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Cesare Roccheggiani (Italian, active second half 19th century): A pair of late 19th century 'Grand Tour' framed topographical micro mosaic circular panels depicting views of St Peters Square and The Forumthe former showing St Peter's Basilica in Rome, a number of paired figures in the middle-ground, a rooftop scene in the immediate foreground, the latter showing the Forum, depicting the Temple of Vespasian and Titus between the Arch of Septimius Severus and the Temple of Saturn, with a couple depicted to the bottom left, the views mounted within moulded black marble borders and set within contemporary gilt bronze foliate scroll pierced frames, the rear of each frame with original green silk covered backing with gilt tooled trophy makers marks, stamped G ROCCHEGGIANI, ROMA,, 33.2cm diameter overall (2)Footnotes:As a member of a well-known family dynasty of master mosaicists, Cesare Roccheggiani had a reputation as one of the most accomplished artists in the city of Rome in the second half of the 19th century. Probably related to Lorenzo Roccheggiani, a late 18th century mosaicist at the Vatican workshop, whose work included the altarpiece, Crucifixion of St. Peter after Guido Reni, he may have also been related to Nicolo Roccheggiani, who was most likely Lorenzo's son who was also another principle artist at the Vatican although at a slightly later date.Previously thought to have been active in the Vatican Mosaic Workshop in the period 1856 to 1864, little was known of the Ceasre Roccheggiani before he established his own independent atelier, first at 125 via Babuino and then by 1874 at 14-15 Via Condotti near the Piazza di Spagna. However, more recent research and examination of Roccheggiani's mosaics suggest that the artist and craftsman may have worked in the atelier of Michelangelo Barberi given that he was strongly influenced by Barberi's style of work and in some cases directly copied some of his own compositions ( the famous 'Rome by Night and Day' being one of these works). After Barberi's death in 1867, his studio continued under the direction of his daughter, Isabella Barberi but was last listed in 1873 which coincidently is actually the year before Roccheggiani first opened his own business. In the mid 19th century there were nearly one hundred mosaicists operating in Rome, many from small workshops with the majority of their output manufactured solely for the burgeoning tourist trade. However the diverse range of pieces produced in large quantities were generally of a small scale comprising small plaques, miniatures and cameos. By comparison the very best studios such as Cesare Roccheggiani's usually produced more substantial or finer micro mosaics in much smaller quantities. These magnificent and costly works however remained the preserve of the rich and powerful and many of the works, often produced by the Vatican workshop were either gifted by visiting aristocrats, given as diplomatic gifts, commissioned by monarchs or displayed at the major international exhibitions such as the Great Exhibition of 1851.A contemporary photograph of Roccheggiani's shop front illustrates the extensive range of mosaics that his company offered and a guide book to Rome lists him as a supplier of mosaic pictures, tables, cabinets, paper weights and gold ornaments (Murray, 1899, p. 22). Of these works, his table tops and large scale pictures were perhaps the most expensive pieces and were acquired by wealthy and prestigious clients and and displayed at the international exhibitions which were very much a feature of the late 19th century. Roccheggiani's mosaics was exhibited at the 1876 Centennial International Exhibition at Philadelphia and at the 1880 Melbourne International Exhibition and his standing was such that he served as a committee member for The Italian Exhibition in London in 1888.Examples of his work in museums in the UK include an étagère with mosaics in the Gilbert Collection, Victoria and Albert Museum, and a necklace in the British Museum, London (Gabriel, 2000, no. 59; Gere, 1984, no. 966)..For further information on this lot please visit Bonhams.com
A French late 19th/early 20th century ormolu mounted kingwood and bois satine parquetry table a the by Francois Linke (1855-1946)Each tier of circular outline with projecting eared angles, the detachable glass tray upper tier with a moulded edged border, the upper tier held aloft by four acanthus cast scroll-form figural supports each modelled as Nerites or a male sea nymph, above a geometric trellis inlaid top, over a shaped apron mounted with foliate embellished chutes centred by a waterfall surmounted by a scallop shell, on four keeled cabriole legs with floral and stylised foliate adorned scrolled mounts, terminating in leaf wrapped scroll sabots, the reverse of mount stamped: 'F.L.', 80cm wide x 72cm deep x 93cm high, (31in wide x 28in deep x 36 1/2in high)Footnotes:The offered lot is essentially identical to one of two tables a the by Francois Linke, index number 1009, which is illustrated in C. Payne, Francois Linke 1855-1946, The Belle Epoque of French Furniture, 2003, Woodbridge, pl.'s 105 & 106, pp.'s 94-5. This comparable, along with the very similar model featuring in the same image, both incorporate the renowned 'crab-like' shell, waterfall and foliate mount originally designed by Roux and Leon Message. Of course this mount has become more widely recognised as a central element on some of the most important furniture produced by the Linke workshop.Two related designs for tables of more rectilinear outline (one a watercolour and the other a pencil drawing), both index number 610, appear to have served as the basis for ones supplied by Linke to the Paris Exposition Universelle in 1900. These illustrations are shown alongside each other in C. Payne, Francois Linke 1855-1946, The Belle Epoque of French Furniture, pl.'s 131 & 132, p. 117. Whilst one example based on index 610 appears in C. Payne, Ibid, pl. 152, p. 145 and another slightly more elaborate variant is illustrated in an old black and white image towards the end of the book, Ibid, p. 494.Four conforming Linke tea tables to the present lot, all index number 1009, have understandably performed strongly at auction over the last decade: Christie's, New York, 18 April 2013, The Opulent Eye, lot 29; Christie's, New York, 16 April 2015, The Opulent Eye, lot 13; Christie's, New York, 13 April 2017, Opulence, lot 93; and Christie's, New York, 7 May 2020, The Collector, lot 102.The French sculptor Léon Messagé (1842-1901) collaborated with the most established cabinet makers of his time. He notably worked for Joseph Emmanuel Zwiener in the 1880s and 1890s when he was celebrated for his ingenious designs before collaborating with Linke for the 1900 Paris Exposition Universelle which was evidently the most successful point in his career.François Linke was born in Bohemia, but moved to Paris where he established his business circa 1880 at 170, Rue du Faubourg Saint-Antoine, and from 1900 onwards he opened a showroom at 26, Place Vendôme. Linke made a huge impact at the Paris 1900 Exposition Universelle at which he presented vigorous reinterpretations of the Rococo style. He was ultimately honoured with a Gold medal and his success acquired wealthy patrons from across the world. He was admired so much in France that he was even awarded the 'Croix de la Légion d'Honneur' in 1906.LiteratureC. Payne, François Linke (1855-1946), The Belle Epoque of French Furniture, 2003.C. Mestdagh and P. Lécoules, L'Ameublement d'Art Français (1850-1900), 2010.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
A George III mahogany Pembroke table1770-75, the butterfly shaped and eared top with a gadroon moulded edge, above one long oak-lined frieze drawer, on four stop-fluted tapering legs each headed by a gadrooned collar, terminating in acanthus wrapped bulb-and-bun shaped feet with leather castors, with a fluted and foliate-wrapped baluster columnar X-stretcher centred by a rosette, the ormolu handles apparently original, the drawers with distinctive concave quarter fillets or drawer slips, 62cm wide x 67cm deep x 72cm high, (24in wide x 26in deep x 28in high)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
A French 19th century ormolu mounted kingwood table a the by Paul Sormani (1817-1877)With ebonised and amaranth line-inlaid cartouches, each shaped quarter veneered tier surmounted by a scrolled floral, foliate, rocaille and acanthus cast dished border mount, each end mounted with a conforming pierced elongated scroll shaped cartouche adjoining the two tiers, with four handles, on keeled cabriole legs terminating in cabochon embedded foliate scrolled sabots, signed: 'P. SORMANI, PARIS, the underside with an ivorine plaque which reads: 'H.A. COMER... LONDON WC2... ' 102cm wide x 59cm deep x 97cm high, (40in wide x 23in deep x 38in high)Footnotes:A virtually identical Sormani tea table to the offered lot, likewise signed by the maker, recently sold Christie's, London, 4-25 February 2021, Patrick Moorhead: Hidden Treasures, lot 71. This had been previously purchased Christie's, London, Le Grand Gout - A Private European Collection, 17 June 2009, lot 144 (part). Another closely related table a the by Sormani sold Bonhams, New Bond Street, 25 November 2009, Fine Continental Furniture, lot 169. A further comparable, albeit with an oval tray instead of a serpentine one along with other minor variations, sold Christie's, London, 19 March 2008, lot 189.Paul Sormani, who was born in Italy in 1817, was one of the most important cabinet makers of the 19th century. His first gallery and workshop were established in 1847 in Paris and then during the 1860s the Sormani business is recorded as being located at 10 Rue Charlot. Following Paul's death in 1877, they operated under the direction of his widow, Ursule-Marie-Philippine, and his son, Paul-Charles. Finally in the 1900s the firm re-located to Boulevard Haussman.Sormani, whose output comprised furniture made in a variety of styles, specialised in the production of Louis XV and Louis XVI revival pieces which include a number of exceptional examples. His workshop even advertised itself in the following manner: 'toute sa production revèle une qualité d'éxecution de toute première ordre.' The Sormani firm exhibited at all the major exhibitions of the 19th century, winning medals in 1849, 1855, 1862, 1867, 1878, 1889 and 1900. Of particular note Sormani received a medal of première classe at the Exposition Universelle in 1855, followed by another at the 1862 exhibition in London.LiteratureC. Payne, European Furniture of the 19th Century, 2013, Suffolk, pp.'s 44-5.C. Mestdagh, L'Ameublement d'art Francais, 1850-1900, 2010, Paris, pp.'s 296-299.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
ToilettetischWohl Frankreich, 19. Jh. Furnier Mahagoni. Platte weißer Marmor. Über halbkreisförmig ausgeschnittener Sockelplatte. Geschweifte Vorderbeine in Löwenpranken-Fußschuhen. Schreibschublade. Schwenkbarer, ovaler Spiegel. Rest., erg., besch. 135 x 75 x 45 cm. A dressing table Probably France, 19th century Mahogany veneer. White marble top. Oval swivel mirror. Restored, additions, damaged. 135 x 75 x 45 cm.
Tischuhr "Porte-Montre" mit EcritoireParis/Zürich um 1800, Uhrmacher Christofle Zeller Bronze, ziseliert, matt- und glanzvergoldet bzw. bruniert. Ovaler, profilierter Sockel. Inneneinrichtung mit Einsätzen aus Bronze, Glas und Porzellan für Tinte, Löschsand und Federkiele. Darauf ein einen Korb tragender Hund auf Terrainsockel. In den Korb eingesetzte Spindeltaschenuhr mit Kette und Schnecke. Weißes Emailzifferblatt mit römischen und arabischen Ziffern. Vergoldete Messingplatine bez. "CHR ZELLER a ZÜRICH" (lt. Expertise Viebahn). Schlüssel. 16 x 16,5 x 11 cm. Provenienz: Viebahn Kunsthandel, Worpswede. - norddeutsche Privatsammlung. Vgl. Tardy, La Pendule Française. Paris 1975, Bd. 2, S. 393, Abb. 2. A table clock "Porte-Montre" with ecritoireParis/Zurich circa 1800, watchmaker Christofle Zeller Bronze, chased, matt and gloss gold-plated / burnished. Inserts made of bronze, glass and porcelain for ink, pounce and quill pens. Embedded pocket watch with verge escapement, chain and fusee. White enamel dial with Roman and Arabic numerals. Gilt brass plate inscribed "CHR ZELLER a ZÜRICH" (Viebahn according to expert opinion). Key. 16 x 16.5 x 11 cm. Provenance: Viebahn Kunsthandel, Worpswede. Private collection, North Germany. Cf. Tardy, La Pendule Française. Paris 1975, Volume 2, page 393, illustration 2.
Prächtiges indisches Hochzeit - Collier verziert mit Smaragden, Diamanten, Rubinen und EmailarbeitenIndien, 1. Hälfte 19. Jahrhundert Gelbgold 916/-, getestet, vermutlich höher legiert 24 K Feingold, transluzides Email in grün, rot, weiß und blau. 74 Diamanten im alten unregelmäßigen "Mogulschliff" (Tafel-Rosenschliff), zus. vermutlich 10 ct. old Mine. 46 Smaragde in unregelmäßiger mugeliger Form sowie 15 karreförmige Smaragde im floraler Gravur, zus. vermutlich 80 - 90 ct, old Mine, 15 kl. unrunde Rubine im Cabochonschliff, zus. vermutlich 0,40 ct. Halsweite ca. 41 cm. Ca. 181,6 g. Goldschmiedetechnische Ausführung: das breite Zierband wurde in Kundan-Technik gestaltet und mit Diamanten im Mogulschliff sowie Rubine im Cabochonschliff und karreeförmigen gravierten Smaragden eingefasst. Die in barocker Form geschliffenen Smaragdperlen wurden durchbohrt und mit Golddraht beweglich an den Fassungen befestigt. Die Enden bestehen aus verschiedenen Feingold-Elementen und barocken durchbohrt und gefädelten Smaragdperlen. Die Rückseite wurde aufwendig mit feinen floralen transluziden Emailarbeiten in rot, grün, weiß und Blau ausgeführt. Schauseitig beeindruckt dieses indische Hochzeits - Collier nicht nur durch den üppigen Smaragd und Diamantenbesatz in einer zeittypischen Kundan-Technik sowie dem Mogulschliff sondern auch durch die prächtige rückseitige Veredelung mit den farbigen transluziden Emailarbeiten. Der traditionelle Schmuck Indiens war eingebunden in religiösen Vorstellungen des Landes und hatte ein magisches Weltbild. Symbolbilder, wie jene floralen Smaragdarbeiten sowie die herrlichen Emailarbeiten sollten die magische Wirkung des Schmuckes erhöhen und positive Energien an den Träger/Trägerin binden und dämonische Gefahren abweisen. BK A magnificent Indian wedding necklace with emeralds, diamonds, rubies and enamel workIndia, 1st half of the 19th century Yellow gold 916/-, assayed, probably a higher alloy 24 K fine gold, translucent enamel in green, red, white and blue. 74 diamonds in old, irregular "Mogul cut" (table rose cut), totalling probably 10 ct. old Mine. 46 emeralds in irregular Mogul shape and 15 carré-shaped emeralds in floral engraving, totalling probably 80 - 90 ct, old Mine, 15 small unround rubies in cabochon cut, totalling probably 0.40 ct. Neck size approx. 41 cm. Ca. 181.6 g.
Indisches Mogul Collier verziert mit rosa Turmalinen und DiamantenIndien, 1. Hälfte des 19. Jahrhundert Gelbgold 916/-, getestet vermutlich höher legiert 24 K Feingold, transluizides Email in rot, grün und zart gelblich. Ca. 70 Diamanten im alten unregelmäßigen " Mogulschliff " (Tafel-Rosenschliff), zus. vermutlich 10 - 12 ct. 14 tropfenförmige rosa Turmaline sowie 21 rosa Turmaline in unregelmäßiger mugeliger Form, zus. vermutlich 40 - 50 ct. Halslänge L. ca. 63 cm, Mittelstück ca. 15 cm, B. ca. 3,8 cm mit Pendilie ca. 6,6 cm. Ca. 72,2 g. Goldschmiedetechnische Ausführung: das Mittelstück wurde in Feingold gestaltet. Die Diamanten sowie die rosa Turmalintropfen sind in folierte Kundan-Fassungen gesetzt. Die in mugeliger Form geschliffenen Turmaline wurden durchbohrt und mit Golddraht beweglich an den Fassungen befestigt. Rot-goldene Fäden wurden zu einem Strang geflochten und halten das Mittelstück zu einem Collier zusammen. Rückseitig verziert transluzides Email in floraler Gestaltung die einzelnen Elemente. Dieses Halsband mit zentralem Mittelstück gibt es in unzähligen Variationen und wurde in fast allen Völkern Indiens getragen. Die Gestaltung des Schmucks, insbesondere die Kundan-Fassungen, hatten sich der Steinform anzupassen, denn die Inder bevorzugten die natürliche Steinform. Ein reiner natürlicher Diamantoktaeder durfte gar nicht geschliffen werden, denn dieser galt als heilig. Man wollte möglichst wenig von der geheiligten Materie der Edelsteine entfernen. Man hatte andere Ideen über den Stil der Steinschliff, beliebt war auch der Steinschnitt, Cabochonschliff und der unregelmäßige Facettenschliff "Mogulschliff" genannt, dieser findet sich auf Schmuckstücke vor 1850 wieder. Interessant sind auch die rückseitigen Gestaltungen meist mit floralen Motiven in feinen bunten Emailtechniken. BK An Indian Mogul necklace with pink tourmalines and diamondsIndia, 1st half of the 19th century Yellow gold 916/-, assayed, probably a higher alloy 24 K fine gold, translucent enamel in red, green and soft yellow. Approx. 70 diamonds in old, irregular "Mogul cut" (table rose cut), totalling probably 10 - 12 ct. 14 teardrop-shaped pink tourmalines and 21 pink tourmalines in irregular Mogul shape, totalling probably 40 - 50 ct. Neck length: approx. 63 cm, central piece: approx. 15 cm, width approx. 3.8 cm with pendilium approx. 6.6 cm. Ca. 72.2 g.
A 19th CENTURY CONTINENTAL IVORY FAMILY GROUP modelled as men and woman sat around a table, set with plates and cups, with small children playing with a dog, upon a faux tortoiseshell veneered wooden base with gilt metal rim and sat upon four ivory bun feet, 26cm long Condition Report: The standing man has a piece missing from the back of his hat. The plate in his hand may have been chipped or it may be by design. Cannot get close enough to see. There is a crack to the top of the dogs head and one end of the table. The horse on wheel has come unstuck from the base. There are cracks in the tortoiseshell base. Otherwise the piece is in good condition.
A COLLECTION OF GLASGOW SCHOOL OF ART STYLE TEXTILES including a pink rose embroidered tea cosy, another in green decorated with a rose and butterflies, a table cover with shaded pink purple and blue stylised foliage, 79cm squared, a pillow with motto 'Sleep is a gentle thing beloved from pole to pole' surrounded by stylised foliage, 47cm x 33cm, a Glasgow rose style embroidered panel in shades of pink/purple and green, 74cm square, and a green textile cushion cover with stylised embroidery, 56cm x 58cm (6) Condition Report: Below in relation to images attached. . 288-6 - tablecloth stained in areas, stitching in good order. 288-5 - cushion cover stitching in good order. 288-2 - stitching in good order, some discolouration to pink ground. 288-4 - stitching in good order, some fading to green ground, one area of rust. 288-1 - stitching in good order and in nice condition. 288-8 - stitching in good order, raw edges as not made into anything as yet.
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