A. R. Penck (German, 1939-2017)Standart TTABTTT 5 1984 signed and titledacrylic on canvas160 by 130 cm.63 by 51 3/16 in.This work was executed in 1984.Footnotes:ProvenanceWaddington Galleries, LondonPrivate Collection, New YorkSale: Sotheby's, New York, Impressionist, Modern and Contemporary Paintings, Drawings and Sculpture, 8 October 1986, Lot 95Germans Van Eck Gallery, New York (AP102)Guy Pieters Gallery, KnokkeAcquired directly from the above by the present owner circa 1987ExhibitedLondon, Waddington Galleries, A.R. Penck, 1984Teeming with the symbols, cyphers and metaphors embedded in A.R. Penck's practice and executed at a pivotal moment in his career, Standard TTABTTT 5 is consummate example from the artist's celebrated oeuvre. Having remained in the same collection for over thirty years, the present work is a rare opportunity to acquire a painting, not only entirely fresh to the market, but also permeated with the intense atmosphere and raw vitality found in all of the artists best known and most coveted works in private and institutional collections.Born in Dresden in 1939, Ralf Winkler was old enough to see and remember the city burning in 1945. The traumatic experience and his life in a war-torn and soon to be separated Germany would influence his life and work profoundly. Taking the decision to remain in East Berlin after the wall had been erected in 1961, Winkler experienced artistic isolation, surveillance and censorship by the secret police. In 1957 he began a lifelong friendship with Georg Kern (later to become Baselitz) and after meeting the Gallerist Michael Werner in 1968, he started illicitly exhibiting in the West. To avoid the unwanted attention of the state and facilitate smuggling his paintings across the border Winkler used a variety of pseudonyms, including 'Mike Hammer', 'Theodor Marx', 'a. Y' and just 'Y'. It was 'A.R. Penck', adopted after reading the work of the geographer and geologist Albrecht Penck that eventually stuck.Penck's iconic 'Standart' works employ a lexicon of pictograph-like marks he referred to as building blocks. First developed in the 1960s and derived from the words 'standard' and 'art', with an echo of the German word 'Standarte', signifying a banner or flag, the term represented a universally accessible aesthetic, a standard art for all, which would transcend language, boundaries and borders and addressed complex, socio-political themes. Penck claimed never to have heard of conceptualism at the start of his career which would go on to span five decades, but whilst his art developed more or less in isolation behind the wall, it soon found wide spread appreciation in the West especially in the New York art scene that welcomed him with open arms. In 1980, Penck was forced to emigrate to the West and became part of a milieu of Neo-Expressionist painters which included Markus Lüpertz and Jörg Immendorff. In New York he met likeminded artists such as Jean-Michel Basquiat with whom he shared a great mutual respect and artistic exchange that is visible in both artists' works from that time. In 1984, Penck payed homage to his friend with a poem that was published in Basquiat's exhibition catalogue of the same year.In Standard TTABTTT 5 a monumental, almost life-sized central stick figure, part man, part abstract primitive deity, is surrounded by the rudimentary shapes and symbols that form Penck's artistic language. Executed in the vibrant colours Penck began to use more after emigrating to the West, the work conveys a vibrant energy and confident execution of an artist at the height of his career. Whilst this phase of his life coincided with a period of disillusionment caused by the major upheaval in his life, it was also a time of significant artistic recognition. The theme of duality in Standard TTABTTT 5, red against blue, a figure split by use of subtle colour variations, seems highly politically charged and appears to echo the strained relations between the Federal and Democratic Republics, two entirely opposed ideologies of Soviet Communism and Western Capitalism. The fluid, vibrant brush strokes and rhythmic composition pay homage to the artists love of Jazz music; Penck himself was a drummer and played in the band Triple Trip Touch in the late 1980s. Whilst Penck is often described as one of the fathers of Graffitism, his work is difficult to put into any category and his legacy is yet to be fully evaluated. Whilst his work is often associated with Keith Haring and Jean-Michel Basquiat, Penck's inspirations were manifold, ranging from Ernst Ludwig Kirchner to ancient cave paintings. His colourful pictorial language represents a constant dialogue between Primitivism and Art Brut, between painting and Street Art. Penck's work was included in the ground-breaking Zeitgeist show at the Martin-Gropius-Bau, Berlin (1982), A New Spirit in Painting at the Royal Academy of Arts (1981) and New Art, Tate (1983). Penck went on to participate in the 1984 Venice Biennale, the same year Standard TTABTTT 5 was painted, as well as in four editions of Documenta. His work fell out of favour after the heyday of the 1980s, but in recent years regained relevance and is seen as a significant influence on many contemporary artists. Today, his works are held in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Kunstmuseum Basel, and the Städel Museum in Frankfurt.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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Christo (American, Bulgaria 1935-2020)Store Front (Project) 1964 signed, titled and dated 64; signed, titled, dated 1964 and inscribed 1 Lampe 25w on the reverseenamel, pencil, charcoal, plywood, electric light, metal wire and plexiglas mounted on wood60 by 85 by 10 cm.23 5/8 by 33 7/16 by 3 15/16 in.Footnotes:This work is registered in the Christo & Jeanne-Claude archive.ProvenancePrivate Collection, Europe (acquired directly from the artist)Sale: Dorotheum, Vienna, Contemporary Art, 25 November 2009, Lot 3Acquired directly from the above by the present ownerOn the same day in June 1935, Christo and Jeanne-Claude were born into very different worlds – Christo Valdimirov Javacheff in Bulgaria and Jeanne-Claude Guillebon in French Morocco. Meeting in Paris in 1958, their personal and professional lives would be forever intertwined, eventually becoming the most important artist-duo of the second half of the 20th century. Their unique vision would bring their wrapped works and large-scale installations to cities and landscapes across the globe, including a final work to be presented in Paris in September 2021, L'Arc de Triomphe, Wrapped, posthumously in accordance with the artists' wishes. It is however in the artists' earlier Store Fronts and Store Front Projects where we can really begin to see this initial scaling-up of their unique aesthetic. A series of works that were initiated after their move to New York City in 1964, the present work Store Front (Project) from the same year is a delicate and thoughtful example of his preparatory works from this landmark series.After fleeing communist Bulgaria via Czechoslovakia and Vienna, Christo made his way to the French capital, where his quintessential style of wrapping cans, bottles and everyday domestic items was immediately established. In Paris, Christo gravitated towards the Nouveau Réalisme movement, joining the ranks of Yves Klein, Martial Raysse and Niki de Saint Phalle however soon after his marriage to Jeanne-Claude and the birth of their son, the young family decide to emigrate to New York. Initially installing themselves at the Chelsea Hotel, renown home-from-home for many artists, they would eventually move to a loft in downtown Manhattan, gifting the Chelsea Hotel owner with one of his Store Front Projects as collateral for the bill. To-scale shop façades created from wood and painted in a variety of colours, each Store Front was preceded by detailed architectural maquette-like sketches, typical of Christo's lifelong working process. The present work is a rare and intricate example of these preparatory works, with every detail of the eventual Store Front replicated: from the precise to scale measurements to the metal grill on the windows and the internal lights illuminating the colourful interior. Born from the Show Cases Christo was already creating from found medicine cabinets in Paris in 1963, the Store Fronts should be understood as their scaling-up. Similar to the evolution of the early Wrapped Cans or Packages, which would eventually evolve into projects such as The Pont Neuf Wrapped (1979), the Store Fronts recall the imposing architecture of New York City. 'The result was enigmatic, architectonically elusive, evocative: Store Fronts were of great beauty, possessed of quiet melancholy and a sense of loneliness that recalled the work of American painter Edward Hopper or the boxes of Joseph Cornell. The pervasive sense of mystery [leaving] the observer wondering what was behind the façades' (Jacob Baal-Teshuva, Christo and Jeanne-Claude, New York 2001, p. 27). If the Show Cases are understood as the precursor to the Store Fronts, the Store Fronts are understood by the artist as precursors to the Valley Curtains in Colorado (1972) and the Running Fence in California (1976). It is in the Store Fronts that the concept of internal and external space is initially explored, 'the store fronts radiate a kind of suspense, as if the blocked windows or the closed door might admit one if you only knew the hours of opening. However, our perceptual and physical links are arrested as the invitation stays unfulfilled. What Christo [and Jeanne-Claude have] done is to turn physical space into psychological response, as the façade becomes a wall, absolutely cancelling the inside... [They] cancel the internal space that we anticipate and define space as what is between us and the glass. The spectator's investigative, voyeuristic impulse is converted into an experience of himself, as an object in space' (Lawrence Alloway, Christo, New York 1969, p. VII). The Store Fronts act as a vehicle for our conceptual understanding of space in direct relation to our surroundings. Diverging from the work of the Minimalists, Christo's approach to space is specifically architectural, addressing our every-day interactions to the world around us and how we manipulate and manoeuvre within that space daily. Like the wrapping of the Pont Neuf or the Valley Curtain, the Store Fronts force the viewer to renegotiate their relationship to that space both physically and psychologically. The familiarity of these buildings and spaces is ruptured by the artist's intervention forcing us to confront our own physicality.While as much technical drawings as they are works of art in their own right, the preparatory works represent a lasting testament to the fleeting nature of their monumental culminations. The present work is a rare example within the Store Front Projects in its inclusion of internal light-fittings, its internal illumination bringing the potential of this project to life. The precise architectural nature of the Store Front Projects is evidence of Christo and Jeanne-Claude's unique vision as sculptors but also as visionaries who have made the world's cities and landscape their canvas. Christo's work has been celebrated in the world's most important museums with his Store Fronts and Store Front Projects found in some prominent collections including the Museum of Modern Art, New York, the Hirsshorn Museum, Washington D.C., the Kaiser Wilhelm Museum, Krefeld, Germany and the Museum of Contemporary Art, Los Angeles. His work can also be found in the collections of the Art Institute of Chicago, the Tate Modern, London and the Centre Pompidou, Paris, where the artist's work is currently being exhibited in a landmark retrospective, where an entire room has been dedicated to the extraordinary Store Fronts and Store Front Projects.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Ambrose McEvoy, ARA (British, 1877-1927)The Engraving oil on canvas 67 x 50.8cm (26 3/8 x 20in).Painted circa 1900Footnotes:ProvenanceFrederick Brown Collection (acquired from the artist in 1901 for £25).James Staats Forbes Collection (acquired from the above for £60).Mr. S.D. Bles Collection, UK, by 1923.Mrs. Benjamin Sonnenberg Collection, New York.The Fine Art Society Ltd, London, May 1981.Private collection, UK.ExhibitedLondon, New English Art Club, 1901, no. 53.London, Royal Academy, Exhibition of works by late members of the Royal Academy & of the Iveagh Bequest of works by Old Masters (Kenwood Collection): Winter Exhibition 51st year, 12 January-10 March 1928, no. 545 (lent by Mr. S.D. Bles).LiteratureErik Akers-Douglas (ed. Lawrence Hendra), Divine People: The Art and Life of Ambrose McEvoy 1877-1927, Philip Mould & Company, 2019, pp. 44-53, ill p.46 (plate 10).T. Martin Wood, 'The Pictures of Ambrose McEvoy', The Studio, 1907, pp. 96-101, illustrated p. 97.Ambrose McEvoy was living at 24 Danvers Street, Chelsea, when the present lot was painted. The model was the artist Mary Spencer Edwards, who attended the Slade at the same time as McEvoy – although they did not meet until Augustus John introduced them in November 1900. The two formed a close relationship, becoming secretly engaged. They were married in 1902.During this period, McEvoy spent much of his time studying and copying works by the Old Masters – in fact McEvoy's introduction to Mary reputedly took place at the National Gallery, in front of Titian's Noli me Tangere.1 Now with Mary as a willing model, McEvoy was able to undertake more figurative subjects, and the present lot, which was started in the final days of December 1900, was his first undertaking. Mary would pose, often for hours at a time, in his room at Danvers Street; in February 1901, Frederick Brown- one of McEvoy's professors at the Slade and an early patron, offered to buy the work for '£20... or £25 if you can see your way to having another sitting for the face and hands'. Brown's critique also noted 'the red cloth is also a little out of scheme of colour of the picture... and I think the sky in the picture (background) a trifle too light. You might perhaps put the picture aside for a bit and then look at it with a fresh eye'. Despite these comments Brown was mostly encouraging – 'I think there is a great deal that is charming in it... I congratulate you heartily upon it' 2 and McEvoy immediately accepted Brown's offer, making the recommended changes and delivering the painting to Brown a month later. Brown later sold the work to the eminent collector, James Staats Forbes, returning the profit of the sale to McEvoy. The Engraving was the first of a group of pictures which Eric Akers-Douglas describes as 'a curious amalgam of the 'Little Dutch Masters'... and of early Victorian descriptive pictures... imbued with a great tenderness and a sense of poetry'.3 Along with The Thunderstorm and Autumn- pictures which also feature Mary as a model, The Engraving was shown at the New English Art Club in 1901.Writing in The Studio in 1907, art critic Martin T Wood noted that McEvoy's work of the early 1900s has 'the rare, the dramatic instinct, that goes to make a genre painter; but his is a gentle drama... his figures are posed, but there is about them none of the posing of the model... the gesture is not depicted because in itself it is graceful, but as the emblem of a thought from which it springs. We find in his art a feeling for the gentle side of life'.41 Erik Akers-Douglas (ed. Lawrence Hendra), Divine People: The Art and Life of Ambrose McEvoy 1877-1927, Philip Mould & Company, 2019, p. 43.2 Akers-Douglas, 2019, pp. 50-51.3 Akers-Douglas, 2019, pp. 48.4 T. Martin Wood, 'The Pictures of Ambrose McEvoy', The Studio, 1907, p. 98.For further information on this lot please visit Bonhams.com
James Campbell (British, 1828-1893)A Pastoral Rehearsal oil on canvas63.5 x 115.2cm (25 x 45 3/8in).Footnotes:ExhibitedLiverpool Academy, 1860, no. 95.Literature Marillier, H.C., The Liverpool School of Painters, London, 1904, p. 84.This recently re-discovered work by the Liverpool artist James Campbell has been identified as his 1860 Liverpool Academy exhibit, A Pastoral Rehearsal. A group of men, women and children are gathered among a grove of trees on the edge of a village to sing and play. Led by the standing figure of a man who raises his right arm and bow to conduct, while holding his fiddle to his grey-bearded chin, and accompanied by a seated 'cellist and a third musician who plays a clarinet, six villagers sit side-by-side to form the choir. On the right, a man seems to gaze as if transfixed by the rhythm of the music and to which he beats time on a tambourine. At the centre, a flaxen-haired child wearing a pale coloured smock and with a school-satchel across his shoulder, holds the score for the violinist and 'cellist. On the left side of the composition, a youth with white shirtsleeves and a black cap rests in a wheelbarrow and holds a younger child – perhaps his sister – on his lap. One further spectator – a dark-haired woman – stands on the left side before a moss-covered drystone wall, holding a piece of embroidery or knitting. As the painting's exhibited title indicates, the folk seen together are preparing for a musical performance, perhaps as part of a wedding or May Day celebration. The various participants seem to be wearing workaday clothes, with the possible exception of the violinist/conductor who wears a shabby frockcoat and check trousers, so it may be assumed that the rehearsal is taking place at the end of the working day and when the children present have been released from school.James Campbell specialised in subjects showing the life of working-class men and women in his native city of Liverpool and surrounding countryside. For biographical information on the artist we depend on a short chapter in H.C. Marillier's The Liverpool School of Painters (1904). According to this source, Campbell studied at the Royal Academy schools in London (although, if this is the case, the academic training received there seems to have left no mark upon him). In 1851, having returned to Liverpool, he entered the Liverpool Academy as a probationer, exhibiting there for the first time the following year. Campbell was elected as an associate of the Liverpool Academy in 1854 and a full member in 1856. In 1857 he contributed to the Russell Place exhibition of Pre-Raphaelite art in London, being represented by works lent from the collection of the Liverpool collector and art entrepreneur John Miller and for which Ford Madox Brown had negotiated. In 1858 Campbell was invited to send works to the exhibition of contemporary British art shown that year in New York, Philadelphia and Boston. That Campbell was regarded in a friendly way by members of the progressive circle of painters is demonstrated by his having subsequently been admitted to membership of the Hogarth Club. Among Campbell's most loyal patrons, in addition to Miller himself, were George Rae, of Birkenhead, and James Leathart, of Gateshead.In the 1850s Campbell sent works to the Liverpool Academy from an address in Brunswick Square, Kirkdale (now part of Liverpool itself and lying to the north of the city centre). Particular works in urban settings by Campbell, such as Twilight – Trudging Homewards (private collection), in which two itinerant musicians, each of them blind, lead one another home at the end of the day, or Dinner in View (Christie's, 6 November 1995, lot 127), also of 1858 and showing gaunt figures dazed by hunger, are amongst the most extraordinary images of deprivation to come down to us from the mid 19th century. On other occasions, Campbell made painting expeditions into the Cheshire countryside, taking lodgings at Eastham Woods on the Mersey western shore, and on other occasions working at Bidston on the Wirral. These were both places favoured by the Liverpool artists in the middle years of the 19th century, and it is likely that the present rustic subject was made in one or other of them. Campbell's career as an artist was cut short by failing eyesight and from which he suffered even while he was still in his thirties. He exhibited at the Liverpool Academy only until 1864, while the following year he showed for the last time at the Liverpool Institution of Fine Arts. He was eventually awarded a pension and the offer of accommodation by the Royal Academy, and for which support his patrons Rae and Leathart had petitioned. The fact that Campbell had such a short working career – hardly longer than a decade and a half – and because he painted in such an exacting and meticulous way, explains why his works are rare.The loving attention to detail that Campbell paid in his figurative subjects owed much to the example of the Pre-Raphaelites. In addition, it seems likely that he studied Dutch genre paintings (and perhaps also French art of the 17th century – on occasions his works seems curiously akin to that of the Le Nain brothers). The way in which Campbell documented the lives of the folk he observed – describing as he did the privations they endured with such humanity – gives his works an idiosyncratic quality that makes them compelling.We are grateful to Christopher Newall for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Heresies.- Epiphanius (Saint, Bishop of Constantia) Contra octoginta haereses opus, pannarium, sive arcula, aut capsula medica appellatum, continens libros tres, 2 vol., title with woodcut printer's device, woodcut head and tail-pieces and decorative initials, lacking final blank, some spotting and light staining, ink ownership inscription of Abraham Girard, 1662, 18th century mottled calf, gilt, spines in compartments richly gilt and with double morocco labels, vol.2 head of spine slightly chipped, corners little worn, rubbed at extremities, [Not in Adams], rare in commerce, 8vo, Paris, Oudin Petit, 1564.
Graziani (Graziano) Scielta de concetti, first edition, title with woodcut printer's device, woodcut decorative initials, lacking final blank, occasional spotting, mostly to title, a little light staining, recased in contemporary limp vellum from another work, foot of upper cover worn, lightly stained, [Not in Adams; EDIT 16 CNCE 21669], rare in commerce, 8vo, Venice, Felice Valgrisi, 1592.
![[Bunyan (John)] [Shen Lu Jing Cheng Zhèng bian]... [Pilgrim's Progress], woodcut portrait of Bunhyan, stitched in original Ch](https://cdn.globalauctionplatform.com/3cc98721-b8ce-4047-a914-ac4700a5a9f3/683a279d-2e22-4aeb-aa28-ac4700b6fe87/468x382.jpg)
[Bunyan (John)] [Shen Lu Jing Cheng Zhèng bian]... [Pilgrim's Progress], woodcut portrait of Bunhyan, stitched in original Chinese wrappers, slightly creased, 8vo, [Ningpo, Kai ming shan Chapel], [Printed in the the 9th year of the emperor Tongzhi], [1870].⁂ Rare. First edition of this translation. A Mandarin translation of the first part of the Pilgrim's Progress made by Rev. Thomas Hall Hudson (1800-1876) of the General Baptist Missionary Society of England, and was printed at Ningpo in northeastern China. A second volume was printed containing the separate Second Part of the Pilgrim's progress. This was only the second translation of the Pilgrim's Progress into Mandarin.
Meriton (George) A Guide for Constables..., contemporary ink ownership inscription to front free endpaper, initials to title, occasional light staining or browning, some leaves chipped, contemporary calf, worn, crudely rebacked, printed by the assigns of Richard and Edwin Atkins, 1685 § Hooker (Richard) The Works, engraved additional title page, title in red & black, endpapers browned, ex-library copy with usual stamps and markings, lacking covers, 1723 § An Exact Collection of the Debates of the House of Commons held at Westminster..., contemporary ink signature and light marginal toning to title, some damp staining or foxing, contemporary calf, lacking upper cover, for R. Clavel etc., 1689; and 2 others, 17th century, 4to & 8vo (5)⁂ The first is a rare edition of Meriton's most popular work (one of a dozen which he wrote while a Yorkshire attorney) designed to supplement and correct Lambarde and Sheppard.
![Novel of 18 century India.- [Gibbes (Phebe)] Hartly House, Calcutta, first Dublin edition, half-title, woodcut device on titl](https://cdn.globalauctionplatform.com/3cc98721-b8ce-4047-a914-ac4700a5a9f3/cf1b7e37-01eb-424f-8dad-ac4700b70acc/468x382.jpg)
Novel of 18 century India.- [Gibbes (Phebe)] Hartly House, Calcutta, first Dublin edition, half-title, woodcut device on title, B1 small piece torn away in margin, slightly foxed and browned, ink signature on B1, without free endpapers, contemporary calf, joints splitting, spine gilt with morocco label, rubbed, tail of spine chipped, [cf. Garside, Raven and Schowerling 1789:41; Summers p. 348 (first editions)], Dublin, 12mo, for William Jones, No. 86, Dame-Street, 1789.⁂ A rare epistolary novel set in Calcutta, written at the time of Warren Hastings' trial.
Early television.- Television. The World's First Television Journal. The Official Organ of the Television Society, vol. 1, no. 1, illustrations, original pictorial wrappers, creasing, wear to spine, rubbing, March 1928 § Television. America's First Television Journal. A Monthly Magazine Published by the Television Publishing Co., Inc., vol. 1, no. 1, small section cut from head of first f., illustrations, original pictorial wrappers, light creasing, some rubbing and fraying to extremities, November, 1928, 4to (2)⁂ The first magazines devoted to television published in the UK and US respectively, rare.
Early television.- Dinsdale (Alfred) Television. Seeing by Wireless, first edition, photographic plates, bookplate "Ex Libris Early Technology" to pastedown, original stiff printed wrappers, (a few spots), dust-jacket, spine ends and corners chipped, neat tape repairs to head and foot verso, creasing to head and foot, closed repaired tear to rear panel, light surface soiling, preserved in custom slip-case replicating illustration of upper panel, 8vo, 1926.⁂ The first book in English on television. Rare in the superbly atmospheric dust-jacket.
Stoker (Bram) The Duties of Clerks of the Petty Sessions in Ireland, first edition, interleaved copy, title margins a little chipped and creased, finger-soiling to margins, later morocco-backed boards, 8vo, Dublin, 1879.⁂ Stoker's second published work, a textbook and a product of his brief career in the Irish Civil Service. Rare.
Stoker (Bram) The Shoulder of Shasta, first edition, half-title, rear endpaper browned, front endpaper with lower half torn away, original cloth, slight shelf-lean, spine rather mottled and browned, light soiling and fading to covers, 8vo, 1895.⁂ Stoker's fourth novel, a romance set in the American West, rare.
Stoker (Bram) Dracula, first abridged paperback edition, half-title (a little spotted), 6pp. advertisements at rear, light marginal browning, original pictorial upper wrapper (light browning and soiling, some chipping and creasing along spine and fore-edge), spine and lower wrapper supplied, preserved in custom drop-back box with morocco label to upper cover, 8vo, 1901.⁂ The rare first paperback edition, only a handful of copies known featuring the first printed illustration of Dracula. Stoker oversaw the abridgment himself, cutting around 15% from the original text. He also approved the illustration which includes many of the classic features (pointed ears, receding hair and bat-like cape) that define the character today.
Football.- Clark (Charles Hedley) Some Reminiscences and Historic Data concerning the Colchester Town Football Club, illustrations, ex-library copy with usual stamps and markings, original wrappers, Colchester, 1924.⁂ Rare, with no copies on Library Hub. Established in 1873, Colchester Town FC was eventually disbanded in 1937 after the formation of Colchester United.
An extremely rare and fine Queen Anne pewter gadrooned mug, ale-pint capacity, circa 1705Touchmark inside base of John Compere, London, (fl.1699-1724), (OP1061, PS1865), the truncated cone body with crowned AR mark to rim, a band of lenticular beading above alternating convex and concave diagonal gadrooning to lower body rising from right to left, engraved to rim with a hand holding a tipstaff, and engraved to centre Ioseph Ewen at ye hand '&' Tipstaff in gravel lane, Southwark, single-curve handle with cast beading and boot-heel terminal, ownership triad IED to upper handle, 20.75 fl.oz. 12.5cm high Footnotes:The will of a Joseph Ewen, 'baskett maker' of the Parish of St. Saviours, Southwark, was probated on 2 January 1714.Provenance:The Margaret Hand CollectionThe Michael Boorer Collection, purchased 1984. (No.0884).Literature:Illustrated Journal of the Pewter Society, Vol. 7, No. 3, Spring 1990, p. 99, (group photograph, centre left).Carl Ricketts, Early English Pewter Drinking Mugs (2018), p. 43, pl. 98.A survey undertaken in 1984, by renowned pewter expert on beer mugs and wine measures, Michael Boorer, recorded just two other known pint capacity straight-sided gadrooned mugs. All with Queen Anne verification marks to rim and similar decoration. The second example, listed as part of The Higgins Collection, bears the touchmark of John Thomas, (fl.1698-?), (PS 9312),and is engraved to body Arnold Swingscoe Att ye Greyhound Att Worden, illustrated Ronald F. Michaelis, Antique Pewter of the British Isles, pl.VIII, fig.30. The third, with no identifiable maker's mark, is engraved to body John Wallhope Att the Bell Att Turvey 1703; illustrated Ronald F. Michaelis, British Pewter, p. 53. A fourth example, posthumously discovered in 2000, sold Bonhams, 22 November 2002, Lot 141.For further information on this lot please visit Bonhams.com
A rare and remarkable Charles I joined oak and boarded spindle-filled mural livery cupboard, Devon, circa 1640Having a frieze with applied corbels and split turned mouldings, a pair of doors fitted with four-spindles above a narrow panel, all within meandering stylized leaf-carved rails, and flanked by columnar-turned pilasters, a small cupboard below accessed by a central door with pyramidal boss, flanked by fixed panels and turned split mouldings, 90cm wide x 24cm deep x 77cm high, (35in wide x 9in deep x 30in high)Footnotes:Provenance:Purchased from Key Antiques, Chipping Norton, Oxfordshire, May 2003.For further information on this lot please visit Bonhams.com
A rare and documented near-pair of George III joined oak coffor bachs, Carmarthenshire, circa 1770One maker stampedEach with typical detachable ovolo edge-moulded lid, the front with paired pointed-ogee arched raised and fielded panels, the scroll-profiled plinth base enclosing two short lip-moulded drawers, with reeded front feet, one stamped twice 'W. Lewis' to side, 61cm wide x 35cm deep x 51cm high, (24in wide x 13 1/2in deep x 20in high)Footnotes:Provenance:Purchased Country Antiques, Richard Bebb, Dyfed, July 1995.Illustrated:Richard Bebb, Welsh Furniture 1250-1950 (2007), Vol. II, p. 75, pl. 775 & 776.For further information on this lot please visit Bonhams.com
A rare and good Charles I fruitwood and oak mural cupboard, circa 1640Having a thin one-piece top board, and a shallow cupboard enclosed by a small panelled door centred by a pyramidal boss, flanked by similar proportioned plain panels, a long and compartmentalized drawer below with eight matching bosses, 85cm wide x 21.5cm deep x 42.5cm high, (33in wide x 8in deep x 16 1/2in high)Footnotes:ProvenanceThe Clive Sherwood Collection. Inventory No.103 to the rear of the door.Sold Sotheby's Olympia, London, 22 May 2003, Lot 181.For further information on this lot please visit Bonhams.com
A small and rare late 17th century white metal-mounted leather blackjack, EnglishMounted with a rare strapwork rim, the baluster-shaped body punch-decorated with nine flowers forming a lozenge, typical stitched rims and handle, 14.5cm highFor further information on this lot please visit Bonhams.com
A rare and documented Commonwealth joined oak canted livery cupboard, Cumbria, dated 1658The paired top boards and undertier boards all with narrow reeded edge unusually to all sides, the lunette and leafy-carved frieze centred by the carved initials 'T F' & 'E F', and dated '1658', presumably to commemorate a marriage, raised on Ionic capital carved and cup-and-cover turned end-columns, the recessed canted cupboard accessed by Celtic knot-pattern carved panelled door, each side carved with a leafy-filled lozenge, the open undertier with matching front supports, 124.5cm wide x 49cm deep x 117.5cm high, (49in wide x 19in deep x 46in high)Footnotes:Provenance:The Fry Family. Sir Theodore Fry, M.P., Bart., (1836-1912), Beechanger Court, Caterham, SurreySir John Pease Fry (1864-1957), Air Wilfred Fry, Cleveland Lodge, Great Ayton, North Yorkshire.Purchased Key Antiques, Chipping Norton, September 2002.illustrated:Percy Macquoid, The Age of Oak (1925), Vol. I, p. 156 &159, pl. 129. The author notes - 'The piece bears the initials T.F., E.F., 1658. It is in perfect condition, and has remained in the owner's family since that date'.Edwin Foley, The Book of Decorative Furniture (1910), p. 209-210, pl. XXVII, watercolour.William Bliss Sanders., Examples of Carved Oak Woodwork of the 16th & 17th Centuries (1883), Pl. VI, fine line drawing.For further information on this lot please visit Bonhams.com
A rare and fine James I oak joint stool, Salisbury, circa 1620In the manner of the Beckham family workshopThe top with ovolo-moulded edge, the rails all carved with chain-motifs, on slender parallel-baluster over reel-turned legs, joined by plain stretchers all round, 45cm wide x 28cm deep x 54.5cm high, (17 1/2in wide x 11in deep x 21in high)Footnotes:Provenance:Purchased from Keith Hockin Antiques, Stow-on-the-Wold, Gloucestershire, October 1997.Literature:See Victor Chinnery, Oak Furniture: The British Tradition (2016), p. 407, fig. 4:62, for a very similar joint stool attributed to the Beckham Workshop.See Lot 394.For further information on this lot please visit Bonhams.com
A rare pair of Charles II joined oak panel-back open armchairs, Cheshire, circa 1680Each having a relief-carved back panel, designed with a large flowerhead within a leaf-quatrefoil and framed by frilly-leaves, the run-moulded top rail with integral scroll-profiled cresting, round-ended back uprights, and downswept scroll-ended arms on ball and fillet-turned supports, with matching turned front legs, the boarded seat with ovolo-moulded edge, on thick seat rails with central run-moulding, plain stretchers, 56.5cm wide x 58cm deep x 98.5cm high, (22in wide x 22 1/2in deep x 38 1/2in high) (2)Footnotes:Arthur Vernay CollectionThis 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
A rare and interesting Elizabeth I joined oak 'caqueteuse' open armchair, circa 1580The broad back-panel with a nulled-carved arch enclosed within a shallow crenelated and crescent-carved arcade, with leaf-and-berry spandrels, the top rail's scrolling upper edge carved with slender serpents, the back uprights with carved stop-fluting, over flat-arms crooked in the middle and carved with lozenge-shaped motifs, on well-carved fluted-baluster supports, the seats rails with a scroll profiled lower edge, and to the front centred by a cross, the front legs matching the arm supports but with an additional finely carved lower reel, historically lacking stretchers and reduced in height, 66.5cm wide x 52cm deep x 96.5cm high, (26in wide x 20in deep x 37 1/2in high)Footnotes:An old swing-tag nailed to the underside of the rear seat rail with handwritten name, possibly 'S. BUCKLER', together with a metallic inventory label 'G1987-18' to one back upright.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
A rare George III copper dog collar, dated 1776Engraved 'BEN.N. COOPER HILLASH at DYMOCK / 1776' and '(Stop, Me Not, but lett, Me go, home / Lest, Transporttation [sic], be your, doom', with three position slots, and an iron loop, 15cm diameter x 5cm highFootnotes:A daughter, Elizabeth, was born to Benjamin & Elizabeth Cooper Hillash at Dymock, Gloucestershire on 8 January 1781. Benjamin was buried on 6 July 1781, aged 40.For further information on this lot please visit Bonhams.com
A rare and documented Charles II joined oak standing ventilated livery cupboard, circa 1680Having a 'cage' superstructure, with a boarded top, and baluster over columnar-turned corner supports, spindle-filled front and sides, with six of the front spindles railed and pivotal-hinged to form a door, on long matching turned legs, joined by a fully-open boarded undertier, 54cm wide x 39cm deep x 101.5cm high, (21in wide x 15in deep x 39 1/2in high)Footnotes:Provenance:The Thomas George Burn Collection, Rous Lench Court, Abbots Morton, Worcestershire.Sold Sotheby's, 'The Rous Lench Collection', Vol. II, 4 July 1986, Lot 734.Illustrated:Victor Chinnery, Oak Furniture: The British Tradition (2016), p. 288, fig, 3:310.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
A rare and documented James I/Charles I oak joint stool, circa 1620-30Having a double-reeded top, and shallow rails boldly nulled-carved, on elongated inverted-baluster turned legs, with unusual crescent-shaped punched-decoration to the upper leg blocks, and chamfered lower leg blocks, plain stretchers, evidence of former label to the underside of the top, 44.6cm wide x 28cm deep x 53.5cm high, (17 1/2in wide x 11in deep x 21in high)Footnotes:Illustrated:Tobias Jellinek, Early British Chairs and Seats 1500 to 1700 (2009), p. 228, pl. 293.For further information on this lot please visit Bonhams.com
A William & Mary joined oak gateleg occasional table, circa 1690With an oval drop-leaf top, and frieze drawer to each end, elaborate ball and baluster-turned end-supports, on sledge feet, joined by paired and moulded stretchers, centred by a rare cross-stretcher, with simple gates, 100.5cm wide x 80.5cm deep x 67cm high, (39 1/2in wide x 31 1/2in deep x 26in high)For further information on this lot please visit Bonhams.com
A rare and possibly unique Charles I joined oak table-on-frame, circa 1630With an unusual deep frieze drawer, a single-piece top, with dog-tooth carved and punch-decorated edge moulding, the plain drawer front with a fixed 'domino'-carved base moulding, the front upright rails with incised dog-tooth and punched embellishments, on parallel-baluster over reel-turned legs, joined by a boarded open undertier, 79cm wide x 44cm deep x 85.5cm high, (31in wide x 17in deep x 33 1/2in high)For further information on this lot please visit Bonhams.com
A rare and highly impressive Charles II cocus-wood, veneered on oak, scriptor, circa 1665Oyster-veneered throughout, the cyma-recta cornice made from the solid, the fall enclosing a sophisticated fitted interior, namely a row of 'pigeon-holes', over nine drawers, centred by a cupboard enclosing three rear drawers, with a further pigeon hole below, all within half-round mouldings applied to the carcase rails and drawer dividers, the stand with a long frieze drawer, raised on five spiral-turned legs, joined by concave-shaped platform stretchers, bun feet, 102cm wide x 49cm deep x 149cm high, (40in wide x 19in deep x 58 1/2in high)Footnotes:For a scriptor of similar date, see the collection at Ham House, Surrey (NT1139736.1). Made for the Duke of Lauderdale's private closet, using burr-elm veneers, with a comparable fitted interior. The stand also with spiral-turned legs.For a celebrated pair of cocus wood veneered cabinets see Her Majesty Queen Elizabeth II Collection, Windsor Castle, Berkshire (RCIN 35297). At least one of the cabinets was made for Henrietta Maria (1609-1669), widow of Charles I and mother of Charles II, and probably formed part of the dowager Queen's furnishings at Somerset House, London. Dr Adam Bowett refers to the cabinets as a 'tours de force of cabinet-making' with 'no compelling reason to doubt their English manufacture', see English Furniture 1660-1714, p. 40. A cocus wood cabinet-on-stand is illustrated Ibid., p.54, pl. 2.35. For a description of cocus wood, or Jamaican ebony, and its use by English cabinet makers from the 1660s onwards see ibid. p. 307. The author notes that it is rare to find cocus wood used after 1680. 'By this time olivewood, walnut and marquetry were more common', p. 54.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
A rare and small James I leaded bronze mortar, probably by Thomas Giles (fl. 1605-14) of Chichester, Sussex, dated 1611With flared rim, the body cast with the date 'AD 1611', and with the initials 'TG WD' and 'P', 10.5cm rim diameter x 8cm highFootnotes:Provenance:Sold Sotheby's, February 2002, Lot 487. Illustrated:M. Finlay, English Decorated Bronze Mortars & their Makers (2010), p. 142, Figure 286.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
A rare and finely cast Charles I leaded bronze mortar, by William Clibury (fl. 1605-42) of Wellington, Shropshire, dated 1637With three handles, one cast as plaited cord, another a round-section loop, the third as a square-section loop, a fourth handle - possibly as the result of a casting flaw - now lacking, and cast with a shield bearing the initials 'W' and 'C' either side of a fletched arrow, the date '1637', a cross, and the initials 'IY' and 'EY, three decorative cords at the waist, 22.5cm rim diameter x 17.5cm highFootnotes:Provenance: Sold Hartley's Auction, Ilkley, 11-12 October 2006, Lot 405, part of the Hurst Collection of mortars. Illustrated:M. Finlay, English Decorated Bronze Mortars & their Makers (2010), p. 111, Figure 211, where it is noted that the Clibury foundry was of 'considerable importance' and cast (mainly) bells from the last decade of the sixteenth century.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
A rare and good Charles I joined oak form or bench, West Country, circa 1630Having a fine one-piece ovolo-moulded top, the front rail with a simple pattern carved and punch-decorated crescents between narrow run-mouldings, all remaining rails with narrow moulded lower edge, on elegant parallel-baluster over ball-turned legs, joined by a rare H-form stretcher, on squat-ball feet, 220cm wide x 26.5cm deep x 60.5cm high, (86 1/2in wide x 10in deep x 23 1/2in high)Footnotes:Provenance:An accompanying handwritten note, dated 1902, states this bench 'came from Alcester Presbyterian Church', Bull's Head Yard, Warwickshire.For further information on this lot please visit Bonhams.com
A rare and small Elizabeth I joined oak coffer, circa 1590Having a triple-panelled hinged lid and front, with asymmetrical dust-chamfered rails, on extended stile supports, interior lidded till, 80cm wide x 52cm deep x 66cm high, (31in wide x 20in deep x 25 1/2in high)For further information on this lot please visit Bonhams.com
A remarkable James I joined oak folding or 'games-table', West Country, circa 1620Having a boarded octagonal folding-top, the base of canted form, with leafy-lunette carved rails, arched aprons with leafy carved spandrels and particularly rare ball-shaped pendants, on columnar ring-turned legs joined by a boarded undertier, with simple rear gate, 99cm wide x 48.5cm deep x 77cm high, (38 1/2in wide x 19in deep x 30in high)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
A rare mid-17th century brass trumpet-based socket candlestick, English, circa 1650-70The broad socket flange stamped with the initials 'GE', the ribbed upper stem slightly tapering to the broad mid-drip pan, with ribbed lower stem and broad, flared trumpet base with footrim, 15cm base diameter x 17.5cm highFootnotes:The (probably ownership) initials to the socket flange are a rare feature.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
A rare pair of Charles II steel ember tongs, circa 1680With decorative chamfers and notches, and terminating in a pair of nips formed as human hands, with punch decoration, a pipe tamper to one handle, 42cm highFootnotes:Literature: See J. Seymour Lindsay, Iron & Brass Implements of the English House (1970), Figure 366.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
An extremely rare James I/Charles I joined oak caqueteuse armchair, Aberdeenshire, circa 1620-40Having a resplendent cresting with leaf-carved broken pediment centred by a shield carved with the coat of arms three bars wavy...in chief two crescents, flanked by the inlaid initials 'G' & 'D', atop a tall back panel, carved with a large central flowerhead roundel, four matching small roundels and a demi-flower to each end, the back uprights and lower back rail all stiff-leaf carved, the outsplayed round-ended arms on baluster-turned front supports, trapezoid-shaped boarded pine seat, the seat rails having rectangular reserves carved out of the solid, on inverted-baluster turned front legs with stiff-leaf carved upper blocks, joined by run-moulded stretchers, 61.5cm wide x 46cm deep x 126cm high, (24in wide x 18in deep x 49 1/2in high)Footnotes:In A System of Heraldry by Alexander Nisbet, published in 1722, the arms of Sir George Drummond of Edinburgh (1688-1766) were recorded as 'Or, three bars wavy and in chief a martlet between two crescents all Gules'. Here, the martlet is lacking and the tinctures are not hatched, but it is very likely that this chair was made for a Drummond ancestor (many Drummond families in Scotland bore three wavy lines on their coats of arms) which fits with the initials 'GD' either side of the coat of arms.Sir George Drummond, Lord Provost of Edinburgh, was a junior member of the family of Drummond of Milnab.For similar armchairs see the Trinity Hall Collection, Aberdeen and the Burrell Collection Glasgow, accession nos. 14.183 & 14.50.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
A rare and good Elizabeth I oak joint stool, circa 1580Having a double-reeded edge top, bicuspid-shaped rails, and inverted-baluster turned legs with fine fluted carving over reel-turning, joined by plain stretchers all round, 46.7cm wide x 27cm deep x 54.5cm high, (18in wide x 10 1/2in deep x 21in high)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
A rare and small Charles I joined oak gateleg occassional table, circa 1640Having an oval drop-leaf top, on rare single-board trestle-ends with rounded edges, joined by a slender platform stretcher, on sledge-type feet, simple gates, open: 73.5cm wide x 60.5cm deep x 72cm high, (28 1/2in wide x 23 1/2in deep x 28in high)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
A rare set of four mid-16th century carved oak portrait panels, English, circa 1550Of two men and two women, all elaborately dressed and each carved with an emblematic flower, including a rose, a marigold, a thistle etc., all beneath a cusped or ogee arch with crenellated top, carved pilasters, and a spray of leaves below, 25cm wide x 2.5cm deep x 37cm high, (9 1/2in wide x 0 1/2in deep x 14 1/2in high) (4)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
A rare Elizabeth I joined oak and inlaid panel-back open armchair, circa 1600The back panel with applied moulded frame, centred by a part lozenge-shaped boss, the straight cresting rail with prominent overhang and geometric inlay, the inlay repeated to the back uprights, the lower back rail inlaid in a dog-tooth design, and again to the bicuspid-profiled seat rails, the boarded seat with ovolo-moulded edge, the stepped downswept and scroll-ended arms on slender parallel-baluster over reel-turned supports, with matching turned front legs, joined by plain stretchers all round, 62.5cm wide x 58cm deep x 110.5cm high, (24 1/2in wide x 22 1/2in deep x 43 1/2in high)Footnotes:The front right-hand upper leg block with a rare full-name branded inventory mark 'C. (or G?) CATCHPOL'. Several Gabriel Catchpol's are recorded as living and dying in Suffolk in the 17th century.LiteratureSee Tobias Jellinek, Early British Chairs and Seats 1500 to 1700, p. 93, pl. 87 & 89 for comparable armchairs.For further information on this lot please visit Bonhams.com
A rare, good and small Charles II joined oak enclosed chest of drawers, with box-top, circa 1660The hinged boarded top with scribed-edge, and enclosing a shallow well, carved interlaced lunettes and fleur-de-lys to three sides, atop a pair of elaborate geometric-moulded panelled cupboard doors, with pyramidal boss and original butterfly-hinges, enclosing four long drawers, 80cm wide x 44.7cm deep x 93cm high, (31in wide x 17 1/2in deep x 36 1/2in high)Footnotes:Unusually the door mouldings are not applied but instead are an integral part of the construction.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
A remarkably rare and good James I joined oak six-leg refectory-type table, circa 1630Having a deep triple-boarded and end-cleated top, the nulled-carved front frieze with scroll-carved spandrels, the central double-spandrel flanking integral strapwork, the right-hand end-frieze also nulled-carved, all remaining rails left plain, and all with plain scroll-profiled spandrels, on robust baluster and ring-turned legs, joined by run-moulded cross and peripheral stretchers, a 'secret' under-shelf to one end with evidence of a former lock, 79.5cm wide x 301.5cm deep x 82cm high, (31in wide x 118 1/2in deep x 32in high)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
A rare and fine small set of Charles I oak mural shelves, circa 1630With three open shelves, each with bicuspid-shaped front rail with central punch-decorated cross, the elegant and slender parallel-baluster turned front end-supports with integral ball finial and pendant, 63cm wide x 19.2cm deep x 70.5cm high, (24 1/2in wide x 7 1/2in deep x 27 1/2in high)Footnotes:A related set of shelves, from the John Fardon Collection, sold in these rooms, 19 February 2020, Lot 212 (£13,812).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
An extremely rare James VI of Scotland joined oak caqueteuse armchair, Fife, circa 1600Having a rare twin-panelled back, each panel carved with a stylized leaf and demi-flower upright design, the deep cresting rail floral and double-scroll carved, and positioned over stiff-leaf carved uprights, the bold flat and square-ended outsplayed arms on baluster-turned front supports, the boarded seat with moulded edge, and linear gauge-carved seat rails, on baluster ring-turned front legs joined by plain stretchers all round, 70cm wide x 47cm deep x 102.5cm high, (27 1/2in wide x 18 1/2in deep x 40in high)Footnotes:Provenance:Earlshall Castle, Leuchars, St. Andrews, Fife. The ancestral home of the Earls of Fife.In 1890, after falling into disrepair the castle was purchased by a R.W.R. Mackenzie, an industrialist from Perth. He employed a young Robert Lorimer to carry out the extensive restorations. Lorimer was later considered one of Scotland's greatest architects, with Earlshall considered his finest work. Robert Mackenzie furnished the 16th century Great Hall with period furniture - see black and white photograph showing this Lot in situ, to the right of the fireplace.LiteratureSee David Jones, The Vernacular Chair in Fife (1996), for similar 'small proportioned' caqueteuse armchairs, with 'characteristic vocabulary of carved motifs including angled palmettes and flashy rosettes'.For further information on this lot please visit Bonhams.com
A Charles II joined oak side table, with a rare drawer arrangement, circa 1660Having a cleated four-board top, over two full-width drawers, each drawer front with narrow run-moulded lower edge, on ball and fillet-turned legs, joined all round by plain stretchers, 91cm wide x 62cm deep x 71.5cm high, (35 1/2in wide x 24in deep x 28in high)For further information on this lot please visit Bonhams.com
A rare James I/Charles I joined oak box stool, circa 1620-30Having a hinged lid with ovolo-moulded edge, and carved stop-fluted and punch-decoration unusually to all sides, on short columnar-turned legs, joined by plain stretchers all round, 44cm wide x 37cm deep x 38cm high, (17in wide x 14 1/2in deep x 14 1/2in high)For further information on this lot please visit Bonhams.com
A rare and fine James I joined oak centre or communion-type table, Salisbury and the surrounding area, circa 1620Having a top of three thick square-edged boards, and lunette carving to all rails, on columnar ring-turned legs, joined by narrow run-moulded stretchers, 124cm wide x 70.5cm deep x 80.5cm high, (48 1/2in wide x 27 1/2in deep x 31 1/2in high)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
A rare Elizabeth I oak joint stool, circa 1590Having a square-edge and six-pegged top with prominent overhang, lower-edge moulded rails above an 'ogee'-shaped apron, on inverted-baluster turned legs, joined by plain stretchers all round, 49.5cm wide x 29.5cm deep x 58cm high, (19in wide x 11 1/2in deep x 22 1/2in high)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
A rare early 18th century sheet and cast brass twin-light wall sconce, Dutch, dated 1719The sheet brass cresting and backplate embossed with flowers, and bosses, and punched 'ANNO 1719', all between a pair of cast brass knopped pillars, the shaped pan with simple flared rim and fitted with a pair of wrapped candle sockets fixed to the pan with tabs and copper rivets, 20cm wide x 9.5cm deep x 36cm high, (7 1/2in wide x 3 1/2in deep x 14in high)Footnotes:Literature:A similar twin-light wall-sconce, dated 1712, is illustrated R. Gentle & R. Feild, Domestic Metalwork 1640-1820 (1994), p. 199, Figure 7 and attributed to England. However, it is now generally agreed that this type of wall sconce is Dutch.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
A rare and unusually small mid-16th century brass alms bowl, Nuremberg, circa 1550The flat flared rim decorated with a repeated punch of a five-petalled flower, and with central boss of twelve swirling gadroons, 19.5cm diameter x 5cm highThis 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
A rare Elizabeth I joined oak display/serving table, circa 1600Made to accompany the 'Great Table', a large refectory-type tableHaving a triple-plank fully cleated top, plain shallow frieze rails with bold scroll-profiled spandrels, on robust opposed baluster and ring-turned legs, joined by slender plain stretchers all round, 107cm wide x 82cm deep x 90cm high, (42in wide x 32in deep x 35in high)For further information on this lot please visit Bonhams.com
A rare Charles I oak joint stool, circa 1640Having an ovolo-moulded top, and extremely rare arcaded rails, on relatively short inverted-baluster and ball-turned legs, joined by plain stretchers all round, stamped ownership initials, 49cm wide x 29.5cm deep x 49cm high, (19in wide x 11 1/2in deep x 19in high)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
A rare James I joined oak draw-leaf table, circa 1610The triple-boarded and end-cleated top with a similar draw-leaf to each end, all frieze rails with alternating beaded and fluted carving, and highlighted with punch-decoration, on fluted cup-and-cover turned legs, joined by plain stretchers all round, 170.2cm wide x 70cm deep x 80cm high, extended length 319.2cmThis 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
A rare Charles I joined oak stool-table, circa 1640Having an oval drop-leaf top, each leaf held open by a central shaped loper sliding out from a box to the underside of the fixed top, the flat run-moulded rails with moulded lower-edge, on rising-baluster turned legs, joined by plain stretchers all round, open: 66.5cm wide x 62cm deep x 57cm high, (26in wide x 24in deep x 22in high)Footnotes:Literature:See R. W. Symonds, Furniture Making in Seventeenth and Eighteenth Century England (1955), p. 70, fig. 109, for a comparable joined stool fitted with an oval drop-leaf top.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
A rare and unusually small boarded oak, pine and painted desk box, circa 1670Possibly New England, AmericaThe hinged lid with moulded edge and enclosing a red-painted interior fitted with a rear till with hinged cover, all four sides of the box carved with floral strapwork, and painted red, 27cm wide x 20cm deep x 16.5cm high, (10 1/2in wide x 7 1/2in deep x 6in high)Footnotes:Provenance:Reputedly purchased from a house in Quincey, Boston, Massachusetts.Although this box is believed to originate from the United States, it may also be a 'prototype' from Devon, England.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
A rare and documented Charles II oak backstool, Yorkshire, circa 1675Having a pair of arched splats carved and pierced with tight-scrolls, and centred by a mask, the 'horse-shoe' and bicuspid-shaped lower edge unusually filled with a fleur-de-lys, the back uprights with inward-facing scroll terminals, boarded seat, on block and ball-turned front legs, joined by a ball and fillet-turned fore-rail, the design repeated on the cross rail of the rare H-form stretcher and equally rare back stretcher, 48.5cm wide x 45cm deep x 102cm high, (19in wide x 17 1/2in deep x 40in high)Footnotes:IllustratedTobias Jellinek, Early British Chairs and Seats 1500 to 1700 (2009), p.297, pl. 412.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
A rare and fine Elizabeth I/James I joined oak and mastic-inlaid coffer, circa 1600-20Having a triple-panelled lid, the front with three framed panels, each with raised reserve finely mastic-inlaid with scrolls, and two with bog-oak and holly inlaid roundels, and the third central panel with the initials 'F T', each headed by a carved demi-flower, the broad top rail strap-work carved, all remaining front rails guilloche-carved using various motifs, namely fleur-de-lys and pomegranates, with carved twin-panelled sides, 101.5cm wide x 53cm deep x 67.5cm high, (39 1/2in wide x 20 1/2in deep x 26 1/2in high)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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