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Click here to subscribeA PAIR OF 19TH CENTURY MOTHER OF PEARL INLAID HARDWOOD CHAIRS, with carved and pierced back splat with deer, bats, flora and vase with longevity symbol, the arms with further carved and pierced decoration and mother of pearl inlay, similarly decorated apron, with stretchered legs, 98cm high, 62cm wide.
A late 19th/early 20th century gilt bronze mounted Chinese sang de boeuf glazed porcelain vasethe inverted bulbous baluster body with swept narrow neck with detachable gilt bronze pierced acanthus scrolled rim and conforming acanthus scroll, rocaille and shaped strapwork foot, 40cm high overallFor further information on this lot please visit Bonhams.com
A Chinese cloisonne vase together with a Chinese carved hardwood and marble inset standboth probably first half 20th centurythe vase of baluster form with swept neck decorated with dense floral and foliate scrolling decoration, on a blue ground within lapis borders, the upper body and foot with blue key border, the stand with lobed circular top above a prunus pierced open gallery, the five scrolling legs with mask head hips united by a shaped stretcher raised on stylised carp feet,the vase 62cm high, the stand 83cm high overall (2)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 George III brass mounted mahogany table bracket clockthe dial signed for John Harrison, London the rectangular case with inverted ogee bell top with brass bail carrying handle, the sides with circular and shaped rectangular inset glazed panels, the moulded plinth base on ogee bracket feet, the front with gilt foliate quarter sound frets, the arched silvered rectangular dial with 6.5' engraved Roman chapter ring below a twin bird, vase and scrolling acanthus cresting, and with pierced steel hands, the brass twin chain fusee movement with shaped rectangular plates united by ring turned columns and verge escapement striking on a bell, with bob pendulum and winder, 54cm highThis 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 carved giltwood vase standprobably early 20th century, in the Louis XV styleof swept panelled form, the circular top with moulded and gadrooned borders on four acanthus 'S' scrolling supports with stylised foliate shell aprons, 58cm high, 63cm diameter approximately 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 late 19th century KPM Berlin porcelain vasethe baluster body with twin angular handles and spiral pierced flared neck on knopped circular pedestal and integral square base with moulded leafy, guilloche and rosette and ribbon tied borders, the body decorated with an oval rustic landscape reserve to one side, the opposing side with a ribbon suspended basket of summer flowers united by floral garlands above a further floral entwined border, the base with underglaze blue sceptre and red printed orb factory marks and numbered in black 146/104, 33.8cm highFor further information on this lot please visit Bonhams.com
Franz Xavier Bergman (1861-1936): A cold painted bronze figure of a carpet sellerclad in flowing robe and jacket and wearing a Fez, his arms upraised, standing on a rectangular carpet base, the underside with Nam Greb and amphora B vase factory mark to one corner, 17.8cm high For further information on this lot please visit Bonhams.com
A Kashmir rug of 'vase design'c.1940with signature, ex lot 104, Sotheby's 16 Sept, 1994263cm x 196cmThis 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
OF COLLECTORS' INTEREST: A pair of George I walnut, featherbanded and fruitwood marquetry side chairsCirca 1720, each with a featherbanded vase shaped splat inlaid with an Arabesque comprising a pair of opposing masks and stylised foliage, on C-scroll carved cabriole front legs, with splayed column-and-block rear legs and a waved H-stretcher, 60cm wide x 57cm deep x 102cm high, (23 1/2in wide x 22in deep x 40in high) (2)Footnotes:ProvenanceThe offered lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. One of the offered chairs appears illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. II, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 90, p. 256. The chair is even noted in 'The Dictionary' as being: 'from Mr Ralph Edwards' and is dated to circa 1710.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history.
A pair of French gilt metal and moulded and cut-glass twin-light wall appliquesin the manner of Maison Baguès, probably late 20th centurythe asymmetric scrolling arms with reeded cylindrical candle nozzles and dished collars applied with scrolling foliage and flowers issuing from vase and parrot backplates, fitted for electricity, 61cm high approximately including faux wax candle sleeves (2)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
Possibly a Royal Spanish silver-gilt box with letters of provenanceunmarked, possibly Navarre circa 16th century Octagonal form, the whole in silver gilt, a hinged cover with a pierced repoussé and chased panel featuring a vase and floral sprays in high relief, the border chased in low relief with scrolling foliage, the sides having similarly embossed panels with plain polished borders, all pinned to the wooden box beneath , length 13.5cm.Footnotes:This pretty box comes with three old letters of provenance and a lot label dated 1st February 1978, Lot 154.By repute and according to the letters of provenance supplied, this box was given by Jeanne d'Albret (1528-1572) to the Marquis de Nérac (her son, who later became King Henry IV of France) while taking refuge with him at his Chateau, the Chateau de Nérac. Jeanne d'Albret (Joan III of Navarre) was Queen of Navarre, daughter of Marguerite de Navarre (1492-1549) and niece of King Francois I (Francis I of France, r. 1515-1547). She is best known for leading the Huguenots (French Protestants) in the French Wars of Religion (1562-1598) and as mother of King Henry IV of France.Nérac is a town in South West France, once the capital of the Duke's of Albret. Jeanne's son, Henri of Navarre (King Henry IV of France and King of Navarre) spent much of his youth in the Castle, where his mother, Jeanne D'Albret, and later his wife, the second Marguerite de Valois, held a brilliant court.The story of the box cannot be verified, however the letters of provenance have some age.For further information on this lot please visit Bonhams.com
A collection of five silver castersvarious maker's and dates Comprising: a large George III caster by John Delmester, London 1762, conventional baluster form, pierced pull-off cover with wrythen finial, on a spreading circular foot, height 15.5cm, another smaller caster by John Delmester, London 1761, also of conventional baluster form and a similar style George II caster, Jabez Daniell & James Mince, London 1759; in addition a small Victorian caster, John James Keith, London 1842, lobed ovoid form, embossed foliage, pull-off pierced cover with bud finial, on a shaped circular pedestal base and finally a large Victorian sugar sifter, Mappin & Webb, London 1887, tapering vase shape, polished body with applied classical motifs, pull-off pierced circular cover, all on a spreading domed foot, height 17.5cm, weight 18.5oz. (5)Footnotes:Property of a private collector.For further information on this lot please visit Bonhams.com
A George III silver two-handled sugar vase and coverPaul Storr, London 1812 Urn form, the overlapping flared rim with gadroon border, with acanthus shell and anthemion embellishments, plain incurved sides, the bellied lower body with upswept ribbed handles embellished with acanthus shell and with lion mask lower junctions, chased swags either side, knopped stem on a circular foot, interior gilt, part fluted domed cover with a floral finial, height 20.5cm, weight 21.1oz.Footnotes:ProvenanceFrom The Silver Collection of Dr Andrew J RaineyFor further information on this lot please visit Bonhams.com
A collection of antique silver itemsvarious makers and datesComprising: a mustard pot, Benjamin Smith III, London 1839, of campana vase form, lobed sides, cover with a flower finial, height 12.5cm, a good single two-handled open salt, John Tapley, London 1839, modelled in the manner of a Warwick vase, gadroon rim with acanthus, shell and anthemion embellishments, entwined vine handles and the sides chased with acanthus leaves to the lower body, interior gilt, length 13.5cm, an Irish cream jug, maker I.N, Dublin 1834, melon form with ornate embossed foliate rim and handle, length 17cm, a cream jug, John Tapley, London 1839, with shaped lobed sides, length 15.5cm, a helmet form cream jug, maker's mark of George Gray overstriking that of another, London 1791, and a small jug, Joseph & Edward Bradbury, Sheffield 1864, ewer form, with a female mask to the lower junction of the handle, the sides chased with classical female figures and cherubs, among anthemions over a stippled ground, height 19.5cm, weight 53oz. (6)Footnotes:ProvenanceFrom The Silver Collection of Dr Andrew J RaineyFor further information on this lot please visit Bonhams.com
A large collection of silver itemsvarious maker's and datesComprising: a shaped-circular salver, Sheffield 1941, diameter 26.5cm, two flower vases, London 1905 / 1906, with wire-work side, only one with red glass liner, a set of six salts, hallmarks rubbed smooth, maker Stephen Smith, lobed sides, a vase, a shell dish, London 1902, a shell dish, a Dutch boy and girl pepper shakers, a desk clip, Goldsmiths & Silversmiths Co Ltd, London 1906, the clip modelled as a buckle, an oval toilet jar, another lidded box, two silver lidded glass boxes, a spectacle case, an oblong box, a comb, a meat skewer, three napkin rings, a wheel barrow bonbon dish, wheel broken, a stapler, a Christofle plated dish, stamped GALLIA, a Christofle plated caviar dish, a plated mug, with horn handle, weight of weighable silver 68oz. (Qty)For further information on this lot please visit Bonhams.com
A studio art glass vase decorated with stylised fish on an orange matt ground, signed Tim? to base, 25.5cm high, 30cm wide, a Kosta Boda, Sweden, glass vase decorated with flecks of colour, 18cm high and an iridescent glass perfume bottle of compressed form by Paul Brown 1992, 11cm high, (3).
A Longpark Torquay Pottery trumpet-shaped vase decorated with daffodils on a green ground, 29cm high, a smaller three-handled vase with similar decoration, 19.5cm high, a globular-shaped vase with stylised floral decoration, 28cm high, two Burlington Ware Toby jug table lamps and other ceramics.
a wooden mounted photograph frame, a vase, a dish inset with a coin, a wooden mounted wine coaster, 2 mustard pots, a squat circular salt, a small basket (A/F), two butter shell dishes, a Victorian caster, a charm bracelet and a small reproduction spoon; the vase 6.25" (15.9cm) high; 12ozt weighable silver (13). *CR All pieces in mixed conditions Please contact Connor for further information connor.swanwick@lawrences.co.uk.
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