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Click here to subscribeA Chinese gilt-bronze, champlevé and cloisonné enamel 'pagoda' incense holder the hexagonal roof with lion-dog finial, four slender supports each applied with a sinuous dragon, the octagonal base with pierced balustrade, late Qianlong/Jiaqing, 34cm [central incense holder and four hanging bells lacking].
* Chevalière d'Éon (1728-1810). Portrait of Charles Genevieve Louis Auguste Andree Timothee D'Eon, after Francis Haward (1759-1797), dated 1846, pencil on paper (with decorative embossed border), with light touches of pale red to her lips and cheeks, half length, slightly turned to the left, wearing a dark dress with a bow and the star of the Order of St Louis, set against an additional ornamental background of curtains, a balustrade and writing implements, initialled and dated 'M.E.M.B. 1846', contemporary ink manuscript 5 line caption to lower margin, tiny spot of abrasion to forehead, lower right corner lightly creased, sheet size 34.3 x 26 cm (13 1/2 x 10 1/4 ins, 4 cm of blank upper margin folded over in frame), framed and glazed (34 x 29 cm)QTY: (1)NOTE:A fine early pencil copy after the engraved portrait by Haward, (after a painting probably by Angela Kauffman, itself after the original print of 1779 by Pierre Jean Baptiste Bradel), of a man who dressed as both a man and as a woman, and had an important career in the military and as a diplomat and spy, before living as a woman from 1777. In her later years, d'Eon achieved fame in Britain as a celebrity female fencer. The caption below the image is taken from the Haward version of the portrait:"Carola-Genovefa-Louisa-Augusta-Andrea-Timothea-D'Eon De Beaumont, Knight of the Royal and Military order of St. Louis Captain of Dragoons, and the Volunteers of the Army, Aide-de-Camp to the Marechal Duke & Count de Broglio, Minsiter Plenipotentiary from the King of France to the King of Great Britain in 1763, &c. &c. &c. Born at Tonnerre 5.th of Oct.r, 1728. Painted in her 25th Year."
A George IV rosewood Davenport desk, c.1825, the top section slides forward and has a balustrade gallery back and hinged leather covered writing surface, four side drawers opposed by four dummy drawers all with turned knob handles, above the drawers is a small pen and ink pull-out drawer that swings forward for use, on a plinth base which is raised on casters, the panelled front with decorative flat pillars and carved tops, 47 x 52 x 88cms high.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.
Frank Owen Salisbury CVO (1874-1962) - Portrait of a Sybil Rhodes, three quarter length in a white gown with pink and lavender roses and jewels seated on a garden balustrade, signed and dated 1-6-49, signed and dated again and inscribed verso (MRS FRANK RHODES PAINTED JUNE 1946 BY FRANK O SALISBURY) oil on canvas, 111 x 84cm
A pair of Late Victorian sterling silver salts cellars and a set of silver tongs. The salt sellars by Hayes Brothers, hallmarked Birmingham 1893. Each stood 10cm high, of balustrade form with engraved pattern and stood on pedestal foot. The tongs not to match of later production. 110.8 grams gross weight.
A French repeating carriage clock, late 19th Century, gilt brass and paste set corniche case, visible platform lever escapement, Arabic numerals dial on a blind fretwork ground with garden balustrade, corinthian columns, raised on a plinth, the movement striking on a gong, 20cm high, 10cm wide, (key)
A group of six French tapestry cushions, late 18th and 19th century, comprising: a pair with a balustrade flanked by winged sphinx and centred by flowering urns, with pink tassels, 59 x 55cm; four cushions centred by putto, possibly representing the seasons, within lozenge borders, 38 x 40cm and 30 x 38cm; and a square cushion with fruit stitched on to a velvet ground, 50 x 53cm (7)
Alexandre Marie Colin, 1798 – 1875, zug.DES SULTANS MUSEÖl auf Leinwand.73,5 x 59 cm.In breitem Empire-Rahmen.In einem Kiosk mit offen gearbeiteter Balustrade und textilem Baldachin eine musizierende Schönheit vor einem Sultan in reicher Gewandung. Hinten mit Park und Architekturen abschließend.Provenienz:Bonhams London, 20. Oktober 2021, Lot 8. (14014824) (13)Alexandre Marie Colin, 1798 – 1875, attributedTHE SULTAN‘S MUSE Oil on canvas.73.5 x 59 cm.Provenance: Bonhams, London, 20 October 2021, lot 8.
Giovanni Antonio Canal, genannt „Canaletto“, 1697 Venedig – 1768 ebenda, Nachfolge desCAPRICCIO EINER PALASTLOGGIA MIT FIGURENSTAFFAGEÖl auf Leinwand.132,2 x 93,5 cm.In vergoldetem Prunkrahmen.Bei dem Gemälde handelt es sich nicht eigentlich um ein „Capriccio“, dazu ist das Gesamtgegenständliche zu entschieden realistisch, die architektonischen Einzelheiten zu detailgenau gezeigt, wie wir dies eben bei Werken Canalettos kennen. Dennoch ist hier möglicherweise eine Fantasiearchitektur ins Bild gesetzt, die vom Innern einer hohen, von Säulen getragenen Loggia mit Blick auf eine Parkmauer in ungewöhnlicher Weise auch die Raumdecke der Loggia in einem Halbbogen offen zeigt. Solche fantastischen Architekturideen sind uns von Stichen des Piranesi geläufig. Der Wechsel von Schatten im Raum und hellem, im Sonnenlicht stehendem Gebäude verleiht dem Gemälde eine attraktive Spannung. Man scheint die südlich-sommerliche Temperatur zu spüren, bei der die Staffagefiguren sich sämtlich im Schatten aufhalten. Höchst originell hierbei die Personen auf der oberen Emporenbalustrade, von der ein großes Velum herabhängt, wie ebenso der schräg im unteren Raum hängende ovale Goldrahmen oder die extrem lang herunterhängende Laterne links im Bild. Die Darstellung ist weitgehend identisch mit einem 1765 geschaffenen Werk Canalettos, mit Museumsbetitelung „Colonnade Opening onto the Courtyard of a Palace“ im Cannon Hall Museum, bei Barnsley in South Yorkshire (56 x 42 cm.)Eine weitere Version („Perspektive mit Porticus“) in kleineren Abmessungen (42 x 32,5) befindet sich in der Sammlung Carmen Thyssen Nationalmuseum Thyssen-Bornemisza, Inv.Nr. CTB 1981.39, dort mit variierenden Einzelheiten einer ausführlicher geschilderten Staffage, mit einem Bettler, einem Mann mit Kind sowie Hühnern in der Loggia, die Parkmauer ist anders dargestellt, anstelle der Vase mit Figuren bekrönt. Ferner ist eine weitere Darstellung bei Stephen Ongpi Fine Art bekannt geworden, ausgeführt in Gouache und Feder, mit Aufschrift „Anto. Canale“, in den Abmessungen 36,4 x 28,7 cm, erstmals 1919 im Petit Palais, Paris, ehem. Slg. Luigi Albertini, Rom, zusammen mit dem dazugehörigen Ölbild ausgestellt. Canaletto, in Europa längst bekannt, wurde am 11. September 1763 in die 1750 gegründete venezianische Akademie aufgenommen, und hatte dazu ein Musterbeispiel seines Könnens einzureichen, das sich heute in der Galleria dell´Accademia in Venedig befindet. Das Bildthema, von dem mehrere Versionen existieren, dessen Darstellung auch Giovanni Antonio Guardi (1698/99-1760) zu einem seiner Bilder inspiriert hat, ist 1765, also in der nämlichen Zeit entstanden, in der Canaletto sich erneut wieder Gegenständen seiner Heimatstadt zuwandte. So reiht sich das vorliegende Gemälde in die bereits bekannten Versionen ein, zum Teil auch von der Werkstatt geschaffen, die weitgehend Detailunterschiede erkennen lassen.Literatur: Vgl. Ettore Modigliani, Capolavori veneziani del’700 ritornati in Italia, in: Dedalo. Rassegna d’Arte diretta da Ugo Ojetti, Mailand/ Rom 1924-1925.Vgl. Terisio Pignatti, Il Museo Correr di Venezia: Dipinti del XVII e XVIII Secolo, Venedig 1960. Vgl. W. G. Constable, Canaletto. Giovanni Antonio Canal 1697-1768, Oxford 1962, Vol.1, S. 155.Vgl. Lionello Puppi, L’opera completa del Canaletto, Mailand 1968.Vgl. André Corboz, Canaletto: Una Venezia immaginaria, Mailand 1985, Vol.2, S. 768-769. Vgl. Dario Succi, Capricci Veneziani del Settecento, Turin 1988. Vgl. Jane Martineau and Andrew Robison (Ed.), The Glory of Venice: Art in the Eighteenth Century, Ausstellungskatalog, National Gallery London, 29. Januar - 23. April 1995, London 1994. A.R. (1370321) (11)Giovanni Antonio Canal, also known as “Canaletto”,1697 Venice – 1768 ibid., follower ofCAPRICCIO OF A PALACE LOGGIA WITH FIGURE STAFFAGE Oil on canvas. 132.2 x 93.5 cm.The painting is not actually a “capriccio” as the overall objective is too decidedly realistic for that, and the architectural details are shown with too much detail, as is typical of Canaletto´s works. Nevertheless, an imaginary architecture is possibly depicted here. From the inside of a high loggia supported by columns with a view of a park wall, it also shows the open ceiling of the loggia in a semi-arch in an unusual way. Such fantastic architectural ideas are familiar from engravings by Piranesi. The alternation of shadows in the room and a bright building standing in the sunlight gives the painting an attractive tension. One appears to feel the southern summer temperature, in which the staffage figures are all in the shade. The people on the upper gallery balustrade, from which a large veil is hanging, are highly original, as is the oval gold frame hanging diagonally in the lower room or the extremely long hanging lantern on the left of the painting. The depiction is largely identical to a work by Canaletto from 1765, titled Colonnade Opening onto the Courtyard of a Palace in Cannon Hall Museum, South Yorkshire (Part of Barnsley Museums, 56 x 42 cm). Another version (Perspective with Porticus) with smaller dimensions (42 x 32.5) is held at the Carmen Thyssen Collection (Thyssen-Bornemisza National Museum, inv. no. CTB 1981.39), there with varying details of a more detailed figure staffage including a beggar, a man with a child and chickens in the loggia. The park wall is also depicted differently, surmounted by figures instead of a vase. Another illustration by Stephen Ongpin, Fine Art, is known, executed in gouache and pen, with the inscription “Anto. Canale” (36.4 x 28.7 cm), exhibited for the first time in 1919 in the Petit Palais, Paris, formerly Coll. Luigi Albertini, Rome, together with the accompanying oil painting. Canaletto, long known in Europe, was admitted to the Venetian Academy founded in 1750 on 11 September 1763, and he had to submit a model example of his skills, which is now held at the Galleria dell’Accademia in Venice. The subject of the painting, of which there are several versions and whose depiction also inspired Guardi to create one of his paintings, was created in 1765, i.e. at the same time that Canaletto was again turning to subjects from his hometown. Thus, the present painting aligns with the already known versions, in part also created by the workshop, which largely show differences in detail.
Victorian design brass telescopic extending club fire fender, the corner seats upholstered in buttoned green fabric over plain balustrade, on moulded base with floral cast corner brackets Dimensions: Height: 35cm Length/Width: 169cm Depth/Diameter: 53cmCondition Report: Extended width - 200cm.Internal - W152cm, D44cm.Extended internal - W184cm, D44cm.
Twelve glazed balustrade spindles, 49cm (h) / Please bring equipment and labour to assist with removal of all lots. All lots are located at St. Marys Cottage, Old Lane, Dockenfield, Farnham, Surrey, GU104HG. Viewing and collections are via appointment only, please see our important sale information for more info. Collections must be completed by Thursday 26th September due to premisis move. Regretfully Wellers are unable to offer any type of packing or shipping.
A George IV Mahogany Davenport, stamped T Wilson, 68 Great Queen Street, London, 2nd quarter 19th century, inlaid with boxwood, the three-quarter balustrade gallery above a hinged writing slope with inset brown leather skiver, the interior with four mahogany-lined small drawers, a moulded panel below inlaid with shell patera flanked by four sham and four real drawers to the side, on gadrooned feet with recessed castors60cm by 63cm by 87cm
A RARE FRENCH LARGE FOUR-DIAL NOVELTY AUTOMATON LIGHTHOUSE TIMEPIECE WITH BAROMETER AND THERMOMETERSPOSSIBLY BY ANDRE ROMAIN GUILMET, PARIS, RETAILED BY F. GUILLEBOT, BORDEAUX, LATE 19th CENTURYThe timepiece with circular eight-day movement with platform cylinder escapement regulated by sprung monometallic balance vertically planted on the backplate stamped V.R., BREVETE PARIS over serial number 2524, the 2.25 inch circular dial with gilt centre inscribed F. GUILLEBOT, 52 COURS DE L'INTENDANCE, BORDEAUX within silvered Roman numeral chapter ring with blued steel spade hands set behind hinged cast gilt brass bevel-glazed bezel with canted insert to interior, mounted within a nickel-plated cylinder in a cruciform arrangement with a pair of conforming curved mercury tube CENTIGRADE and REAUMUR scale thermometers to the sides and a BAROMETRE ANEROIDE to rear, similarly signed for the retailer's to centre within silvered scale calibrated in mm hg 690-800 numbered for every ten and with the usual observations in French, with blued steel pointer and recording hand to glass matching those for the paired thermometers, the nickel-finish cylinder assembly forming the lantern of the lighthouse capped with a gilt cupola engraved with brick courses and with finely executed weather-vane, slowly revolving via a separate going-barrel driven movement set within the base of the lighthouse structure, the tower formed as a tapered column with gilt balustrade gallery supported on corbels over brick-coarse engraved shaft applied with staggered gilt arched windows, over moulded foot incorporating hinged door to reveal the winding square for the automaton movement, on rounded circular base set on a Belge noir marble plinth.62cm (24.5ins) high, 23cm (9ins) diameter at the base. Andre Romain Guilmet was born on the 10th of December 1827 in La Ferte-Gaucher, France. He was a credited as a watchmaker and inventor who specialised in producing novelty and mystery clocks for which he applied for a number of patents for designs. Amongst his other Patents was that for a bicycle where the driving chain was set below the seat. He is best known for his 'mysterieuse' figural clock with glass pendulum, this takes the form of a woman holding pendulum in her outstretched hand and arm over a marble base containing the clock below. The pendulum is impulsed by the mechanism underneath her that moves the figure imperceptibly from side to side. Guilmet's industrial series of clocks, which includes the current lot, features automated clocks in the form of windmills, lighthouses, automobiles, boats, steam hammers, boilers, etc.The present lot possibly belongs to Guilmet's 'marine series' and would appear to be a particularly rare larger variant of his lighthouse timepiece, with the other smaller variant having small exposed vertical tube thermometers to the sides of the lantern (rather than the glazed dials of the current timepiece). Condition Report: Clock movement is reasonably clean and is in working condition however a precautionary gentle clean/service is advised if intending to put into long term service. The barometer responds to change in pressure (has been 'bag tested') hence is also in working condition. Both thermometers are intact and in working condition. All four dials are in good original condition but with some slight mellowing to the gilt and silvered finishes. The bezels (rings bordering the dial glasses) have wear/rubbing to the gilt finishes and the nickel-plated finish to the lantern section has some noticeable patchy degradation/spotting to the surface. The rest of the case is in very good condition with good strong gilding exhibiting minimal wear/oxidation and the dark patination with only a few minor age-related scratches mostly near the winding hole for the rotating mechanism; the rotating mechanism/movement is in working order. The block marble plinth has one noticeable shallow edge chip and a couple of smaller ones that can only be detected on closer examination.AMMENDMENT 09/09/2024 - the rotation mechanism driving the 'lantern' section of the lighthouse is a little lazy in its action and prone to stopping hence probably requires a service.Timepiece is complete with two winding keys. Condition Report Disclaimer
Late Victorian walnut matched two-piece salon suite upholstered in rust buttoned leather - open armchair, reed moulded frame and turned balustrade arm supports, on turned front feet with brass and ceramic castors (W60cm, H92cm, D70cm); nursing chair, fan carved cresting rail, moulded frame, on turned front feet (W58cm, H93cm, D73cm)
Balustrade3-tlg.; Messing, vergoldet. Jeweils querrechteckig angelegter, durchrochen gearbeiteter Korpus aus zentralem, von Strahlen umgebenen Relieftondo eines Pelikans mit seinen Jungen, als christliches Symbol für Opferbereitschaft und Hingabe und somit als Zeichen für Hoffnung und Trost, umgeben von üppigem Blattwerk bzw. aus Säulenarkaden mit stilisiertem Maßwerk. Je 52 cm x 104 cm bzw. 108 cm.Provenienz: aus der Auflösung einer bedeutenden norddeutschen Privatsammlung.A three piece French gilt brass balustrade.Frankreich. Um 1900.
Schreibtisch Historismusim Neoklassizismus, 2. Hälfte 19. Jh., Eiche massiv, dunkelbraun gebeizt, frei im Raum stellbares Möbel, große Schreibplatte mit zwei Schubkästen, getragen von massiven kannelierten Vierkantfüßen, die Verstrebung von gedrechselter Amphore bekrönt, die umlaufende geschnitzte Balustrade mit mittigem Sprenggiebel verziert, Altersspuren, einige Zierteile lose, restaurierungsbedürftig, Maße 102 x 190 x 83 cm.
A late 19th century Italian gilt metal and pietra dura mounted rosewood and ebonised cabinet on stand, of architectural form, three-quarter balustrade parapet crested by a door, above an arrangement of drawers, centred by a further door, the base with turned underfinials, supports and feet, inlaid throughout with specimen stones and marble and applied with putti and Classical figures, 225cm high, 130.5cm wide, 46cm deepProvenance: Property of a Dutch family, sold Christie's, Amsterdam, European Noble and Private Collections, 14-16th February 2006, lot 427.
A late 18th century carved oak cabinet with stepped moulded cornice, balustrade decoration, scrolled swags and acanthus with central mask, three plate shelves, single drawer below and fielded panelled cupboards below a central drawer, on square heavily carved feet 190cm x 82cm x 49.5cm Location:If there is no condition report shown, please request
Britains lead My Garden range with accessories and flowers comprising rockery pieces (6), wooden blocks for terracing (3), flowers, G, (38), Sweet Alyssum (18), Rambler Rose (4, with packet), flower pots (7), mounds (4), paving slabs (7), fence panels (4), cork lawn (4), pot, country stile, sundial, low wall, post, flower beds (straights (2), and squares (4)), balustrade, and posts (2), G-VG, (100+)
AN AESTHETIC MOVEMENT BLACK SLATE MANTEL CLOCK, of architectural form with brass columns and balustrade, with patent winding mechanism located behind the bezel, the winding levers inscribed 'Patented 1879' and 'Great Britain', the slate dial marked with carved and gilt Roman numerals, signed 'Haskell, Ipswich' and painted to the centre with a robin, a butterfly and flowers on a gilt ground, a similar painted panel adorns the front of the clock, the movement is stamped 'Etienne Maxant, Paris', with pendulum, height 34cm x width 22cm x depth 15cm (1) (Condition Report: generally ok, losses, damage and repairs to slate case, not currently working, winds and attempts to strike, missing attachment which holds pendulum)
A Dutch 18th century ormolu mounted mahogany, rosewood, amaranth, burr walnut, fruitwood and stained sycamore marquetry secretaire à abattantCirca 1770The grey marble top above a hinged fall inlaid with a balustrade and a canopy flanked by swags above classical vases, urns and jugs enclosing a fitted interior of six serpentine drawers with scale inlay and open compartments, the base fitted with a cupboard door inlaid with an autumnal tree, swags and classical urns, enclosing a fitted drawer, flanked by canted sides surmounted by ram's head cast ormolu mounts, the sides inlaid with classical urns, 88cm wide x 46cm deep x 138cm high, (34 1/2in wide x 18in deep x 54in high)Footnotes:ProvenanceFrom the collection of the late Cornelis Paulus van Pauwvliet.Pieter Hoogendijk Antiquairs, Baarn, where purchased probably 1993.ExhibitedPieter Hoogendijk, Les Antiquaires Au Grand Palais, XVI Biennale Internationale, Paris, 18 Sept - 4 Oct 1993.LiteratureR. J. Baarsen, 'Le Goût Français' in Dutch Furniture in the Second Half of the Eighteenth Century, TEFAF catalogue, 1991, p. 153.Annigje Hofstede, Nederlandse meubelen: Van Barok Tot Biedermeier 1700-1830, 2004, fig. 297, p. 179.This Dutch secretaire à abattant, with its classical and large scale French-style ram's head garlanded corner ormolu chute mounts and elaborate marquetry with contrasting veneers and engraved motifs, is reminiscent of the much en vogue furniture designed and manufactured 'in the French manner'. This was first advertised in Holland by Dutch cabinet maker Andries Bongen (1732-1792) in December 1766. French Neoclassical furniture by ébénistes such as Charles Topino, maître in 1773, who inlaid furniture with marquetry panels of vases and vessels popularised by designs from Vases Nouveau published by Maurice Jacques (1712-1784), was all the rage in France, England and Holland. In particular, the 1771 ban on the importation of French furniture into the Netherlands created a thriving market in which Dutch cabinet makers could create pieces in the French taste. Alongside Andries Bongen, other important Dutch makers included Arnoldus Gerritsen and Joan Lobst Swenebart. (R.J. Baarsen, Andries Bongen (ca. 1732-1792) en de Franse invloed op de Amsterdamse kastenmakerij in de 2de helft van de achttiende eeuw Oud Holland 107 (1993), pp.'s 42-43 and note 154.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
An unusual early 20th century French mid-sized carriage clockThe handle with open balustrade over four finials and a bevelled glass inspection panel, the glazed sides framed by reeded columns flanking a balustraded cornice and base on button feet. The two inch Roman dial with gilt dotted minute band on an engine turned pink enamel ground, with blued steel hands in an engine turned mask. The silvered platform with compensated bimetallic balance to a jewelled English style lever, striking on a blued steel coiled gong. Ticking and striking, together with a double ended key. 16.5cms (6.5ins) high. For further information on this lot please visit Bonhams.com
In the manner of Gillows rosewood, double sided book carrier, with turned balustrade columns, fitted with a large drawer, 44.5cm wide x 27.5cm high x 32cm deep At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
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