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Click here to subscribeA Victorian tub armchair, upholstered in floral silk damask, with down swept arms and raised on baluster front supports, one of the rear legs stamped '01341', terminating in brass castors, 75cm wide, 96cm deep, 84cm highCondition report: Upholstery would benefit from a clean. Some stains and marks. Frame solid. General knocks and wear. Castors replaced.The seat all seems o.k, good springs, etc.
Channel Islands School (19th century)Two views of La Moinerie, SerkPen, ink and watercolour, a pairInscribed La Moinerie Serk 18 Juin 1849, and La Moinerie Serk 18 Septembre 1849 respectively, upper centre18.4 x 22cm (7 x 8½ in.) (2)Provenance:Sale, Phillips, London, 5 November 1999, The Joshua Gosselin Collection of Topographical Watercolours, lot 88 (part lot). This and the following lot depict an estate in the north west corner of Sark, the third largest of the Channel Islands. The title La Moinerie, which is middle French for monastery, was established by St. Magloire, Sark's patron saint, who settled on the Island in the sixth century. It was formerly the property of the Seigneur or Feudal Lord of the Island and was one of the forty Sark Tenements established by Helier de Carteret in the fourteenth century. Each Tenement has a seat in the Island's parliament, known as the Chief Pleas. In 1929 the Tenement La Moinerie de Haut passed to the owner of the nearby island of Brecqhou. Although dated 1849, this strikingly modern landscape encapsulates many of the timeless qualities that make primitive art by academically untrained artists so beguiling. The joyful disregard of accepted ideas of scale and perspective inspired many modern British artists from Ben Nicholson onwards. To be sold without reserve The Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
Channel Islands School (19th century)A view of La Moinerie, Serk, 1849Pen, ink and watercolourInscribed A View from Le Moinerie 1849, upper centre18.5 x 22cm (7¼ x 8½ in.)Provenance:Sale, Phillips, London, 5 November 1999, The Joshua Gosselin Collection of Topographical Watercolours, lot 88 (part lot), where purchased by the present owner.This and the previous lot depict an estate in the north west corner of Sark, the third largest of the Channel Islands. The title La Moinerie, which is middle French for monastery, was established by St. Magloire, Sark's patron saint, who settled on the Island in the sixth century. It was formerly the property of the Seigneur or Feudal Lord of the Island and was one of the forty Sark Tenements established by Helier de Carteret in the fourteenth century. Each Tenement has a seat in the Island's parliament, known as the Chief Pleas. In 1929 the Tenement La Moinerie de Haut passed to the owner of the nearby island of Brecqhou. Although dated 1849, this strikingly modern landscape encapsulates many of the timeless qualities that make primitive art by academically untrained artists so beguiling. The joyful disregard of accepted ideas of scale and perspective inspired many modern British artists from Ben Nicholson onwards. The Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.Condition Report: The picture is unexamined out of the frame. The sheet is not laid down. There is a small crease in the lower right quarter, but generally it appears to be in excellent condition. There are two spots of discolouration in the upper left and right corners as well as some other small areas along the lower edge and across the sky. The colours are strong and don't seem to have lost much of their original vibrancy. It is presented in an acid free mount and is behind museum glass, Condition Report Disclaimer
Large sofa with cushioned back and scroll arms, loose cushioned seat, raised on turned legs, 225cm wide, 70cm high, and 100cm deep.CONDITION REPORT: Overall the frame is solid, although there is some movement to the arms. There are chips and scratches to the feet and castors lacking. Requires re-upholstery.
Chinoiserie ottoman of rectangular form with traditional panels, raised on bracket feet, including glass top to convert to coffee table, 66cm wide, 53cm deep, and 44cm high (89cm wide and 79cm deep with glass top).CONDITION REPORT: General scuffs, scrapes, chips as with use and age. Fabric seat later and sagging. Areas have been touched up with black. Sturdy frame. Usable condition.
A Biedermeier carved rosewood library chair with ebonized mouldings. Leather upholstered, with reeded scrolling arms and raised on octagonal supports, 127cm high, seat 41cm high, 65cm wide. Repair to both arms where they join the backrest, small piece missing from one. Other superficial marks and wear.
By Direction of CGG Robertson, this Lot is located approximately fifteen minutes drive from the Colwyn Bay saleroom A LATE 19th CENTURY OAK BOX SEAT SETTLE, the back having a centre panel of three figures making merry, 120cms W and a similar period carved oak side table with rail back, carved corner supports and shell and scroll carved application to the front centre, 129cms W Condition Report: settle - sound but overall, some fading, side table - right hand part of scrolling missing, overall fading
A FOUDROYANT TIMBER HALL CHAIR, CIRCA 1898 the shaped back carved with fouled anchor and banner over inscribed Foudroyant and the date '1798-1897' above, the seat decorated with an anchor and lifebuoy inscribed Nelson's Flag Ship, on turned legs joined by an H-stretcher -- 41¼in. (105.5cm.) high
THE LAUNCHING SET FOR H.M.S. SANS PAREIL (1851) comprising an etched chisel inscribed SANS PAREIL Launched 18 March 1851 / SOPHIA GAGE, and a mallet, contained in original fitted box with manuscript specifications pasted to the base, together with a ticket for 'Seat No. 1.' to the launch -- 10¾in. (27.5cm.) wide; together with some historical data (a lot)Footnote: Named after her famous predecessor captured at the Battle of the Glorious First of June 1794, the second Sans Pareil was a wooden 2nd rate of 70 guns, converted to steam on the stocks and launched at Devonport Dockyard by the Port Admiral Sir William Hall Gage's daughter. Displacing 3,800 tons and measuring 200 feet in length, she was commissioned in June 1852 and sent to serve with the Mediterranean fleet under Capt. Dacres. Transferred to the Black Sea fleet in 1854, she participated in the first Bombardment of Sebastopol on 17th October 1854, thereafter serving as a munitions ship and latterly on the China and East Indies stations, she was sold for breaking in March 1867.
AN EARLY VICTORIAN ARM CHAIR MADE FROM THE TIMBER OF H.M.S. TEMERAIRE the back with scroll cresting inscribed ENGLAND EXPECTS EVERY MAN TO DO HIS DUTY OCT 21 1805 TEMERAIRE TRAFALGAR, with leather padded scroll arm supports and seat on bulbous legs -- 47½in. (120.5cm.) highFootnote: When Temeraire was designated for scrapping in 1838, she was purchased by John Beatson and sent to his Rotherhithe yard for breaking. Beatson well understood the significance of the timber he was handling and sold quantities of it for use in furniture and buildings as well as decorative objects. Named after the first Temeraire which had been captured from the French in 1759, the second and far more famous Temeraire in the Royal Navy was the vessel laid down at Chatham and launched on 11th September 1798. A large second rate mounting 98-guns, she spent her first three years as flagship to the Channel Fleet and, after a spell blockading the French coast, then found herself directly behind Victory in Lord Nelson's 'weather column' at Trafalgar where she fought magnificently. Heavily engaged from all sides but eventually capturing the 80-gun Fougueux, she survived the battle but was so severely damaged that she was deemed unfit for further service at sea. Thereafter employed as a prison ship and later a receiving ship at both Devonport as well as Sheerness, she was finally sold for breaking in 1838 and, whilst under tow to Rotherhithe, found immortality when she inspired J.M.W. Turner to paint one of his most celebrated works, The Fighting Temeraire.
2nd-3rd century AD. A bronze chariot fitting representing the bust of a Dionysian satyr or Dionysus himself with young face, long hair arranged in regular locks around the face, wearing a panther skin arranged like an exomis tunic leaving the left shoulder uncovered, positioned on a squared pedestal with platform for the application to the chariot's sides or back; loop on the hollow back for the fastening to the wooden structure of the chariot. See Ratkovi?, D., 'Wagon and Harness Bronzes from the Roman Collection of the National Museum in Belgrade' in Thiasos, Festschrift fur Erwin Pochmarski zum 65. Geburtstag, Wien, 2008, pp.793-815, s. pl.2,2, for similar item. 616 grams total, 16cm including stand (6 1/4"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. This type of mount was probably used as bridle holders and placed near the driver’s seat, on the wagon platform or as a central decoration on the back of the wagon. The reconstruction of the wagon from the Vardar Valley has a bust of Athena placed on the upper horizontal bar of the roof structure as a decorative element. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fine condition.
A small George I walnut stool together with a circular Queen Anne style walnut stoolWith drop-in seat upholstered in floral needlework on cabriole legs and pad feet, 53cm wide x 43cm deep x 43cm high, (20 1/2in wide x 16 1/2in deep x 16 1/2in high) and 44cm high (2)This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
A 19th century yew and elm child's Windsor armchair together with an early 19th century mahogany child's chairThe Windsor chair with a pierced central splat above a solid elm seat above turned legs united by a crinoline stretcher, 46cm wide x 36cm deep x 65cm high, (18in wide x 14in deep x 25 1/2in high) (2)This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
A late 19th century painted pine settleWith a hinged seat on turned tapering legs, 188cm wide x 64cm deep x 85cm high, (74in wide x 25in deep x 33in high)This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
A Regency wrought iron garden seatOf typical slatted design, 154cm wide x 36cm deep x 97cm high, (60.5in wide x 14in deep x 38in high)This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
A George III walnut armchair in the French tasteIn the manner of Thomas Chippendale The oval back above scrolled uprights with carved ends above a guilloche carved frieze above fluted waisted tapering front legs surmounted by carved anthemions, Two cramp marks to the underside of the rails, 62cm wide x 57cm deep x 98cm high, (24in wide x 22in deep x 38 1/2in high)Footnotes:This chair has the characteristic cramp-marks under the seat-rail which have been associated with the firm of Chippendale.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
An early 19th century mahogany window seatIn the French taste With scrolled ends and a serpentine seat on moulded cabriole (French) legs, 101cm wide x 44cm deep x 65cm high, (39 1/2in wide x 17in deep x 25 1/2in high)This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
A walnut chair back sofaEarly 18th century and later The undulating top rail above a central fret carved back with 'shepherd crook' arms and a floral needle work drop-in seat on front cabriole legs, 114cm wide x 60cm deep x 99cm high, (44 1/2in wide x 23 1/2in deep x 38 1/2in high)This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
A pair of George III painted and parcel gilt decorated armchairsIn the manner of Thomas ChippendaleThe oval backs enclosed by a stiff-leaf gesso border, surmounted by floral crests above upholstered stuff over seats on acanthus-leaf carved and fluted tapering legs, 61cm wide x 55cm deep x 99cm high, (24in wide x 21 1/2in deep x 38 1/2in high) (2)Footnotes:Elements in the design of the above armchairs can be associated with the repertoire of ornament commonly employed by a group of London furniture makers including Thomas Chippendale, Ince and Mayhew and William and John Linnell. To the underside of the seat rails are two slots for securing cramps and baton holes which are also characteristic of workshop practises associated with Thomas Chippendale (see Gilbert op. cit. p. 113, pls. 195 and 196)This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
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