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Click here to subscribeA Kashmir art silk prayer rug, late 20th century, the ivory mihrab with ascending vase of flowers, within a palmette border, 152cm x 94cm.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 Japanese bronze vase, Meiji period, ornately cast with flora and fauna, converted to a table lamp and fitted with a cream silk pleated shade, overall height 46cm.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 modern Lalique style resin table lamp in the form of a circular vase, moulded with four classical maidens on a circular perspex plinth, height 31cm.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.
An impressive Victorian silver and parcel-gilt presentation cup and cover Charles Frederick Hancock, London 1872, designed by Raffaele Monti (1818-1881), rim of base incuse stamped HANCOCKS' & CO 39, BRUTON ST LONDON and Я90 Vase form, the removable cover surmounted by the winged figure of Nike, the Greek goddess of Victory, a circlet of laurel leaves in one hand and a long palm frond in the other, two Greco-Etruscan handles to the upper body supported by twin-tailed mermaids, a sculptural medallion to the back and front of the main form, the first featuring Perseus rescuing Andromeda after slaying Medusa, the other depicting the foundation of Athens, with Athena and the olive tree and Neptune thrusting his trident into the ground to create a spring, the whole richly embossed and chased with floral and foliate ornament in both polished and matt silver, all highlighted in parcel-gilt, atop an elaborately knopped spreading circular pedestal base, upon a later wood plinth, with associated twin-handled metal banded fitted case, height excluding wood plinth 86.5cm, weight 236oz. Footnotes: The design and manufacture of grand presentation silver reached the peak of its popularity in the mid-19th century. At the top end of the silver market, sculptural trophies and testimonials dominated this period; trophies awarded for competitive achievements such as horse racing, and testimonials presented to worthy individuals. 'These silver sculptures, bulky, glittering and proud, celebrated the achievements of the Victorian industrialist, soldier and sportsman and demonstrated the virtuoso skills and techniques of the contemporary silversmith' (Patterson, p.59). The subject matter chosen for these pieces was always on an epic scale, often figural compositions featuring dramatic mythological tales or key historical moments. Heroes from history were frequently staged in mounted combat against man or beast, often within a battle scene or historical diorama. Whatever the scene portrayed, each element was meticulously designed and modelled, with every minuscule detail intricately cast and hand-chased for absolute realism. These trophies were a vehicle to not only showcase silver as a national art form, but also to symbolise and represent Britain's place as a trailblazing manufacturing nation in the industrial age – art and industry combined to spectacular effect. The Hancock silver presentation trophy cup and cover on offer is therefore a superb example, as it fulfils all the above criteria. The goldsmith Charles Frederick Hancock (British, 1807-1891), the prestigious manufacturing retail silversmith and jeweller of Bruton Street and Bond Street in London, was known for the 'manufacture of plate and jewellery of a superior class, and is extensively patronised by the nobility and gentry, being noted for the taste and quality of its productions. Artists of celebrity are engaged as modellers of groups and designs for ... presentation pieces, racing prizes, &c. Among the modellers may be noted especially H. H. Armstead R.A.; C. B. Birch A. R. A.; Signor Raffaele Monti; Eugene (Lamy) and Marshall Wood' (Gilda Aurifabrorum, p. 97). Hancock had previously been a partner at Hunt & Roskell, but the partnership had been short-lived and he had left to set up on his own. Such was the quality of his work that on 13th August 1849, only eight months after establishing his own business, he was awarded the Royal Warrant of appointment from Queen Victoria. He was blessed with patronage from gentry, celebrities and the nobility of Europe, topped by being awarded the sole manufacturing rights to the Victoria Cross in 1856. Hancock was particularly well known for specialising in high quality trophy and presentation plate, for which he won numerous medals at the respected International Exhibitions: the Council Medal 1851; Gold Medal d'Honneur Paris 1855; Juries prize medal 1862; gold and silver medals Paris 1867 and Vienna 1872. Collaborating with famous artists and sculptors of the day was an award-winning business strategy and one he successfully employed on this piece, engaging the services of both Raffaele Monti (1818-1871) and Owen Jones (1809-1874). The cup and cover on offer appears to have had various incarnations, being one of Hancock's most popular and impressive presentation pieces. From research, it becomes apparent that this design was commissioned on a number of occasions, but was always subtly altered to an individual's specification - hence no two appear to be the same. The formative design for the current lot appears to originate from the 'Goodwood Races: The Chesterfield Cup' of 1866. The drawing of it in the 'Illustrated London News' (18th August 1866) shows it to be almost identical to this one, differing in a few aspects such as the absent mermaids by the handles, and the plinth (see fig. 1). The accompanying text describes it thus: 'It is a large silver vase manufactured by Messrs. C. F. Hancock, Son, & Co. It is oval shaped, with Greco-Etruscan handles, and surmounted by a winged figure of Victory, holding a palm-leaf in one hand and a laurel crown in the other. On each side is a medallion, one representing Perseus riding on the winged horse Pegasus to liberate the captive Andromeda; the other, Neptune creating the horse by striking the ground with his trident. These medallions and the statuette were designed and modelled by Signor Monti ... The rich ornamentation of the neck, handles and other parts was designed by Mr. Owen Jones.' The following year, what is described as the 'Goodwood Cup, 1866' is illustrated in 'The Art-Journal Catalogue of The Paris Universal Exhibition 1867' page 316, where the cup now 'includes' the mermaids by the handles (fig. 2); it may be that it was felt the aesthetic balance of the piece was improved by the addition. The version on offer here is possibly the one illustrated from that 1867 exhibition and later hallmarked, the only difference being that the original plinth is missing. Hancock's notably received a gold medal for their pieces in the Exhibition that year. Further investigation has also uncovered that a very similar cup and cover was later exhibited in the 1871 London Exhibition (fig. 3). On this example the cover finial is different, and the two main scenes (also by Monti) instead depict the signing of the Magna Carta; a fitting subject, as the cup is described as a testimonial to 'W.H. Smith, M.P. for Westminster' from his constituents. In addition, a further comparable model sold at Sotheby's London as Lot 139, on May 20th, 2020, titled 'The Royal London Yacht Club Jubilee Cup', which was originally awarded in 1887. As specified in 'The Art-Journal Catalogue' earlier cited, the designer and modeller of this lot is Raffaele Monti (1818-1871) a sculptor, author and poet, who was born in Switzerland. He studied under his father, Gaetano Monti (1776–1847) of Ravenna, a pupil of Bertel Thorvaldsen, who worked on Milan Cathedral and on monuments initiated under Napoleon. Monti moved to London in 1846 where he executed a marble sculpture of a Veiled Vestal Virgin for the Duke of Devonshire, which the Duke displayed in his villa west of London, known as Chiswick House. For further information on this lot please visit Bonhams.com
Collection of Coloured Glassware & Pottery, comprising oval grey glass vase 7" x 10", two green glass bottle stoppers, a white and cream mottled tall dish on six twisted legs 10" tall, purple glass dish in pewter surround, 13" tall cream and coloured vase, and four green glass vases, two x 16", 1 x 10", 1 x 8". Together with a Denby oval dish, and a black ceramic oblong planter.
STREPPONI GIUSEPPINA (1815-1897) Italian Soprano of great renown who excelled in the Bel Canto repertoire. Strepponi was the second wife of Giuseppe Verdi and starred in many of his early operas, including the role of Abigaille in the premiere of Nabucco (1842). She retired at the very early age of 30. Her personal relationship with Verdi lasted 50 years until her death. A good A.L.S., `Giuseppina Verdi´, two pages, small 8vo, Sta Agata, 23rd October 1869, to Mr. Maloberti, in Italian. Strepponi states in part `Ho ricevuto a suo tempo il vasetto antico, ch´Ella volle favorirmi e di mi la ringrazio. Sono sempre in aspettativa della risposta… se non si trata di donna onesta e molto capace, amen non ne parliamo piu…´ (Translation: `I received in time the ancient vase, which she wanted to favour me with and I thank for it. I am always waiting for an answer... if she is not an honest and very capable woman, amen, let's not talk about it anymore…´) G
[CARTER HOWARD]: (1874-1939) English archaeologist and Egyptologist, discovered the Tomb of Tutankhamun in 1923. T.L.S. by a member of the Spink family involved in the auction and collectables company Spink & Son, two pages, 4to, King Street, St. James's, London, 21st May 1930, to Howard Carter. Spink refers to Carter's recent visit to collect a pillow and 'Hes' jar and remarks 'I have pleasure in sending round the KHANG H'SI yellow porcelain vase and cover which we have had repaired and the two KHANG H'SI porcelain yellow bowls, also the “gadget” for the pillow', further adding 'I have made a careful note of your enquiry for a very fine dish decorated with flowers and without any green in it, also an emerald green jade saucer and, as soon as I come across anything of this description, I will at once let you know'. In a postscript, which occupies the second page, Spink writes 'I have just received confirmation from the owner of the very fine Yung Cheng eggshell porcelain cup and saucer that she is willing to accept £15 for it which, you will remember, you told me you would be willing to give for it'. A small rust stain to the upper left corner of each page, VG
Attributed to Rodrigo Moynihan (1910-1990)Still life of bottles and a glass vase, inscribed verso 'R Moynihan Still Life', oil on canvas, 39 x 59.5cmProv. From an Oxford College.Purchased Trinity Term 1962 and listed in College Paintings Catalogue entry from 1963 (please see extra image)Area of paint loss to top of vase area, and some minor scratches and scuffs. Good overall.
A Lalique "Montmarency" (Cherry) pattern opalescent glass vase of trumpet form (large vertical cracks), 20 cm diameter, together with a small modern Lalique wrythen glass scent bottle with dove stopper, 8.5 cm high CONDITION REPORTS The vase literally is broken in half and cello taped back together. There is a chip to one cherry on the break line. The sent bottle there is a chip to the wing of the dove. Otherwise general wear and tear to include surface scratches, water stains etc conducive to age and use. See images for more details.
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