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Lot 7107
Three rare Chinese porcelain bowls. damaged. 1x Very large Verte family bowl, 17th - 18th century, geishas in garden decor. 1x 16th - 17th century bowl with Chinese gods in sea decor + bottom mark. 1x 18th - 19th century Family Rose bowl with birds on branch decor. Dimensions: Ø 17.3 - 26 cm. In moderate condition.
Lot 2
TAXIDERMY: 'A Catalogue of Birds, Insects, &c. Now Exhibiting at Spring-Gardens..': Price Sixpence 1765: (2), 18p, without final leaf giving conditions of auction to verso, period blue paper wrappers stitched as issued, 8vo. A rare catalogue describing a collection of cased specimens of birds, insects and animals (in bottles preserved in liquor), butterflies and insects etc. (1)
Lot 205
D-DAY: RECONNAISSANCE PHOTOGRAPHS OF LANDING BEACHES: a group of 25 rare panoramic coastal photographic views, taken from low level RAF observer sorties to document beaches during lead up to D-Day landings, most approx 29 x 20cm, some recognisable landmarks noted, including civilian structures, pill boxes and other strong points, some chips and creases to edges but generally in good condition. (25)
Lot 192
A RARE FRENCH GILT BRASS KEYLESS CARRIAGE CLOCK BY LE ROY & FILS, LATE 19TH / EARLY 20TH CENTURY the brass eight day movement with repeat and alarm mechanisms, the silvered platform lever escapement wound via a handle to the underside, stamped 'Le Roy & Fils, Patent No.9501, striking the half hours on a gong, the backplate stamped with the serial number '10313', the enamelled dial with black Roman hour and Arabic minute numerals above a subsidiary alarm dial, inscribed 'Le Roy & Fils, 57 New Bond Street, Made in France', the gorge case with bevelled glass panels and hinged handle, with an associated burgundy leather bound travelling case gilt stamped 'E.L.R. 1929' and with retailer's marks for 'Edward White, St James's, SW1' (2) 14cm high Provenance Edmund de Rothschild (1916-2009) The Trustees of Exbury House Catalogue Note Keyless or bottom winding clock movements were an innovation patented by Le Roy et Fils. The going and striking trains are wound alternately by winding the fixed key first in one direction and then the other. This avoids the need for a separate key and also enables both winding functions to take place at once. For a full discussion, see Alix and Bonnert, Carriage Clocks, their History and Development, pp.219-221, they state that 'examples with bottom-winding seem without exception to have been prior to the year 1900. Perhaps significantly, the 57 New Bond St. address, with or without the Palais Royal, will usually if not always be found on bottom-winding clocks.'
Lot 227
A RARE ITALIAN PORPHYRY MODEL OF A WINE BARREL ON STAND IN THE MANNER OF BENEDETTO BOSCHETTI OR GIACOMO RAFFAELLI, MID-19TH CENTURY the barrel carved from Egyptian Imperial red porphyry with ribbed decoration and incised lines to simulate staved construction, with a gilt bronze stopper engraved with the Visconti family coat of arms, with a tap with a dolphin handle and a beast spout, the porphyry and gilt bronze stand with ram supports, engraved with an inscription 'Ioannes Card Visconti' and 'Milano Anno 1340' 32.4cm high,16.5cm wide, 46.5cm long Provenance Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Catalogue Note The term porphyry is from the Ancient Greek 'porphyra' meaning purple. In antiquity purple was the colour of royalty and combined with its hardness Egyptian porphyry became very much prized for monuments and building projects in Imperial Rome and thereafter. Giovanni Visconti (c.1290-1354) was an Italian Roman Catholic cardinal who was co-ruler of Milan and Pavia. The present lot is possibly a commemorative piece celebrating 500 years of the Visconti family in 1840. We would like to thank Dario Del Bufalo for his assistance and advice in cataloguing this lot.
Lot 213
A RARE BRONZE BUST OF QUEEN MARY WHEN DUCHESS OF YORK BY WILLIAM HENRY TYLER (1852-1906) with a dark brown patination, signed 'Will Tyler' and dated '1893' with the foundry mark 'Cie Des Bronzes, Bruxelles', on a green speckled marble column incised 'May' 33cm high overall Provenance Alfred de Rothschild (1842-1918) Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Catalogue Note This bronze bust of the future Queen Mary was made on the year of her marriage to George, Duke of York in 1893. She became Queen consort when her husband ascended the throne as King George V in 1910. 'May' was Queen Mary's informal name used amongst family members. See the Royal Collection Trust inv. no. RCIN54057 for another example. William Henry Tyler was born in Worcester and studied at the Royal Academy Schools and exhibited 15 times in the Royal Academy of Arts (Summer Exhibition). His studio was located at 26 Hereford Square, London.
Lot 148
'THE BARON LIONEL DE ROTHSCHILD GERMAN SILVER SOLDIERS' A VERY RARE PAIR OF GERMAN SILVER-GILT FIGURES OF SOLDIERS PROBABLY AUGSBURG, UNMARKED, LATE 16TH / EARLY 17TH CENTURY both kneeling, one holding a crossbow the other with a sword, each with articulated hands, on raised naturalistic rocky bases on a circular pierced foot with trefoil decoration, wear to gilding 12.3cm and 12.5cm, 12.3oz (385g) Provenance Baron Lionel de Rothschild (1808-1879) at 148 Piccadilly, London Alfred de Rothschild (1842-1918) the Lawrence Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript 000/176/11, 'The Division of the property of the late Baron Lionel de Rothschild between Sir Nathaniel de Rothschild, Leopold de Rothschild, Esq., and Alfred de Rothschild, Esq., 1881'. Listed as 'Two kneeling figures' and recorded as going to Alfred. Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'Two German silver figures of men, on circular plinths pierced with Gothic foliage, late 16th century £100.0.0.' Charles Davis, 'A Description of the Works of Art Forming the Collection of Alfred de Rothschild', 1884, p.262, no.365, 'Two silver-gilt soldiers in early sixteenth-century costume. They are both kneeling, one has an arquebus and the other a sword. The stands are decorated with a diagonal pattern border, German work of the beginning of the sixteenth century. Height 5in' Catalogue Note These exquisitely modelled silver figures depict soldiers wearing early 16th century costume. The detail is quite astonishing with incredible attention to detail to the folds of the clothing, the feathers in their hats and the characterisation in their faces. The rocky bases were perhaps originally enamelled and they are very unusual in having articulated hands. They recall a much larger German silver automaton figure by Wolf Christoph Ritter now on display at the British Museum as part of the Waddesdon Bequest. The base has a clockwork mechanism which propels the figure across a table and perhaps our figures had some mechanism to move the articulated hands. The soldiers being offered were formerly in the collection of Baron Lionel de Rothschild (1808 1879). Lionel Nathan de Rothschild was the eldest son of Nathan Mayer Rothschild (1777 1836) and after spells working for the family bank in Paris, London and Frankfurt, he became the head of the London house of NM Rothschild & Sons in 1836 at the age of 28. His London home was 148 Piccadilly which had sumptuous French Louis XVI style interiors. 148 Piccadilly was home to Lionel's fabulous art collection which he had developed during his apprenticeship in Europe. The collection which was divided amongst his three sons was dominated by Old Masters, many of which were acquired from the Van Loon collection, but also featured fine French furniture and Renaissance works of art including silver and early rock crystals. The collection is mentioned by Waagen in 'Art Treasures in Great Britain', 1854.
Lot 219
'THE ROTHSCHILD MILANESE ARMOURER'S CABINET' A RARE NORTH ITALIAN DAMASCENED STEEL AND GILT BRONZE ARMOURER'S TABLE CABINET IN THE MANNER OF THE WORKSHOP OF GIOVANNI BATTISTA PANZERI, MILAN, THE PLAQUES LATE 16TH / EARLY 17TH CENTURY, THE CABINET 19TH CENTURY fitted with eleven drawers around a central cupboard hinged door, decorated in relief with scenes from Roman history before cityscapes, with swags of fruit and leaves, soldiers, satyr masks, war trophies and term figures, the cupboard with the story of Gaius Mucius Scaevola, revealing a gilt lined vacant interior, the cabinet with a pierced scrolling leaf silver gilt border and green damask velvet panels, on sphinx supports, on an associated and later French 'Japonisme' stand (2) cabinet: 42.5cm high, 59.8cm wide, 35.5cm deep the stand: 80.8cm high, 65.7cm wide, 42.5cm deep Provenance Alfred de Rothschild (1842-1918) the Red Room at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'An Italian cabinet with architectural front, overlaid with steel plaques chiselled with classical warriors and partly damascened with gold, Milanese, 16th Century, on stand, £300.0.0.' Catalogue Note In Milan during the second half of the 16th century skilled craftsmen who produced damascened armour and weapons for noble patrons began to expand their production into furniture. Creating mainly cabinets with drawers, some of architectural form but also tables, mirrors, picture frames and tabernacles tailored to the tastes of wealthy patrons desiring one-of-a-kind masterworks epitomizing luxury. These objects made by the Milanese armourers were decorated with steel or iron plaquettes, embossed and damascened with gold and silver, depicting subjects inspired by Roman history or mythology. Sometimes they were embellished with small sculptures. One of the prominent makers to capitalise on this luxury market was Giovanni Battista Panzeri, called Zarabaglia, who also specialised in devotional objects. His masterpiece is arguably the reliquary tabernacle in the form of a church, made for Spain's El Escorial, kept in its Monastery of San Lorenzo. For comparisons to our present cabinet, see the Victoria & Albert Museum for a cabinet with very similar panels and subject matter gifted by Dr. Hildburgh, accession no. M.22:1-1952, dated to 1550-1600. In the Waddesdon Bequest at the British Museum there is an architectural cabinet formerly belonging to Alfred's cousin Baron Ferdinand de Rothschild, reg. no. WB.16. See also three cabinets in the Museo Poldi Pezzoli and a wiring cabinet in the Philadelphia Museum of Art, accession no. 1930-1-187. Literature For a discussion of these cabinets, see Silvio Leydi, Mobili Milanesi in acciaio e metalli preziosi nell'eta del Manierismo, in Fatto in Italia. Dal Medioevo al Made in Italy, ed. by Alessandra Guerrini, with Barbara Brondi and Marco Raino. Catalogue of the exhibition at Reggia di Venaria, 19th March - 10th July 2016. The Iconography The central panel depicts Gaius Mucius Scaevola in front of the Etruscan king, Lars Porsena. Scaevola, a young Roman, formed a plan to save Rome from the intruder Etruscan army by assassinating their king but he mistakenly killed the king's secretary. When Scaevola was captured, he bravely declared "I am Gaius Mucius, a citizen of Rome. I came here as an enemy to kill my enemy, and I am as ready to die as I am to kill. We Romans act bravely and, when adversity strikes, we suffer bravely." Scaevola then thrust his right hand in a fire to prove he meant his words. Lars Porsena was so impressed by his actions that he allowed Scaevola to leave and soon after sought to make a treaty with Rome. Some panels surrounding this legendary scene are also connected to the siege of Rome, depicting Roman heroes standing up to the Etruscan king: bottom left showing Horatius Cocles who, first accompanied by two fellow soldiers, but eventually singlehandedly held off the advancing army at the foot of the bridge over the Tiber. The panel above shows a female figure, standing in front of the king on horseback. The female is probably Cloelia who escaped from the Etruscan camp and led away a group of Roman virgins. Cloelia later voluntarily returned to Lars Porsena who then praised her for her heroism and allowed her to walk away again with half of the Roman hostages. And the bottom right panel depicts the ultimate sacrifice of a Roman hero with the story of Marcus Curtius: when a bottomless chasm mysteriously opened on the Forum, the augur declared it will not close until the most precious possession of Rome was sacrificed. Curtius responded that the the soldiers' courage and arms were what made Rome exceptional, before, on horseback and fully armed, he threw himself into the pit which then promptly disappeared. These panels are consistent with the Renaissance period which saw a shift towards more historic and Biblical themes. A return was made to classical Greek and Roman ethos of society and this also appeared on furniture. Many pieces showcased intricate artwork depicting historic scenes. Similar trends can be observed on parade armour created in the 16th and 17th century for the high nobility.
Lot 147
A RARE SMALL GOLD MOUNTED AGATE URN IN THE MANNER OF THE MISERONI FAMILY, THE AGATE POSSIBLY ANCIENT BUT CARVED IN THE 17TH CENTURY the 'U' shaped body with reeded bands and carved with acanthus leaves, the cover carved with a petal collar and spiral twist band with a gold finial, the stem with a lobed collar on a spreading foot (detached) with a gold rim 6.4cm high Provenance Alfred de Rothschild (1842-1918) Bedroom no.12 in show cabinet, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A small vase and cover carved in striated onyx mounted with gold feet £5.0.0.' Catalogue Note The decoration and shape recalls the works in agate by the Miseroni Family the important jewellers and gemcutters from Milan. They specialised in carving rock crystal and hardstones and gained international recognition in the mid-16th century. Imperial patronage from the Hapsburgs prompted the re-establishment in 1588 of the workshop to Prague, where it flourshed until 1684. Girolamo and his brother Gasparo entered the service of Cosimo I de' Medici. Giulio worked in Spain from 1582 and Ottavio worked from 1588 in the court of Rudolf II in Prague and was succeeded by his son Dionysio who became Imperial Treasure Warden in the Prague Castle. For a related agate urn attributed to Gasparo Miseroni, see the Museo del Prado, Tesoro del Delfin, inv. O000015.
Lot 145
A RARE GOLD AND ENAMEL MOUNTED AGATE SPOON EASTERN EUROPE, PROBABLY HUNGARIAN, LATE 17TH CENTURY with a pear shaped bowl, the underside with a rats tail, the rim with a rope-twist filigree mount, the part faceted and turned stem with three conforming mounts decorated with white, green and black enamel, with a turned finial 20cm long Provenance Alfred de Rothschild (1842-1918), the Lawrence Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'Two spoons of agate and onyx, with gold filigree mounts, £20.0.0.' Catalogue Note In the 17th century sets of matching cutlery were still a novelty and highly prized. It was the sign of a gentleman that he possessed cutlery made of unusual and valuable materials. A similar spoon and fork can be found at Burghley House, ref. EWA08517, which appeared in the 1690 Devonshire schedule recording an immense bequest from Elizabeth, Countess of Devonshire to her daughter Anne, Countess of Exeter.
Lot 80
A RARE PAIR OF FRENCH ORMOLU TWIN-LIGHT WALL APPLIQUES IN LOUIS XV STYLE, SECOND QUARTER 19TH CENTURY naturalistically cast as branches of oak leaves and acorns suspended from ribbon tied drapes, later drilled and fitted for electricity (2) 61cm high, 35cm wide, 19cm deep Provenance Alfred de Rothschild (1842-1918) the Bronzina Room at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A pair of Louis XV ormolu wall lights, chased as oak branches with nozzles for two lights each, £80.0.0.'
Lot 22
'THE ROTHSCHILD CHEVAUX MARINS CHENETS' A RARE PAIR OF LOUIS XV ORMOLU SEAHORSE CHENETS, CHEVAUX MARINS FRENCH OR GERMAN, C.1745-50 each surmounted with a prancing horse with webbed hooves, on a Rococo scrolling leaf base, with chased and punched decoration, stamped '2', with a bronze scroll support (2) 43.5cm high, 35.3cm wide Provenance Alfred de Rothschild (1842-1918) the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Catalogue Note This wonderful pair of sculptural chenets derive from a drawing attributed to Lambert-Sigisbert Adam (1700-1759) for a chenet designed with Triton astride a sea horse. Chenets incorporating 'chevaux marins' are recorded in the inventory at the chateau of Passy which belonged to A-G Bernard de Saint-Saire, the grandson of Samuel Bernard, Louis XVI's banker. Listed as 'a high-firing copper representing a mythical sea horse leaning on ornaments ... all gilded with ormolu'. Other examples can be found in the Kunsthistoriches Museum, Vienna, in the collection of the Dukes of Buccleuch and Queensberry at Boughton House, Northamptonshire, a pair formerly in the collection of Dr. Anton C. R. Dreesman, sold at Christie's, 10th April 2002, lot 250 for £91,750 and a pair formerly in the Riahi Collection sold at Christie's, 6th December 2012, lot 6, for £109.250. A further pair of chenets with the same base but lacking the horses is at Waddesdon Manor, Buckinghamshire, see The James A. de Rothschild Collection at Waddesdon Manor, vol. II, Furniture, pp.726-7, no.184. Our chenets share the same pounced decoration as the Waddesdon and Riahi pairs.
Lot 183
A RARE PAIR OF FRENCH ORMOLU AND MARBLE TORCHERES OR JARDINIERE STANDS IN LOUIS XVI STYLE, 19TH CENTURY each with a circular marble top inlaid in alabaster with a geometric star motif, above a gadrooned and fluted tazza, with acanthus handles supported by ram's head monopodia terminating in hoof feet, the conforming triform base on lion's paw supports (2) 119.8cm high, 49cm wide Provenance Edmund de Rothschild (1916-2009) The Trustees of Exbury House
Lot 182
A RARE SET OF FOUR FRENCH ORMOLU 'AUX CORS DE CHASSE' WALL LIGHTS IN LOUIS XVI STYLE AFTER A MODEL BY EDME-JEAN GALLIEN AND PIERRE BUREAUX, EARLY 19TH CENTURY each with a tasselled ribbon, oak leaf and acorn backplate, issuing three hunting horn shaped candle-arms, with urn sconces, later drilled and fitted for electricity (4) 98cm high, 44cm wide, 23cm deep Provenance Alfred de Rothschild (1842-1918) the South Drawing Room / Lawrence Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as two pairs, described as 'A pair of Louis XVI wall lights, chased with oak branches and the branches designed as hunting horns, £150.0.0.' Catalogue Note This set of four wall appliques are based on the model by the bronziers Edme-Jean Gallien (1720-1797) and Pierre Bureaux (b. 1728). The design was very popular during the Empire period and a similar set of four wall lights was supplied by Claude Galle for the Salon de Compagnie du Petit Trianon on the 23rd December 1809 (see D. Ledoux-Lebard, Le Petit Trianon, p.98). Other sets of wall lights can be found at various chateaux and palaces, including: Bagatelle, Pavlosk, Saint-Hubert and Le Raincy. For recent sale comparisons, see Sotheby's Paris, 20th April 2012, lot 173 for a very closely related set of four which sold for EUR 264,750, also Christie's Paris, 23rd November 2021, lot 117 for a pair which fetched EUR 87,500.
Lot 85
A RARE PAIR OF CHINESE CLOISONNE ENAMEL AND GILTWOOD TABLES THE CLOISONNE 17TH / 18TH CENTURY, THE TABLES FRENCH, 19TH CENTURY each with a rectangular top with a floral design edge, inset with a Chinese rectangular panel, one depicting a luohan seated on a carpet supported by mythical creatures floating across the sea, the other with another luohan waving to a deity riding on a crane, above a base with scroll legs (2) 64cm high, 32.2cm wide, 36cm deep Provenance Alfred de Rothschild (1842-1918) the Ante-Room to the Lawrence Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'Seven plaques of Chinese cloisonne enamel, variously decorated and mounted as the tops of gilt tables, £35.0.0.' Charles Davis, A Description of the Works of Art Forming the Collection of Alfred de Rothschild, 1884, p.236, no.266, listed as 'A pair of small tables of carved and gilt wood, each with three legs, the tops are inlaid with a square turquoise plaque of Chinese cloisonne enamel.' Catalogue Note In Buddhism, the 'arhats', or 'luohan' in Chinese Buddhism, are seen as the original followers of Gautama Buddha, or arhat. They have reached the state of Nirvana, they are now free of all worldly cravings and their role is to protect Buddhism until the arrival of Maitreya, an enlightened Buddha predicted to appear on Earth many centuries in the future. In the earliest Indian depictions only four disciples were shown but over time this number rose to sixteen and by the Tang or Five Dynasty periods in China there were eighteen, a tradition that continues into modern Chinese Buddhism. The symbolism of the two plaques included in this lot show a luohan welcoming the Mother of the West and the other shows four demons carrying a luohan over the Bitter Sea.
Lot 60
A RARE MATCHED SET OF TWELVE GEORGE III PROVINCIAL SILVER HUNTING BUTTONS C.1780 eleven by Richard Richardson, and one by George Walker Chester, of circular form and engraved with huntsmen, a horse, game birds and game, in a fitted case (13) 3cm diameter, approx. weight 3.2oz. Provenance Alfred de Rothschild (1842-1918) Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House
Lot 149
'THE BARON LIONEL DE ROTHSCHILD ROCK CRYSTAL CANDLESTICKS' A RARE PAIR OF FRENCH LOUIS XVI ROCK CRYSTAL AND ORMOLU CANDLESTICKS LATE 18TH CENTURY each with an octagonal sconce above a lobed and faceted stem decorated with ormolu mounts of leaves and ram's heads supporting swags of flowers, on a faceted circular foot with an acanthus leaf rim (2) 26cm high, foot 14.7cm diameter Provenance Baron Lionel de Rothschild (1808-1879) at 148 Piccadilly, London Alfred de Rothschild (1842-1918) the Morning Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript 000/176/11, 'The Division of the property of the late Baron Lionel de Rothschild between Sir Nathaniel de Rothschild, Leopold de Rothschild, Esq., and Alfred de Rothschild, Esq., 1881'. Listed under 'Rock Crystal' as 'A pair of candlesticks with rams' heads' and recorded as going to Alfred. Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A pair of rock crystal table candlesticks, mounted with ormolu rams' heads and festoons of flowers, on circular plinths. £20.0.0.' Catalogue Note For a similar pair of candlesticks see Sotheby's, Addiction: Benjamin Steinitz, lot 25. In their footnote they state that a pair of silver candlesticks with siimilar virtuoso use of rock crystal by the goldsmith Jean-Louis Mennaust were exhibited at the Musees des Art Decoratifs in 1954. These splendid candlesticks were formerly in the collection of Baron Lionel de Rothschild (1808-1879). Lionel Nathan de Rothschild was the eldest son of Nathan Mayer Rothschild (17771836) and after spells working for the family bank in Paris, London and Frankfurt, he became the head of the London house of NM Rothschild & Sons in 1836 at the age of 28. His London home was 148 Piccadilly which had sumptuous French Louis XVI style interiors which housed Lionel's fabulous art collection which he had developed during his apprenticeship in Europe. The collection which was divided amongst his three sons was dominated by Old Masters many of which were acquired from the Van Loon collection and Renaissance works of art including silver and early rock crystals. The collection is mentioned by Waagen in 'Art Treasures in Great Britain', 1854. They candlesticks were inherited by Alfred and he had them on his desk in the Morning Room at Halton House.
Lot 95
PHARMACEUTICAL INTEREST; nine early 20th century pharmaceutical bottles, to include two large rare blue poison bottles, three green poison bottles and four clear bottles with etched labels for contents (9).Provenance: This belonged to the vendor's father, who was a Liverpool pharmacist for many years from the 1950s onwards.
Lot 456
Rare WW2 Stalag Luft III 1st Ed Hardback book Signed by 25 POWS by Author Arthur A Durand. Book comes with Stalag Luft III Burgundy cloth wrapped slip case. Signatories include Jimmy James, Shag Rees, Tex Ash, Tom Wilson, Bill Reid, Iain Hutchinson, Bill Stapleton, Paddy Barthropp, Ken Lee, David Denchfield, Ken MacKenzie, Walter Morrison, Ken Knott, Charles Clarke, Jack Lyon and David Frost. Published in 1988 in the USA. 412 Pages. Spine and Dust jacket in Fair condition. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 530
Rare The Pathfinders Large Vinyl With Sleeve which is Signed by 22. Signed in black ink by Jo Lancaster, Henry Wagner, Geo Dunn, Ron Gard, Harvey Winter, ES Horsham, Tom Sayers, Harold Kirby, Jack Lyon, Harry Irons, Ken Johnson, Gordon Mellor and others. 33 1/2 RPM. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 363
Rare Original WW2 Black and White 10x8 inch Photo Showing Royal Navy Inserting Bombs into the Anti-Aircraft Guns. Showing Signs of age. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 127
WW1 Original Navy Admirals Hat, Worn During WW1, Housed in Original Metal Box. Made by Gieves Ltd of London in 1920. Showing Signs of Age. A Rare and Unusual Lot. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 130
Rare WW2 Polish Postal History Collection Housed in Royal Mail Presentation Folder. Over 30 Separate Sleeves Filled With Fantastic Content. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 128
Fantastic WW1 Original Captain/Commanders Ceremonial Sword in Leather Protective Case. Measures 38 inches in Length. Showing Signs of Age. Rare and Unusual Item. A Must Have. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 12
The Great War Collection of Original Vintage Photos With Printed Descriptions of the Photos outlining the events occurring in the photo. 100 Cards with photos. Housed in a Two Book Look Case. Rare Item. A Must Have. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 454
Superb Rare 16 Luftwaffe Night Fighter Aces and RAF Mosquito Aces Signed Duel Under the Stars Leatherbound Hardback Book by Wilhelm Johnen. A Special Edition Book. Includes a Leather Wrapped Slipcase. Signatures in Front of Book include Wilhelm Johnen. Signatures in rear of book include Oberfeldwebel Gunther Bahr, Air Marshal Sir Ivor Broom, Oberst Wolfgang Falck, Wg Cdr Peter Channer, Hauptmann Hermann Greiner, Wg Cdr Alan Joseph Owen, Oberst Hajo Herrmann, Wg Cdr George Parry, Major Werner Hoffmann, Sqn Ldr Charles Patterson, Oberstleutnant Hans Joachim Jabs, Wg Cdr Roy Ralston, Hauptmann Peter Spoden, Sqn Ldr Tim Woodman, Major Paul Zorner. Mint Condition. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 535
Superb Rare WW2 23 Signed Last Man In Colour Print by Alec Macdonald. Artist Proof Print. Signed in Pencil by Geoffrey Wellum, Tim Elkington, Mike Croskell, Gordon Parkin, William Walker, Bob Foster, Ken Mac MacKenzie, ME Gregory, William Clark, Terence Kane, Tony Iveson, Tony Pickering, Bill Green, Len Davies, Tom Neil, Ken Williamson, Ken Lee, Peter Hairs, Billy Drake, Wilf Sizer, RH Jones, JG Millard, Nigel Rowe, The Artist Alec Macdonald and few more. Print Measures 24 x 18. Small Crease Present that does not affect the print or Signatures. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 390
A rare George III silver gilt novelty snuff box in the form of a fox mask with hinged lid and finely detailed fur and features, London 1807 by Thomas Phipps & Edward Robinson, weight 113.3g, length 9cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 732
Prototype Advertising - A rare one off advertising point of sale breweriana pub bar sign for Badger Ales. This piece being a master mould or master pattern which the vendor who was commissioned to create these for various establishments used to make the silicone mould. Depicts a badger with wheatsheaf and dated 1777. An example of one made with brown wood effect finish with a notated design picture also included. This piece was then used as reference to make the 6ft sign that crowned the main distribution plant. Measures approx; 35cm wide. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 29
Tom DixonRare sculpture, 1990sSteel, painted steel. 37.5 x 22 x 15.5 cmProduced by Tom Dixon, London, United Kingdom.Footnotes:ProvenanceTom Dixon's studio, Kensington, LondonAcquired from the above by the present owner, 1990sThis 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
Lot 32
Tom DixonEarly and rare 'S' chair, circa 1988Steel, Manila rope. 95.5 x 54.5 x 65.5 cm Produced by Tom Dixon, London, United Kingdom.Footnotes:LiteratureTom Dixon, Tom Dixon, London, 1990, pp. 40-43Claire Downey, Neofurniture, New York, 1992, p.126Tanya Harrod, The Crafts in Britain in the Twentieth Century, New Haven, 1999, p. 442Gareth Williams and Nick Wright, Cut and Shut: The History of Creative Salvage, London, 2012, p. 61Tom Dixon, Dixonary: Illuminations, Revelations and Post-rationalizations, London, 2013, p. 117This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 7
Sir Eduardo Paolozzi and Nigel HendersonRare table lamp, circa 1958-1960Printed and glazed ceramic, printed paper shade.41.5 cm high, 40 cm diameter Produced for Hammer Prints Ltd.Footnotes:LiteratureMichelle Cotton, Lesley Jackson, Robin Spencer, Nigel Henderson & Eduardo Paolozzi: Hammer Prints Ltd., London, 2013, pp. 66-67 for illustrations of the printsToysNick WrightCo-author of Cut and Shut: The History of Creative Salvage, London, 2012Born in Lieth to Italian immigrants, Eduardo Paolozzi had few of the advantages of the young owners of the toys depicted on Hammer Prints. His father, a shop owner, admired Mussolini and sent Eduardo to summer camps in Italy. There he gained an appreciation of the planes, trains and fascist badges. At the outbreak of war, his father was declared an enemy alien and imprisoned. So was Eduardo. His father was then transported to Canada and drowned when the ship was torpedoed. Once freed, Eduardo helped his widowed mother make ice cream, one childhood treat that had always been abundant, whilst assembling scrapbooks containing images of the many more that were not.His friendship with Nigel Henderson was formed at the Slade School of Art. Henderson was born of a wealthy English family and focused his camera on London's poor. A working-class Scot, Paolozzi came to prominence with collaged images from American magazines. Their friendship was so strong they lived in adjacent cottages on the Essex coast and set up a business together. Hammer Prints produced household objects and textiles printed in designs based on deliberately degraded images taken by Henderson. Whilst some of the designs were later taken up by manufacturers like Hull Traders, 'Toys', the print used on the lamp base and shade, was only produced by the artists. Patrick Rylands, designer of Playplax, the toy Rachel Whiteread credits as her inspiration for her 2005 Tate installation, says the toys depicted would have been prohibitively expensive when new. Like the 'Toot Toot', Patrick thinks the 'Autobus' was made by Lehmans, a German manufacturer producing tin toys of a quality that rendered them 'the real thing writ small'. However, he says 'In Paolozzi's hands, the toys are speaking a different language'. That language is pop. In the centrality of ephemera and the use of collage and assemblage, British artists adopted the grammar of Kurt Schwitters but developed their own vocabulary. Where Schwitters used torn tram tickets, fragments of wire and bank notes rendered worthless by inflation to memorialise the dead of the First World War, Hamilton, Paolozzi and Henderson, collaged advertisements and glamour magazine images to critique the consumer culture of an ascendant America following the second. Not that their critique was entirely negative. In bombed out Britain where food was still rationed, images of fridges full of fresh dairy and T.V.s showing chromium-plated cars had an allure, materially and visually. Paolozzi wanted the Cadillacs and glamour girls he cut and pasted just as he had done the Lehman toys - but there's a rip tide.The fulfilment of our desire to buy creates, not a sense of achievement, but a lack. The objects of our desire are diminished by acquisition so the impulse to own remains. The eye then searches for something else, something better, bigger, a compulsive cycle illustrated in British Pop Art. Richard Hamilton, a member of the Independent Group which also included Paolozzi and Henderson, exhibited 'Just what is it that makes today's homes so different, so appealing?' at the 'This is Tomorrow' exhibition in the Whitechapel Gallery. The bodybuilder portrayed is not muscle and bone but a blow up that goes 'pop.' Similarly, Paolozzi and Henderson's 'Toys' are juxtaposed against a phrenology head and cherubs, emblems of pseudo-science and misplaced faith. Fat on ice cream that, like all sweet things creates a hunger for more, Eduardo Paolozzi knew well that the best toys are the ones we don't have. Moreover, in illustrating that paradox, the blind, crazy driver of consumer culture, British Pop has an unresolved tension that gives it relevance even in the age of the buy it now button.For further information on this lot please visit Bonhams.com
Lot 86
Axel LarssonRare chest of drawers, 1940sSatin birch, satin birch-veneered wood, brass. 72.5 x 100 x 44 cm Produced by Svenska Möbelfabrikerna Bodafors, Sweden. Interior of drawer with manufacturer's label printed A.B.SVENSKA MÖBELFABRIKERNA/BODAFORS and lock plates impressed SMF.Footnotes:ProvenancePrivate collection, SwedenAcquired from the above by the present ownerLiteratureSigrid Eklund Nyström, Axel Larsson: Möbelformgivare och inredningsarkitekt under fem decennier, Stockholm, 2013, fig. 72Bonhams wishes to thank Mats Eriksson, Chief Archivist, Bodafors, Sweden, for his assistance cataloguing the present 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 2
Sir Basil SpenceRare 'Allegro' armchair, designed 1949, produced 1950sMahogany-laminated wood, Canadian betula-laminated wood, leather upholstery.86 x 53.5 x 50 cmManufactured by H. Morris & Co, Glasgow, United Kingdom. Interior of back rail with manufacturer's brass label embossed MORRIS MADE GUARANTEED/TRADE GLASGOW MARK.Footnotes:LiteratureMobilier et Décoration, no. 1, January-February 1949, p. 56Design, vol. 1, no. 3, March 1949, front cover, p. 8Rathbone Holme and Kathleen M. Frost, eds., 'Decorative Art 1949', Studio Yearbook, London, p. VIIIRoberto Aloi, Esempi Di Arredamento Moderno, Di Tutto Il Mondo: Tavoli Tavolini Carrelli, Milan, 1950, fig. 111Carlo Pagani, 'Sedie Divani Poltrone', Quarderni Di Domus, no. 8, Milan, 1950, p. 29House and Garden, April-May 1950, n.p.Rathbone Holme and Kathleen M. Frost, eds., 'Decorative Art 1950-1951', Studio Yearbook, London, pp. 42-43Erno Goldfinger, British Furniture Today, London, 1951, n.p.David Joel, The Adventure of British Furniture, London, 1953, n.p.Richard Chamberlain, Annamarie Stapleton, Geoffrey Rayner, eds., Austerity to Affluence: British Art & Design 1945-1962, London, 1997, pp. 14, 22Philip Long and Jane Thomas eds., Basil Spence Architect, Edinburgh, 2007, pp. 52, 54The present model armchair was exhibited at the Morris and Co. stand at the Scottish Industries Exhibition, Kelvin Hall, Glasgow, 1949.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 1
Robin DayTwo rare cocktail units, model no. 652, designed for the 'Furniture Trades Exhibition', Earl's Court, London, 1951 Sycamore, sycamore-veneered plywood, glass. Each: 183 x 71 x 44 cm Manufactured by Hille & Co., London, United Kingdom. One drawer impressed HILLE OF LONDON.Footnotes:LiteratureArchitects' Journal, 22 Feb 1951, p. 234The Cabinet Maker, 28 April 1951, p. 365Architects' Journal, 2 August 1951, p. 136Mavis Watney, 'Three Robin Day Cabinets', Antique Collecting, The Journal of the Antique Collectors Club, vol. 36, no. 7, December 2001-January 2002, illustrated p. 44Lesley Jackson, Robin & Lucienne Day: Pioneers of Contemporary Design, London, 2011, p. 174Tradition versus Modernity – The Ambiguity of British DesignLesley JacksonWriter, Curator and Design HistorianIt is impossible to understand the evolution of modern British design without addressing the thorny issue of tradition. It keeps bubbling up during the post-war period long after British designers had embraced the concept of 'Contemporary' design. Even in the 1960s, a decade we think of as unashamedly progressive, there was still a vestigial hankering for tradition, manifested through Art Nouveau and Art Deco revivalism. Since the 1980s, historical allusions have resurfaced again in a new guise, often ironic, emboldened by Post Modernism. Without recognising and reconciling these two apparently conflicting impulses – tradition versus modernity – it is difficult to appreciate the distinctive character of British design.It was the Finnish architect Alvar Aalto who helped to sow the seeds of Modernism in the UK. His appealingly tactile bent laminated wood furniture for Finmar [lot 14] found a receptive audience in the otherwise rather stick-in-the-mud market in Britain during the 1930s. Interestingly, as well as being sold through modern design emporia such as Bowman Brothers in Camden Town, Aalto's furniture was exhibited at Fortnum and Mason, a bastion of tradition. Gerald Summers' short-lived company, Makers of Simple Furniture, was clearly inspired by Aalto during its all-too-brief but glorious existence. The few surviving pieces from this remarkable workshop, such as the laminated birch plywood Mirror [lot 4], reflect the British propensity for organic modernism.Like many manufacturers, Makers of Simple Furniture was forced to close in 1940 following the outbreak of the Second World War. The ensuing period of make-do-and-mend austerity meant that ambitious young furniture designers, such as Robin Day, had to put their careers on hold for over a decade. The Festival of Britain in 1951 was a seminal event in British post-war design. As well as kick-starting the country's economic and cultural recovery, it provided a launch pad for a host of up-and-coming designers, including less well known figures such as the architect Ray Leigh, who went on to become Design Director at Gordon Russell, as well as acknowledged names such as Ernest Race and Robin Day. Day had already achieved international renown in 1948 when he and Clive Latimer won first prize in the storage section of the International Low-Cost Furniture Competition organised by the Museum of Modern Art in New York. It was this competition that brought Day to the attention of Hille, the firm with whom he would collaborate so productively for the next three decades. Day was determined to make the most of the unique opportunities provided by the Festival of Britain to showcase his ideas and get his furniture into production. As well as winning the contract to design the seating for the Royal Festival Hall, he created several room settings for the Homes and Gardens Pavilion. His stylish steel-framed room divider featuring an etching by the sculptor Geoffrey Clarke took pride of place in an open-plan living room / dining room, along with the aerodynamic moulded plywood chairs he had created for the Royal Festival Hall. While these designs are justifiably famous, some of Day's other contributions to the Festival are less well documented. Amongst these was a Cocktail Cabinet [lot 1] originally created for Hille's stand at the Furniture Trades Exhibition at Earl's Court in January 1951, which was later incorporated into a Country Parlour at the Festival designed by Eden Minns on behalf of the Council of Industrial Design. These cabinets, with their attractive sycamore and cherry veneers and their beaded tambour-effect bottom cupboards, are a curious hybrid, harnessing the traditional cabinetmaking skills of Hille's workforce, but embodying new ideas about functionalism and the clean-lined aesthetics of modern design. Although Robin Day's success at the Festival convinced Hille to pin their flag to the mast of modern design, other firms, such as Gordon Russell, who were based in Broadway in the heart of the Cotswolds, took a more measured path. Their post-war output continued to reflect the dichotomy between tradition and modernity, as evidenced by the finely crafted executive Desk [lot 22] designed by Ray Leigh and Trevor Chinn.The artist craftsman John Makepeace, who rose to prominence in the 1970s, is another designer whose work fuses tradition and modernity. On a purely technical level, his Fireside Desk [lot 10] represents the pinnacle of centuries-old hand craftsmanship, reflecting his conscious decision to pursue craft as an alternative to functionalist mass-production. Unexpectedly perhaps, the design incorporates some unmistakably modern materials, such as melamine and stainless steel. Makepeace's mastery of lamination and his fascination with organic forms also hark back to Alvar Aalto. The technical ingenuity displayed by John Makepeace, along with his entrepreneurialism, are both recurrent features of British design. Not surprisingly, these two characteristics frequently go hand-in-hand, with designers such as Ernest Race establishing their own companies specifically to produce their own technically unconventional designs [lot 8]. Artists Eduardo Paolozzi and Nigel Henderson, who teamed up in 1954 to found Hammer Prints to produce their own textiles, lamps and furniture, also demonstrate these qualities [lot 7]. They, too, were mavericks who chose to operate independently outside the establishment framework. Significantly, their radical pick-and-mix eclecticism drew on 'borrowed' imagery from historical sources, including 17th century woodcuts and 18th and 19th engravings, another typically quirky example of the fruitful alliance between tradition and modernity in British design.Paolozzi and Henderson's mischievous iconoclasm and do-it-yourself mentality have parallels with the ethos of New Wave designers Tom Dixon and Mark Brazier Jones, who pioneered the concept of Creative Salvage during the 1980s. In their case, however, it was the collapse of manufacturing that prompted them to become designer-makers. Dixon's iconic S Chair [lot 27] with its steel base and armature has an overtly contemporary aesthetic, although its rush upholstery derives from traditional crafts. The shock tactics of this deliberate mismatch enhance its visual impact. The incongruous marriage between tradition and modernity also lies at the heart of many of Mark Brazier Jones's pieces, such as his Dressing Table and Mantle Clock [lots 23 and 37] with their playful allusions to extravagant 18th-century rococo idioms. Such objects were already an anachronism by the 1990s but J... 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 58
Josef HoffmannImportant and rare adjustable table lamp, model no. M 284, 1904Silver-plated alpaca, fabric shade.46 cm high, 24.5 cm diameter, fully extendedExecuted by the Wiener Werkstätte, Vienna, Austria. From the production of 2. Base marked with rose mark, Wiener Werkstätte and artist's monograms WW, JH.Footnotes:ProvenanceWiktor and Eugeniusz Jaworski, Zakopane, Poland, circa 1910Eugenia Piekarska (nee Jaworska), Zakopane, PolandThence by descent to Anna Piekarska, New Zealand, 2004Bonhams wishes to thank Dr. Anne-Katrin Rossberg, Curator, Metal Collection and Wiener Werkstätte Archive, MAK, Vienna, for her assistance cataloguing the present lot.The present adjustable table lamp, model no. M 284, is one of only two known productions, recorded in the model book at the Metal Collection and Wiener Werkstätte Archive, executed in November and December 1904, respectively. Since circa 1910, the lamp has belonged to the same family, originally gifted by a patron to the two brothers Wiktor and Eugeniusz Jaworski who were successful restaurateurs in Zakopane, Poland. Dr. Elisabeth Schmuttermeier classifies the early stylistic principals, expressing the avant-garde aspects, of Hoffmann's work, which anticipate art deco: 'about 1904 Josef Hoffman and Koloman Moser reached an extreme form of simplicity and geometric abstraction in their work, leading toward a pure reduction to elementary forms' (Peter Noever, ed., Josef Hoffmann Designs, exh. cat., Austrian Museum of Applied Arts, Vienna, 1992, p. 75). The lamp was produced a year after the Wiener Werkstätte was founded, in 1903, and has an extreme form of simplicity and pure elementary forms. This also conveys a statement made by Charles Rennie Mackintosh, when corresponding and discussing the Wiener Werkstätte with one of the co-founders, Fritz Waerndorfer, 'every object which you release must be most definitely marked by individuality, beauty, and the utmost accuracy of execution'. The design of the lamp fulfils this trichotomy, in its individuality, beauty, and certainly in the accuracy of its refined execution. The combination of Hoffmann's inimitable style and the Wiener Werkstätte uncompromising production standards, created not only a beautiful design but also an exceptional work of art too.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 27
Tom DixonEarly and rare 'S' chair, circa 1988Steel, rush upholstery.108.5 x 44.5 x 49 cmProduced by Tom Dixon, London, United Kingdom.Footnotes:ProvenanceTom Dixon's studio, Kensington, LondonMr Tim Head, London, acquired from the above, circa 1990Thence by descent to the present ownerLiteratureTom Dixon, Tom Dixon, London, 1990, pp. 40-43Claire Downey, Neofurniture, New York, 1992, p. 126Tanya Harrod, The Crafts in Britain in the Twentieth Century, New Haven, 1999, p. 442Gareth Williams and Nick Wright, Cut and Shut: The History of Creative Salvage, London, 2012, p. 61Tom Dixon, Dixonary: Illuminations, Revelations and Post-rationalizations, London, 2013, p. 117This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 28
Tom DixonEarly and rare 'Cobra' standard lamp, late 1980sSteel.208 x 62 x 88 cmProduced by Tom Dixon, London, United Kingdom. From the production of 3.Footnotes:ProvenanceTom Dixon's studio, Kensington, LondonMr Tim Head, London, acquired from the above, circa 1990Thence by descent to the present ownerLiteratureGareth Williams and Nick Wright, Cut and Shut: The History of Creative Salvage, London, 2012, p. 65This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 56
Hermès: a Rare Brown Barenia Leather and Crinoline Omnibus 322004Horse hair crinoline panels, with brown Barenia leather trim and palladium hardwareCondition Grade C+32cm wide, 29cm high, 14cm handle drop, includes padlock, keys, cloche and dust bagFor further information on this lot please visit Bonhams.com
Lot 413
A MATCHED PAIR OF CHARLES II KINGWOOD OYSTER VENEERED WALL MIRRORS IN THE MANNER OF THOMAS PISTOR, CIRCA 1685 Of slightly varying proportions, one 130cm high, 100cm wide, the other 127.5cm high, 98cm wide Provenance: Formerly at Chirk Castle Christie's, Chirk Castle, 21st June 2004, Lot 130 Literature: Illustrated in situ in the Long Gallery in The Hon. Mrs Mary Wombwell's watercolour of 1861 and in a late 19th Century photograph published in the National Trust Guide Book, 1983, p.25. C. Hussey 'Chirk Castle', Country Life, 5 October 1951, fig.8. (illustrated in situ in the Corridor). Catalogue note: These Charles II pier-glasses, with bevelled Vauxhall plate, have bolection- moulded Kingwood frames superbly parquetried in a wave scrolled figuring and central mosaic- parquertried medallion of shell scalloped 'oyster' veneer. These mirrors, of exceptional scale for their date, were almost certainly commissioned for the Long Gallery at Chirk. Built by Sir Thomas Myddleton ( d.1684), 2nd Brat, the Long Gallery was begun in 1670 and was substantially complete in 1678, when the sum of £100 15s 0d was paid to ' Jonathon Hooke, the Joyner, in full for all the ards at Vs per Yard'. On the same day, Thomas Dugdale was £30 'for carveing all the Carved worke at the Longe Gallery'. Both of the latter had worked at Weston Park, the ancestral home Charlotte Bridgeman, whom he married in 1677, possibly to designs by Captain William Winde. Conceived as the great room of entertainment and exercise, the Long Gallery to a large extent retained its sumptuous Baroque appearance and furnishings in 1795- although when Lady Sykes visited in 1796 she found furnishings ' so crowded together they are seen to great disadvantage'. Thus the great series of portraits in their original Sunderland frames hung above a parade of lavish cabinets,including the pietra Dura cabinets on George I gilt-gesso stands acquired on the Grand Tour by Roberth Myddleton (d.1733), as well as the Charles II silver-mounted Royal Presentation cabinet described as having 'Silver 'd Ornaments' (both of which remain at Chirk). Taking centre stage was the harpsicord by Burkhat Sindi, like that acquired by George III, dated 1742 but actually moved to Chirk in 1766 (still at Chirk), and 'Billyard Table', the first of which was installed in 1686. This rare pair of mirrors are almost certainly the '2 Pier Glasses 10.0.0' recorded in the 1795 Inventory. Although the description is all but brief, a watercolour by the Hon. Mrs Mary Wombwell of the Long Gallery, dated Sept. 20th 1861 (from an album still owned by the Myddleton family), as well as the undated later 19th century photograph of the Gallery- both show one of these mirrors above the fireplace at the South end. Both also clearly reveal how much of the furnishings from the 1795 arrangement survive , in spite of alterations apparently carried out in the 1840s and illustrated in Lady Hester Leeke's watercolour of 1840-7-although the panelling has returned by 1861. A smaller mirror of directly comparable design- still owned by the family - is possibly the 'Chimney Glass 0.18.0' listed in 1795 in that same room- although this much larger pair of mirrors was certainly placed above the fireplaces at each end by both the undated photograph and an Inventory carried out circa 1910 ('pier glass over fire place Rose wood frame North End' and '1 pier glass over fire place rosewood frame South End'). Undoubtedly originally supplied with matching pair of 'pier' or dressing tables, related 'cushion frame' mirrors are discussed by A. Bowett in English Furniture 1660-1714, Woodbridge, 2002, pp. 136-9, including a smaller example at Nunnington Hall. Like the Chirk mirrors, this also has slots cut into the back to house the cresting- although there is no evidence that any cresting was ever fitted. This is possibly the case with the Chirk Mirrors. Condition Report: Overall there are knocks, scratches, marks and cracks consistent with age and use. There are losses, restorations and observations including: the mirrored plates have aged silvering with some losses; there are cracks to the veneers and moulded borders including some movement and lifting; there is some evidence of worm; some cuts and cracks to veneers, with some patching; repairs including some filler; the backs of stained panelled construction; some later veneers; the mitred corner joints with some movement and cracks. Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Lot 351
A PAIR OF CHINESE EXPORT PADOUK AND MARQUETRY SIDE CHAIRS LATE 18TH/EARLY 19TH CENTURY Rare pair of Chinese export hall chairs, the vase shaped splats inlaid with a dog and crown armorial, slightly waved top-rails, dished moulded seat, the square chamfered legs joined by a turned 'H' stretcher. each 96cm high, 48cm wide, 53cm deep overall Provenance: The May family of Godmersham Park, Kent. These chairs were probably commissioned by Thomas May. Through the East India Company, for the newly-built house at Godmersham. The May armorial crest, 'a leopard's head out of a ducal coronet', is displayed within the serpentine cartouches. A cup bearing the crest of Thomas May is illustrated in David S. Howard, Chinese Armorial Porcelain, 1975, p370 Condition Report: Marks, knocks, scratches, abrasions consistent with age and use Old splits and cracks, some chips and losses, one with cracked seat, some knocks and gouges, signs of age, wear, and use Overall with a polished appearance Frames solid and stable overall Please refer to additional images for visual reference to condition Condition Report Disclaimer
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