of the miner, landowner and banker John Michael Williams (1813-1880) and Elisabeth Maria (d. 1884), of Caerhays Castle and was educated at Rugby School and at Trinity Hall, Cambridge. The Williams family of Caerhays, Burncoose and Scorrier were prominent owners of mines and smelting works for several generations during the Cornish Industrial Revolution. In 1882 'J.C.' Williams acquired the estate of Werrington, an 18th century house with earlier origins (then in Devon, but since 1974 in Cornwall) as his home and set about furnishing with furniture and artworks, some possibly from an earlier dispersal sale of the original contents but the majority acquired himself from other sources following the fashions of the day. His own wealth combined with the fact that his elder brother Michael Williams took over running the family's business interests meant that he was able to devote time to collecting including amassing three major noted mineral collections and in particular his interests in breeding rhododendrons, camellias and daffodils amongst other plants. He married Mary Christian Williams (1861-1922), the second daughter of Sir Frederick Martin Williams, second baronet of Tregullow in 1884 and in that same year he returned to live at Caerhays Castle when his mother died. However, he remained Squire of Werrington Park even when he returned to his ancestral home as he reputedly enjoyed the good hunting on the Werrington estate and as such it is recorded that the he and his family lived partly at Caerhays and partly at Werrington in the late 19th and early 20th centuries. Elected at the 1892 general election as the MP for Truro, he held the seat until he stood down at the 1895 general election and was also High Sheriff of Cornwall in 1888, and Lord Lieutenant of Cornwall from 1918–36.During the Great War Werrington was turned over to the Red Cross becoming Auxiliary Home Hospital Werrington and accepting injured troops from the frontlines in France and Belgium. Mrs Williams is recorded as being 'Officer in Charge and Organising Secretary' and the hospital treated 1128 patients between January 1915 and March 1919.John Charles and Mary Christian Williams had five sons and one daughter: The Honourable Charles Williams of Caerhays Castle, Conservative MP for Tavistock 1918-1922 and Torquay 1924-1955.John Francis Williams, killed in 1916 serving as Sub-Lieutenant of the St. George flotilla on the 'HMS Russell'.Alfred Martin Williams, CBE, Conservative MP for North Cornwall 1924-29.Robert Williams, killed in 1915 serving as Second Lieutenant of the 1st Guards Brigade, 2nd Battalion of the Grenadier Guards at the Battle of Loos.Peter Michael Williams, known as 'PM', High Sheriff of Cornwall, 1952.May Williams, who nursed her father after her mother's death. Alfred Gilbert's St George and The Duke of Clarence MemorialAlfred Gilberts depiction of St George can perhaps be described as the emblematic zenith of the New Sculpture movement. However its conception and realisation on what was perhaps Gilberts most prestigious commission of the his career, that of the tomb of the The Duke of Clarence in the Albert Memorial Chapel at Windsor Castle was also the cause of much controversy.Ten years previously however, Gilberts accent to the position of England's premier sculptor had seemed a natural and inevitable progression following the death of his former master and sculptor to the Royal family, Joseph Edgar Boehm in 1890. His success was subsequently sealed with the most prestigious commission of the day from the bereaved Prince and Princess of Wales to design a tomb for their eldest son, Prince Albert Victor, Duke of Clarence and Avondale who had tragically died from influenza on the 14th January 1892. Summoned three days after the funeral to discuss plans with the royal couple, Gilbert's preliminary sketch for the tomb of her grandson was approved by Queen Victorian on the 6th March 1892.Although the finished tomb itself was a tour de force of the sculptors art incorporating an effigy of the recumbent Prince in his Hussar uniform beneath the figure of a kneeling angel holding a heavenly crown realised in bronze, brass, aluminium and white & coloured marble, it was the extraordinary hybrid Gothic and late Victorian surrounding grill designed to pay homage to the tombs of Cardinal Wolsey / Henry VIII that led to the inception of the figure of St George.After seeing a monograph of the Wolsey / Henry VIII tomb prepared by the scholar Alfred Higgins and also seeing its inspiration which was the earlier tomb of Henry VII, Gilbert decided to emulate the use of such similar grills to these tombs incorporating twelve polychrome niche figures of saints into a fantastically elaborate design. The royal family were then consulted as to which saints should be represented. These were in order around the tomb, St George, The Virgin, St Elizabeth of Hungary, St Michael, St Margaret, St Patrick, St Catherine of Siena, St Edward the Confessor, St Hubert of Liege, St Ethelreda of Ely, St Nicholas of Myra and St Catherine of Egypt. Of these saints, St George is undoubtedly the most famous and was the first to be cast. Epitomizing the last traces of Pre-Raphaelitism merging into Art Nouveau but perhaps also idiosyncratically paying homage to the armour of French and German medieval tomb figures rather than those of the Italian Renaissance, the warrior saint is depicted as a sinuous long limbed effete youth clad in fantastical separately cast armour incorporating swirling shell motifs. The first figure of St George, cast in 'white metal' by George Broad & Son with carved ivory hands and face, was presented to the Prince and Princess of Wales. Delivered to Sandringham in November 1895 and intended as a private 'household' memorial to the Duke of Clarence it was subsequently installed in the Church of St Mary Magdalene at Sandringham.The second figure of St George, cast in aluminium, again by George Broad & Son with carved ivory hands and face was the model that was installed at the tomb. As the first of the twelve saints surrounding the tomb to be cast, it was unveiled by Queen Victoria and positioned in its niche in July 1898. Nevertheless at that moment in time, five figures of saints were still missing and it was not until 1928 that the tomb was actually finally completed, thirty six years after the o... For further information on this lot please visit Bonhams.com
Lot 87
Italian School, early 18th century: A carved marble bust of a maiden, probably depicting Venus or an allegory of lovepossibly attributable to Giovanni Baratta (Italian, 1670-1747)her head turned to dexter, her loosely tied coiffure with long trailing chignon, dressed with a jewelled diadem, her shoulders clad in drapery, wearing a ribbon tied heart locket, raised on a later square socle and column pedestal, the bust 74.5cm high, the plinth 88cm high, 162cm high overall.Footnotes:ProvenanceFormerly the property of the Duke of Aveyro, thence by descentEl Retiro, Churriana, Málaga Spain, the present lot removed prior to the sale of the villa and private walled courtyard garden from an exterior façade wall, adjacent to the famous national gardens and partlandBy repute and family tradition thought to be by the hand of the architect Juan Bautista Sachetti (Italian, 1690-1764) and possibly a work originally intended for the Palacio Real, Madrid.The handling of the face and drapery to the offered lot is reminiscent of examples of heads and torsos of angels and female figures by sculptors working in the manner of the celebrated sculptor Alessandro Algardi (Italian 1598-1654). Although Sachetti was evidently commissioned to provide marble sculptural ornaments during his tenure working on the Placio Real, it is possible that the the present lot may have been commissioned by his master, the architect Filippo Juvara (Italian, 1678-1736). As Juvara is known to have commissioned a large body of sculptural and architectural elements including two reliefs of Minerva and Mars for the Royal Palace of La Granja de San lldefonso in Segovia, Spain from the sculptor Giovanni Baratta (Italian, 1640-1747) it is possible that the offered lot may have originated from the same source . In addition Sachetti also worked at Segovia so doubtless would have come into contact with Baratta and as such he may subsequently have worked with him on his later commission at the Palacio Real. Related LiteratureEl Retiro, Inventario, 6th May 1966, Listed on the main Staircase, No. 93 'A lady with a diadem of pearls in marble' - which may be the bust of Venus before she was moved to the exterior facade wall OR No. 94 'A lady with a diadem and bodice for a masque' perhaps a pair for the current lot, now missing or since weathered away in the garden. Photographs of the bust in the private walled garden at the villa are featured in the following publications:Blanco y Negro, Madrid, 25 April 1970, ref. El Retiro (Malaga), p.6Country Life, 12 January 1984, ref. Day-Trip to a Spanish Garden- I, pp. 74-76This 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 88
Italian School, early 18th century: A carved marble bust of Marspossibly attributable to Giovanni Baratta (1670-1747)looking slightly to dexter, the moustachioed god wearing a helmet with grotesque mask head and plume, his shoulders clad in drapery, his right shoulder with lions mask, raised on rectangular waisted socle, the bust 93.5cm high, together with a modern marble column plinth 97.5cm high 191cm overall. (2)Footnotes:ProvenanceFormerly the property of the Duke of Aveyro, thence by descentEl Retiro, Churriana, Málaga SpainGiven that the present lot has a near provenance similar to bust of Venus, lot 87, with the exception that the bust of Mars is always thought to have been displayed in the house in the staircase hall and not the garden, it is plausible that this bust may also be attributable to the hand of Giovanni Baratta (Italian, 1670-1747) and may have come to the villa as a pair, via the source of the previous lot. In addition the subject of Mars used in a pair of relief carved medallion plaques of Minerva and Mars which he created together with a group of sculpture and architectural elements for the Royal Palace of La Granja de San ildefonso in Segovia, Spain. Related LiteratureEl Retiro, Inventario, 6th May 1966, Listed on the main Staircase, No. 92 'A Warrior in a cuirass and helmet as well as a mask on his shoulder' which is presumably the bust of Mars.Please see footnote on lot 87 for additional information on this lot.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 92
A pair of late 19th century Ferdinand Barbedienne gilt bronze mounted banded agate figural garniture ewerscirca 1870each of pedestal vase form with fixed fruiting finial covers and acanthus leaf lips, the handles modelled as nude females holding onto shells, their feet resting on a small square cushions, above beaded collar friezes cast with Bacchic masks, raised on circular socle and re-entrant cut corner plinth bases, signed F. BARBEDIENNE PARIS, the hookah vase lacking its wire pipe, 41cm high overall (2)Footnotes:Provenance: Sothebys 12th May, 2000, lot 59.Ferdinand Barbedienne began his Parisian foundry in 1839, in partnership with Achille Collas (1795 -1859). Originally known for bronze reductions of famous classical sculptures, Barbedienne, beginning in the 1850s, developed the manufacturing of decorative objects in bronze with enamel decoration in various revival styles. Following the outbreak of the Franco-Prussian war in 1870, the firm had to turn to canon founding for a short time, before returning to normal business afterwards.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 16
Pierre Courteys (French, 1520-1602): A Limoges en-grisaille enamelled bowl depicting the Laocoon and his childrenthe centre painted with the figure of the Laocoon flanked by his sons, writhing serpents entwined around the group, a harbour scene with temple to the background, the plinth beneath the group inscribed in gilt LAOCHOON and bearing indistinct date 1552?, within a gilt foliate interlaced border, the underside with four male maskheads within formalised paper scrolls and further gilt foliate scrolls, the bowl originally part of a pedestal cup or tazza, 20cm diameter, 5cm highFootnotes:ProvenanceProperty of a private Italian collectorLimoges in the south west region of France, has been world-famous for producing enamels for centuries. Originating in the 12th century, the industry of decorating metal objects, usually in bronze and brass (and mostly made for ecclesiastical purposes) in champleve coloured enamels, thrived until circa 1370 when a swift decline meant that these precious manufacturing skills were almost lost. However, in the late 15th century the production of enamel returned to the region but with a move to producing more secular objects. With this revival came new techniques including painting the decoration directly onto the enamel rather than gouging out designs then flooding them with enamel. Several notable French workshops emerged with their own distinctive styles who would, in some cases, also sign or punch mark their work. Usually depicting mythological or religious narratives, these wares, often plates, chargers or plaques, became highly prized objects.Perhaps one of the best enamel painters of Limoges, Courteys was probably a disciple of Pierre Reymond working from circa 1550-1568. Courteys is thought to have died in 1602 and many of his works are now in the Louvre in Paris.LiteratureSuzanne. Higgot, with contributions from Isabell Biron, Susan La Neice, Juanita Navarro and Stefan Rohrs, The Wallace Collection Catalogue of Glass and Limoges Painted Enamels, The Trustees of the Wallace Collection, 2011.We would like to thank Suzanne Higgot, curator of Glass, Limoges and painted enamels at The Wallace Collection, London for her kind and generous assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Lot 27
A rare late 18th century relief-carved lime wood panel depicting a vase of flowers, signed and dated Putman 1790possibly an allegory relating to the Declaration of the Rights of Manthe finely carved flowers including roses, ranunculus, narcissus, poppies and lilac, the vase decorated with a frieze depicting Britannia and Plenty flanking two oval pendants - one with a brazier on a plinth, the other with a cockerel standing on a reeded plinth with a laurel wreath to the base, the pedestal foot resting on a platform scattered with four coins or medallions, three decorated with portrait bust, the last vacant, two busts bearing striking resemblances to Benjamin Franklin & the Marquis de Lafayette, the whole supported by four recumbent lions and centred by a sea serpent,, signed and dated to the left hand bottom corner fecit . putman . Sculp . 1790, later mounted in a glazed and carved and parcel gilt rectangular box frame, the panel, 55cm x 38cm, the frame, 71cm x 53cm Footnotes:The Declaration of the Rights of ManThe Declaration of the Rights of Man and of the Citizen (Déclaration des droits de l'homme et du citoyen de 1789) is a human rights document which originated from the French Revolution and was enacted by France's National Constituent Assembly in 1789. Inspired by the philosophers of the Enlightenment, the Declaration was the fundamental statement of the values of the French Revolution and had a major impact on the development of popular conceptions of individual liberty and democracy in Europe and worldwide. Drafted by the Abbé Sieyè, the Marquis de Lafayette, and Thomas Jefferson it was subsequently included in the beginning of the constitutions of both the Fourth French Republic (1946) and the Fifth Republic (1958). The Declaration, the Magna Carta, the 1689 English Bill of Rights, the 1776 United States Declaration of Independence, and the 1789 United States Bill of Rights, hugely influenced part of the 1948 United Nations Universal Declaration of Human Rights.For further information on this lot please visit Bonhams.com
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