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Click here to subscribeA Napoleon III gilt brass and tortoiseshell 'Boulle' style centre table, third quarter 19th century, with gilt bronze mounts, the cartouche top above frieze drawer, on cabriole legs, 75cm high, 132cm wide, 83cm deepProvenance: Property from the apartment of Madame Dewi Soekarno, Avenue Montaigne, Paris.Condition Report: scratches throughout, small piece of tortoiseshell missing, structurally sound, overall very good condition
A French kingwood kidney table a ecrire, of Louis XV style, first quarter 20th century, with gilt bronze mounts, the superstructure with central alcove and four drawers, the tooled leather writing surface above three drawers, on tapering legs to paw feet, with keys, 99cm high, 97cm wide, 56cm deepCondition Report: scratches and stains throughout, scratches and scars to leather, some minor splits to veneer, minor pieces of veneer missing, structurally sound, overall very good condition
DIAMOND SINGLE-STONE RING, 19TH CENTURYThe Peruzzi-cut diamond, weighing 6.56 carats, mounted in silver and gold, ring size IFootnotes:The first brilliant-cut diamonds were introduced during the mid-17th century. This new style of cutting was known as the 'Mazarin'. The Mazarin-cut featured seventeen facets on the crown and the resulting fire and brilliance was incomparably better than the earlier rose-cut had achieved. It is largely agreed that Vincenzo Peruzzi, a diamond cutter from Venice, was the first person to cut a diamond with 56 facets, a table, and a culet, for a total of 58 facets. The resulting 'Peruzzi-cut' significantly increased the fire and brilliance previously achieved in the 'Mazarin-cut'. Peruzzi-cuts are exceedingly difficult to find because they were only made for about 20 years during the late 19th century. For further information on this lot please visit Bonhams.com
ERNESTO PIERRET: RENAISSANCE REVIVAL EMERALD, RUBY, PEARL AND ENAMEL PENDANT AND EARRING SUITEThe table-cut emerald in closed-back setting, between polychrome enamel sea serpents, issuing a pair of similarly-cut rubies within a drilled pearl and black enamel surround, suspending a pearl drop via a detachable table-cut emerald and pearl quatrefoil pendant, decorated throughout with rope-twist, wirework and beaded detail, the earrings en suite, maker's mark EPRT, pearls untested, later chain, later earring fittings, some enamel loss, lengths: pendant 9.0cm, chain 67.0cm, earrings 7.5cm (2)Footnotes:Ernesto Pierret (1824-1898) was born in Paris but moved to Rome as a young man where he trained as a goldsmith. It is possible that he may have been an apprentice in the workshop of Castellani, an idea supported by the clear similarities in styles and subject matter. In 1846 he opened his own shop in Florence, later moving to a Renaissance palazzo at 20 Piazza di Spagna, next to the Spanish Steps in Rome. Today the building is a national monument and regarded as one of the most important historic buildings in Rome. Renamed Palazzo Pierret, his name can still be seen above the entrance. His pieces are marked either with a monogram or signature, both of which are applied to the piece on a small gold plaque or tab.Please note, this lot has VAT at the prevailing rate on both the Hammer Price and Buyer's Premium. Additional duty of 2% will apply to the VAT. Please contact the department for further information.Saleroom notices:Please note, this lot should be dated circa 1870.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
A large group of Christie's, Drouot, and assorted Antiquities sales catalogues, together with an assortment of Münzen und Medaillen, Ars Antiqua and assorted Antiquities dealer catalogues Including Christie's London catalogues (Hope collection, 23 July 1917, Cook collection, 14 July 1925, Portland Vase, 2 May 1929, Lansdowne collection, 5 March 1930, Oppenheimer collection, 22 July 1936, Northwick Park Antiquities, 21 June 1965, Harewood gold vase, 23 June 1965, Antiquities, 19 October 1965, Antiquities, 12 December 1967, Antiquities, 1 December 1978, Castle Ashby vases, 2 July 1980, Marbury Hall, 10 July 1987, Stanford Place, 26 April 2006); Christie's New York, Antiquities, 14 June 1979; Phillips London catalogues (Antiquities, 6 July 1993, Antiquities, 6 December 1994); Anderson Galleries, Cypriote pt.1, 30-31 March 1928; American Art Galleries, Kouchakji collection, 26 February 1912; Drouot catalogues (Antiquities, 16 November 1973, Antiques, 11 April 1986 (x2)); Münzen und Medaillen catalogues (1958, 1968, 1971, 1984, 1969, 1974, 1964, 1960); Ars Antiqua AG, Luzern catalogues (1960, 1964, 1967); Rupert Wace Ancient Art 1990; The Thomas Hope table, A rediscovered masterpiece, 2007; Memorial exhibition for Christo Michailidis, Robin Symes, 1999; The Red Pharaoh, Sycomore, 2011; Gawain McKinley Ancient Glass and Glazed Wares; Gawain McKinley, Ancient Glass and Glazed Wares x 2; Emmerich Gallery, Masterpieces of Greek vase painting, 1964; Emmerich Gallery, Early Art in Greece, 1965; Robin Symes, Ancient Art, June 1971; Robin Symes, 2000; Safani Gallery, Ancient Art: the Unknown Artist; Michael Ward, Origins of Design: Bronze Age and Celtic masterworks; Daedalus Gallery, 1990; Vollmoeller, no. 9, 1989; Galerie Nefer, cat. 1-4, 6-9 (QTY)For further information on this lot please visit Bonhams.com
Matched set of twelve early 19th century Kings Diamond pattern table forks, consisting of six Victorian forks, sponsor's mark of William Theobalds & Robert Metcalfe Atkinson, London 1840, four George IV forks, sponsor's mark of William Chawner, London 1828, etc, 1180g approx
Elizabeth II silver twelve-piece canteen of Kings pattern with diamond heel, comprising 12 table forks, 12 table silver handled knives, 12 dessert spoons, 12 dessert fork, 12 side silver handled knives, 12 fish forks, 12 fish silver handled knives, 12 soup spoons, 12 teaspoons, 11 coffee spoons, 4 tablespoons, 1 sauce ladle, sponsor's mark of Hampton Utilities, Sheffield 1975 and Birmingham 1968, together with a matched Edward VII silver sauce ladle, sponsor's mark of Walker & Hall, Sheffield 1908, 4110g approx weighable silver, in mahogany case
Twentieth century South Staffordshire Regimental drum, by Henry Potter & Co. painted with regimental details and battle honours to the centre, with tension ropes, mounted as an occasional table with removable mahogany and glass tray top on circular stand with scroll feet, 43cm x 57cm high (overall)
Late 18th century Flight Worcester plate from the 'Hope Service', made for the Duke of Clarence, of lobed circular form, the centre finely painted in monochrome by John Pennington with a female figure emblematic of Hope, standing with an anchor by her side on a cliff top, a ship in full sail in the distance, within an elaborate gilded band and a blue and gold border of arcaded panels and paterae, crown, Flight and crescent mark in blue, 24.5cm diameterThe commissioning of this important royal service for William Henry, Duke of Clarence in 1789 (when he relinquished command of HMS Valiant) was described by John Flight in his diary in January 1790:'We used our two best painters last week to make some very fine designs for the Duke of Clarence, we have already completed 3 plates and I have sent them to London. One is a gold arabesque design, another the figure of Hope, the other of Patience.'On 24th January he added... 'Apart from the two plates mentioned... we have made two others with figures, Peace and Plenty. H.R.H. Duke of Clarence has decided on the Hope design with the decoration that we put on the Peace plate, he has ordered a table service that will amount to more than £700 sterling. He has given us a year in which to complete it...'.Literature: See Sandon, Henry, 'Flight and Barr Worcester Porcelain' (1978) and by Sandon, John, 'Worcester Porcelain at Cheekwood' (2008), pp.100-102.
Pair of French Empire-style bronze and gilt metal table lustres, each with cut glass drip pan enclosing gilt metal nozzle, over faceted beads and droplets and an eagle with outstretched wings, a ring in its beak, on cylindrical plinth mounted with foliate swags on spreading stepped foot, 36.5cm high
Early Victorian rosewood combination tripod occasional table / jardinière stand, circa 1840, the moulded concentric circular top with lift-out central cover enclosing a tin liner, over lobed frill raised on reeded stem, concave tripartite base and three scroll supports, 50.5cm diameter x 71cm high
Victorian marquetry inlaid tripod games table, circa 1870, the shaped oval top inlaid with chess board of satinwood and rosewood within Virginia walnut surround with floral marquetry inlay enclosed within brass galleried frame, raised on tapered octagonal amboyna veneered stem, over conforming hipped scroll tripod supports with conforming decoration, 66cm x 49cm x 72cm high
Mid 19th century mahogany draw-out extending dining table, with moulded D-shaped ends, extending via telescopic frame on five reeded supports with brass caps and swivel castors (one leg central) and with the insertion of five loose leaves to 426cm x 150cm x 73.5cm highPurchased from Connaught Antiques, 54 Francis Street, Dublin, “A Magnificent 19th Century Flame Mahogany D-End Shaped Dining Room Table On Five Fluted Legs and Large Brass Castors And With Five Additional Leaves”
Early 19th century inlaid and crossbanded mahogany kneehole dressing table/desk, the rectangular top with canted front corners over brushing slide and long drawer, shaped apron drawer and kneehole cupboard, flanked by two banks of three short drawers, each with turned gilt metal handles on downswept bracket supports, 95cm x 49cm x 83cm high
Chinese hardwood (probably hongmu) altar table, late Qing Dynasty, circa 1900, the cleated rectangular top over scroll-pierced frieze raised on conforming end supports with curved X frame decoration, 152cm x 45cm x 99cm highConsigned by the same vendor as the Shanghai Fire Brigade silver trophy cup.
Late George III draughtsman's or architect's mahogany writing table, the double-hinged ratchet inclining (a/f) gadroon-carved serpentine top and skiver insert over frieze drawer, raised on cabriole supports and castors, fitted with early Bramah lock, 91cm x 67cm x 72cm high
Dinky Pre-War 101 Dolly Varden Dolls House Dining Room Furniture - mottled brown paint finish - table free from any visible fatigue, some chairs have mild fatigue, cabinet has fatigue to both doors - Fair to Excellent, re-strung onto Near Mint original backing card, in Fair stained & scuffed box with correct end label and charming "To Jose from Santa Claus" inscription to inside of lid. Lid illustration is however Good Plus.
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