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Lot 72
A German late 18th century ormolu and white marble mounted mahogany, burr elm, maple, mother-of-pearl and stained sycamore 'Schreibschrank' attributed to the circle of David RoentgenCirca 1795, the superstructure comprising a pierced fretwork gallery surmounted by five urn finials above a pair of mirror-inset panel mounted doors enclosing one shelf, interspersed with three Corinthian columns, over a concealed stepped central drawer flanked by projecting block and urn finial mounted angles, the frieze drawer below with an inset hinged top, above a fall enclosing an architectural interior comprising a catch-activated cedar-lined drawer with triangular pediment mouldings, over a central arched recess with a mirrored interior and chequered lozenge-inlaid floor centred by a model tempietto, flanked by two arched recesses and interspersed with four composite columns and two conforming engaged end columns, with two pierced fretwork secret drawers below, above five catch-activated mahogany-lined drawers, the reverse of the fall inlaid with a central conch shell oval, over a ribbon-tied oak-leaf mounted waist with projecting mille raie block angles, with three long panelled drawers below, flanked by canted classical youth herm-tapering and husk pendant mounted pilaster angles, terminating in square tapering panelled feet, 112cm wide x 54cm deep x 210cm high, (44in wide x 21in deep x 82 1/2in high)Footnotes:ProvenanceFormerly from the Estate of Elizabeth Fondaras, USA.With Peter Muhlbauer, Lower Bavaria, between 2013 and 2017.Then purchased by the vendor from Christie's, London, 4 July 2017, European Furniture and Works of Art, lot 57.A comparable, albeit slightly plainer, version of the offered lot sold Christie's, Amsterdam, 24-25 June 2008, lot 751. This Berlin 'Schreibschrank', or secretaire a abbatant, attributed to Georg Ruppert is of similar design and incorporates related characteristics such as white marble or alabaster columns, the Ionic capitals appearing one level below Corinthian ones, a galleried cabinet superstructure and a fitted architectural interior. It was supplied by Ruppert to the Prussian General Carl Freidrich Henrich, Graf von Wylich und Lottum (1767-1841).Although due to the current absence of relevant documentation the cabinet maker responsible for the present secretaire is unknown, as more academic research is completed and further information made public then this will inevitably change over time. However for now it is clearly the case that whoever produced such a magnificent piece, or meisterstuck, of German craftsmanship had undoubtedly been directly influenced by the incredible output and legacy of one of the most renowned cabinet makers of all time, David Roentgen (1743-1807).This wonderful secretaire perfectly typifies the latter stages of the Neoclassical style, and in particular the gout Grec, which was indicative of the height of fashion across Europe during the period 1770-1800. The impact of David Roentgen, whose output was always distinct, elegant, supremely high quality in terms of its construction and often enclosed ingenious mechanisms, especially dominated Prussia, or what is now modern day Germany. And this impact can be seen in the works produced by the contemporaries and immediate successors of Roentgen, which very often sought to emulate the latter's example and merely introduced subtle variations to his stock designs and clearly defined models. It is also worth noting that, during the peak of its fame, the annual income of the Roentgen workshop rivalled that of the Meissen porcelain manufactory, W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, 2012, New York, p. 3.As a result of Roentgen's successful personal and working relationship with perhaps his most important patron, Crown Prince Frederick William who later became Emperor Frederick William II, he was honoured with the title of Royal Prussian Privy Councillor. Then in 1791, by which time Roentgen had evidently already begun to draw back from accepting new commissions, he chose to give his financial backing and influential support to his foreman, David Hacker, so that the latter could set up his own workshop and in essence become Roentgen's most immediate successor. Hacker, who himself went on to supply many of the Prussian Royal palaces with furniture, appears not to be the likely maker of the present lot however Johann Georg Stein and Johannes Andreas Beo, who both trained under and worked for the former, are indeed possible candidates. Stein and Beo, who evidently inherited Hacker's predilection for the working method and aesthetics originally developed by Roentgen, each executed a practically identical model of 'Schreibschrank', which in turn closely relate to the offered example, A. Stiegel, Berliner Mobelkunst, 2003, Berlin, fig.'s 28-9, p. 95. All three of these have characteristics in common including the use of brilliant mechanisms, a la Roentgen, such as concealed drawers and compartments stored within separate central architectural units. In an inventory of the Charlottenburg Palace undertaken in 1800, the secretaire by Stein is documented as being housed in the private dressing room of Empress Louise (1776-1810), wife of Friedrich III. While the Beo version, which seems to have once enclosed an impressive clock mechanism (in direct continuance of the tradition of Roentgen) remains for now at the Getty Museum (84.DA.87).As well as helping Hacker to establish himself, it appears that Roentgen also assisted Johann Cristian Harder, another cabinet maker who had worked for the former, to also found his own firm in Brunswick in circa 1800. Harder even calls it the Braunschweigische Priviligierte Kunst-Meuble-Fabrik von Neuwied in honour of Roentgen. Constructed following the same stock design as the three aforementioned secretaires, Harder's comparable model, in the collection at the Kunstgewerbemuseum in Berlin, is even more impressive in terms of the extremely complicated and ingenious mechanisms stored within it. And as a result this particular variant features, analysed in meticulous detail, in W. Koeppe, Extravagant Inventions, The Princely Furniture of the Roentgens, 2012, New York, app.'s 3.1-3.15, p. 234.Ultimately the difficulty in attributing the above lot to any of the previously referenced makers - Hacker, Stein, Beo or Harder - proves the immense consistency and cross fertilisation in terms of ideas, innovations and artistry among these Prussian cabinet makers during this period. However one common thread uniting all of them is clearly the enormous and understandably all-pervasive influence of David Roentgen.This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 83
A matched pair of satinwood and carved mahogany urns and pedestalsone urn and pedestal circa 1775, the other of a later date but probably 19th centuryThe lidded classical urns with pine-cone finials, one enclosing a lead liner, above ovoid bodies with guilloche borders and applied ram's heads and swagged bellflowers, with male and female portrait medallions, above stiff leaves and fluted collars, on stiff leaf carved socle bases and stepped plinths; the square pedestal tops with leaf moulded edges, each front carved with classical urns flanked by scrolling acanthus and grotesque masks, above scrolling riband tied acanthus flanked by angled pilasters, headed by leaf and pine-cone carving with trailing bellflowers, on plinth bases, one pedestal enclosing a lead lined drawer and shelf, with a concealed tap in the top, the later copy entirely in mahogany, each 56cm wide, 56cm deep, 189cm high, (22' wide, 22' deep, 74' high) (2)Footnotes:A related pair of George III carved mahogany sideboard pedestals and urns with applied carving to the pedestals and similar urns are illustrated in F. Lewis Hinckley, Hepplewhite, Sheraton and Regency Furniture, London 1990, p.229. An urn of closely related form with similar lotus-leaf banding and swagged husks and medallions forms part of a cast-iron stove for the Saloon at Castle Coole, Co. Fermanagh by Carron Iron Co., Falkirk, Scotland (the house designed by James Wyatt), see H. Montgomery Massingbird and C. Simon Sykes, Great Houses of Ireland, London, 1999, p.11. Other Stove urns of this type include one in the collection at Temple Newsam, see C. Gilbert, Furniture at Temple Newsam and Lotherton Hall, Bradford, 1978, Vol III., p.629, Fig.773 and another formerly at Compton Place, Sussex and now in the collection of the V&A (M.3-1920).Similar shaped painted urns and pedestals with applied decoration to the pedestals were designed by Robert Adam and supplied to the re-modelled dining room at Saltram circa 1780 and are illustrated in R. Edwards, The Dictionary of English Furniture, Vol. III, 1954, London, p.139, fig.5. Designs for related urns with carved pedestals were published by George Hepplewhite in his 'The Cabinet Maker and Upholsterers Guide, third edition, 1794, pl.35&36.Sideboard pedestals and urns became fashionable in the 1760s. The pedestals themselves provide extra storage and often contained a plate warmer or cellaret drawer. The urns were normally lined to hold either iced water or water for rinsing cutlery in the dining room. Sheraton wrote in his Cabinet-Makers' and Upholsterers' Encyclopeodia (1805) that 'Pedestals with vases at each end of the sideboard, one was used as a plate warmer, while the other sometimes contained a cellaret for wine while the vases 'are used for water for the use of the butler, and sometimes made of copper japanned, but generally of mahogany'.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 93
A French mid-19th century ormolu, silvered metal, aventurine glass and blue coloured glass mounted ebony and ebonised breakfront meuble d'appuiprobably made for the Ottoman or Russian marketWith an onyx top and gadroon mounted edge moulding above a frieze mounted with a trailing branch issuing C- and S-scrolls, foliage and flowers, over a central panelled door mounted with flowers, berried foliage, two cockerels and scrolled acanthus centred by a Flora mask, enclosing one long shelf, flanked by two smaller panelled doors each with a central arched panel inset with scrolled foliage, floral, shell and lion mask mount hung with a ribbon-tied martial trophy pendant comprising fasces di combattimento, weapons, banners, trumpets, drums and a suit of armour, with a floral bouquet and scrolled foliate mount below, interspersed by flowerhead and entrelac chute angles, flanked by projecting canted angles each with concave panelling mounted with pendant C-scrolls, rosettes and rocaille centred by an entwined floral wreath mount, above a shell, scrolled acanthus and floral cast apron mount, on foliate capped spiral reeded toupie sabots, with tortoiseshell veneered rear pilaster angles, some losses and some composition replaced segments to the blue coloured glass, restorations, 165cm wide x 56cm deep x 99cm high, (64 1/2in wide x 22in deep x 38 1/2in high)Footnotes:ProvenanceSir Warwick and Lady Fairfax Collection, Sydney.Within the vendor's family both the offered and following cabinets, lots 94 and 95, were believed to have originally belonged to the celebrated Rothschild Collection, and were possibly even purchased as such during the mid 20th century. And an excerpt from an old valuation with this alleged provenance appears applied to the reverse of the door. However unfortunately we have not come across any records proving that the present cabinet had any connection to the Rothschilds.The collection of Sir Warwick and Lady Fairfax represents a significant chapter in Australian twentieth century history, the Fairfaxes being as they were one of the country's most prominent families. Fairwater, their 19th century harbour-side home that housed their vast art collection, became the most valuable property ever sold in Australia when it came to the market following Lady Fairfax's death in 2017. Until that time Fairwater had become a symbol of Sydney's social scene, a society destination where parties were held amongst artworks by Rodin, Chagall, Degas and Epstein. One party, for instance, was held to celebrate the opening of the Sydney Opera House in 1973 where the 800-strong guest list included names like Liberace, Rudolf Nureyev and Rex Harrison. With Sir Warwick Fairfax at the centre of the dynasty's seat, Fairwater truly became the focal point of the family's story. The young Warwick took over the family publishing business following the death of his father Sir James in 1930, who had become one of Australia's most prominent figures after leading and growing a business that encompassed The Sydney Morning Herald, The Sun Herald, The Age and The Australian Financial Review – many of the country's top news publications. The family's influence was inestimable. During Warwick's tenure as head of the family business he took over the influential architecture, design and interiors review called: The Home. It was at this time that he really started to engage with collecting and decorating the family home at Fairwater. The founder of The Home, Ure Smith, became a close advisor and he introduced Warwick to a number of important figures in the art world who would go on to shape Warwick's collection. The combination of this new milieu and Warwick's marriage to his second wife Hanne, a Danish ballerina who loved the arts, galvanised the businessman's interest in collecting. Regular trips to Europe during the 1940s resulted in acquisitions from renowned galleries such as The Leicester Galleries, London, where Warwick purchased works by Marie Laurencin, Edgar Degas and Maurice Utrillo.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's 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 31
A pair of George III mahogany urns and pedestalsCirca 1785, each urn with a fluted and oak-leaf carved lid surmounted by a pineapple finial, above a reeded, beaded and berried stiff-leaf clasped body with a Vitruvian scroll and honeysuckle frieze, over a guilloche collar, enclosing a lead-lined interior, the pedestal with a gadrooned edge above an acanthus frieze, with a door below surmounted by scrolled flowers and foliage centred by a palmette, one pedestal enclosing a lead-lined interior and the other enclosing one lead-lined drawer, one shelf and a door, 48cm wide x 48cm deep x 175cm high, (18 1/2in wide x 18 1/2in deep x 68 1/2in high) (2)Footnotes:Some designs for closely comparable Neoclassical urns and pedestals to the offered lot, which were first published posthumously in 1787, are illustrated in G. Hepplewhite, The Cabinet-Maker and Upholsterer's Guide, pl.'s 35 & 36, New York, 1969. Between 1775 and 1785 a pair of urns and pedestals with similarly carved ornament, including almost identical Vitruvian scroll friezes and gadrooned pedestal top edges, were provided by the Gillows firm for Lulworth Castle, Dorset. The latter being the family home of the Welds, who also resided at Stoneyhurst in Lancashire. These examples feature in S. Stuart, Gillows of Lancaster and London, 1730-1840, Vol. I, pl.'s 346 & 347, p. 310.A pair of mahogany knife urns, dating to circa 1790, which also share many characteristics in common with the present urns were bequeathed to the Victoria and Albert Museum by Dr T.R.C. Whipham through Barclays Bank Ltd. in 1945. One appears in M. Tomlin, Catalogue of Adam Period Furniture, Victoria and Albert Museum, 1972, London, W/2, p. 190.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 203
HOOKER (WILLIAM JACKSON)British Jungermanniae: Being a History and Description, with Colored Figures, of Each Species of the Genus, and Microscopical Analyses of the Parts, FIRST EDITION, FROM THE LIBRARY OF JOHN RUSKIN, with an inscription in his hand [see footnote], half-title, 88 hand-coloured engraved plates by W.H.C. Edwards after Hooker, contemporary calf, rebacked, rubbed with some some abrasions [Dearden, Ruskin Library 1734; Nissen, BBI 916], 4to, Longman, 1816Footnotes:John Ruskin's copy, which he presented to the Hawkshead Institute, situated less than four miles from his home at Brantwood. Hooker's 'most beautiful work' (DSB), this study of cryptogamic plants was the result of ten years preparation.Provenance: Robert Kaye Greville (1794-1866, cryptogamic botanist), bookplate; John Ruskin, with his note of purchase from Quaritch (£5/10/-) and gift inscription to the Hawkshead Institute ('John Ruskin, Brantwood, Candlemas 1883') on the half-title. In 1873 the book was located on Shelf 4, South Study Bookcase, Brantwood.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 267
A 85cm vintage flame mahogany veneered drinks cabinet with ornate brass embellishments and strap hinges to pair of doors enclosing an illuminated mirrored and glass shelf interior with slide over beaded doors, set on decorative pierced apron and cabriole legs with pad feet - bearing Maple Quality label - matching LOT 183
Lot 326
* Wallis (Barnes Neville, 1887-1979). Autograph Letter Signed, 'Daddy', White Hill House, Effingham, Surrey, 6 October 1953, to 'My dear Brother' [i.e. his oldest son Barnes Jr, 1926-2008], thanking him for his letter of birthday good wishes before talking about the Wild Goose project, 'The Wild Goose has flown again, most successfully, except that, owing to too hasty a stiffening of her bow undercarriage, which jerked up, she actually "took-off" twice after her first landing, compelling the pilot to land her 3 times in all plus the 3rd time the speed was so low that she was no longer under control, and sat down on her tail, or rather place where a normal bird would carry its tail!', with a pen and ink diagram showing this landing trajectory, then returning to family matters and agreeing that he can get some maths coaching in the holidays, noting that Boudie is in Welsh Wales with Nancy, 'no husbands by request!' and concluding that he doesn't suppose he shall 'finish the book-shelf before you return!', 2 pages, the second page written horizontally, a later unrelated pencil note by his daughter Mary inscribed to upper left corner of first page, 4toQty: (1)NOTESProvenance: From the family of Barnes Wallis, by direct descent. Wild Goose was an unmanned aerial vehicle developed by Barnes Wallis for his research into tailless variable-sweep aircraft incorporating a radical new control system capable of high-speed, long-range performance. After several years of tests and crashes the project was terminated in 1954 by which time Vickers had begun studies on a successor to the Valiant V-bomber. For this new project Wallis evolved his Wild Goose design into the Swallow.
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