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Click here to subscribeA selection of silver plate and silver items, including a large pair of candelabra, the three urn shaped sconces above conforming stem and spreading circular base, 43cm high, with a two bottle cruet stand, with openwork gallery, 32cm high, a silver coloured nut cracker with cast face of bacchus style mask, a silver plated dish and cover with crown above ‘LC’ monogram, and further silver plated items (Qty)
A pair of Edwardian silver candlesticks, Hawksworth, Eyre and Co Ltd, Sheffield 1900, the urn shaped sconces with oval cartouches depicting classical maidens, above tapering stem and spreading square base with conforming decoration, 22cm high (weighted)Condition report: Candlestick one: Drip pan is stuck and will require attention. General tarnishing and wax residue seen throughout.Dent seen to the stem (see images) Splits seen to where stem meets base. Areas of high relief are rubbed. General dents, blemishes and scratches are seen throughout, commensurate with age and use. Candlestick two: Drip pan is stuck and will require attention. General tarnishing and wax residue seen throughout. General dents, blemishes and scratches are seen throughout, commensurate with age and use. Dent to underside of urn shaped sconce. Split and dent seen to base Areas of high relief are rubbed.Both candlesticks with later/associated felt base.
A pair of Edwardian silver candlesticks, Hawksworth, Eyre & Co Ltd, Sheffield 1902, the urn shaped sconces with removeable shaped drip pans leading to tapering stem and spreading shaped base, with Rd number '273053' 18cm high (weighted) with a pair of Edwardian dwarf candlesticks, Fordham & Faulkner, Sheffield 1905, the urn shaped sconces with stylised garland detail, 9cm high (weighted) (4)
A pair of Vienna porcelain twin handled vases and covers, mid 19th century, each of urn form, decorated with a central reserve of a courting couple, surrounded by alternating green and red panels of gilt flora and foliage, on a spreading circular foot, set to a square plinth decorated with a neo - classical scene, gilt banding throughout, the domed covers with acorn finials, painted maker's mark to base, each 46cm high (2)Condition report: Each vase shows surface wear commensurate with age, including rubbing to the gilt, minor surface scratching. No obvious chips, cracks, crazing, or any signs of damage nor restoration.
A Wedgwood two handled urn, the white ground applied with blue scrolling floral and foliate detailing, impressed marks, 17.5cm high, along with a Paris porcelain pedestal bowl, 19th century, the lilac ground painted with three reserves of floral sprays, within gilt borders, indistinctly marked to base, 18cm diameter, and a Copeland late Spode blue printed tureen and cover, 10cm high (3) (at fault) Condition report: The Wedgwood urn shows minor chips and cracks commensurate with age. The piece also shows surface wear such as discolouration and scratches.The bowl shows rubbing to the gilt highlights throughout. minor surface scratches, as well as small firing faults to include frits and pits. No other obvious signs of damage.The tureen and cover shows restoration to the cover (please see photo). The piece shows surface wear commensurate with age and use. No other obvious signs of damage.
A continental metal table lamp base, of urn form, the body pierced throughout with foliate panels, twin handled, with foliate finial, upon stepped square base, 90cm high Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
A pair of Victorian lacquered brass lamp bases, late 19th century, the invert break front base raised upon stepped compressed feet, supporting a central urn, applied with classical swags, terminating with a light fitting, later converted from a pair of fire dogs, each 43.5cm high including fitting (2) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
A French champleve and onyx four glass bracket clock, signed Vincent, late 19th century, the case surmounted with an urn above the 10cm enamelled dial applied with Roman and Arabic numerals and floral swags, enclosing the two train movement stamped with the makers name and striking on a coiled gong, with a mercury filled pendulum, upon cast gilt metal bun feet, 45cm high
A set of five mahogany Hepplewhite style dining chairs, early 20th century, each with an openwork urn design splat back, over a tapestry drop-in seat upon channelled front legs, plain back swept rear legs united by an 'H' cross stretcher, to include one carver, seat height 47cm, height 104cm (5)
Pair of silver candelabra, by Edward Viners, Sheffield 1959, in Victorian style with two scrolling branches supporting urn shaped sconces, over a tapered column and shaped square base (loaded), height 35cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Fine Victorian silver centrepiece, by Frederick Elkington, Birmingham 1868, in Egyptian Revival style, the top originally adorned with a glass bowl and now housing a similarly hallmarked silver sconce, with three scrolled branches supporting urn shaped sconces, united by chains to a central amphora shaped column, supported by griffins, raised on triform dog leg supports centred with anthemion, over a triform beaded base with an inscription 'Presented by the City of Chester to John Walker Esq. Town Clerk on the visit of HRH The Prince of Wales 1869', the whole raised on a mirrored stand with conforming marks and concealed silver feet, weighable silver weight approx. 5.12kg, height 67.5cm, the stand 33cm wide (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
George III silver pepper pot, London 1808, of urn shape raised on a square foot, height 11cm, weight approx. 89g (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Leeds creamware platter, circa 1790, the centre decorated with an urn and with floral sprigs, within a blue icicle border, 36.5cm diameter (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
George III mahogany and inlaid urn shaped knife box converted to a decanter box, containing three green glass lozenge section decanters with silver gilt mounts, hallmarked London 1897, with glass stoppers also mounted in silver gilt, and with six engraved glass liqueur glasses, all within an urn pedestal over a square base with boxwood and ebony chequered vertilinear inlays, height 71.5cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Pair of French marble and ormolu urn table lamps, 20th Century in the Empire Revival style, composed of variegated coloured marbles with cream and red fabric pleated shades, height to the top of the shades 72cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Pair of classical style ormolu mounted yellow marble table lamps, of urn shape with lion's mask twin handles and a band of stiff acanthus leaves, over a square base, with ivory coloured silk shades, total height 77cm, the lamps 47cm to the fitting (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Mahogany tilt top tripod table, late 18th Century, circular folding top over a turned urn column and three cabriole legs, 78cm diameter, height 72cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
St Eustatius, Battle of St Eustatius, 1781, a silver medal by J.G. Holtzhey, bust of Willem Crul right, head facing, rev. vi inferior non virtvte, pedestal with tablet on side depicting battle and topped by urn, Mercury standing weeping to right, 45mm (Betts 581; Roehrs 1670). Extremely fine and toned [certified and graded by NGC as MS 63] £600-£800 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
A late 19thC French rococo style brass cased mantel clock, the circular enamel dial with silver overlay, bearing Arabic numerals, Japy Freres & Cie eight day movement with bell strike, the case of balloon form, with an urn and garland finial, rococo foliate scrolls raised on scrolling base, on scroll feet, with pendulum and key, 53cm high.
An early 18th century burr walnut table clock with alarmDaniel Quare, London, no.138The inverted bell top case surmounted by a boldly cast brass handle, over a well moulded cornice, and a pair of tall arched silk-backed sound frets to the sides, the front and rear doors set with upper quadrants backed in green silk, sitting on a moulded base and block feet. The signed and numbered 6.25 inch arched gilt brass dial with three subsidiaries, the largest giving the date, framed by a pair of engraved birds within foliate scrolls, flanked by a rise-and-fall regulation dial to the left and strike/silent dial to the right, the foliate and crown-and-sceptre spandrels enclosing the silvered Roman and Arabic chapter ring with lozenge half-quarter marks, the finely matted centre with deeply chamfered mock pendulum aperture, and burnished signature cartouche 138 Dan Quare London, a silvered alarm disc to the centre, under pierced blued steel hands.The twin gut fusee movement united by knopped pillars, the verge escapement with sprung suspension to the light lenticular bob pendulum, rack striking the hours on a bell, and repeating the quarters on a smaller bell via the activation cord to the right hand side, the alarm wound via the cord to the left and sounding via a twin-headed hammer set inside the larger bell.The backplate with a single line border framing a scene of five birds set within symmetrical foliate scrolls centred by an urn and sun mask, signed and numbered in a wheatear engraved oval plaque 138 Dan: Quare London. Ticking, striking, operational alarm and pull quarter striking. Together with two case keys and a crank-winder. 25.5cm wide x 18.5cm deep x 46cm high, (10in wide x 7in deep x 18in high)Footnotes:A handwritten note pasted inside the clock on the seatboard reads; 'I inherited this Clock from my mother, who died in 1918. Having it repaired in 1922 an inscription was discovered written in pencil by my father upon the board to which this paper is attached. He died at the age of 67 in 1901. Charles William English, age 60, London, August 1922.ProvenanceJohn Carlton-Smith, Grosvenor House Antiques Fair, June 1996.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
A fine mid 18th century gilt-metal mounted tortoiseshell musical table clock with silver and champlevé enamel decorated dial made for the Turkish marketMarkwick, Markham and Perigal, LondonThe cupola top with red silk-backed lattice-work panels on a circular lower section framed by flaming urn finials, the sides with elaborate cast brass sound frets and open curved scroll mounts to the canted corners, on a moulded base and gilt twin-foliate scroll feet. The back door with full fish-scale gilt brass sound fret backed in red silk.The 4.25 inch arched dial plate with multi-coloured champlevé enamel decoration of flowers, scrolls and leaves mainly in blue and green with gilt and orange highlights, on a hatched silver ground. The 4 inch white enamel dial with Turkish numerals, signed Markwick Markham Perigal London below the pierced and engraved gilt hands, the arch set with twin white enamel subsidiaries for chime/not chime and four-tune selection. The triple barrel movement with knife edge verge escapement striking the hours on a bell and playing one of the 4 tunes on a run of 9 bells and 15 hammers regulated via an external fly, the backplate with floral and fruit basket engraving, above the signature Markwick Markham Perigal London. Ticking, striking and playing. Together with two case keys and a winding key. 28cm wide x 22cm deep x 40cm high, (11in wide x 8 1/2in deep x 15 1/2in high)Footnotes:Accompanied by a description from Stender, Antiquair Uurwerkmaker, July 1988.This firm was initially comprised of James Markwick and Robert Markham. Markwick was born in London around 1662 and was made free of the Clockmakers Company by patrimony in 1692. His father, James Markwick Senior, was a prosperous horologist and his mother, Hannah Gilpin, was the daughter of another prosperous London horologist, Edmund Gilpin, who was also James Markwick Senior's master. About four years after gaining his freedom, Markwick Jr. took over his father's workshop and trade. Around this same time, he appears to have married Catherine Carleton; the couple would go on to have at least 11 children, though only two, Thomas and Catherine seem to have survived childhood. Robert Markham became a member of the Curriers company in 1700, likely having been born around 1680, in London. His father Richard, also a Currier, died in 1715, and left Robert half of all his wealth, which included jewels and seemingly government trade contracts, the other half going to Richard's wife. Robert Markham appears to have entered into partnership with James Markwick Junior around 1725. Robert also married Catherine Markwick, though whether this was before or after 1725 is unknown. On their wedding day, James Markwick apparently gave his daughter and son-in-law £1,000. James Markwick died in 1729, leaving his son-in-law one-third of all his property. Markham continued to advertise as 'Markwick Markham', seemingly throughout his career. He and Catherine had three children, Elizabeth, James, and Anne. When Markham died in 1741, it appears that one of the Markham's continued the business, entering into partnership with Francis Perigal, the name being changed to 'Markwick, Markham, & Perigal'. It is not known which of the Markhams continued the trade, as none are recorded as clockmakers. The partnership with Perigal was dissolved around 1751, and various other partnerships were entered into. 'Markwick' remained in the shop's title until about 1820. The shop ceased trading around 1851, at that point being known as 'Markham Borrell'.Despite the firms many iterations, their main customer base seems to have been for export to the Ottoman Empire. Most of the timepieces known by them feature Turkish numerals, including a lantern clock. This suggests that this connection to the Ottoman Empire began quite early in the partnership, though exactly when remains unknown.Related LiteratureVictoria and Albert Museum (2003) Watch. Available at: https://collections.vam.ac.uk/item/O77566/watch-markwick-markham/watch-markwick--markham/B. Loomes, (2013) Collecting Antique Clocks Markwick Markham. Available at: https://www.brianloomes.com/collecting/markwick/index.htmlThis lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A pair of Restauration ormolu mounted opaline glass vasesCirca 1825The baluster-shaped urn bodies with flared necks, the engine-turned milled collars and multi-scrolling twin florette handles with stylised anthemion terminals, raised on knopped circular bases with milled borders, 19cm wide, 11cm deep, 27cm high (7in wide, 4in deep, 10 1/2in high) (2)Footnotes:This type of opaline glass with its milky effect is commonly called 'bulle-de-savon'.Related LiteratureFor a similar example see Fernando Montes De Oca, L'Âge D'or Du Verre En France: 1800-1830, Paris, 2001, no. 538, p. 393 and ill. 395.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
A pair of French ormolu mounted marble cassolettes19th century, in the Louis XVI styleThe covers surmounted by berried foliate finials reversing to reveal candle sconces, with urn shaped bodies with lion masks and ribbon-tied swags and on fluted columns and stepped square plinth bases and bun feet, 9.5cm wide, 9.5cm deep, 26.5cm high (3 1/2in wide, 3 1/2in deep, 10in high) (2)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
A pair of 19th century gilt bronze urn shaped cassolettesIn the Louis XVI styleWith reversible sconces above lion-mask handles issuing swagged garlands, on square plinths and lion paw feet, 9cm wide, 9cm deep, 23.5cm high (3.5in wide, 3.5in deep, 9in high) (2)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
Two late 17th / early 18th century Northern European polychrome enamelled plaquesProbably Dutch or German, the plaques probably originally decorative mounts, perhaps from a silver boxEach of shaped and slightly curved form decorated to the outer side with an elaborately draped green twin handled pedestal urn containing a formalised arrangement of yellow flowers including tulips, the rear of each plaque enamelled in pale blue, later mounted within a fitted presentation box, the plaques: 7cm wide, 6.5cm high (2 3/2in wide, 2 1/2in high) (2)Footnotes:For a comparable knife handle inset with a similarly decorated plaque, see Jan van Trigt, Cutlery from gothic to art deco, the J. Hollander collection, Gent 2004, p. 161, cat. no. 275.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
A rare late 17th / early 18th century French brass-strung, tortoiseshell and ebony veneered weight driven wall clockGaudron, ParisThe arched case surmounted by three gilt brass flaming urn finials over gilt-metal mounted columns to each corner, on an inverted breakfront base and cast toupie feet, the sides with full length glazed panels, and a solid rear door. The black velvet-covered dial plate with silvered Roman and Arabic chapter ring, the outer edge engraved with every minute, showing running seconds via a subsidiary dial below XII, with good pierced and engraved gilt brass hands, the main ring held aloft by the reclining figure of Chronos on top of a plinth signed Solem Audet Dicere Falsum, Gaudron AParis. ('It dares the sun to tell a lie')The weight driven movement with rectangular shallow-arched plates united by six vase shaped pillars pinned through the backplate, the going train with anchor escapement, the strike train with solid numbered countwheel mounted on the rear, sounding the full hour on the hour and a passing strike on the half past, over the engraved signature Gaudron AParis. Ticking and striking. Together with a pendulum and a case key. 32cm wide x 16cm deep x 48cm high, (12 1/2in wide x 6in deep x 18 1/2in high)Footnotes:ProvenanceToebosh Antiques, Amsterdam, April 2022.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A Dutch late 18th century grained and parcel gilt mirrorThe later rectangular plate within a brown stained frame between beaded orders, the pierced cresting centred by an oval paterae enclosing a twin-handled urn flanked by scrolling acanthus leaves and a floral crest above a pierced gallery, 39.5cm wide x 3cm deep x 89cm high, (15 1/2in wide x 1in deep x 35in high)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 For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 good second quarter of the 18th century French ormolu-mounted tortoiseshell wall clockL. Talon, ParisThe case surmounted by a detachable caddy with gilt fleur-de-lys finial on a classical urn with hoof feet, the tete-de-poupee shaped case centred by a Roman style portrait medallion over elaborate scroll mounts to the corners and base, the sides with cut-brass inlaid lozenges, over a tapering wall bracket with cast edge and goats head corner mounts, framing a coloured horn panel and terminating in a floral bud finial. The 6 inch thirteen-piece white enamel Roman dial with engraved outer minute ring and blued steel hands, signed L. Talon AParis. The large rectangular movement united by five pinned tapering pillars, verge escapement with silk suspended pendulum and solid outside countwheel strike on a bell, signed along the lower edge L Talon AParis. 25cm wide x 17cm deep x 79cm high, (9 1/2in wide x 6 1/2in deep x 31in high)Footnotes:LiteratureAccompanied by a photograph and description prepared by Mentink & Roest.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A pair of Empire gilt and patinated bronze retour d'Egypte garniture vases and coversEarly 19th century The slender urn bodies with scrolling palmette and maskhead handles and anthemion scrolling mounts, the flared necks similarly with leafy floral mounts, the palmette cast covers with fruiting knopped finials, the stiff leaf and bullrush lower sections on milled socles, raised on tapering square plinth bases with entwined dolphin and trident and Medusa maskheads and scrolling corners, raised on paw feet, 12.5cm wide, 12.5cm deep, 39.5cm high (4 1/2in wide, 4 1/2in deep, 15 1/2in high) (2)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
A very rare mid-18th century French ormolu grande sonnerie striking mantel clock of two-week duration, with alarm and repeatEtienne Lenoir, a Paris. The case attributed to Robert Osmond. The case surmounted with an impressive urn with berry finial and laurel swags, over a pierced waist set with musical trophies, the sides cast with berries and acanthus leaves and silk-backed sound frets, all on an elaborately shaped base with heavy cast foliate scrollwork. The 5.25 inch white enamel Arabic and Roman dial signed Etienne LeNoir A Paris under elaborately pierced gilt brass dragon hands and the tapering steel alarm-setting hand, all framed by a well cast bezel. The triple spring barrel movement contained within two separate pairs of brass plates, the upper movement of tapering form, with anchor escapement, pull repeat system and large numbered outside countwheel, linked via a vertical rod to the lower set of plates set in the base of the clock to control the repeat and alarm functions, with larger engraved outside countwheel. The upper backplate engraved Etienne Le Noir AParis No. 454. Ticking, striking, operational alarm and repeat. Together with a delicate silk suspension pendulum. 32cm wide x 18cm deep x 49cm high, (12 1/2in wide x 7in deep x 19in high)Footnotes:Provenance The Collection of Mcihael Cory-Wright, Esq;Christies, London, 11 June 1998;Gilbert de Vries, Horlogerie de Collection Ancienne et Contemporaine, Paris, November 1998. ExhibitedTEFAF, Basel and sold with accompanying paperwork including a Certificate of Cultural Property dated December 1998 and instructions. Etienne Lenoir (also spelled Le Noir) was born in Paris in 1660 to a horological family. His father, Simon, was a horologist, and Etienne's grandfather, Jean (or Jehan) was Horloger du Roi in 1552. Etienne, perhaps unsurprisingly therefore also became a horologist, though the details of his apprenticeship are unclear. It is likely however, that he was apprenticed to his father. He married Marie-Anne Gamonet in 1696 and they had two children, Pierre-Etienne, born in 1698, and Etienne, born a year later. Etienne senior was known to have made turret clocks, as well as making a varied output of gold and silver watches, marquetry clocks, and bronze figural mantel clocks, among others. He died in 1739.Etienne Junior would become a horologist as well; he married in 1717 and was recorded working out of Goldsmiths' Quay in 1743 and was still recorded as late as 1778. His son, also named Pierre-Etienne and born in 1724, was an accomplished horologist and worked with his father in Goldsmiths' Quay. It appears that Pierre joined his father in business around 1743, shortly after Pierre's marriage that year. Unfortunately, both father and son signed their work 'Etienne Le Noir' which makes distinguishing the work quite difficult. Their workshop was known simply as 'Le Noir' and it would continue trading until 1820. Pierre-Etienne has been recorded as late as 1791, but it is unclear when he or his father died. The Lenoir dynasty was associated for generations with quality and extravagance and included everything from an elaborate bronze elephant automaton clock to a delicate gold repeater pocket watch.Tardy, Dictionnaire des Horlogers Français, 127th edition, Aubenas: Lienhart et Cie, 1972.An identical clock case by Robert Osmond, minus the foliate scrolling to the base is illustrated in H. Ottomeyer and P. Proschel, Vergoldete Bronzen, 1986, p.542, fig.1.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
A pair of Louis XIV rosewood, walnut, fruitwood marquetry and parcel-gilt urn or candle standsLate 17th century and later The octagonal tops with lappeted border inlaid with foliate flowering branches and birds, on gilded scrolled capitals, block and tapering supports inlaid with scroll work, the inlaid octagonal plinths terminating in ball and claw feet, 37cm wide x 39cm deep x 96cm high, (14.5in wide x 15in deep x 37.5in high) (the tops: 33.5cm wide) (2)Footnotes:ProvenanceJean-Marie Rossi, Aveline, Paris, 28 September 2000.This lot is subject to the following lot symbols: * TP Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A rare pair of Russian gilt bronze and cobalt blue porcelain pot pourri vases, incorporating elements of design from the coat-of-arms of Paul 1st, Tsar of Russia (1754-1801)St Petersburg, late 18th centuryThe pedestal urn bodies with double-headed winged eagle handles, the pierced girdles above medallion order mounts, the domed covers with fruiting stiff leaf and crown and cross finials, the lobed leafy socles raised on re-entrant cut corner square bases, the porcelain with internal underglaze marks (one lid fully restored, the other lid with minute restoration), 12.5cm wide, 9.5cm deep, 24.5cm high (4 1/2in wide, 3 1/2in deep, 9 1/2in high) (2)Footnotes:ProvenanceGalerie J.Kugel, Paris, February 1997.This pair of pots pourris, apparently unique examples in Russia, are directly inspired from Sèvres porcelain vases. The ormolu mounts clearly display all of the attributes of Paul 1st while highlighting the Maltese Order Cross. The celebrated Order of Malta, created during the 12th century, installed itself in Malta in 1530. It is in 1798, after Napoleon's siege of the island that most of the members of the Order fled to Russia. Paul 1st soon became the protector of the Maltese Cross Order and, just after being crowned, he returned to St Petersburg wearing the crown of the Grand Master of the Order of the Chevaliers de Saint-Jean de Jérusalem. From that moment onwards, the Maltese Cross was always present alongside his Imperial Coat-of-Arms. It is likely that this pair of pots pourris is a commission from the Emperor himself, but no supporting archival documents have yet been able to reveal the precise destination of these works of art. It is conceivable that they would have been planned to decorate the chapel of the Order of Malta in the Palace Vorontsov in St Petersburg.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
A good late 17th century Dutch gilt metal mounted ebony double basket top table clock with pull quarter repeat and Dutch strikingS. Van Leeuwen, AmsterdamThe large cast brass cherub handle framed by small urn finials over the gilt double basket and four larger finials on the intricately moulded top, above glazed sides, front and back doors, the doors with complex gilt brass mounts, on a moulded base with block feet.The 6.75 inch square brass dial with winged cherub spandrels framing the signed silvered Roman and Arabic chapter ring with lozenge half-quarter marks, the finely matted centre with chamfered and engraved mock pendulum and date apertures, the ringed winding holes below pierced blued steel hands.The twin gut fusee movement with knife-edge verge escapement, the plates united by five ringed and knopped pillars, striking the Dutch system on the half hours and full hour on two bells and hammers, repeating the quarters on a run of six bells and hammers, the back plate with floral engraving. Ticking, striking, and pull repeating. With two case keys and a crank key. 26cm wide x 17cm deep x 46cm high, (10in wide x 6 1/2in deep x 18in high)Footnotes:LiteratureR. Plomp, Spring-driven Dutch pendulum clocks 1657-1710, Schiedam: Interbook International B.V., 1979, pp.156-7.Further accompanied by a full description by Hans Kreft, dated November 1985.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
An important and very rare late 18th century Dutch brass-mounted mahogany musical table clock with calendar, Dutch strike, planisphere dial and moonphaseRutgerus van MeursThe inverted bell top case surmounted by five facetted urn and acorn finials, with brass banding between, the canted angles set with boldly cast floral and berry mounts, side handles and elaborate pierced and engraved brass sound side frets, on a base with curled winged feet.The 8 inch arched brass dial set with interlaced white enamel Roman and Arabic chapter rings, framed by small cast brass floral scrolls, the centre finely matted and engraved; a day of the week deity aperture above VI, a chamfered calendar aperture below XII, above the signature Rútgerús van Meúrs Amsterdam; framed by four subsidiary dials for Year 1-4 cycle, music selection (offering 8 tunes), play/not play and strike/not strike with elaborately pierced blued steel hands, a silvered astrological indicator and painted moonphase in the arch.The substantial twin chain fusee movement with verge escapement, the plates united by eight knopped pillars, seven latched, the backplate with exterior fly, engraved Rutgerus Van Meurs Amsterdam, the 8 inch long pinned cylinder playing tunes on 18 bells and 25 hammers. Ticking. With a winding key and two case keys. 41cm wide x 29cm deep x 75cm high, (16in wide x 11in deep x 29 1/2in high)Footnotes:ProvenanceHans Kreft, Neerpelt, 1985.Rutgerus van Meurs was born in Amsterdam in 1736 to Otto van Meurs and Elisabeth Potgieter. His father was also a horologist, and it is likely that Rutgerus was apprenticed to him. His workshop was in the Utrechtsestraat 143 and at some point he married Elisabeth Moret. Like his father, he made watches and longcase clocks, but Rutgerus was also one of the few Dutch horologists to make astronomical clocks, for which he is best remembered today. (See Amsterdam Horology (2020) Rutgerus van Meurs. Available at: https://www.amsterdamshorloge.nl/rutgerus-van-meurs.html)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
A fine 18th century Dutch silver coffee-urnJoannes Winter, Amsterdam, 1733 Pear-shaped with moulded borders, on three scroll feet, joined with pierced scroll aprons each with a central drapery panel, the lower bellied sides of the body with three taps, each with an urn shaped spigot with ebony inserts, issuing from shell and scroll cartouches and applied anthemions between and below a moulded girdle, the neck with applied openwork shaped band of scrolls and foliage, the flared rim with applied scroll and swing-drop handles either side, the pull-off high dome cover with similar applied shells and foliage and similarly decorated cone finial, 26cm wide, 26cm deep, 37cm high (10in wide, 10in deep, 14 1/2in high, weight 72 troy oz, weight 2,190 gms.Footnotes:ProvenancePrivate Collection, Switzerland;Christie's, Geneva, Important European Silver, Gold Boxes and Objects of Vertu, 19 May 1998, lot 151;Kunsthandel Jacques Fijnaut BV, Amsterdam, where purchased 1999.ExhibitedKunsthandel Jacques Fijnaut BV, TEFAF, Maastricht, 1999.LiteratureJ. W. Fredericks, Dutch Silver, The Hague, 1952, vol. II, no. 282, p. 98, ill p. 103, where described as 'amongst the finest Dutch silver vessels of the period. The execution of the ornament is marvellous.'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
GARNET PENDANT. A 19th century carbuncle garnet & diamond pendant featuring a classical urn, set with a variety of small, old cut diamonds, at the centre, a large diamond measuring approx. 6 x 6mm. Hung on a diamond set loop. No stamped marks but appears to be silver. Size of drop incl. bale, 3cm. Hung on a silver coloured, unstamped chain, set with six small pearls. Fitted box, the silk stamped 'Shapland, Jewels and Antiques, London'.
Chelsea Derby porcelain plate, circa 1775, the centre painted with a classical urn with rose swags, encircled with a gilt leaf border, the wavy rim outlined in cobalt and further detailed with swags and gilt flowerheads, gilt initial mark, 22.5cm diam.Condition report:Several shallow chips to the base line of the underside. Two firing flaws are visible to the underside of the plate, but not visible to the upperside. All over surface scratching and wear to the gilding. No hairlines or restoration.
An Early Chinese Porcelain Blue and White Fishbowl Planter Decorated In the Round with Servant Attendants Carrying Precious Pot/Urn with Birds in Blossoming Branches Having Floral Ruyi Band, Greek Key Trim and Prunus Rim, 25cm High and 40cm Diameter. Condition: Not perfect order with substantial restoration etc
George III silver urn form sucrier, London 1773, Richard Morson & Benjamin Stephenson. Classical urn form with swag decoration and raised on a square plinth with ball feet. Engraved with crest of a seabird holding a scallop. Later pierced silver shaker insert. Height 22cm. Gross weight 383 grams.
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