A Louis XV gilt bronze mounted Chinese famille rose export small porcelain model of a pheasantthe porcelain probably Qianlong period (1736-1795)the bird with iron red body with shaded breast and multicoloured and gilded plumage, perched on a pierced rockwork base in mottled aubergine and turquoise, the oval acanthus-cast rocaille and c-scroll base on corresponding feet, 26cm high Footnotes:For a comparable small pair of unmounted Chinese famille rose pheasants, circa 1760 previously with A & J Spealman, London, see Christies, Chinese Export Art, 21 January 2016, lot 46.For a larger pair of Louis XV gilt bronze mounted Chinese famille rose porcelain models of pheasants with mounts attributed to Jean-Claude Chambellan Duplessis, see Christies, The Exceptional sale, 4th July 2013, lot 9.The French fashion for gilt bronze (ormolu) mounted porcelain supplied by marchand-merciers such as Lazare Duvaux and also un-mounted Chinese porcelain birds is revealed in the 'revolutionary' sales held in Paris in the late 18th century. However, bronze Chinese pheasants appear to be relatively rare with only un-mounted birds usually seen on the market.For further information on this lot please visit Bonhams.com
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A rare and interesting James II leaded bronze measure, of bushel capacitycirca 1685-1688the rim struck four times with the dagger mark for London, and four times with an 'I' beneath a crown, the body engraved with the coat of arms of JEFFREYS to one side, and the crest of JEFFREYS to the other, both within leafy mantling, with angular lug handles and raised on three lion's paw feet, 50cm rim diameter x 17.5cm highFootnotes:The arms engraved on this bushel measure are as follows ermine, a lion rampant sable, a canton of the last; the crest a demi-lion or jessant a laurel wreath proper. Both were borne by George Jeffreys, 1st Baron Jeffreys of Wem (1645-1689) otherwise known to history as Judge Jeffries. Engraved beneath a baron's coronet, they must date from 1685 or thereafter when Jeffreys was raised to the peerage as 1st Baron Jeffreys of Wem. This conforms with the verification marks to the measure's rim, one of which is a crowned I (J), for James II, who succeeded his brother Charles II in the same year. Jeffreys was born at Acton Park near Wrexham in Denbighshire. His elevation to the peerage in 1685 was the culmination of a distinguished legal career. Jeffreys entered the Inner Temple in 1663 and was called to the bar in 1668. He obtained his first public legal office in 1671, when he was elected common serjeant of London. In 1677, he was knighted and made king's counsel. Shortly afterwards, he was appointed Recorder of London, the city's highest legal office. It was shortly afterwards that he opened the treason case against Edward Coleman, and he presided - with others - over the trial of conspirator William Ireland, both accused as part of the Popish Plot unleashed by Titus Oates. Jeffreys, as recorder, pronounced sentence. In 1679, James, then duke of York, asked Jeffreys to serve as his solicitor-general and in 1681, the King made Jeffreys a baronet. Two years later, he was appointed Chief Justice of the King's Bench and was sworn a member of the Privy Council. In 1684, he was engaged in prosecuting members of the Rye House Plot, including Sir Thomas Armstrong. On 16 May 1685, Jeffreys was raised to the peerage, his title taken from the Shropshire manor he had acquired the year before. In July, he and four other judges were sent on assizes in the west of England, to try rebels captured after the battle of Sedgemoor following Monmouth's rebellion. Jeffreys has been pilloried for his part in the death of Lady Alice Lisle, an elderly widow accused of treason for giving shelter to a few of the rebels. Cross-examined vigorously by Jeffreys, she was executed, but it has been noted by scholars in recent years that it was James II who denied her mercy. Approximately two hundred rebels were executed and another thousand were transported to the West Indies. On his return to London, in September 1685, Jeffreys was made Lord Chancellor.Jeffreys did not endorse the King's attempts to seek toleration for Catholics by remodelling county benches and urban corporations, and his influence appears to have waned slightly thanks to the rising influence of Catholics at court. In April 1687, he refused to sign James' first declaration of indulgence. However, in 1688, he was present when the Prince of Wales was born and, in July 1688, when Jeffrey's son John married Lady Charlotte, the heir of Philip Herbert, seventh earl of Pembroke, the king was present at Bulstrode, the estate purchased by Jeffrey's in the 1670s and rebuilt (after a fire) in the mid-1680s.His fortunes followed those of James II, and Jeffreys, caught trying to flee the realm, died in prison in 1689. In his will, he explained that he had been 'in hopes not withstanding my long indisposition of belly [he had been ill for some years]...' of recovering 'soe much strength as to have been able to have vindicated myself...'. He left five children, three from his first marriage and two from his second. His son, John, left a single surviving daughter, Henrietta Louisa, later Countess of Pomfret.Despite his reputation for cruelty and vindictive judgments, Jeffreys was also celebrated as a very able lawyer, and a master of cross-examination who presided ably in civil cases. None of his decrees as Lord Chancellor were later reversed.It is, perhaps, of interest that two similar bushel measures survive at Erddig, not far from Acton Park, where Jeffreys was born and grew up. One (NT114768) is dated 1663 and the other (NT1147687), 1716. The latter is inscribed for John Meller, 'Farmer of the Toll' within the town of Wrexham, and dates from the year he acquired Erddig from Joshua Edisbury. Both measures have more typical stylised paw feet. Interestingly, Sir Godfrey Kneller's (1646/9-1723) portrait of George Jeffreys, together with a portrait of his brother (NT1151315), Sir Thomas Jeffreys, hang at Erddig and were reputedly acquired by the Yorke family (then owners of Erddig) in the late 18th century.For further information on this lot please visit Bonhams.com
Sir George James Frampton, RA (British, 1860-1928): A rare and apparently unique patinated bronze bust of St. Georgedated 1905the young male saint clad in armour with downcast eyes, his helmet with deep visor adorned with chain mail, his breastplates with two buckled straps, his backplate with a single buckled strap, his right shoulder raised, the arms erased, the rear signed and dated G.FRAMPTON, 1905, 38.5cm high overallFootnotes:Provenance: By family repute gifted by the sculptor to the vendor's great grandfather, John Henry Frederick Bacon, ARA (British, 1865-1914)Thence by descent to the vendor.Frampton and St George:The present lot, dated 1905, appears to be a cast bust reduction study for the smaller than life size bronze figure of St George on the King Edward VII Memorial in Northampton which was unveiled by King George V in 1913. The warrior saint is depicted on the monument as a slender, beautiful young man in elegant armour and there are undoubtedly influences of Frampton's contemporary Albert Gilbert who produced his own figure of St George for the Prince Albert memorial in the chapel at Windsor, dating from some ten years earlier. Frampton's full length figure of St George for the Northampton monument holds his right arm aloft as if indicating a weapon being raised above his head (originally the figure held a long sword, almost the height of the figure - now lost) and includes full armour and shield. Although the offered bust mirrors the pose of the full figure with the indication of an upheld right arm, these are not included in the composition. As such the feature of the neatly erased arms to the bust perhaps suggests that the cast, as a finished composition, may have been taken from the working model, perhaps as a gift. This is also confirmed by its earlier date (1905) in comparison to the monument (1913). In addition the use of St George as figural theme was not unique to the Northampton monument. Frampton's interest in St George as a theme however dates back to the late 1890s as he adapted his figure of the saint from a statuette of St George that surmounted the orb held by Queen Victoria on his famous and highly acclaimed Calcutta Memorial commissioned to commemorate the Diamond Jubilee. Although the statuette differs from the Northampton figure in that the right arm of the former is not raised, its influence is still undoubted. The importance of this small statuette to the overall composition is certainly felt by the writer of The Introduction to Royal Academy Pictures in 1899 who stated that statuette 'is the one power in the art world that sees irresistible, and its influence is daily becoming more convincing.Similarly, Frampton later used his figure of St George from the Northampton monument as the basis of his Maidstone War Memorial, with a near identical St George used in similar pose but holding a flagpole in place of a sword which was inaugurated in 1922. Sir George James Frampton, RA (British, 1860-1928):A key figure in the New Sculpture movement that championed dynamism and physical realism in sculpture, Sir George Frampton is best known today for his statue of Peter Pan, installed in Kensington Gardens.Frampton was born into a family of stone carvers. He initially worked in an architect's office before deciding to follow his father's profession. He studied sculpture at Lambeth School of Art and the Royal Academy Schools, where he met the artist Christine Cockerell. The two married in 1893 and their son, the painter Meredith Frampton, was born the following year. Frampton's reputation rose rapidly and he attracted early acclaim for his skilled use of many different materials, such as in his 1899 polychromatic bust, Lamia. Together with Lord Leighton, Sir Alfred Gilbert and Hamo Thornycroft, his work was seen as part of the 'New Sculpture' movement and was characterised by a sense of dynamism and layers of rich symbolism. After Queen Victoria's death in 1901, Frampton was commissioned to produce a bronze portrait bust to be installed in Calcutta and a full-length statue for memorials in Winnipeg, Merseyside and Leeds. He was elected a Royal Academician in 1904 and knighted two years later. Frampton enjoyed collaborating with architects and carried out decorative friezes for many public and private buildings, including Lloyd's Registry of Shipping, London (1898- 1901).In 1912, Frampton was commissioned by J.M. Barrie to produce a sculpture of Barrie's beloved character Peter Pan, who had first appeared on the stage eight years earlier. Barrie saw the sculpture as a gift for the children of London, and took out an announcement in The Times on the morning of its instalment, reading: 'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning ... a May-day gift by Mr J M Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree.' Frampton died in 1928 and his son Meredith took over his studio. Two years later, a memorial to him was installed in St Paul's Cathedral, showing a child holding a miniature version of Frampton's beloved Peter Pan.John Henry Frederick Bacon, ARA (British, 1865-1914)The second son of the well-known lithographer, John Cardanall Bacon, John Henry Frederick Bacon established himself in his teenage years as a gifted black-and-white illustrator and undertook a professional tour of India and Burma. He studied at Westminster School of Art, under the painter and art teacher Frederick Brown (British, 1851-1941), and at the Royal Academy Schools, winning the Creswick Prize for Landscape Painting in 1888. A year later, he began to exhibit regularly at the Royal Academy of Art. He was elected an associate of the Royal Academy in 1903.Bacon and his wife lived at Pillar House, Harwell, Berkshire but returned to London in 1899, living in Hampstead before moving to St John's Wood. It was during the 1890s that Bacon moved back to illustrating, working on books and contributing to periodicals. Bacon contributed to some significant editions of the works of Charles Dickens, including Dombey and Son, Little Dorrit and Martin Chuzzlewit for Gresham's Imperial Edition of 1901.Bacon's images helped construct perceptions of nation and empire, as in his most famous paintings – The City of London Imperial Volunteers Return to London from South Africa (1900, Guildhall) and the Coronation Portrait of King George V and Queen Mary (1912, Buckingham Palace). He was awarded the Royal Victorian Order in 1913.It is very likely that Frampton and Bacon were close artistic colleagues and interacted regularly, perhaps especially when Bacon moved back to London. A sketch of Frampton by Bacon dating from 1901 (The Studio Volume 22, The Offices of the Studio Ltd. London 1901) confirms that the sculptor would have sat for the artist around this time. In addition verbal recollections and reminiscences passed down through the Bacon family to the present vendor confirm that members of the Royal Family frequently came for portrait sittings at the family's London home in the early 20th century. As such, given that the bust of St George was probably gifted to Bacon by Frampton, it seems most likely that Frampton and Bacon, with their multiple commissions for Royal monuments and Royal portraits, would have had much in common and may well have even have been close friends if their paths crossed regularly.For further information on this lot please visit Bonhams.com
"The Attack of the Stockades at Pagoda Point on the Rangoon River by Sir ArchibaldCampbell, K.C.B. 8th July 1824" (Der Angriff auf die Befestigungen von Pagoda Point am Rangun Fluß durch Sir Archibald Campbell am 8. Juli 1824). Kolorierte Aquatintaradierung von Reeve Jr. nach Lieutenant Joseph Moore, 1826. Publiziert bei Thomas Clay, London. Stechersignaturen unterhalb der Darstellung. Mittig betitelt. Hinter Glas gerahmt. 40 x 55 cm (Ra). Leicht stockfleckig, deutlich lichtrandig und gebräunt. Farblich etwas verblasst, insgesamt angestaubt. Sehr dynamische Schlachtenszene, die einen Angriff per Boot von britischen Truppen der Ostindia-Kompanie im Ersten Anglo-Birmanischen Krieg bei Rangun zeigt. Tafel 16 aus: Joseph Moore, Eighteen Views Taken at and Near Rangoon. Six Coloured Prints Illustrative of the Combined Operations of the British Forces in the Birman Empire, First and Second Series in one vol., London (Thomas Clay) 1825/26. Seltenes Sammlerblatt! Plate 16 from Joseph Moore's Eighteen Views Taken at and Near Rangoon (London 1825/26). Coloured aquatint etching. Engraver's signatures and titled below the motif. Framed behind glass. Some foxing, darker tanned by the sunlight. Colours a bit faded, allover dusty. Dynamic battle scene during the First Anglo-Burmese-War. Very rare!
"The Storming of the Lesser Stockade at Kemmendine near Rangoon on the 10th of June 1824"(Die Erstürmung der minderen Palisade von Kemmendine, dem heutigen Kyimyindaing, bei Rangun am 10. Juni 1824). Kolorierte Aquatintaradierung von G. Hunt nach Lieutenant Joseph Moore, 1826. Publiziert bei Thomas Clay, London. Stechersignaturen unterhalb der Darstellung. Mittig betitelt. Hinter Glas gerahmt. 40 x 55 cm (Ra). Leicht stockfleckig, deutlich lichtrandig und gebräunt. Wasserrand unten rechts, insgesamt angestaubt. Sehr dynamische Schlachtenszene, die einen Angriff britischer Truppen der Ostindia-Kompanie im Ersten Anglo-Birmanischen Krieg bei Rangun zeigt. Tafel 10 aus: Joseph Moore, Eighteen Views Taken at and Near Rangoon. Six Coloured Prints Illustrative of the Combined Operations of the British Forces in the Birman Empire, First and Second Series in one vol., London (Thomas Clay) 1825/26. Seltenes Sammlerblatt! Plate 10 from Joseph Moore's Eighteen Views Taken at and Near Rangoon (London 1825/26). Coloured aquatint etching. Engraver's signatures and titled below the motif. Framed behind glass. Some foxing, darker tanned by the sunlight. Waterstain bottom right, allover dusty. Dynamic battle scene during the First Anglo-Burmese-War. Very rare!
Jaeger-LeCoultre, a rare lacquered chinoiserie Atmos clock: the movement numbered 671468, the base stamped Jaeger-LeCoultre 220 010, the case with black lacquer side panels, top and dial all decorated with oriental-style raised chinoiserie work, with gilt-brass moon hands, the front glass signed to the corner Atmos, Jaeger-LeCoultre, complete with original carrying box also signed Jaeger-LeCoultre, height 27cms.*Notes The serial number would indicate a date of manufacture of circa 1983.*Notes A further example, number 202 009, sold at Phillips Auctioneers, Hong Kong on the 1st December 2015 for 212,500 HK Dollars, approximately £21,500.
A rare Edwardian lacquered, parcel gilt and upholstered two seat sofa by Howard & Sons of London,: early 20th century, the rectangular backrest, seat cushions and outscrolled arms with possibly original printed silk coverings depicting figures and pavilions in landscapes; the arms with show frame fronts decorated with trailing foliage; the short cabriole front legs descending from scallopshell carved knees to ball and claw feet; with splayed back legs, one stamped HOWARD & SONS LTD. BERNERS ST 12912 535; 73cm high, 140cm wide, 74cm deep
Shirley Hibberd New And Rare Beautiful-Leaved Plants with illustrations and descriptions of The Most Ornamental-Foliaged Plants published, Bell & Daldy 1870 first edition with many full-page chromolithographed plates and text engravings in gilt cloth. Flowers of The Field by Rev. Johns 1881 with black & white engravings in publisher's gilt cloth. Botany for Beginners 1909 and 13 King Penguins (mostly plants or gardening) decorated boards (16)
Roman Imperial Coinage, Hadrian, As or Dupondius, 119-20, laureate bust right, drapery on far shoulder, rev. Britannia seated left, head facing, foot on rock, resting head on hand and holding sceptre, elbow resting on large shield, SC in field, britannia in exergue, 7.14g (RIC 242; BMC 1175; S 635; RCV 3676). Some edge irregularities, good fine with dark patina, rare £150-£200
Roman Imperial Coinage, Hadrian, Denarius, 119-23, laureate bust right, ægis on far shoulder, rev. Concord seated left on high-backed throne, holding patera, concord in exergue, 3.26g (RIC 549 var; RSC 255; cf. RCV 3465). Light scratch on neck, good fine or better, the variety rare £80-£100 --- Provenance: Bt C.J. Martin February 1999
Roman Imperial Coinage, Hadrian, Denarii (2), both 129-30, revs. Felicitas seated left holding caduceus and cornucopiæ, cos iii pp in exergue, 3.48g; Tranquilitas standing left holding sceptre and leaning on column, cos iii in exergue, 2.83g (RIC 1074, 1047; RSC 640b, 1443i; RCV 3486 var., 3545 var.) [2]. Good fine and fine, first rare £80-£100
Roman Imperial Coinage, Hadrian, Sestertius, c. 134-8, laureate draped bust right, rev. Hadrian standing right holding scroll, Arabia standing left, holding patera over lighted and garlanded altar, and bundle of canes, 24.68g (RIC 1732; BMCRE 1636; RCV 3560). Good fine but surfaces rough, rare £100-£120 --- Provenance: Bt CNG
Roman Imperial Coinage, Hadrian, Sestertius, 137-8, laureate bust right, rev. Decastyle temple, statues in centre pediment and on roof, SC in fields, spqr in exergue, 21.69g (RIC 2427; C 1420; BMCRE 1524; RCV 3649). Fair to fine, rare £80-£100 --- Provenance: A. Harrison Collection, DNW Auction A10, 22 June 2011, lot 1151 (part)
Edward III (1327-1377), Pre-Treaty period, Half-Noble, series B/A mule, mm. cross pattée, ropes 3/3, quatrefoils 3/3, annulet stops, open e and wedge tailed r on obv., double saltire stops and lis by lion's tail in first quarter on rev., 3.40g/8h (LAL 5; Doubleday 12, same obv. die; SCBI Schneider 10; Stewartby p.255; N 1140; S 1491). Slightly short of flan and with a small central crack, otherwise about very fine with a strong portrait, rare £500-£700
![PTOLEMAIC KINGS OF EGYPT, Kleopatra VII, Tetradrachm, yr 55 [50-49], a late 19th century electrotype copy (cf. BMC Palestine](https://cdn.globalauctionplatform.com/5419fd62-a676-4cb4-ac5d-aeb000ab3a6b/3bd8ef51-ee54-4a6f-8787-aebc00a6cf23/468x382.jpg)
Edward III (1327-1377), Treaty period, Half-Noble, Calais, class B2, mm. cross potent on rev., ed/ward dei g rex angl d hyb z aq/t, flag at stern of ship, c in centre of rev., domine ne in fvrore tvo argvas me, 3.75g/4h (LAL 4; SCBI Schneider 98; N 1241; S 1508). A few light marks consistent with being a field find, otherwise very fine, rare £2,600-£3,000
Henry VI (First reign, 1422-1461), Annulet issue, Halfpenny, London, a mule struck from a Henry V class F obv. die, mm. pierced cross, trefoil to left and annulet to right of crown, double saltire stops, annulets between pellets in quarters below civi and lon, 0.43g/10h (Withers 11(i); Stewartby pp.334-5; N 1411/1434; S 1796/1848). Somewhat double-struck, otherwise very fine, toned and extremely rare £150-£200
![CATUVELLAUNI, Early Uninscribed series, Quarter-Stater, British La2 [Whaddon Cross type], devolved head of Apollo, rev. horse](https://cdn.globalauctionplatform.com/5419fd62-a676-4cb4-ac5d-aeb000ab3a6b/bec033b5-df36-4df4-aed0-aebc00bc3acc/468x382.jpg)
CATUVELLAUNI, Early Uninscribed series, Quarter-Stater, British La2 [Whaddon Cross type], devolved head of Apollo, rev. horse right, cross over pellet-in-annulet above, 1.40g (Sills class 1, 463; ABC 2457; BMC –; S –). Forepart of horse struck off-flan, otherwise very fine, extremely rare £500-£700 --- Provenance: Found in East Hertfordshire, January 2015 (PAS BM-E55FC)
CATUVELLAUNI, Early Uninscribed series, silver Unit, Hadham Heart Ear type, female head right with coiled hair and heart-shaped ear, rev. horse prancing right, dog (?) above, ringed pellets below, 1.32g/11h (ABC 2475; BMC 380; S 50). Struck on the usual compact flan, otherwise good very fine, very rare £200-£260
CATUVELLAUNI, Early Uninscribed series, silver Unit, Hadham Heart Ear type, female head right with coiled hair and heart-shaped ear, rev. horse prancing right, dog (?) above, ringed pellets below, 1.32g/9h (ABC 2475; BMC 380; S 50). Some surface porosity, wide flan, about very fine, very rare £120-£150
CATUVELLAUNI, Early Uninscribed series, silver Unit, Harlow Horned God type, head right with coiled hair and horn protruding from forehead, rev. annulate horse left, ringed pellet above, leaf below, 1.07g/5h (ABC 2493; BMC –; S –). Horse’s head struck off-flan, otherwise good very fine and toned, extremely rare £400-£600
CATUVELLAUNI, Early Uninscribed series, silver Unit, Puckeridge Bird Hair type, animal with long ears and curled tail bounding right, various ornaments around, rev. horse left, moon above, star below, 0.50g/7h (ABC 2499; BMC 393-6; S 52). Very light porosity, otherwise better than very fine, very rare £200-£260
CATUVELLAUNI, Addedomaros (45-25 BC), Quarter-Stater, Shell Box type, back-to-back crescents, rev. horse standing right, cross on box below, three-leafed branch above, 1.27g (Sills class 1b, 490; ABC 2520; BMC 2422-3; S 205). Obverse slightly off-centre, otherwise very fine, coppery gold, very rare £500-£600
![George III (1760-1820), New coinage, Pattern Sixpence, 1816, by T. Wyon [after a cameo by B. Pistrucci], laureate bust right,](https://cdn.globalauctionplatform.com/5419fd62-a676-4cb4-ac5d-aeb000ab3a6b/a77e4f3e-9ad9-447f-b9fe-aebc00baf04a/468x382.jpg)
George III (1760-1820), New coinage, Pattern Sixpence, 1816, by T. Wyon [after a cameo by B. Pistrucci], laureate bust right, rev. crowned arms in Garter, edge plain, 2.66g/12h (Davies 110E; ESC 2227). Reverse die-crack, good extremely fine with old cabinet tone, extremely rare [slabbed NGC PF 62] £3,000-£4,000 --- Provenance: M. Gietzelt Collection, DNW Auction 151, 14 November 2018, lot 274
![CATUVELLAUNI, Cunobelin (8-41 AD), Stater, Wild B [Ring type], ear of barley dividing ca-mv, rev. horse prancing right, branc](https://cdn.globalauctionplatform.com/5419fd62-a676-4cb4-ac5d-aeb000ab3a6b/8acf3e64-fbf5-4021-9c25-aebc00bc29cd/468x382.jpg)
CATUVELLAUNI, Cunobelin (8-41 AD), Stater, Wild B [Ring type], ear of barley dividing ca-mv, rev. horse prancing right, branch and star above, ringed pellet and cvno below, 5.38g/7h (Sills class 5, 561 [O52/R98, this coin cited]; ABC 2783, same dies; BMC 1804ff; S 283). Peripheral striking weakness, otherwise well-centred, better than very fine, rare £900-£1,200 --- Provenance: Found in East Hertfordshire, June 2012 (PAS CAM-2204F6)
![CATUVELLAUNI, Cunobelin, Stater, Classic A [Bar type], ear of barley dividing ca-mv, bold bar projecting from right of barley](https://cdn.globalauctionplatform.com/5419fd62-a676-4cb4-ac5d-aeb000ab3a6b/22d43a46-a5ec-4b77-8ce8-aebc00bc27af/468x382.jpg)
CATUVELLAUNI, Cunobelin, Stater, Classic A [Bar type], ear of barley dividing ca-mv, bold bar projecting from right of barley ear, rev. horse prancing right, branch above, cvno below, 5.33g/5h (Sills class 7b, 566 [O65r/R123]; ABC 2795, same dies; BMC 1827-8; S 283). Struck with the usual worn obverse die, otherwise good very fine, attractive coppery gold, extremely rare £900-£1,200
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209761 item(s)/page