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Lot 96
GEORGE II CARVED MAHOGANY SIDE CHAIR, TO A DESIGN BY GILES GRENDEY MID 18TH CENTURY the pierced shell splat back above an upholstered seat raised on acanthus carved cabriole legs ending in claw and ball feetDimensions:60cm wide, 98cm high, 43cm deepNote: Note: This chair with its distinctive shell back is nearly identical to the famous set of chairs believed to have been supplied by Giles Grendey for Henry Hoare at Stourhead, Wiltshire, and illustrated in R. Macquoid and R. Edwards, The Dictionary of English Furniture, 1954, vol. I, p.275, fig. 154. Other chairs of related design are illustrated in Herbert Cescinsky, English Furniture of the Eighteenth Century: Vol. II (The Waverley Book Company Limited, London), figs. 38-40, pp.47-48.
Lot 219
Charlotte Perriand (1903-1998) Six 'Les Arcs' chairs, circa 1970 Chromed metal, tan leather 81cm high, 48cm wide Condition Report: All chair frames with surface wear to include scuffs, scratches, and oxidisation spots throughout. One chair with welded repair to joint between seat and legs. One chair lacking rear stretcher.The leather with wear, patination and stains/marks throughout. Stitching has come away between the seat and backrest of one chair, there is a tear to the backrest strap on the same chair.Another chair with small tear to lower left backrest
Lot 22
Carlo Bugatti (1856-1940) 'Curule' throne chair of asymmetric form, circa 1900 Ebonised wood, brass, pewter, painted vellum, tassels Signed seat back Chair back height 78cm, Max height to top of post: 151.5cm, 68cm wide, 52cm deep Provenance Private Collection. Purchased in 2007 Collection of the Kingman Museum of Natural History, Battle Creek, Mich., acquired March 1, 1945. (rev.20070411) Literature Philippe Dejean, Carlo-Rembrandt-Ettore-Jean Bugatti, New York, 1982, p44 and 83 for a similar example Condition Report: Chair is structurally sound and sturdy with tight joints, wooden surfaces with scratches, scuffs, marks and minor indentations,, small areas of wear and rubbing to finish. Chair is lacking the finial to short column. Some replacement tassels with losses and wear. Some loose thread to original cord on backrest. Brass mounts and metal inlays with even patination throughout. Discolouration and wear to vellum throughout, tears to vellum on front and back of backrest, warping to vellum on seat panel. Small restoration to rear foot, some losses to reverse of taller column. Additional images are available upon request.
Lot 258
Charles & Ray Eames for Herman Miller Model '670' lounge chair and '671' ottoman, circa 1970 Rosewood veneered plywood, leather, aluminium Each with manufacturer's label to underside Lounge chair : 81cm high, 84.5cm wide ; Ottoman : 42cm high 64.5cm wide CITES no. 23GBA10TNMI3I Condition Report: Lounge chair and ottoman both structurally sound and sturdy. Leather throughout with general wear commensurate with age and use to include light scuffs and marks. The shells with light surface wear throughout to include light scratches and marks. Lounge chair – there is a an opening to the seam on leather upholstery to one armrest. The seat fixings – The hook fixings attached to seat shell that hold the seat in place are both missing hooks. Both popper/snap fastener fixings to the shell are also missing. These four components will all need replacing as the seat cushion is currently sitting loose on the shell. Ottoman - Leather with some small spots of what appear to be dried glue or resin. There are some small black colour touch ups to one side of rosewood shell.
Lot 55
Finn Juhl (1912-1989) for France & Son 'Jupiter' sofa, circa 1965 Teak, leather Manufacturer's plaque to frame 81cm high, 203cm wideCondition Report: Structurally sound, supports with light scratches and scuffs commensurate with use. Leather upholstery with some subtle discolouration particularly to arms. There is a stain to one seat cushion, which looks like it may be come out with cleaning as well as some small marks and minor impressions to leather along back of sofa.
![Bible [English]. [The Holy Bible, Containing the Old Testament, and the New: newly translated out of the Originall Tongues: a](https://cdn.globalauctionplatform.com/b9199598-926c-41b8-aeda-b0a600f4e350/28ba9c17-b8b6-41d6-9074-b0af00c0416f/468x382.jpg)
Lot 236
Bible [English]. [The Holy Bible, Containing the Old Testament, and the New: newly translated out of the Originall Tongues: and with the former Translations diligently compared and reuised by his Maiesties speciall Commandement. Appointed to be read in Churches, Imprinted at London by Robert Barker, Printer to the Kings most excellent Maiestie, 1617], general title lacking, New Testament title present with decorative woodcut border (slightly loose and short closed tear at gutter), Apocrypha present, black letter double column text, decorative woodcut initials throughout, Ruth 3:15 reading 'She went into the citie', leaves 2F6, 2U4 and 5S1 torn to lower outer corner with very slight loss to border, closed tear to 5B2, hole to fore-margin 5H5, lower outer corner of 5O6 torn with slight loss to printed marginal note, Genealogies by John Speed present, with several woodcut genealogies including one incorporating an image of Adam and Eve in the Garden of Eden, verso of title to genealogies with contemporary ownership inscription 'Hunc libyu Franciscus Morrice de Huntercumb Armiger dono dedit in ... Parochia Bornham die 25 Decembris die natali salvatoris nostrii Jesu Christi, Anno Dom. 1617 ... Johannes Wryght', occasional short worm trails to gutter margins of few leaves within volume, sewing weak in places and contents loosening in places, occasional light dust-soiling and damp stains, few marks, some marginal fraying mostly to leaves at front and rear, pencil note to front pastedown ' Bt at sale of part of contents of Helperby Hall, Yorkshire, seat of Milnes-Coates family, June 1989', contemporary blind panelled reversed calf, upper board with very indistinct blind label ('Burnham'? dated 1725) with gilt foliate decoration, spine lifting from text block and torn with some loss, worn, folio (41.7 x 27.7 cm)QTY: (1)NOTE:Darlow & Moule 273; Herbert 353; STC 2247.The third distinct folio edition, printed in large black letter, of King James' version (Herbert, Darlow & Moule).
Lot 308
Pair 1937 Pattern Battledress Trouserskhaki woollen, wide leg trousers. Right hip with first aid pocket. Front of left leg with large patch pocket with hidden button flap. Seat with hidden pocket with hidden button flap. Waist with three belt loops. Label absent. PAYMENT BY BANK TRANSFER ONLY
Lot 354
WW2 Dated RAF War Service Battledress Jacket And Trousersblue grey woollen, single breasted, closed collar, short jacket. Lower extended belt. Pleated chest pockets with hidden button flaps. Both arms with printed eagles. Internal issue label dated 1945 .. Matching blue grey woollen battledress trousers. Left hip, first aid pocket. Side slash pockets. Hidden seat pocket with buttoned flap. Issue label "Size 00" dated 1944. Minor moth nips. 2 items. PAYMENT BY BANK TRANSFER ONLY
Lot 355
1941 Dated RAF Aircrew Battledress Trousersblue grey woollen, battledress trousers. Left hip hidden pocket with hidden button flap. Side slash pockets. Seat with two hidden pockets both with hidden button flaps. Four belt loops. Ankles with tightening straps. Brass disc buttons. Issue label "Trousers Blue Grey Aircrew". Size 00. Dated Nov. 1941. Clean condition. PAYMENT BY BANK TRANSFER ONLY
Lot 18
A Chinese blackwood piano stoollate 19th centurywith simulated bamboo uprights and side supports forming the cabriole legs, the central panelled hinged seat above an openwork leaf and bamboo apronDue to the size of this item, please note that it MUST be collected from our auction venue at Farleigh Golf Course by 3pm on Friday 17th November. For further information please contact our office on 020 8468 1010height 71cm, width 55cm, depth 40cmCondition: Some of the joints have gaps and there has been some re-gluing. There is movement side to side to one end which would need attention.
Lot 147
A very fine pair of Chinese Qing dyansty silk seat covers with phoenixes and a foo dog chasing a ball with excellent gold wrapped threads and very delicate embroidery. Excellent quality and rare to find a pair together.Each; length: 53 in x width: 21 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 151
Antique Chinese yoke-back hardwood folding chair. With a woven seat and brass fittings. The backsplat with a lovely carved medallion.Height: 47 in x width: 27 in x depth: 24 1/2 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 61
Curious example of an ashanti stool (Ghana) often used as a seat for the owner's spirit.We can commonly say that ashanti stools represented the wealth and social status of the holder. The uniqueness of this lot lies in the underside where we find two very interesting labels. The first one reads, Mr. Joseph Thompson - low tawn - Cape Coast Castle. Cape Coast Castle was a place where slaves were housed during the British colonial era. We also believe there was a transcription error related to the surname. Joseph Thomson was a British explorer active during the years the object was produced. The second label indicates that the object was brought back to England by a missionary society: the "methodist missionary society."
Lot 476
SOUTH AMERICA -- CARIBBEAN -- "A CHART OF YE WEST-INDIES or the Islands of America in the North Sea &c. Being ye Present Seat of War. By Herman Mol Geographer". (London), Printed for T. & J. Bowles, n.d. (c. 1740). Engr. map cold. in outlines. 290 x 362 mm. -- And 3 o. of the Antilles (by Bellin, v.d. Aa, Duvotenay). (4).
Lot 98
AN IMPORTANT GILDED COPPER GEM-INSET FIGURE OF MAHASRI TARAC.12TH CENTURY BIHAR, EASTERN INDIAThe finely cast and gilded-copper figure wears a diaphanous floral-patterned lower garment, sumptuous jewellery including a necklace, broad bangles, armbands, a belt clasp and anklets all inset with semiprecious stones, a jewelled diadem, a topknot and large hoop earrings. Her hair is worn in a large bun at the right shoulder, with her hands in the teaching gesture (dharmacakra-mudra), the left holding the end of a scarf draped over her forearm and falling to the lotus seat by her left knee. She has two gem-set lotus stems at her side and is seated in the posture of royal ease (rājalīlāsana) on a lotus emerging from scrolling vine and gem-set lotus buds, all supported on a tiered platform with large pearl border. The pedestal is held by serpent kings (nāgarāja) at either side, and an attendant cradling Tara’s pendent right foot with her outstretched hands, with an elephant, lion, and a human figure among scrolling vine at the rear, and a tenon projecting from her back to affix a backplate, (now lost), into two slots cast in the back of the pedestal. The statue is cast in five parts, the figure of Tara together with the upper tier of the lotus pedestal, the lower tier of the lotus pedestal together with the plinth, the attendant figure supporting Tara’s foot, and the two nāgarāja, 1.3kg, 16.5 cm.Provenance: from the collection of Norman Blount (1875-1930). Norman Blount was a jute broker, as well as the joint secretary (with the artist Abanindranath Tagore) of the Indian Society of Oriental Art, which was founded in 1907 in Calcutta, with Lord Kitchener the Society’s President.十二世紀 鎏金度母坐像來源：諾曼·布朗特（1875-1930）收藏。諾曼布朗特曾是一個黃麻經銷商，與藝術家泰戈爾一起擔任了印度東方藝術協會的聯合秘書（1907年於加爾各答成立），而霍雷肖•赫伯特•基奇納元帥(1850-1916)為協會主席。Mahāśrī TārāThe immensely popular goddess of compassion (karuṇā) and transcendental wisdom (prajñā), Tārā is known to intercede in the lives of her faithful and protect them from all manner of harm.Since her first appearance in India around the 7th century, she has assumed many iconographic forms. In this c.12th century sculpture from eastern India, she appears as the exalted (Mahāśrī) Tārā. Both teacher (her right hand assumes the teaching gesture, dharmacakra mudrā) and divine mother, she turns her compassionate gaze downwards to meet that of her devotees. She extends forward her gently cradled right foot, as if preparing to rise from her regal seat (rājalīlāsana) and enter the world. The goddess is closely aligned with nature. Her lotus seat, supported by two serpent kings (nāgarāja), arises within a natural setting. Two verdant lotuses enclose her, their flowers turning inward towards Tārā as if to acknowledge her luminosity. Indeed, the c. 7th century Sanskrit text Mañjuśrīmūlakalpa includes poetic tributes of her in just such terms, “trees, studded with flowers on every branch, abounding with open flowers…their bending boughs…turned towards the goddess Tārā.”Beneath the throne, tendrils arise from the stem of her lotus seat and fill the space with gem-encrusted foliate roundels, enclosing animals (lion and elephant), and human alike. Her seat rises above a stepped platform, finished by a row of large pearl beads. The sculpture was once completed by a (now missing) backplate, secured on a tenon at the back and further secured into two slots below it. Richly gilded and crowned and bejewelled, her lavish adornments include a substantial necklace, upper armlets, bracelets, belt, and anklets, all skilfully inset with multi-coluored gems. Large hoop earrings and a silk skirt with incised hem and floral ornaments also reflect her elevated status and enhance her beauty.This elegant sculpture is remarkable for its refinement, its balanced composition and Tārā’s beautiful countenance, which may be compared with that of the celebrated and contemporaneous Avalokiteśvara from Kurkihār. Gilded sculptures from eastern India are rare. Other outstanding examples include the c.12th century Avalokiteśvara from Kurkihār (25.5 cm.); a c.12th century Tārā in the collection of the Potala, Lhasa (41.5 cm.); and a c.9th century seated bodhisattva in a private collection (20 cm.). The circular tendrils enclosing figures along the base is a motif seen in other eastern Indian medieval sculptures including two 10th-11th century bronze sculptures from Faridpur, Gaya district. The large pearls along the base are also found in a copper alloy sculpture of a c.12th century seated Maitreya in the Ford Collection. Similar seated posture and inset gems can be found in a c.11th-12th century copper alloy sculpture of Padmapāṇi in the Bertie Aschmann Foundation of Tibetan Art at the Rietberg Museum. Tārā’s hair, drawn into a bun just behind her right shoulder, can be seen in other eastern Indian medieval sculptures, including a Tārā in the Potala Collection in Lhasa.The eastern Indian medieval school of art flourished between the eighth and the end of the twelfth centuries. A significant number of eastern Indian medieval sculptures bear inscriptions that include regnal dates of the local Pāla and Sena kings, making it possible to construct a fairly accurate chronology for this regional school. Encompassing the modern Indian states of Bihar, West Bengal and the country of Bangladesh, eastern India was the Buddhist homeland, the region where Śākyamuni Buddha (c.480 – c.400 BCE) became enlightened, expounded his spiritual teachings, and died. Countless devotees from within India and across Asia travelled here to seek authentic Buddhist teachings for over a millennium, until the final Muslim invasions of north India around the turn of the 13th century. Pilgrims studied at the great monastic universities (mahāvihāra) of Nālandā, Odantapurī, and Vikramaśīla, and offered homage at the region’s many temples and shrines. Indeed, works of art were a crucial element in the Buddhist pilgrim’s education in eastern India. A consecrated image was thought to embody the timeless presence of powerful gods. Particular statues were sometimes the destination of pilgrimage. Famous icons were said to speak, walk, give their jewellery to the poor, and above all, to answer the prayers of their devotees. Tibetan pilgrim Dharmasvamin described the main image in the Mahābodhi temple at Bodhgayā as insatiable to behold, such that when “even people with little faith [saw the image, they] felt it impossible not to shed tears.”Jane CaseyAugust 2023Dr Jane Casey is an art historian specializing in Himalayan art. She curated exhibitions at the Metropolitan Museum of Art in New York and at Casa Asia in Barcelona. Her publications include books and articles on Himalayan painting and sculpture. She is a Research Fellow in Tibetan Art at the Palace Museum, Beijing.
Lot 131
A CHINESE HUANGHUALI HORSESHOE-BACK ARMCHAIR, QUANYIQING DYNASTYWith a curving top rail, which slopes down to arms supported by serpentine side posts and terminating in scrolls. The back splat carved with a ruyi-shaped panels closing a stylised lingzhi, the back corner posts continuing below the rectangular framed seat which is set with wicker. The legs joined by stretchers and with elegantly shaped aprons, 87cm high, 64cm wide, 46cm deep.Provenance: property of a deceased estate, West Sussex.Horseshoe-back armchairs of this type were seats of honour and were often depicted in Ming and Qing dynasty woodblock illustrations. The design, with the elegant curved top rails, enjoyed continued popularity, and gave the sitter a commanding presence, particularly when draped with sumptuous textiles. They were also used informally for dining, painting, or receiving guests, and with the addition of carrying poles, became sedan chairs.清 黃花梨圈椅來源：西薩塞克斯郡遺產。
Lot 50
Suite de six fauteuils à la reine d'époque Louis XV de Nogaret à Lyon, en noyer sculpté, milieu du XVIIIe siècleA suite of six Louis XV carved walnut fauteuils à la reine by Nogaret à Lyon, mid-18th centuryEach with shaped and moulded rectangular back, the toprail carved with a floral spray, outscrolling armrests and seat-rail carved conformingly with floral motifs and C-scrolls, resting on cabriole legs headed by further floral spray, covered in light blue silk damask, the back seat rails stamped 'NOGARET A LYON', with small oval label numbered and inscribed 'ROBBIG', each seat rail numbered in black ink 1 to 6, some restorations to legs, 72cm wide x 70cm deep x 97cm high, (28in wide x 27 1/2in deep x 38in high)Footnotes:Provenance: Most probably sold Drouot, Paris, 4 December 1986;With Röbbig, Munich;The Rosa Alba CollectionLiterature:P. Kjellberg, Le Mobilier Français du XVIIIe siècle, Paris, 1989, p.607, illustrated. Nogaret à Lyon, maître menuisier in 1745 in Lyon.Although born in Paris, Pierre Nogaret served his apprenticeship and his whole career as a menuisier in Lyon, and is well known for the sinuous form and distinctive floral clusters of the carved frames of his seat furniture. Nogaret regularly stamped his furniture on the reverse of the back. Examples of Nogaret's work can be found in the Musée Historique and Musée des Arts décoratifs of Lyon, as well as in the Musée Jacquemart André, Paris.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Lot 1094
A spindle Morris Stickley cherrywood Armchair, 91-369-71, the adjustable back with five curved cross rails, each side with sixteen vertical rails on four heavy square legs, the seat and back cushion in William Morris style fabric; together with various markings, labels and stamps, June 17, 2003, and a matching Stool by Stickley, 91-395-23, with railed sides and square legs, June 17, 2003. (2)
Lot 1095
A spindle Morris Stickley cherrywood Armchair, 91-369-713, June 16th, 2003, the adjustable back with five curved cross rails, each side with sixteen vertical rails on four heavy square legs, the seat and back cushion in William Morris style fabric, together with matching Stool, by Stickley, with railed sides and square legs. (2)
Lot 383
A heavy cast iron Vintage Dentist's Armchair, with adjustable seat and back, padded seat back and arm rests, adjustable head rest and foot rest, the arms with leaf cast terminals, on splayed legs with paw feet, covered in red fabric; together with a brass Dentist's Spittoon, with glass bowl, raised on a faux marble plinth on square base with paw feet, 79cms h (31"). (2)
Lot 480
An attractive 19th Century Georgian style mahogany Side Chair, with pierced splat back, the seat covered in cream damask on front square legs, united by H stretcher; together with an Edwardian mahogany Revolving Bookcase, with latted sides on an X frame base, approx. 86cms (34") tall; and a late 19th Century ebonised Centre Occasional Table, the chinoiserie papier mache rectangular top with a standing figure of a bird and flowers, probably associated, on turned stem and quadruple pod, 70cms x 51cms (27 1/2" x 20") (3)
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