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Click here to subscribe♦ A Large Victorian Terracotta Garden Urn, late 19th century, stamped Huncoat.B&TC Co Ltd, Accrington, of campana-shape form, with moulded and stiff-leaf rim and tapering body with scrolled handles, acorns, leaves and a gadrooned base, on a circular pedestal stand with acanthus leaf scroll brackets above a moulded platform base with moulded leaf border66cm by 100cm
An early 19th century Derby porcelain vase (minus two handles); waisted neck and urn-shaped body hand-decorated in enamels with a floral spray in a basket; prevalent gilding including anthemions; painted Derby marks to underside. (22 cm high) (Broken and reaffixed to a circular and square base).
A mid-19th century French ormolu and porcelain mounted Mantel Clock, surmounted with a twin handled urn, the white enamel dial with blue Roman numerals and black Arabic numerals, the eight day movement striking on a bell, back plate marked 'ROBLIN ET FILS FRERES, A PARIS' numbered 22550, mask and swags to the sides and front, porcelain panels to the front, 38cm high x 30cm wide, on a seperate giltwood plinth, overall height 43cm, with pendulum and key.
A pair of silver-collared cut glass Decanters, by C J Vander, hallmarked London, 1969, together with another similar hallmarked 1970 and a silver plated Ice-bucket in the form of a Campagna Urn, an ice bucket in the form of a pewter tankard and a pair of Dresden porcelain floral Baskets, with factory marks to base, D 15cm (7)
the 2 1/2" painted dial on a brass single train movement stamped A&N Paris, serial number 44955, the case with spherical urn surmount and porcelain panels depicting a watermill and other scenes, with key, height 28cm. *Condition: Lacking pendulum, case back plate replaced, appears to wind but not currently running.
the 5 1/2" Roman numeral dial on a brass eight day two train movement striking the quarters to a gong, stamped serial number 18986, the case with scrolled and spindled superstructure above turned columns, with stiff leaf and flowering urn decoration, with pendulum and key, height 55cm. *Condition: Appears to wind and strike but functionality not guaranteed.
A good late 18th century ebony inlaid mahogany bow fronted stick barometerTroughton, LondonThe swan neck pediment over a bow fronted glass and long trunk with flame veneer to a base with canted corners inlaid with ebony lozenges framing the ebonised urn shaped cistern cover. The signed silvered dial with seven weather predictions and rack-and-pinion vernier to the 27 to 31 inch scale. 100cms (3ft 4ins) highFor further information on this lot please visit Bonhams.com
A good and rare late 18th century mahogany stick barometerDollond, LondonThe broken architectural cornice centred by an urn finial over a moulded border to the turned hemispherical cistern cover, a wheatbeard hygrometer inset to the top over a signed silvered dial marked with seven weather predictions and manual vernier to the 28 to 31 inch scale, the trunk set with a 21 inch mercury thermometer with silvered centigrade scale terminating in a protective brass cover over the turned cistern cover, the trunk with moulded edge throughout 1.09ms (3ft 7ins) high. For further information on this lot please visit Bonhams.com
A third quarter of the 18th century English red Chinoiserie lacquered quarter chiming table clock with enamel dialsEardley Norton, London, No.368The bell-top case decorated all over with chinoiserie figures picked out in gold and set around buildings within foliate sprays and lattice work detailing, surmounted by five gadrooned urn finials over side handles and pairs of sound apertures to each side (note only one now glazed, and case in need of attention generally), on a moulded plinth with shaped apron on brass ogee feet. The 6 inch white enamel Roman and Arabic dial with blued steel moon hands below a strike/silent subsidiary. The substantial triple gut (now wire) fusee movement with six heavy knopped pillars, pivoted verge escapement and rack strike on the hour on a bell, chiming the quarters on a nest of eight bells and hammers (note the largest quarter bell broken, the nest stand in need of straightening). Ticking; striking train and chiming train in need of attention. 48cms (19ins) high.Footnotes:Please note that this clock is sold as seen and it offers a wonderful restoration project. Several of the case joints have become loose, the quarter bell stand is bent and has lost the largest bell, but the enamel dials are fine. For a more complete assessment, please see the condition report.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 extremely rare late 18th century mahogany longcase clock with enamel dialSamuel Clare, Warrington The boxed swan neck pediment with verre-eglomised glass panels supported on freestanding brass-mounted Corinthian columns, the long trunk door of excellent figuring flanked by matching quarter columns on a panelled base to ogee bracket feet. The 12 inch dial comprising of two sections - the arch with central bowed signature cartouche flanked by exotic birds within foliate scrolls, the main dial cast to form a chapter ring within raised circular bands and a slightly convex centre, with hand painted bird and scroll corner decoration to frame the Roman and Arabic numerals, subsidiary seconds dial and date aperture with urn above, and pierced hands. The movement with four knopped pillars, anchor escapement and rack striking on a bell. With a pair of lead weights, a pendulum and a door key. 219cms (7ft 2ins) high.Footnotes:This very rare dial is comprised of two pieces of high-fired enamel, both contra-enamelled on the reverse and secured to a skeletonised brass frame via small screws through the front.This lot is subject to the following lot symbols: TPTP 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 fine late 18th century mahogany longcase clock with maintaining power, deadbeat escapement and 'three parts in two' strikingJohn Smith, YorkThe tall hood with stepped caddy surmounted by three ball-and-spire finials on pedestals over a bold cornice and glazed panels raised on tall carved Doric freestanding columns, the trunk door with shaped top and moulded edge over a plain panelled base on a moulded edge and bracket feet. The 12 inch arched brass dial with subsidiary date ring flanked by addorsed dolphin mounts and urn-and-scroll spandrels, the silvered Roman and Arabic chapter ring signed between 25 and 35 Jno. Smith, York framing the matted centre and large subsidiary seconds, with good pierced blued steel hands. The weight driven movement united by four knopped pillars, the going train with bolt-and-shutter maintaining power activated via a brass wheel mounted on the rear of the backplate with dependent cord, the strike train striking the hours and quarters on a vertical nest of three bells. 2.74m (9ft( high).This lot is subject to the following lot symbols: TPTP 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 unique and very fine mid 19th century English gilt-brass mounted walnut giant striking travelling clock with thermometer and original key numbered 838Attributable to Thomas Cole, London. Retailed by Thomas Boxell, BrightonThe rectangular case surmounted by an engraved gilt handle on a pair of shaped pommels set on a multi-stepped engraved plate with glazed centre to reveal the platform below, with beaded cornice over a pair of arched side windows set with pierced and engraved gilt panels depicting an urn of flowers with a vine and geometric border, the plinth with mounts to the rear and sides, but set to the front with a mercury thermometer reading against a silvered scale, the corners mounted with cast scrolls (two loose but present). The 3.75 inch silvered Roman dial with a minute band framed by engraved climbing roses and the retailers signature within a strapwork cartouche, with blued steel fleur de lys hands, all bordered by a gilt engraved sight ring. The twin chain fusee movement with maintaining power to the large platform with underslung lever escapement; the strike train sounding the hours on a coiled blued steel gong. 31cms (12.25ins) high.Footnotes:Provenance: Single family ownership from new. Almost certainly purchased by Anne Hay-Mackenzie, Duchess of Sutherland and 1st Countess of Cromartie (1829-1888), Mistress of the Robes to Queen Victoria. Thence by descent to her son, Francis, 2nd Earl of Cromartie, then his daughter, Sybil Blunt-Mackenzie, 3rd Countess of Cromartie, and then her son Roderick Blunt-Mackenzie, 4th Earl of Cromartie. The 4th Earl, late chief of the Clan Mackenzie and author of 'A Highland History', kept this clock running on his desk in the library, it was a particular favourite of his, so much so in fact, that no-one else was allowed to wind it.For further information on this lot please visit Bonhams.com
A good late 18th/early 19th century Swiss quarter striking ormolu and marble portico clockRobert and Courvoisier, No. 7027The case surmounted by a cockerel with outstretched wings perched on a twin handled urn, over biscuit-porcelain medallion finials on a shaped cornice supported by columns set with Neoclassical gilt mounts and two further medallions, on an inverted break front base with applied floral frieze on six toupie feet. The 4.75 inch enamel Arabic dial with arcaded blue ring with each minute marked as a gilt dot, signed Robert et Courvoisier under elaborate geometric brass hands. The double spring barrel movement with knife edge verge escapement, quarter-striking on two hammers and two bells, the shaped backplate stamped along the flat bottom edge 7027. Ticking with brass sunburst pendulum and winding key. 50cms (19.5 ins) highFor further information on this lot please visit Bonhams.com
AN ASSORTED GROUP OF FOUR RECONSTITUTED STONE PLINTHS including a columnar example with foliate carved decoration, 66cm high, a square example 43cm high, a tapered square plinth, 47cm high, and a moulded circular plinth, 27cm high, together with a terracotta plinth, cast in relief with urn motifs and rams head corners, stamped to the base and marked '608 AX', 55cm high (5)
AN EARLY 19TH CENTURY DERBY POTTERY POT POURRI AND COVER of urn form, with floral finial, face masks, on paw feet and inswept square base, decorated in pink blue and gilt with leaf scrolls, 14cm high, a Bloor Derby inkwell, four pieces of Masons Ironstone pottery and seven pieces of early 19th Century Imari pottery (13)Provenance: The Estate of the late John Rollo Somerset-Paddon, formerly of Chalk Newton House, Maiden Newton, Dorset, thence by descent.
of navette-shape, the centre section containing hair and mounted with an urn of black and white decoration, inscribed around the edge Eliz. Thistlewood 2 Nov 1781 ae 15 mts, also inscribed to the reverse Sarah Clarke ob 5th April 1783 ae 70, set in gold, 6.7 grams. Size L 1/2. *Condition: With some wear.
A pair of early 20th century rectangular brass wall mirrors, each with urn finials, cast with ram's head masks and floral swags, height 39cm,Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A French Empire mahogany guéridon stand, the oval top inset with white marble above a pair of lyre supports with central urn surmount, height 86cm, width 33cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 20th century cast composition stone garden urn of squat acanthus leaf design, height 44cm, diameter 48cm, together with another similar urn, height 44cm, diameter 43cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 20th century composition stone garden urn of campana form, height 57cm, diameter 46cm, together with another similar urn, height 59cm, diameter 40cm (some faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Cross-stitching arrangement made of tiny beads representing pink and blue flowers in a gold urn with curved handles on a ochre background. Housed in a black velvet matting on a gilded frame. Sight size: 12.50â€L x 20.10â€H. Frame size: 15.75â€L x 23.40â€H x 1.20â€W. Issued: c. 1990Condition: Age related wear.
A George III satinwood, tulipwood crossbanded, purplewood and fruitwood marquetry breakfront secretaire bookcaseCirca 1785With boxwood and ebonised stringing, the repeating acroterium-form or waved ovolo cornice inlaid with flowerheads and acanthus spray angles, above one large central glazed panelled door and two smaller conforming end doors, each door encompassed by a foliate, floral and tendril trail inlaid surround, the central door enclosing two adjustable shelves, each end door enclosing three adjustable shelves, with a cedar panelled backboard, over a secretaire drawer inlaid with ribbon tied floral garlands with oval paterae and bellflower pendants, centred by a Vernis Martin oval of a reclining maiden depicted in the manner of Angelica Kauffman, enclosing seven pigeon holes, five cedar lined drawers and a gilt tooled leather surface, above three long graduated oak lined drawers, flanked to each end by a concave bay comprising one deep oak lined drawer inlaid with a bouquet of assorted flowers over one door inlaid with a husk draped fluted and reeded Neoclassical urn surmounted by an anthemion, on a foliate pedestal issuing scrolled acanthus, on six flute inlaid tapering square section feet, each end inlaid with a ribbon tied husk swag centred by a sunflower head roundel, inside one drawer is a metal plaque which reads: 'Antique Furniture from NORMAN ADAMS LTD., 8-10 Hans Road, London, SW3', approximately: 135cm wide x 48cm deep x 208cm high, (53in wide x 18 1/2in deep x 81 1/2in high)Footnotes:ProvenanceFormerly with Norman Adams Ltd., London. It is not known when the offered lot was at Norman Adams but it seems most likely that, judging from the metal plaque applied to the inside of one drawer, this was some time during the 1970s or 1980s.A very similar George III satinwood and marquetry secretaire bookcase to the offered lot, albeit with canted lower end bays as opposed to the more impressive concave ones of the present example, is illustrated in G. Beard and J. Goodison, English Furniture, 1500-1840, 1987, Oxford, fig. 6, p. 229. This piece of furniture in fact sold Christie's, London, 9 December 1971.Another closely related variant, which is dated circa 1785 and was gifted by Sir Claude Phillips to the Victoria and Albert Museum, appears in M. Tomlin, Catalogue of Adam Period Furniture, 1972, Victoria and Albert Museum, London, fig. U/13, pp.'s 180-181. The latter also features in F. Collard, Regency Furniture, 1987, Woodbridge, pl. 8, p. 68.Both of these associated models share a number of characteristics with the current version. They all have repeating acroterium-form cornices, conforming overall proportions, identical lower section configurations and similar marquetry, as well as flute-inlaid feet. The plain glazed panelled doors of the offered bookcase appear to match those on the Beard and Goodison one, whilst the inlay on the Victoria and Albert example is visibly closer, both in terms of its design and spirit, to that of the present lot than on the former comparable.Whilst the marquetry is closely related on all three bookcases, it appears to be the case that its execution is perhaps superior on the present version. This view is arguably confirmed by the fact that a large proportion of this remarkable work on the latter is inlaid onto curved, or more precisely concave, surfaces rather than flat ones, which is of course a more technically demanding feat. In addition to this, the bouquet of flowers, abundant floral garlands and Neoclassical urns all seem to have been better 'drawn' and more fully expressed than their equivalent areas on the Victoria and Albert example.However, there are a couple of elements on the offered bookcase which are either absent or different from the other two. The first are the door panel surrounds on the upper part of the present lot which have foliate tendril inlay throughout, that is lacking from the plain frames and astragals of the other upper sections. The second is the central point of the secretaire drawers. On the offered model this area is accentuated by an elegant oval Vernis Martin panel painted in the style of Angelica Kauffmann, whereas with the comparables a simpler oval patera or oval fan medallion serves as the main focus there instead.The Beard and Goodison one is almost certainly the same bookcase, albeit perhaps with replaced handles, which featured in a special exhibition hosted at Christie's, January 1973. And this is exactly the one illustrated in a catalogue commemorating the event, which is entitled Fanfare for Europe, The British Art Market, 1973, Sotheby's Publications, p. 175, and is evidently an entry from Jeremy Ltd, an antique dealer then based at 255 King's Road. It is interesting to note that a further similar cabinet or bookcase is also referred to in the text of this commemorative catalogue. At the time of publication this other variant is described therein as: 'originally forming part of the Gubbay colllection at Trent Park and now on exhibition at Clandon Park, Surrey.' Deriving from ancient architectural antecedents, the acroteria pattern cornice surmounting all of these 1780s bookcases might be a reference to similar motifs employed by both James 'Athenian' Stuart (1713-1788) and Robert Adam (1728-1792) over the course of the two preceding decades of the 18th century. Examples of such evidently include furniture provided for Lady Spencer by Stuart and the State Bed supplied to Osterley Park by Adam, Ibid, fig. U/13, p. 181.The beautiful flowing and elegant Neoclassical designs of the marquetry and their superb execution, allied to the presence of distinctive fluted feet, suggest the possibility that the better examples within this group of cabinets were perhaps executed by the renowned partnership of William Ince and John Mayhew.This lot is subject to the following lot symbols: TPTP 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 pair of early 19th century French gilt bronze three light wall appliques,Circa 1810, in the manner of Claude Galle (French, 1759-1815)The stop-reeded urn nozzles with detachable drip pans mounted to milled girdles supported in the jaws of lions mask head backplates with anthemion crestings and terminals, 19cm high, 16.5cm diameter approximately (2)Footnotes:The son of a farmer, Claude Galle rose beyond his humble roots to become an important bronze founder and gilder. Collaborating with numerous craftsmen and scholars he produced decorative and ornamental bronzes in a variety of styles popular at the end of the 18th and start of the 19th century, An important supplier to the royal household in the 1780s, he received commissions for the palaces of Versailles, Fontainebleau, St Cloud and Compiegne. His workshop employed nearly 400 people at its height and continued during the Empire period, participating in Napoleon's campaign of re-furnishing the former royal châteaux, especially Fontainebleau, until going bankrupt in 1811.For further information on this lot please visit Bonhams.com
Attributed to Giuseppe Valadier (Italian, 1762-1839): A pair of patinated bronze figural candlesticksthe parcel gilt urn nozzles above foliate collars, supported by a classical maiden caryatids, standing on stepped and swept variegated peach marble square bases, 28.5cm high (2)Footnotes:Andrea and Luigi Valadier were the foremost goldsmiths and bronze workers in Rome, completing commissions for the Pope as well as numerous cardinals and others associated with the Church. Luigi was the son of Andrea and became a Master Goldsmith in 1760. Counting amongst his prestigious clients Pope Pius VI, who visited Valadier's workshop four times, and the Archduke Ferdinand of Austria, Karl IV, and Elector Palatine, he also received commissions from churches throughout the world including Mexico, Spain and Austria as well as well as throughout his native Italy.Luigi had an impressive ability to reframe examples of ancient Roman art and architecture and antique sculptures, cameos, architectural details, and ruins of ancient monuments also served as inspiration for his own works which included candelabra, tableware, altars and centrepieces in both silver, bronze, marbles and semi-precious stones. Uncommonly for the time he produced works of all sizes from large altar pieces to intricate pieces of small jewellery.Despite his distinguished clientele and acclaim, Luigi committed suicide by drowning himself in the Tiber in 1785, probably because of heavy debts to his creditors due to non-payment of invoices by his clients. On his death, his business passed to his son Giuseppe.For an illustration of an original pen and wash drawing by Valadier showing a comparable figural candlestick support see Alvar Gonzalez Palacios, Luigi Valadier, The Frick Collection New York, 2018, Fig.5_25, p. 234.For further information on this lot please visit Bonhams.com
OF GRAND TOUR INTEREST - A George IV amboyna, rosewood and rosewood marquetry table with an Italian early 19th century specimen marble and hardstone top The specimen top 1810-1820, the table 1820-1825 and possibly by William Atkinson The circular top with an overhanging lappet clasped moulded edge, inset with a circular marble slab comprised of a central malachite roundel encompassed by six concentric circles incorporating a total of one hundred and forty radiating segments of assorted marbles, hardstones and minerals, each segment within black marble tablet surrounds, the specimens apparently including: porphyry, porfido verde antico, jaune brocatello, rouge incarnat, Sicilian jasper, val d'aosta, pietra paesina, granito antico, lumachella, alabastro, rouge griotte, agate, onyx, portasanta, rouge languedoc, portoro, breccia taccagnina, petit antique, occhio di pavone and lapis lazuli, within a verde antico border, above a frieze inlaid with floral and foliate tendril inlay interspersed by six lappeted rosette applied block angles, three of the blocks with pendant lotus-leaf wrapped baluster shaped urn finials below, on three scrolled acanthus headed, acanthus wrapped and scrolled foliate carved monopodiae terminating in lion paw feet, the concave tripartite plinth base surmounted by a central stiff leaf clasped and knopped urn finial, each facade of the base inlaid with an ivy, honeysuckle and waved foliate tendril trail, terminating in three lotus leaf and scrolled honeysuckle carved scrolled corbel feet with recessed brass castors, approximate diameter of the inset specimen marble and hardstone top: 78cm; approximate diameter of the table top: 98cm; 75cm high approximately. Footnotes: Provenance The present lot was donated to the Tudor Lodge of Rifle Volunteers, No. 1838 by a former member of this Lodge, reputedly some time during the 1930s. The name of the donor who gifted the table to the lodge is not known, but it is believed that the member was a doctor or surgeon, who when moving house had no room to display it in his smaller residence. Since that time the table has remained as a display piece at the Tudor Lodge until only very recently. This Masonic Hall, which was established in 1879, is located in Wolverhampton, West Midlands (formerly Staffordshire). The lodge was consecrated in 1879 and its original members were officers in the local Wolverhampton militia tasked with maintaining lawful order within the area. The wonderful Italian early 19th century specimen marble and hardstone top which is inset into the offered table is of the exact same design as one which surmounted a Regency mahogany or padouk centre table sold in these rooms last year, Bonhams, New Bond Street, 29 November 2022, Fine Decorative Arts, lot 15. This is also the case with reference to the specimen marble slab forming the top of a rosewood centre table, dated circa 1820 and attributed to Gillows, which sold Christie's, London, 22 January 2009, Lord St. Helens and Sir William Fitzherbert, The Collections of a Diplomat and a Courtier, lot 550. Importantly each one of these three models incorporate a total of 141 different specimen segments organised in the exact same radiating pattern. During the early 19th century, a dealer called François de Sanctis, whose operation was based in Rome, was one of a number of retailers who sold colourful specimen table tops, just like the present model, to his largely 'Grand Tour' clients. One such top was evidently purchased from de Sanctis by R.W. Bland of Belfast. In 1826 this comparable was then exported from Leghorn. However, interestingly the documentation which accompanied this particular table top referenced the fact that it had in fact been made in Florence in 1817 and was inscribed: 'Pietre in Tavola Rotunda, Firenze'. It sold Christie's, New York, 29 January 1994, lot 305. Another closely related top is housed within the collection of what was formerly known as the London Geological Museum, but which has since been amalgamated with the Natural History Museum. This is very similar to the present example with a conforming lapis lazuli central medallion whilst a total of thirty-two of the different marble specimens therein have since been identified, one must assume by the Museum itself. A further Gillows table connected to the aforementioned Christie's models of this type, albeit one possibly commissioned by the Marquess of Zetland for St. Nicholas after he purchased the estate in 1813, sold from the collection of the late Lady Serena James, St. Nicholas, Richmond, Yorkshire, Christie's London, 16 May 2001, lot 260. A Regency brass inlaid brown oak centre table attributed to George Bullock (c.1777-1818), which has very closely comparable inlay to its top as appears on the offered lot, sold Christie's, London, 14 June 2001, Important English Furniture, lot 176. This specific inlay design also features on a teapoy possibly supplied to the Portuguese ambassador to London, Don Pedro de Souza e Holstein, 1st Duke of Palmella (d.1850), which sold Christie's, London, 6 July, lot 43. The pattern for the inlay on these related pieces, comprised of almost identical meandering English flowers and foliage to those on the present example, forms part of the collection known as the Wilkinson tracings. These tracings are the most important source relating to the output of George Bullock, and are housed at the City Museums and Art Gallery, Birmingham. They are compiled together in what is essentially a scrapbook comprising an assortment of engravings produced by Thomas Wilkinson either directly from or based upon designs by Bullock. This was evidently done in 1820 (which is the date of the inscription on its first page), and this is significant since it was two years after the latter's death, C. Wainwright et al, G. Bullock, Cabinet-Maker, 1988, London, pp.'s 13-14. Aside from the furniture made as part of the commissions undertaken at Tew, Cholmondeley, Blair Castle, Abbotsford, Scone and St. Helena, it is actually difficult to attribute any furniture directly to Bullock due to the limited archival evidence proving his involvement in other projects. This issue tends to be exacerbated by the fact that even only shortly after Bullock's death in 1818, a group of cabinet makers, furniture designers and architects, who were all influenced greatly by Bullock's output, appeared to establish themselves rapidly as his natural successors. These figures include Joseph Gandy, Richard Brown, George Morant, the partnership of Banting and Son, and Richard Bridgens. There is a possibility that the above table might have been made by one of the last three figures or firms. However it seems possible, due to its fairly restrained design and prominent use of Wilkinson pattern inlays, to have been supplied either by Bullock's workshop (since it's recorded that this was still operating in the same capacity even a couple of years after his death), or it was instead executed by the cabinet maker William Atkinson. While Gandy and Brown were primarily architects, Bridgens tended to principally produce furniture in what he described as the 'Old English' style, which is often referred to as either 'Antiquarian' or somewhat disparagingly as 'Jacobethan revival'. For further information on this lot please visit Bonhams.com
Emile Louis Picault (French, 1833-1915): A pair of patinated and parcel gilt and rouge and black marble figures of an Egyptian Priest and an Egyptian scribeBoth clad in typical jewelled drapery with formal headdresses, the former holding an offering of a ceremonial bull, his other hand raised, the latter holding an urn with Amen Ra eagle finial, his raised hand holding a stylus, their sandaled feet raised on square bases, signed Picault, on conforming stepped square plinth bases, 52cm high approximately (2)Footnotes:Emile Picault exhibited a wide range of sculpture at the Salon between 1863 and 1909. His Egyptian subjects are some of his most popular and follow in the tradition of ethnographical decorative sculpture which proved extremely popular in France in the late 19th century.As well as being influenced by the archaeological findings of the period the present lot demonstrates a fascination with the costume and theatre of the ancient world. Three comparable pieces to the present work were sold at Christie's New York, one in the di Portanova Collection sale, 20 October 2000, lot 91, another on 2 May 2001, lot 73 and another pair on 23 April 2002, lot 39.This lot is subject to the following lot symbols: TPTP 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 pair of French late 19th century ormolu jardinieres in the Louis XIV style Circa 1880, in the manner of Ferdinand Barbedienne Each inset with a later metal liner, the ogee shaped pierced upper body with scrolled foliate strapwork, C- and S-scrolls, acanthus, husks and lambrequins to all sides, each angle surmounted by a wreath-form ring handle attached to an octagonal baluster shaped urn finial, the front and reverse each centred by a Flora goddess mask adorned with flowers and foliage within a shaped scrolled cartouche, the ovolo lower body with shallow relief decoration of rosette and trellis fields flanking two opposing bellflower pendants, on four angled spreading tapered columnar legs interspersed with cabochons and headed by husk pendants, the central elongated chamfered square section and shallow-relief decorated urn capped with scroll work, the shaped S-scrolled and acanthus clasped X-stretcher cast with shallow ribbon tied lutes and foliate embellished lambrequin crestings, with a central strapwork adorned baluster shaped urn finial below, terminating in four bifurcated twin rams' masks headed and foliate wrapped scrolled feet, and with four individual cloven hooves, each approximately: 77cm wide x 45cm deep x 100cm high, (30in wide x 17 1/2in deep x 39in high) (2) This lot is subject to the following lot symbols: TP 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
An impressive gilt bronze mounted and cut glass eighteen light chandelierIn the George III styleThe upper urn and baluster central stem with diamond and fluted cut decoration, surmounted by a domed canopy and upper pineapple fitment, the alternating two tier 'S' shaped scrolling arms with 'Van Dyke' cut urn nozzles and star shaped drip pan collars and further high scrolling decorative arms, issuing from a corresponding diamond cut bowl receiver above a similarly decorated ogee scrolling canopy, with pineapple terminal, the whole decorated with chains of swagged facetted pear drops and droplets, fitted for electricity, 185.5cm drop, 109cm diameter approximatelyFootnotes:ProvenanceWith Partridge Fine Art Ltd, 14-146 New Bond Street, London, W1S 2PFThis lot is subject to the following lot symbols: TPTP 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
COLLECTION OF THIRTEEN MOURNING RINGS AND FOUR MOURNING BROOCHES, 19TH CENTURYThe rings as follows:1st: The glazed hairwork compartment within a black enamel border, on a recessed band, plaited hairwork to band now deficient2nd: The black and white enamel plaque with gilt detail, depicting a funerary urn beneath a weeping willow tree, the glazed hairwork compartment to the underside set with a gilt monogram, 'WMJ' 3rd: The glazed compartment displaying a hair 'wheatsheaf' tied with wire over a ground of plaited hair4th: The glazed compartment displaying plaited hair within a surround of black and white enamel, inscribed, SACRED TO FRIENDSHIP, the underside engraved, Sarah/ obt 18 May/ 1797 Aet 225th: The lozenge-shaped glazed compartment displaying plaited hair, within a surround of faceted black paste, the underside engraved, MA/ died 29 March/ 1813/ Aged 876th: The revolving carnelian seal engraved with black-letter initials, the inside band engraved, R.C.C. 18187th: The glazed compartment displaying plaited hair within blue and white enamel borders, the underside engraved, HSC/ 17958th: The glazed compartment displaying plaited hair within a black enamel border, the underside engraved, Margt Lee/ died 1 Decr/ 1807 Aged 479th: The eternity band set with faceted black paste10th: Designed as a reeded band (enamel loss)11th: Set with cushion-shaped garnets in foiled closed-back settings, between chased shoulders12th: Plain band 13th: Plain recessed band The brooches as follows:14th: Oval, the glazed compartment displaying plaited hair within a chased surround, the reverse engraved, RCC/ 9th May/ 181815th: Navette-shaped, glazed to reveal a white enamel funeral urn on a plinth inscribed with the black initial, 'H', over strands of hair, the reverse engraved, R C/ 178616th: Circular, the glazed compartment displaying a lock of hair, within a surround of faceted black paste, the reverse engraved, HUGH COWAN/ died 24th Sept 1840/ Aged 80, fitted case by Mackay Cunningham & Co, 17 North Bridge Street, Edinburgh17th: Circular, converted from the lid of a locket, with applied monogram with engraved detail, later brooch fitting, 10th enamel loss, 11th two garnets deficient, 13th band damaged, ring sizes approx. J - V, some hoops off-round, brooch lengths 2.3-3.3cm (17)For further information on this lot please visit Bonhams.com
Collectables to include a small Meissen blue and white dressing table mirror decorated with cherubs, a pair of Susie Cooper soup bowls, mixed figures to include Staffordshire flatback, a Majolica style urn A/F, a cranberry and clear glass basket and mixed metalware to include pewter tankardsLocation: RWM
Y JAMES WATT INTEREST: A GEORGE III EN GRISAILLE MOURNING BROOCH CIRCA 1786 The marquise shaped ivory panel painted en grisaille with a pensive maiden leaning against a pillar with urn surmount painted In Memory of A Friend, with weeping willow in the background and applied hair detail,inscribed verso Major John Marr Obt 19 Oct 1786 AE 64 Size/dimensions: 3.5cm long Gross weight: 5.3 grams Provenance: Sotheby's, James Watts auction, 20 March 2003, lot 292 John Marr, of the Corps of the Engineers, rose through the ranks before becoming a Major in 1783, and was known to have served in America during the Revolutionary War. He was last recorded as being in the Corps of Invalid Engineers (not in active service) in 1786. He was a relative by marriage to James Watt, having married one of his cousins, but it is believed that he was also known to the Watt family previous to his marriage, as his father, also thought to be John Marr, 'Mathematician of Greenock' taught Watt when he was aged between 13 and 14. Samuel Smiles mentions a Captain Marr in his book Life of Boulton and Watt, 1865, as a distant relative of Watt who assisted him on his first trip to London in 1755 whilst delving into the trade of a mathematical instrument maker. The brooch was written in the James Watt family inventory in 1851 as: in the Drawer of a marquetry double chest in Mr Watt's Room, Doldowlod, page 36Please note Dreweatts have applied for a de minimis exemption licence for the ivory in this lotRef: JFH532SS Y Indicates that this lot may be subject to CITES regulations when exported. The import of lots that are subject to CITES regulations are banned in certain countries. Please check your country's import regulations before bidding. Condition Report: The brooch has some signs of age and use, but no major losses or damage, some of the applied hair detail has dropped down into the bottom of the settingCondition Report Disclaimer
Y AN EARLY GEORGE III MOURNING RING CIRCA 1776The oval ivory panel with a monochrome urn below a weeping willow with snipped hair accents, glazed cover, the gold back engraved Jno Gilbertson, Obt 16 June 1776 AE. 24, to a polished shank with loop attachmentSize/dimensions: finger size approximately LGross weight: 2.6 gramsJohn Gilbertson, the son of Robert and Jane Gilbertson, was baptised on the 8th July 1752 in Knaresborough, York, England and was buried at St John the Baptist Church, Knaresborough, Yorkshire, England on the 19th June 1776.Please note Dreweatts have applied for a de minimis exemption licence for the ivory in this lot Ref: 2JB9VMVHY Indicates that this lot may be subject to CITES regulations when exported. The import of lots that are subject to CITES regulations are banned in certain countries. Please check your country's import regulations before bidding.Condition Report: The shank may have been later applied, the loop is later. The ring has some general wear commensurate with age and use, some light scratches and scuffs.Condition Report Disclaimer
AN EARLY 20TH CENTURY DIAMOND AND RED ENAMEL LOCKET PENDANTThe red guilloche enamelled oval locket with a white border, with a later applied rose cut diamond urn, the locket opens to reveal a vacant setting, the bale loop with R.S maker's mark and a partial gold control mark, possibly a former Austro Hungarian Empire mark, with red enamelled baleSize/dimensions: 3.8cm longGross weight: 13 gramsCondition Report: The mark looks like the back of a dogs head with a 4. But it is not clear. The enamel has some scratches and rubbing to the enamel. The diamond panel has some wear and it swivels slightly in the setting. There is no glazed panels inside the locket, just vacant space. There is wear to the top of the bale commensurate with age and having been worn on a chain. Condition Report Disclaimer
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