A fine and significant Italian pietra dura table top on an ebonised and gilt bronze mounted centre table or gueridonthe pietra dura top circa 1850 and probably Florentine, the 19th century table apparently of a slightly later dateThe black marble top inlaid with an assortment of hardstones and marbles including lapis lazuli, duke's red, white marble and turquoise, the central assorted floral bouquet comprised of madonna lilies, convulvus, roses, 'forget-me-nots', violas, jasmine and 'lily of the valley' together with a bunch of grapes, within a wreath-form border comprising a variety of pearl pendant-hung ribbon-tied flowers and floral trails, the surround with a central coat of arms surmounted by a lion rampant and above the motto: 'PRO PATRIA', with a detachable rosette-embedded guilloche frieze below, on a ring turned baluster column, with a concave tripartite base terminating in roundel turned feet and brass castors, the underside of the table bearing an indistinct stamp, the pietra dura top: 77.5cm x 66cm x 3.5cm; the table: 83cm wide x 72cm deep x 80cm high, (32 1/2in wide x 28in deep x 31in high)Footnotes:Provenance:At some point in the mid 19th century the offered pietra dura table top was commissioned in commemoration, or perhaps more accurately in celebration, of a marriage between two individuals, one from the Wallace family and one from the Lowles.Two related 19th century pietra dura table tops are illustrated in A. Giusti, Pietre Dure: Hardstone in Furniture and Decorations, 1992, London, whilst a couple of further tops, along with the aforementioned, appear in l'Opificio dell Pietre Dure nell'Italia Unita, dagli Splendori di Corte al Lusso Borghese, ed. by A. Giusti, 2011, Florence, No. 2, pp.'s 90-91; No. 14, p. 110; No. 28, pp.'s 134-135; and No. 32, pp.'s 144-145.One of these remarkable pietra dura tops, despite featuring in both of the previously referenced books, is also highlighted in yet another of Annamaria Giusti's impressive academic works on the subject. This specific book is A. Giusti, Pietre Dure and the Art of Florentine Inlay, 2006, London, ill. 186, pp.'s 228-229 & ill. 200, p. 244. Whilst the top so understandably focussed upon by Giusti is a true 'tour de force' in pietre dure and incorporates similar colourful flowers and bunches of grapes to those on the present example. In addition to these, a Florentine table top with a closely comparable central floral bouquet and distinctive border comprised of assorted flowers to those on the offered model, is pictured in Koeppe, Wolfram and A. Giusti, Art of the Royal Court, Treasures in Pietre Dure from the Palaces of Europe, 2008, New York, pp.'s 98-99.The Coat of ArmsThe arms depicted upon the present pietra dura top are those of Wallace impaling Lowle, or rather they are the marital arms of the families of Wallace and Lowle. Consequently it seems a logical conclusion that this commemorates, or possibly more accurately celebrates, the marriage of two individuals from these respective dynasties, the identities of whom currently remain unknown.The display of the arms of Murray in the second and third quarters of the husband's arms suggest that he was descended from the marriage of the Reverend John Wallace (circa 1674-1733) and Christina Murray (circa 1676-1755). John Wallace served as the minister of the parish of Drumelzier, Peeblesshire, in the Scottish borders, whilst Christina was the daughter of William Murray of Cardon and the latter's wife, Christina Veitch. It is documented that John and Christina were married in Edinburgh on 5th March 1706. The Murray arms as depicted here certainly pertain to the Murrays of Falahill in the county of Midlothian, from whom Christina and the territorial house of Murray of Cardon were descended.Although there is an apparent shortage of available records, due to the marshalling of the arms depicted on this coat of arms, we may conjecture that a marriage definitely occurred between the Wallaces and an heiress of the Lowle family at some point in the late 18th or early 19th century. It is notable too that the youngest son of John and Christina, also called John (baptised 1718-1783), emigrated from Scotland thereafter settling in 1742 in British North America, where the latter established the family of Wallace of Burlington, New Jersey and Philadelphia.According to the monumental inscription on the memorial for John Wallace, located above his grave in St. Peter's church in Philadelphia, he died at the age of sixty-five years old at Hope Farm in Somerset County, New Jersey. Not far from John Wallace's memorial is another Wallace vault displaying the family arms. These arms seem identical to those appearing in the first quarter of the coat of arms on the above table top, with their closely comparable demi-lion crest and the motto: 'Pro Patria' which unquestionably denotes kinship to John.Despite the possibility of it being purely coincidental, with regards to the Lowle dynasty someone called Percival Lowle (1571-1665) also left Britain in order to begin a new life in America. Over there, he would eventually establish himself as the patriarch of this Lowle family, whose surname changed over time to ultimately become 'Lowell' instead of maintaining its original spelling. Once they finally settled in Boston, Massachusetts, the Lowles, who originally hailed from Clevedon in Somerset and Yardley in Worcestershire, went on to become one of the major families there, eventually being referred to as the 'Boston Brahmins'. It is incredible to ponder that this particular work of supreme skill also proves that a marriage took place between the progeny of two wealthy and prominent British emigre families far from their ancestral homeland.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
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A good mid-19th century two-day mahogany marine chronometerRichard Hornby, Liverpool, No. 793The three part case with blank brass cartouche inlaid on the top lid, the centre section with 12 point brass star button above an ivory number plaque, the lower section with similar twelve point inlaid brass escutcheon and hinged handles. The 3.5 inch silvered Roman dial with subsidiary power reserve dial at XII over an observatory style seconds at VI numbered 793 with blued steel and gold hands. The spotted movement with four ringed pillars and maintaining power to the chain fusee, free sprung blued steel helical balance spring with diamond endstone and Earnshaw type detent escapement, cut and compensated bimetallic balance with keystone balance weights, sitting in a weighted gimballed bowl bearing a faded stamp from an Antwerp chandler (?), with sliding dust cover. Ticking with two winding keys and a case key.Paperwork with the lot includes a ship's logbook and other items, see footnote. 16cms (6ins) wideFootnotes:Purchased 25 April 2012 from Jeffrey Formby Antiques.This lot comes with a variety of associated paraphernalia detailed below. The chronometer was on board the SS Queen Helena between 1910-1913, captained by Thomas Rankine. It is suggested by one of the chronometer's previous owners that the timepiece was personally owned by Thomas Rankine and was present on all his voyages. Thomas Rankine's Log book beginning March 1893.Chronometer Rating certificates on SS Queen Helena (1 from Liverpool, 4 from New York, 1 from Swansea, 1 from Buenos Aires) 1910-1913.Certificate of Master in the Merchant Service, dated 1884 for Thomas Rankine.Registration Ticket of Master from The Shipping Federation in 1892 for Thomas Rankine.Ship Token for Clan Buchanan, one of Rankine's ships. Photo of Rankine using a sextant on the SS Queen Helena.2 undated obituaries for Thomas Rankine.Note from a previous owner.Various computer printouts regarding Richard Hornby, Thomas Rankine, and the current lot when offered for sale by Jeffrey Formby Antiques as well as a complete printout of an Antiquarian Horology biography of Richard Hornby.For a biography of Richard Hornby, see the Appendix.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
A fine and rare mid 18 century quarter chiming table clock, chinoiserie decorated on a light yellow ochre groundEardley Norton, London, numbered 297The bell top with five cone finials over a pair of side handles, shaped and circular glazed side apertures, and a moulded base on (later) ogee brass bracket feet, decorated all over with birds, flowers, buildings and figures on a yellow ochre ground, framed by gilt and red borders with green and gilt lattice-work panels to the corners. (The figures include a lone woman carrying a basket of eggs, a man with what appears to be a fish basket, and another pair of walking figures.)The 6.75 inch arched brass dial signed in a shaped recessed panel flanked by twin subsidiaries for 'Chime/Not Chime' and choice of tune 'Minuet/Cotillion', numbered 297 in the upper right hand corner, and bearing the stamp 'E.Carrion/Orense' (a 20th century restorer?), the Roman and Arabic chapter ring framed by rococo scroll spandrels, finely matted centre with chamfered date aperture and original blued steel hands. The mask behind the door further decorated with gilt flowers within red line borders. The triple gut fusee movement with substantial plates united by six knopped pillars, rack striking the hours on a bell and chiming each quarter on a run of eight bells and 16 hammers, and playing a choice of two tunes on the hour, the going train with knife-edge verge escapement. The backplate signed in a foliate reserve Eardley Norton, LONDON' and numbered in the top right hand corner. 53cms (1ft 9ins) high.Footnotes:to comeFor further information on this lot please visit Bonhams.com
A rare late 19th century French neo-Gothic oak table clock with calendarMathieu Planchon, Palais Royal, Paris, movement numbered 2883Surmounted by a crowing cockerel over a scroll frame housing the large bell and horizontal hammer, (with static Jack to one side), enclosed by cruciform brass strips 'rivetted' onto the carcass and twin side doors with bullseye glass and creature handles, the rear door with quatrefoil sound fret, raised on bifurcated scroll feet. The dial is divided with another 'rivetted' brass strip; above, the signed Roman chapter ring with sun centre and beetle and poker hands, the stylised Arabic calendar ring with arrow hand and clouded sun centre. The movement comprised of an upper clock movement with twin spring barrels, Brocot suspension, and an anchor escapement with outside count wheel, the back plate stamped 2883 Planchon Palais-Royal; the lower calendar movement with ratchet driven calendar wheel connected via a lever to the clock movement, and stamped with 775. The rear door carries a stamp depicting a clock and two pocketwatches within a shield, along with the number 3 595. The pendulum is stamped 2883·772. Ticking and striking, together with a a winding key. 27.5 x 26 x 60.5Footnotes:Mathieu Planchon was born in 1842 in Bourges, and served as apprentice to his father, one of the city's clockmakers, until 1862. By 1865/66, he had moved to Paris and was employed at Robert-Houdin's workshop: Robert-Houdin was a horologist and one of the most famous illusionists of all time; it seems likely that Planchon would have worked with Houdin's son, Emile Robert-Houdin who took over running the workshop after his father's retirement in 1855. After about two years he moved to work with a G. Phillippe in the Palais Royal, before taking over the business around 1870. Planchon had a strong interest in the antiquarian side of horology, and by 1896 was being described in the Horological Journal as 'the un-disputed authority in the horology of all countries, and, above all, on that belonging to the Middle Ages'. The 'Figaro' newspaper ran a competition in 1874, soliciting ideas for a watch it could give to its subscribers. Planchon entered and won with an apparently novel case design ....UNFORTUANTLEY THE DESIGN REMAINS UNKNOWN....; 22,000 of the watches were produced and Planchon became a well-known horological figure. He spent the next 15 years assembling a large collection of ancient timepieces, as well as making replicas of antique and middle ages clocks, but with modern, 19th century movements. He did not seem to regard these clocks as copies, but updates to otherwise fine clocks. By 1889, he had assembled enough to be able to exhibit at the Great Exhibition in Paris; he had a large variety of reproduction antique clocks, 75 in all, including clepsydrae and 15th century mantel clocks. He won a gold medal for this exhibition. In 1895, he relocated from the declining Palais Royal to the crossroads of Rue de la Chaussée d'Antin and the Rue Meyerbeer. He continued with his antiquarian pursuits, making, amongst other pieces, a clock in the shape of a fan, which would open to reveal the hours, before snapping shut at 6 'o' clock, which was based on a similar clock in a 16th century engraving he owned. He also extensively studied, and described, both traditional Japanese and Chinese clocks and time-keeping systems; he was the first European to publish a serious horological analysis of these timepieces. In the 1900 Paris Exhibition, Planchon not only won a Grand Prix, he was also allowed to write the official description for the horology section. This same year, in light of his accomplishments at the 1900 Exhibition, and his comprehensive book on the history of horology, L'horloge son histoire rétrospective, pittoresque et artistique published two years previously, he was made a member of the British Horological Institute. He would continue to practice horology and publish various related monographs, until his death in 1921, a few months after his latest work, La Pendule de Paris. Son évolution décorative was published. Paul Brateau, Planchon's son-in-law, employee for the past 21 years, and similarly enthusiastic antiquarian horologist, assumed control of La Maison Planchon, which he relocated to the Rue Meyerbeer proper in 1930, before his retirement, and the final closure of the shop in 1936. A very similar clock, with moon phase instead of a calendar dial and numbered 5885, was sold by Bonhams London in September 2009.Robertson, J. D. (1922) 'Mathieu Planchon', The Horological Journal, Vol. 64 (8), pp. 147-148. (Accessed: 18 May 2022)Bijou (1896) 'French Notes. From Our Special Correspondent.', The Horological Journal, Vol. 38 (9), p. 122. (Accessed: 18 May 2022)W.E.N. (1889) 'Further Notes of a Leisurely Saunter through the Horological Section of the Paris Exhibition',The Horological Journal, Vol. 32 (1), p. 6. (Accessed: 18 May 2022)Collanges, F. (2013) 'Third Lecture', Antiquarian Horology, Vol. 34 (2), pp. 259-261. (Accessed: 19 May 2022)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Victorian bisque headed doll with kid body and a number of pieces of clothing,Condition Report: Green mark on bridge of nose by right eyebrow. Firing crack under nose. Kid body worn, all fingers present. Staining around shoulders. Clothes worn and stained.Blue stamp on kid body but this is illegible.Doll 43cm high.Bone-handled parasol, material split, stained and with holes. 19cm long.
Twenty Kenner 1984 3 3/4" Star Wars Return of the Jedi figures comprising The Emperor, At-St driver, B-Wing Pilot, three Han Solo, two Princess Leia (one with helmet and poncho), two Prunehead (one with cloak), Rancor Keeper, three Teebo (one with horn, two with horn and hood), three Wicket W Warwick (two with hood) Lumat (with hood and quiver) and Paploo (with hood) (no date stamp on Lumat or Paploo), (20), all marked LFL 1984, lacking weapons and accessories unless otherwise stated,
Nijinsky (Vaslav).- Benois (Alexandre Nikolayevich, designer for the Ballets Russes under Sergei Diaghilev, 1870-1960) Original costume design for Nijinsky in the Ballets Russes production of 'Le Pavillion d'Armide', pen and black ink with watercolour over pencil, signed in pencil and extensively annotated by the artist, inscribed 'Le Pavillon d'Armide", 2me version au Théâtre de Châtelet a Paris, Premier spectacle de la première saison des Ballets Russes du S. Diaghilev, Mai 1909', upper left, and at the right side 'Costume de Vaslav Nijinsky dans le rôle de l'Esclave favori d'Armide (1re apperition de Nijinsky devant le public Parisien), Pas de trois avec Mlle T. Karsavina et Alexandra Fedorova', sheet 335 x 255 mm (13 1/4 x 10 in), bears circular ink stamp 'Paris, Douanes, Exposition' verso, framed, [circa 1909-1930s]Provenance:Eardley Knollys, friend and associate of the Bloomsbury Group, artist, critic and owner of the Storran Gallery, London.Exhibited:'Benois', Storran Gallery, London, ca.1941, no. 38 (full page illus.)⁂ An important design relating to the very first production to be staged by Sergei Diaghilev's Ballets Russes, in Paris in 1909, making it also, as noted on this design, the very first sight the Parisian audience would have of this rising star, Nijinsky.Alexandre Benois can claim a huge amount of the credit for this ballet, writing the libretto and designing the sets as well as the costumes. It was choreographed by Michel Fokine, with music written by Nikolai Tcherepnin. When first performed at the Mariinsky, the principal dancers alongside Nijinsky were Anna Pavlova as Armida and Pavel Gerdt as Vicomte René de Beaugency. When it transferred to the Théâtre de Châtelet in Paris, those roles were first performed by Vera Karalli and Mikhail Mordkin, respectively.Benois produced related designs not only at the production's first inception, but for its revised staging in Paris and again, significantly, in the 1930s as he reflected on and re-imagined some of his work as he assembled his memoirs for eventual publication in 1941 and prepared for the dedicated one-man show at the Storran Gallery. The present drawing would appear to be from the later reflections, highlighting his continuing and evolving fascination with this pioneering ballet.
Benois (Alexandre Nikolayevich, designer for the Ballets Russes under Sergei Diaghilev, 1870-1960) Original costume design for the Ballets Russes production of 'Petrushka', brush and black ink with watercolour over pencil, signed in pencil and annotated by the artist, sheet 315 x 245 mm (12 1/4 x 9 5/8 in), some minor surface dirt, bears circular ink stamp 'Paris, Douanes, Exposition' verso, framed, [circa 1911]Provenance:Eardley Knollys, friend and associate of the Bloomsbury Group, artist, critic and owner of the Storran Gallery, London.Exhibited:'Benois', Storran Gallery, London, ca. 1941⁂ A design for one of the masqueraders in the last, dramatic, scene, who dance through the street before the fatal fight between the Moor and Petrushka. The pencil notes advise on the different fabrics to be used, the need to keep the huge masks as light as possible, and that all the masqueraders must carry such lanterns. Benois not only designed the sets and costumes for Petrushka but wrote the libretto as well.
NO RESERVE Circle Press.- Fisher (Roy) & Ronald King. The Left-handed Punch, number 2 of 80 copies signed by the author and artist/printer (the printer's signature on one of the prints, this copy also signed and inscribed to Denis Collins by Ron King, printed in red, blue and black with silk-screen illustrations, 13 colour plates with captions in pencil including 10 cut-out puppets with movable parts, with photocopies of letter from Fisher to King concerning the concept of the book and King's response loosely inserted, bound in crimson goatskin over raised vertical strips, by Nancy Southworth and Clare Van Vliet, upper cover with rectangular window revealing title on wrapper below, "long stitch" binding with visible sewing to spine in black thread, uncut, original wrappers bound in, pencil note to rear endpaper "This is one of ?three bindings designed and executed by Nancy Southworth and Clare Van Vliet February 1988" with Denis Collins's ink stamp to verso, with prospectus in black cloth drop-back box with crimson label to spine titled in blind, folio (c.385 x 290mm.), Guildford, Circle Press, 1986.⁂ A typically innovative and intriguing production from the Circle Press, the fifth collaboration between Roy Fisher and Ron King. The prospectus states that 15 copies were issued in the special binding but this is the only copy we have been able to trace.
Mining.- California Gold Rush.- Jenkins (William W.) History and Development of Placer-Mining in California, original typescript signed by the author in pencil at end, 12pp., folds, screw bound at head into later drab wrappers with printed name and address of Jones & Visel, a few chips, [California], [c. 1900] § Land Department of the Southern Pacific Railroad Company. Receipt of land application by William W. Jenkins, printed form with ms. insertions, official blue ink stamp, folds, San Francisco, 18th February, 1888; and 4 others, related, v.s. (6)⁂ Jenkins was a California pioneer, who called himself the 'Baron of Alcatraz and Casteca'. He is best remembered for his part in the Jenkins-Chormicle 'range war', which pitted two arch-rivals against each other for land rights in Castaic. 21 men lost their lives during this quarrel between c. 1890 and 1910. Included in the lot is an A.L.s. from the Secretary of the Historical Society of California, in which he thanks Williams for sending him documents relating to the discovery of gold in California.
America.- Keith (Sir William) A Collection of Papers and other Tracts, Written occasionally; containing... VI. A Discourse on the present State of the British Plantations in America, with Respect to the Interest of Great-Britain. VII. A Report to the Right Hon. the Lords Commissioners of Trade and Plantations in the Year 1718, second edition, woodcut initials, head- and tail-pieces, modern morocco-backed boards, spine gilt, [cf. Sabin 37239 (first edition)], Jacob Loyseau, 1749.⁂ Scarce account of the American colonies by the former governor of Pennsylvania in which he outlines Britain's economic interests for American colonial dependency, warns against French encroachment on British colonial territory and proposes a stamp tax on colonists in order to finance standing armies.
Dalton (John) A New System of Chemical Philosophy, 2 vol. in 3 (Vol.1 Parts I & II and Vol.2 Part I), first edition, 8 engraved plates, vol.2 part I with half-title and 2pp. advertisements at end, some foxing and soiling, light staining to vol.2 part I, leaves a little brittle and a few chipped at edges, old ink library stamp to titles and some leaves and plates of vol.1, vol.1 Parts I & II contemporary diced russia, gilt, a little rubbed, rebacked, vol.2 near uniform modern calf, gilt, all spines gilt with black morocco labels, preserved together in modern drop-back box, [PMM261], 8vo, Manchester, vol.1 for R.Bickerstaff; vol.2 for G.Wilson, 1808-10-27.⁂ Seminal work on the atomic theory of matter.
Hooke (Robert) Philosophical Experiments and Observations..., edited by William Derham, first edition, 4 engraved plates, 2 folding, woodcut illustrations and ornaments, advertisement leaf at end, a little soiled and stained, ex-library copy with stamp and ink accession number to title, contemporary panelled calf, rebacked, corners repaired, rubbed, [Keynes 36], 8vo, by W. & J.Innys, 1726; and Numbers 2, 3 & 4 of Hooke's Cutlerian Lectures (Animadversions, 1674; Helioscopes, 1676; Lampas, 1677) but lacking plates, 8vo & 4to (4)⁂ After Richard Waller's death William Derham took over the editing of Hooke's papers. This volume contains material omitted from Waller's edition of Hooke's Posthumous Works of 1705. It is an eclectic mix of scientific experiments, observations, inventions etc. concerning barometers, giant hailstones which fell in London in 1680, windmills, carriages, gems, maritime pendulum clocks, telescopes and microscopes, the Nautilus shellfish, the properties of amber etc.
General theory of relativity.- Eddington (A. S.) Report on the Relativity Theory of Gravitation, first edition, blind-stamp to second f., some light finger-soiling, final f. laid down with portion of upper wrapper pasted to lower margin, modern cloth, lettered in gilt on upper cover, 8vo, Fleetway Press, 1918.⁂ First edition of Eddington's landmark account of Einstein's General Theory, the first introduction of the theory to the English-speaking world.
Laennec (René Théophile Hyacinthe) Traité de l'Auscultation Médiate et des Maladies des Poumons et du Coeur, 2 vol., second edition, half-titles, 4 double-page engraved plates, vol.2 with final blank, plates with numbers shaved and light offsetting, occasional foxing and slight browning to text, light water-staining at beginning and end, mostly marginal but affecting lower outer corner of plates, old ink stamp to titles, contemporary ink signature of Dr.H.Goudet to front free endpapers, original half green cloth, very slightly rubbed, [cf.PMM 280, first edition of 1819], 8vo, Paris, 1826.⁂ A classic of medical history, containing the first description of Laennec's ground-breaking invention of the stethoscope. This was the greatest advance in physical diagnosis between Auenbrugger's percussion and Roentgen's discovery of X-rays. Laennec used his new tool to study the sounds made by the movements of the heart and lungs, and from this work stems our modern knowledge of diseases of the chest. This second edition, the last edited by Laennec himself, is considerably altered and enlarged from the first edition of 1819 with each disease described in detail, making it "the most important treatise on diseases of the thoracic organs ever written" (Garrison, History of Medicine, p. 412).
Vittori (Leonello) De aegritudinibus infantium tractatus..., first edition, large woodcut device to verso of Aa8, with final blank, extensive contemporary ink manuscript annotations to title and numerous leaves, slight worming to inner margin of signatures D & E affecting a few letters, small repair to inner margin of final two leaves at foot, ink library stamp to verso of title and final leaf of text, modern mottled calf with decorative border in blind, red calf label, [Durling 4668; VD16 V 1768; Not in Adams], 8vo, Ingolstadt, A.Weissenhorn, 1544.⁂ Scarce 16th century Italian handbook of paediatric treatment, including advice on diarrhoea, constipation, earache, and disturbed sleep, and this copy with the addition of many contemporary notes. We have been unable to trace any other copies at auction except for this one, sold in America in 2017. Library Hub cites 5 UK copies.
Lavagna (John, mathematician and artist, active late 18th century) Ad Explicandam Phisicam Eclectcam, including detailed studies on matter and motion, body weight, light, sound, and magnets (many with diagrams incorporating vignettes of landscapes and figures), manuscript in Latin, title, ink and watercolour frontispiece after Guercino's 'The Persian Sybil', 35 pp. with fine detailed full-page pen and ink mathematical diagrams with monochrome wash, ruled in brown ink throughout, marginal inscriptions and numbered throughout, occasional minor spotting, light staining to endpapers, embossed ownership stamp to rear endpaper, original limp vellum, ink paper label with 'Physicae Tab. M.S.' to spine, worn, ff. approx. 140 x 190 mm., Venice, 1789.⁂ Highly competent and detailed manuscript, probably by a skilled Italian student with a tendency more towards artistry than logic, with numerous fanciful vignettes throughout the work including counter weighting a lever with a strung up cat, shooting fish with a gun to show the mechanics of projectiles, and gentlemen observing the top of a column through refraction.
Ashley (Robert) Almansor. The Learned and Victorious King that conquered Spaine, first edition, title soiled and torn, water-staining, leaves loose, BM stamp and withdrawn stamp on title verso, disbound, [STC 354], 4to, Printed for John Parker, 1627.⁂ A tired copy of a work which rarely appears at auction, the last one traced being in 1966. According to ESTC "Translation of selections of Part 2 of: Aly Abencusian [i.e. Miguel de Luna] Verdadera historia del rey Don Rodrigo." This copy with p.3 line 8 ending "accor-" (another setting has "ac-"); p.74 penultimate line has "bee God" (another setting has "bee the God").
Wilkinson (Henry) Characters of a sincere heart, and the comforts thereof, collected out of the Word of God, first edition, woodcut head-pieces and decorative initials, purple library stamp within text on second A1, D2 and G3, text perfectly legible, F2 short tear, just touching a couple of letters without loss, some staining, including red on A7, [Wing W2229], 8vo, Oxford, Printed by Leonard Lichfield, printer to the University, for Ric. Davis, 1674.⁂ Scarce work by the parliamentarian one-time Principal of Magdalen Hall, Oxford, where he entertained Cromwell and Fairfax. Provenance: 'Isaack Laysell, servant to Dr. Wilkson...' (contemporary ink signature to final verso).
US DEPARTMENT OF DEFENSE. WORLD WAR 2, SUMATRA, INDONESIA AND DUTCH EAST INDIES MAPS (1943-1946). US Army Map Service. Eight maps, from Dutch East Indies: Dutch Timor, Isle of Roti; Portuguese Timor; Dutch Timor, different location; Tobaki; Atamboea; Noil Besiam, Noeaf Moetis and Res. Timor en Onderh. All linen backed. Each map measures around 54cm x 48cm with the map measuing 36.5cm x 42cm. All flat and unfolded. (8) Condition overall very good, with one or two showing minor discolouration or creasing. A discreet university stamp to edges. Good/very good.
US DEPARTMENT OF DEFENSE. WORLD WAR 2, SUMATRA, INDONESIA AND DUTCH EAST INDIES MAPS (1944-1946). US Army Map Service. Eight maps from Dutch Sumatra and Timor: Gle Jeueng (paper) and Lho'Nga (paper) each 61.5cm x 48.5cm; Soe; Res. Timor en Onder,; Noenkolo; Solioe; Portuguese Timor, and Dutch Timor, sheet 90/XLVI. Linen-backed and measure around 36.5cm x 42cm, bar the two paper copies, and are flat and unfolded. (8) Condition overall very good, with one or two showing minor discolouration or creasing. A discreet university stamp to edges. Good/very good.
Roger Hutchings (1952-)Photographs Tiananmen Square, 1989; Benazir Bhutto, Pakistan, 1988; Solidarity, Poland, each signed to the mount over a Nikon UK Ltd blind stamp, together with another of the miner's strike, 1984/5, indistinctly signed, each image size 40.5 X 56cm (4).Apparently saved by the vendor's family from being disposed of from the offices of Nikon UK, where these images used to hang
A late 19th century Treloweth 28lb tin ingot with L C Daubuz assay stamp, salvaged from the wreck of SS Cheerful which sunk in 1885, length 44.5cm width 12.5cm. Note: SS Cheerful. Left Falmouth in dense fog on 20th July 1885. Fifteen miles from the Longships Lighthouse off Land’s End, due to the extremely poor visibility, she was struck amidships by the torpedo depot ship HMS Hecla, and sank within four minutes. Thirty-six of the passengers were rescued by the Hecla and taken to Plymouth, but nine went down with the ship, and three more perished shortly after being picked up. The Liverpool-registered vessel, and all two tonnes of its cargo of tin were lost. This large collection of extremely rare Cornish tin ingots and mining artefacts are from the collection of Neil Mercer. Mercer has collaborated with the photographer and designer Peter Russell to produce ‘The Spirit Of Dartmoor Tin’, a large format, lavishly illustrated, limited edition artists publication due late 2022 / early 2023. Most of these items are featured in, and formed part of the research for the publication which contributes to, and records, the tin working history of Cornwall and Dartmoor and is the culmination of fourteen years of research and practical tin working. The Spirit Of Dartmoor Tin: a one-time limited edition of 300 copies, sequentially numbered and signed by the authors, within a slipcase, with the copy mediaeval seal of the Devon Stannary in tin metal smelted during the project from historic and modern tin and inset into the case. Foreword by the landscape archaeologist Dr Tom Greeves; ' ... this is a book of magic, passion and beauty, captured essentially through stunning visual images. I heartily commend it to everyone, but in particular to those for whom Dartmoor is a special and elemental place, rich in human messages'. For further information about ‘The Spirit Of Dartmoor Tin’ and to order a copy, visit their website http://www.spiritofdartmoortin.com/ or email: info@spiritofdartmoortin.com
A possibly unique Charlestown House Cornwall 28lb tin ingot with J Enthoven & Co smelthouse Charlestown assay stamp, length 39cm width 10.5cm.This large collection of extremely rare Cornish tin ingots and mining artefacts are from the collection of Neil Mercer. Mercer has collaborated with the photographer and designer Peter Russell to produce ‘The Spirit Of Dartmoor Tin’, a large format, lavishly illustrated, limited edition artists publication due late 2022 / early 2023. Most of these items are featured in, and formed part of the research for the publication which contributes to, and records, the tin working history of Cornwall and Dartmoor and is the culmination of fourteen years of research and practical tin working. The Spirit Of Dartmoor Tin: a one-time limited edition of 300 copies, sequentially numbered and signed by the authors, within a slipcase, with the copy mediaeval seal of the Devon Stannary in tin metal smelted during the project from historic and modern tin and inset into the case. Foreword by the landscape archaeologist Dr Tom Greeves; ' ... this is a book of magic, passion and beauty, captured essentially through stunning visual images. I heartily commend it to everyone, but in particular to those for whom Dartmoor is a special and elemental place, rich in human messages'. For further information about ‘The Spirit Of Dartmoor Tin’ and to order a copy, visit their website http://www.spiritofdartmoortin.com/ or email: info@spiritofdartmoortin.com
A late 19th century Trethellan Truro 28lb tin ingot with Williams Harvey Truro assay stamp, salvaged from the wreck of SS Cheerful which sunk in 1885, length 37.5cm width 14cm, Note: SS Cheerful. Left Falmouth in dense fog on 20th July 1885. Fifteen miles from the Longships Lighthouse off Land’s End, due to the extremely poor visibility, she was struck amidships by the torpedo depot ship HMS Hecla, and sank within four minutes. Thirty-six of the passengers were rescued by the Hecla and taken to Plymouth, but nine went down with the ship, and three more perished shortly after being picked up. The Liverpool-registered vessel, and all two tonnes of its cargo of tin were lost. This large collection of extremely rare Cornish tin ingots and mining artefacts are from the collection of Neil Mercer. Mercer has collaborated with the photographer and designer Peter Russell to produce ‘The Spirit Of Dartmoor Tin’, a large format, lavishly illustrated, limited edition artists publication due late 2022 / early 2023. Most of these items are featured in, and formed part of the research for the publication which contributes to, and records, the tin working history of Cornwall and Dartmoor and is the culmination of fourteen years of research and practical tin working. The Spirit Of Dartmoor Tin: a one-time limited edition of 300 copies, sequentially numbered and signed by the authors, within a slipcase, with the copy mediaeval seal of the Devon Stannary in tin metal smelted during the project from historic and modern tin and inset into the case. Foreword by the landscape archaeologist Dr Tom Greeves; ' ... this is a book of magic, passion and beauty, captured essentially through stunning visual images. I heartily commend it to everyone, but in particular to those for whom Dartmoor is a special and elemental place, rich in human messages'. For further information about ‘The Spirit Of Dartmoor Tin’ and to order a copy, visit their website http://www.spiritofdartmoortin.com/ or email: info@spiritofdartmoortin.com
A rare late 19th century Melenear Hayle 28lb tin ingot with Williams Harvey & Co Hayle stamp, possibly salvaged from the wreck of SS Liverpool, length 41cm width 13cm. Note: SS Liverpool. Went down off the coast of Anglesey on 12th January 1863, when travelling from Cornwall with a cargo of ingots. She collided with the barque La Plata, who was on her way from Liverpool to Lima in Peru.This large collection of extremely rare Cornish tin ingots and mining artefacts are from the collection of Neil Mercer. Mercer has collaborated with the photographer and designer Peter Russell to produce ‘The Spirit Of Dartmoor Tin’, a large format, lavishly illustrated, limited edition artists publication due late 2022 / early 2023. Most of these items are featured in, and formed part of the research for the publication which contributes to, and records, the tin working history of Cornwall and Dartmoor and is the culmination of fourteen years of research and practical tin working. The Spirit Of Dartmoor Tin: a one-time limited edition of 300 copies, sequentially numbered and signed by the authors, within a slipcase, with the copy mediaeval seal of the Devon Stannary in tin metal smelted during the project from historic and modern tin and inset into the case. Foreword by the landscape archaeologist Dr Tom Greeves; ' ... this is a book of magic, passion and beauty, captured essentially through stunning visual images. I heartily commend it to everyone, but in particular to those for whom Dartmoor is a special and elemental place, rich in human messages'. For further information about ‘The Spirit Of Dartmoor Tin’ and to order a copy, visit their website http://www.spiritofdartmoortin.com/ or email: info@spiritofdartmoortin.com
A Carvedras 28lb tin ingot with L C Daubaz stamp, salvaged from the wreck of SS Cheerful which sunk in 1885, length 41cm width 11.5cm. Note: SS Cheerful. Left Falmouth in dense fog on 20th July 1885. Fifteen miles from the Longships Lighthouse off Land’s End, due to the extremely poor visibility, she was struck amidships by the torpedo depot ship HMS Hecla, and sank within four minutes. Thirty-six of the passengers were rescued by the Hecla and taken to Plymouth, but nine went down with the ship, and three more perished shortly after being picked up. The Liverpool-registered vessel, and all two tonnes of its cargo of tin were lost. This large collection of extremely rare Cornish tin ingots and mining artefacts are from the collection of Neil Mercer. Mercer has collaborated with the photographer and designer Peter Russell to produce ‘The Spirit Of Dartmoor Tin’, a large format, lavishly illustrated, limited edition artists publication due late 2022 / early 2023. Most of these items are featured in, and formed part of the research for the publication which contributes to, and records, the tin working history of Cornwall and Dartmoor and is the culmination of fourteen years of research and practical tin working. The Spirit Of Dartmoor Tin: a one-time limited edition of 300 copies, sequentially numbered and signed by the authors, within a slipcase, with the copy mediaeval seal of the Devon Stannary in tin metal smelted during the project from historic and modern tin and inset into the case. Foreword by the landscape archaeologist Dr Tom Greeves; ' ... this is a book of magic, passion and beauty, captured essentially through stunning visual images. I heartily commend it to everyone, but in particular to those for whom Dartmoor is a special and elemental place, rich in human messages'. For further information about ‘The Spirit Of Dartmoor Tin’ and to order a copy, visit their website http://www.spiritofdartmoortin.com/ or email: info@spiritofdartmoortin.com
§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) UNTITLED (THROUGH THE TREES) Mixed media on paperDimensions:20cm x 25.5cm (8in x 10in)Provenance:Exhibited: St. Andrew's Fine Art Exhibition, April 1982Note: Artist's studio stamp reference no.: 229Label verso notes that picture comes from the artist's sketchbook.
A group of ceramics to include: 1. Coalport pattern no: V533, reticulated and shell pattern oval basket, white ground with gilt decoration, black factory stamp, pattern no: V533 and Registration no: 1408162. Royal Worcester candle snuffer modelled as a Nun3. Royal Worcester figure of Hush (3)
A matched Victorian silver and silver gilt three piece Christening set to include: knife, fork and spoon, ornate decorative handles with geometric engraved pattern to stems, the blade with applied silver foliate decoration, each handle engraved with initials, hallmarked by George Adams, London, 1864, the spoon 1863, weighable silver 2.33 ozt (72.4 grams) in fitted case with retailers stamp (1)
Football Autographed Man United 1977 Tribute Covers - A Wonderful Lot Of X 6 Superbly Designed Modern Commemorative Covers, Issued By Sporting Legends In 2008, Commissioned As A Tribute To The 1977 Fa Cup Final - Manchester United V Liverpool, Goals From Stuart Pearson And Jimmy Greenhoff Secured A Memorable 2-1 Victory For The Red Devils, Denying Liverpool The Elusive Treble, The Fronts Of The Covers Have Been Respectively Signed By Greenhoff, Pearson, Docherty, Macari, Nicholl And Mccreery. The Insert Card Is Packed With Details Including Team Line Ups And The 'Path To The Final', Please Note : The Stamp Featured Is Printed Onto The Cover And Is Not A Stamp Issued By The Royal Mail. Good Condition Est.
Make & Model: Peugeot 308 Gt Line Blue HDIDate of Reg: KW16 WTGColour: Greycc: 1560MoT: 15-06-2023Fuel Type: DIESELMileage: 82kTransmission: AUTOSummary: Two registered keepers with the last keeper since August 2017. V5 to follow. One service stamp recorded May 2022The V5C for this vehicle is missingVehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=156165
Barbara Kruger (American 1945-), 'Untitled (Kiss)', 2019, limited edition Artek Stool 60, designed by Alvar Aalto, produced in collaboration with the ICA and Artek, from an initial edition of 300, bearing the Artists' Stamp of Authenticity and numbered to the underside of the stool; 44 x 38 x 38cm
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921)."Villa d' Este".Watercolour on paper.Attached certificate issued by Don Ángel Castro.With stamp on the back.Signed and located in the lower left corner.Measurements: 54 x 35,5 cm.In this work the artist presents us with a frontal view of the palace of the villa d'Este, situated in Tivoli, on the outskirts of Toma. This viewpoint offered by the artist allows the dense and slender trees that frame the main path surrounding the staircase to be realised, treating the architectural construction as a backdrop and giving great prominence to the landscape.José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938).Untitled.Oil on canvas.Attached certificate issued by Don Gerardo Pérez Calero.It has damages in the frame.Stamp on the back.Signed in the lower right corner.Measurements: 40 x 32,5 cm; 52 x 43,5 cm (frame).In this work the artist depicts a picturesque corner consisting of a vaulted midá or fountain of ablutions, covered on the outside with whitish-blue tiles and situated at the open door of an oratory or mosque. It should be noted that Bilbao spent several years in Morocco, visiting Tangiers and other cities, the result of which is the series he produced at that time in which he evokes the aesthetics of Orientalism.Gonzalo Bilbao took up drawing as a child and in 1880 he began his career as a painter. Around this time he travelled to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and travelled around the various Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, travelled around Spain and also went to Morocco, Paris and Munich. In Spain he taught painting, initially as a private tutor and, from 1903, as Jiménez de Aranda's successor at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he took part in numerous fine arts exhibitions, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also took part in the National Fine Arts Nationals, winning second medals in 1887 and 1892, first in 1899 and 1901 and an honourable medal in 1915. A traditional painter, representative of Spanish genre painting, his pictures were colourful depictions of Andalusian life and its most popular figures, and he also painted landscapes, figures and portraits, depicting prominent figures of the time such as King Alfonso XIII and the actress Carmen Díaz. The light and vitality of his compositions bring his language closer to the Impressionist aesthetic, focusing on the essential representation of atmospheres and landscapes. Gonzalo Bilbao is represented in the Museo de Bellas Artes in Seville, where he has a room devoted entirely to his work, the Museo del Prado, the Museo Jaume Morera in Lleida and the Museo de Bellas Artes in Cordoba, among others, as well as in private collections both in Spain and abroad.
An impressive Victorian silver and parcel-gilt presentation vaseCharles Frederick Hancock, London 1868, designed by Raffaele Monti (1818-1881), rim of base also stamped C. F. HANCOCK 39 BRUTON ST LONDON, and with incuse stamp И20Large squat-baluster jug form, Renaissance style, with long neck flaring out to a wide pouring lip with rolled edges, a polished gilt interior, the fluted high scrolled handle mounted by two winged fighting dragons, mouths snarling baring sharp teeth and serpent like tongue, faces contorted in combat, a dragon's scaly-tail winding down the handle like a corkscrew, the whole decorated with elaborately embossed scrolling foliage and shell-like motifs, burnished and gilded areas juxtaposed against a matt ground, to each side a horizontal oval cartouche featuring a bas-relief of six Bacchanalian putti and a stag's head, to the other five putti hunting with hounds, the main body sitting atop a wide knop interspersed with vertical chased foliate panels and prominent gilded double lobes, a smaller knopped and lobed stem beneath widening to a domed, stepped circular spreading foot, the wide gilt rim highly polished, height 78cm, weight 212oz PLEASE SEE BONHAMS WEBSITE FOR THE FULL FOOTNOTE ON THIS LOT:-Bonhams : An impressive Victorian silver and parcel-gilt presentation vase Charles Frederick Hancock, London 1868, designed by Raffaele Monti (1818-1881), rim of base also stamped C. F. HANCOCK 39 BRUTON ST LONDON, and with incuse stamp 20
A pair of Empire giltwood fauteuils by Georges Jacob (1739-1814) and Francois-Honoré-Georges Jacob (1770-1841), a partnership often referred to as 'Jacob-Desmalter'1810-1815Each with a square back and flute-channelled surrounds, the arm supports and front legs comprised of two winged lion bust monopodiae each with upscrolled wings terminating in animalistic legs and lion paw feet, with a plain bowed seat frame, on splayed and scrolled square section rear legs, each fauteuil stamped: 'INV.e' within a tablet surround (the 'INVe' almost certainly standing for 'INVENTAIRE'), one fauteuil also with the now partially obscured stamp: 'JACOB D.R. MESLEE', each approximately: 79cm wide x 74cm deep x 102cm high, (31in wide x 29in deep x 40in high) (2)Footnotes:Provenance Purchased Koller, Zurich, 16 September 1994, Collection Dino Fabbri, Paris, lot 583.A related pair of Empire armchairs by Jacob-Desmalter sold Christie's, London, 7 July 2005, Important European Furniture, lot 449. These latter examples incorporate similar winged lions, albeit in the form of self-contained figural arm supports rather than the larger winged lion busts terminating in monopodiae as on the offered lot. However it is notable that the upwards scrolling element of the wing tips on all of these carved winged lions are certainly closely comparable. Another fauteuil with this same self-contained figural winged lion arm support is the Imperial example made in 1804 by Jacob-Desmalter for Napoleon's Throne Room at the Palais de Tuileries, which sold Sotheby's, London, 7 July 2009, Important Furniture, lot 66. The bold carving of the wings with their up-scrolled tips on the present chairs also recall the sphinx supports on a suite of seat furniture, which includes six fauteuils, supplied by Jacob-Desmalter for the Chambre à Coucher of Empress Joséphine in 1809. These are now located in the Chambre de la Reine des Belges at the Grand Trianon, which was redecorated by Louis-Philippe in 1845, D. Ledoux-Lebard, Le Grand Trianon, Paris, 1975, p. 186. This set is illustrated in P. Arizzoli-Clementel & J-P. Samoyault, Le Mobilier de Versailles, Chefs-D'Ouevre du XIXeme Siecle, 2009, Dijon, fig. 58, pp.'s 186-189.Included among the four Imperial thrones made by the Jacob-Desmalter partnership, on behalf of Napoleon for various politically significant locations, is the one supplied to the Palais du Corps Legislatif in Paris (now the Assemblee Nationale). This particular throne chair, which is housed today at the Parisian Musee des Arts Decoratifs, was executed circa 1805 by Jacob-Desmalter following designs by Bernard Poyet. Its massive winged lion bust supports terminating in monopodiae are arguably closer in both spirit and proportions to those on the offered model than any of the previously referenced versions. The three other thrones are located at Fontainebleu, the Palais des Tuileries and the Senate, inside Luxembourg Palace. However the throne provided by Jacob-Desmalter for the Senate employs again the distinctive up-scrolling to the wing tips of its sphinx supports which are evident on most of the former comparables, but is nonetheless a feature notably absent from the Corps Legislatif example. 'Jacob-Desmalter'Georges Jacob (1739-1814), renowned cabinet maker active during the late 18th century, sold his business in 1796 to his two sons, who then renamed the firm Jacob Freres. The Jacob brothers, Georges II (1768-1803) and Francois-Honore-George, produced furniture directly inspired by Greek, Etruscan and Roman antiquity following the fashionable Neoclassical taste of the period established by Charles Percier and Pierre Fontaine in their 1801 publication, Recueil des Decorations Interieures.Francois-Honore-Georges, who added Desmalter to his family surname in 1803, provided over 330 pieces for Napoleon including most importantly the imperial throne in advance of Napoleon's coronation, which took place the following year. Throughout the reign of Napoleon (1804-15), Jacob-Desmalter was the predominant and favoured cabinet maker to the Imperial Garde-Meuble, responsible for supplying furnishings at Fontainebleau, Grand Trianon, Saint Cloud, Rambouillet and of course the Tuileries. In fact, it is noted in D. Ledoux-Lebard, Le Mobilier Francais du XIXeme Siecle, 1989, Paris, that between 1803 and 1813, the cost of works produced by Jacob-Desmalter for the Palais des Tuileries alone amounted to 541,765 Francs.The stamp found on the present lot, 'JACOB.D.R.MESLEE', is one recorded as being used during the period 1803-1813 by the unique 'Jacob-Desmalter' combination of François-Honoré-Georges Jacob-Desmalter and Georges Jacob, D. Ledoux-Lebard, Ibid, p.268.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
A pair of Restauration giltwood fauteuils by Pierre-Antoine Bellangé (1758-1827) or Louis-Alexandre Bellangé (1799-1863)1815-1820Each with a scrolled dished top and an opposing volute scroll, anthemion and acanthus spray toprail centred by a flowerhead, the bowed seat frame with similar decoration centred by an elongated scrolled tablet, with lotus-leaf clasped and scroll capped arm supports, on two acanthus and stiff-leaf wrapped lion-bust headed monopodiae terminating in animalistic legs and lion paw feet, with splayed square section rear legs, each side applied with scrolled stylised foliage interspersed with anthemia and paterae, each fauteuil stamped: 'L.BELLANGE' and one fauteuil stamped: 'CH', approximately: 71cm wide x 72cm deep x 100cm high, (27 1/2in wide x 28in deep x 39in high) (2)Footnotes:Provenance Purchased Koller, Zürich, September 2005, Collection Dino Fabbri, Monte Carlo, lot 1276. An identical pair of fauteuils, which along with the offered lot, likely formed part of an extensive set apparently made by the cabinet maker Louis-Alexandre Bellangé, sold Christie's, London, 23 March 2017, Robert de Balkany Rome and the Cote d'Azur, lot 494. Both pairs have the same 'L. BELLANGE' and 'CH' stamps which prove that they were originally from the same commission. The Christie's armchairs previously belonged to Aladar Zellinger de Balkany (1900-1983), and passed thence by descent.A further pair of fauteuils of this same type were offered, together with a matching sofa, Sothebys, Paris, 23 June 2021, Important Mobilier, lot 156. However, interestingly these Paris examples were attributed to the workshop of Pierre-Antoine Bellangé, who was the father of Louis-Alexandre.The design for the present armchairs is based upon a watercolour entitled 'Deux Projets de Fauteuils' (1817-1820), bearing the signature of Louis-Alexandre Bellangé. It forms part of a collection of illustrations, taken from 'l'Atelier Bellangé', which are at the Metropolitan Museum of Art in New York, S. Cordier, Bellangé, Ebenistes: une Histoire du Gout au XIX Siecle, 2012, Paris, fig. 4. However the antecedent, which incorporates similar lion monopodia to those of the above, was one of a number of drawings for related seat furniture and tables which first appeared in Charles Percier and Pierre-Francois Leonard Fontaine, Recueil de Decorations Interieures, originally published in 1812. It is notable that these Percier and Fontaine examples had in fact been sourced themselves from antiquity.Another closely related design for fauteuils, one attributable to Pierre-Antoine Bellangé (Louis-Alexandre's father), was executed during the period 1815-1820 and corresponds well with a set of chairs and sofas supplied to the Comtesse du Cayla for the Chateau of Saint-Ouen of Zoe, Ibid, p. 489, PAB107. This strong association or interrelationship between father and son implies that at an early stage the much younger figure of Louis-Alexandre must have undertaken a thorough analysis of his father's oeuvre.Indeed between 1820 and 1825, towards the end of their contractual arrangement during their co-operation based at the family workshop on Rue Neuve-Saint-Denise, various pieces of seat furniture made at this time are either stamped: 'L. BELLANGE', such as appear on the offered lot, or: 'P. BELLANGE'. Some of the models that have the 'L. BELLANGE' stamp feature in Ibid, p. 500, LAB1 and a pair of such fauteuils also sold Sotheby's, New York, 25-26 October 2007, Ariane Dandois Collection, lot 523.Furthermore, an assortment of designs dating to circa 1818, which were completed by Louis-Alexandre, are today with the Metropolitan Museum in New York. Interestingly this particular portfolio even includes an engraved plate depicting a near conforming armchair to the present ones, which was itself evidently made in Pierre-Antoine's workshop at some point during 1815-1820.Pierre-Antoine Bellangé became maitre in 1788. But despite working as a cabinet maker throughout the Revolution (1789-1799), it appears that his career really flourished during the Empire period and the initial part of the Restauration, or restoration of the monarchy. Pierre-Antoine developed into one of the principal suppliers of furniture to Napoleon and also to those closest to the Emperor, before in due course serving as cabinet maker to the Garde-Meuble de la Couronne (basically the Royal furniture repository) during the reign of Louis XVIII.Louis-Alexandre Bellangé, who ran his own atelier and shop at 33 Rue des Marais-Saint-Martin, established himself and his firm as specialist in the production of furniture incorporating porcelain, lacquer and hardstones, as well as Boulle-inspired pieces. In 1833 he tried unsuccessfully to get a place at the Garde-Meuble de la Couronne restoring earlier works. However, disappointment at this rejection must have been tempered by his subsequent appointment as a supplier to the Duc d'Orléans. His gold medal-winning contribution to the Paris exhibition of 1839 won him significant praise from the jury at that event. Although fairly early on in his career Louis-Alexandre supplied furniture to Charles X, subsequently at the 1844 Exposition des Produits de l'Industrie Française Louis-Philippe (when King) acquired a Boulle table from the illustrious cabinet maker. Later on, at the 1851 Great Exhibition, he was awarded a second class medal for the Boulle objects his firm had produced for Crystal Palace. Examples of his oeuvre, made either independently or in collaboration with his father, may be found in the Wallace Collection, London and in the collection of Her Majesty the Queen at Windsor Castle.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
A French late 19th century ormolu mounted bois satine and rosewood bombe serpentine commode made by Francois Linke (1855-1946) for Maison Kriegerafter the celebrated model by Charles CressentThe thick marble top with a raised ogee moulded edge, above two long drawers inlaid sans traverse with quarter veneered shaped tablets, mounted with a sans traverse cartouche comprised of foliate and rocaille adorned C-scrolls, the lower shaped drawer mounted with a dressed monkey seated upon a knotted tightrope held aloft by a pair of opposing children, flanked by keeled angles with elaborate volute scroll, beaded, floral, cabochon embedded and acanthus embellished espagnolettes with feathered headdresses, on chute mounted and faceted cabriole legs terminating in foliate wrapped sabots, each end with half veneered shaped panels mounted with a dog walking on its hind legs upon a knotted tightrope below two opposing children each seated on a pedestal, the boy playing a flute and the girl playing a tambourine, the reverse with an ink stamp which reads: 'KRIEGER, 74 RUE DU FAUBOURG-SAINT-ANTOINE, PARIS' 162cm wide x 69cm deep x 97cm high, (63 1/2in wide x 27in deep x 38in high)Footnotes:A virtually identical commode to the offered lot, sold Bonhams, London, 24 September 2014, The Contents of Count and Countess Martignone's Milanese and Genoese Properties, lot 83. Whilst a pair of similar commodes by Francois Linke, circa 1900, sold Christie's, London, 29 November 2016, Opulence: 19th Century Furniture, lot 255. Other comparables of this type include: one offered Sotheby's, Paris, 23 June 2021, Important Mobilier, lot 43; a similar commode sold Christie's, London, 15 April 2011, lot 158; one sold Christie's, London, 28 October 2014, lot 18; and a loosely related variant of rectilinear outline, which was made by Jules Allard et Fils, sold Christie's, New York, 18 April 2013, The Opulent Eye, lot 244. Another closely related commode, albeit one attributed to Joseph-Emmanuel Zwiener, sold Sotheby's, 19th Century Furniture & Decorative Arts, 24 October 2012, New York, Lot 271.An important commode, which is arguably the closest to the present, is illustrated in C. Payne, Francois Linke, 1855-1946, The Belle Epoque of French Furniture, 2003, Woodbridge, pl. 217, p. 201. It is both interesting and significant to note that Payne describes this featured example as: 'most probably an early Linke piece made for Krieger'. This would evidently be of particular relevance since the above is stamped for Krieger whilst being associated (as we have already seen) so unequivocally to the aforementioned Linke models, meaning that it would seem to be highly likely that these are ultimately from the same source.A further conforming version, which appears in P. Kjellberg, Le Meuble Francais et Europeen du Moyen Age a nos Jours, p. 490, fig. 562, is evidently another instance of such a piece having been produced by Linke for the Krieger firm. Kjellberg even goes on to reference an additional copy of this Cressent type which exists in the form of an old black and white photographic print amongst those accumulated in the Francois Linke archives. However unfortunately no glass negative or cliche remains for this specific item.Both Payne and Kjellberg posit that this was not a 'one-off' situation and that Linke, on a number of occasions in fact, provided furniture for what was by that time the renowned, successful and indeed flourishing Maison Krieger enterprise. Consequently it seems logical to assume that the offered commode, as with the two previous, was executed by Linke during his early period, at a time before he is known to have signed his creations from circa 1896 onwards. This argument is reinforced by the absence of any glass negative. The amassing of glass negatives was a modus operandi that Linke only began to develop in the last few years of the 1890s. Up to that point, the sole priorities were the fulfilment of his clients' various requirements and the establishment of his business, so there had been no need for the cabinet maker to take photographs of his output at all. Also this practice would have necessitated more money, more time and, perhaps most importantly, the employment of more personnel at a time when the whole operation, despite its relentless growth, was still relatively small. Alternatively it may be possible that at a later date Linke retrospectively obtained the original photographic print from Krieger, seeing as the former's continued to expand at an even more rapid rate following his successes at the 1900 Paris Exposition Universelle. Although of course there is no way of knowing this for certain.Charles Cressent (1685-1768)All of these comparables represent a masterful interpretation of the original early Rococo 'Commode aux Singes', circa 1745, made by one of the most celebrated cabinet makers working in 18th century France, Charles Cressent. They are indicative of a skilful re-invigoration of this important model. This championing of a major antecedent occurred at a time when such reverence and respect for the past, and in particular for the golden age of French furniture, was arguably at the height of fashion during the final two decades of the 19th century.There are apparently a total of eight 18th century variants of the 'Commodes aux Singes' by Cressent. These include two at Waddesdon Manor, two at Lisbon's Museu Gulbenkian, one housed at the Louvre and another with the Metropolitan Museum of Art, New York, D. Alcouffe, Furniture Collections in the Louvre, 1993, Dijon, fig. 40 and pp.'s 128-9. The sculptural use of ormolu mounts which can be seen on all of these appears to be a recurrent element throughout Cressent's oeuvre and can be explained by an assessment of the early part of his artistic career. He had in fact trained as a sculptor before marrying the widow of a cabinetmaker and subsequently taking over the workshop following the latter's death.Cressent was a vital figure involved in both the dawn and early development of the Rococo in the French decorative arts, and this is evidenced by the design of the present lot which appears to bridge the gap between the Regence and Louis XV styles. Such pieces produced by Cressent served to inspire future cabinet makers, not only in the 18th century but also during the second half of the 19th century, and even into the very beginning of the subsequent century. As already noted, among those most influenced were Francois Linke and Joseph-Emmanuel Zwiener (1849-1895).LiteratureC. Payne, Francois Linke, 1855-1946, The Belle Epoque of French Furniture, 2003, Woodbridge.P. Kjellberg, Le Meuble Francais et Europeen du Moyen Age a nos Jours, 2011.D. Alcouffe, French Collections in the Louvre, Vol. 1, 1993, Dijon.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
Achenbach, Oswald. Düsseldorf 1827 - 1905Nächtliche Prozession. Um 1876. Ölstudie auf Papier auf Holztafel, re. u. sign. (beschnitten), verso sowie auf dem Originalrahmen Stempel "Benno von Achenbach/ Berlin Charlottenburg". Faltig aufgeklebt. 19,5 x 17 cm. Prunk-Stuckrahmen mit Rahmenplakette. Ra. 42 x 40 cm Es handel sich bei angebotenem Werk wohl um eine Vorstudie zum Gemälde Das Sankt Anna-Fest in Casamicciola/ Ischia aus dem Jahr 1876, im Kunsthandel Wien 2017 (Dorotheum) versteigert. Oswald Achenbach: Feast of St. Anne in Casamicciola/ Isle of Ischia. Ca. 1876. Oilstudy on paper on wooden panel, signed lower right, stamp of Benno von Achenbach at reverse and frame. Stucco frame with brass plaque. Frame 42 x 40 cm
Lindner, Hans. 1883 Zschopau - 1944 NiederwarthaJagdhund, lebensgroß. Öl auf Leinwand, li. u. monogr., verso Nachlassstempel. Sichtbare Schadstelle mit Leinwandperforation am linken Bildrand, weitere kleinere Stellen im Randbereich. Einfache Schutzleiste. 107 x 82 cm Hans Lindner: portrait of a hunting dog, oil/ canvas, monogram lower left, artist's estate stamp at reverse. Damaged spots at rim area. 107 x 82 cm
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