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Lot 631
Frank Moss Bennett (1874-1952)Pleading with MasterSigned and dated 1932, oil on canvas, 24.5cm by 36.5cmThere is some spotting to the back of the canvas. All keys are present, but the canvas is slightly slack. A good even picture plane.There has been some drying issues with the paint in the lower part of the painting, particularly the floor, where the upper layers have retracted. This has been suppressed by retouching in places - the overpaint goes over the retractions and against the direction of the original brushstrokes, and is opaque.There are some areas that are a little thin/abraded, particularly the darker passages such as the brown of the table.There is a 1 inch area of damage, restored, to the right of the chair leg with some retouched further flaked losses above this. There are a few areas of rubbing around the rebate, and a scuff in the varnish to the right mantle corbel. There are two unrestored areas of small losses of paint and ground - under the right edge of the basket handle and in the gentleman's hat. These are under the upper varnish so not recent. There is a fairly even, glossy varnish and it is not appreciably yellowed.
Lot 248
The top of two boards with moulded edge, above a pair of short drawers, spaced by moulded corbels, the central corbel concealing a narrow 'secret' drawer, over three long graduated drawers, with paired mitre-moulded fronts spaced by paired split-baluster mouldings, on front bun feet, in two parts, height 96cm, width 100cm, depth 48cm.
Lot 248
A late 19th century silver open face pocket watch by Corbel, Beaumont, A late 19th century silver open face pocket watch by Corbel, Beaumont, the signed dial with arabic markers and outer minutes track, verge fusee signed movement within a silver case bearing French Chimera marks, numbered 6792, case diameter 50mm, gross weight 99.7g.
Lot 41
ANTIQUE OAK OCCASIONAL FURNITURE two items, comprising lowboy, rectangular top, blind frieze drawer, twin small opening drawers, brass circular pommels, fancy backplates, swan neck handles, shaped apron, inlaid fan corbel detail, tapering square supports, 70cms (h), 81cms (w), 51cms (d), 13 pane astragal glazed single door wall hanging corner cupboard, painted interior shelves, broken swan neck pediment, canted and reeded corners, 115cms overall (h), 73cms (w), 37cms (d)Provenance: private collection Conwy
Lot 177
After Domenico Brucciani (1815-1880) The property of Peter Hone. A modern plaster bust of Pope Innocent X, Gian Battista Pamfili (1644-55), height 58cm, with associated corbel, height 32cm. (Overall height 90cm) Stepping over the threshold into Peter Hone’s London home is an unforgettable experience; a sensory over load of the most delightful sort; inside is a curated wonderland interior as enchanting and extraordinary as the man himself.Peter has lived in his Notting Hill flat since the 1960s. Its fabulous interior has graced the cover of World of Interiors more than once and its creator is adored by the cognoscenti of the interior design world. Peter is a man of many stories, and one of last year’s exciting chapters was the auction we held for him, selling the remarkable contents of his London abode: all the ancient architectural fragments, classical busts, urns, marbles and curios, and perhaps most wondrous of all, Peter’s beautiful plaster reliefs, which adorn almost every available wall. Peter’s interest in plasterwork developed during his 15 years at Clifton Nurseries in Little Venice, where he managed an architectural antiques shop for Lord Jacob Rothschild. This is where Hone ‘honed in’ on plaster, as he likes to joke.These further items from Peter are excess lots to his previous sale. We will also have further items in our next Oak & Country sale on June 13th 2024.
Lot 145
Circa 2nd century B.C.- 2nd century A.D.. Life-size bull's head (bucranium) on a rectangular field with flattened upper face and small ledge overhang; modelled in the half-round with detailed eyes, muzzle and dewlap, plain background; tooled texture to the forehead and dewlap; Eastern Empire. Cf. similar item in the collection of the Metropolitan Museum of Art, New York, under accession no.99.17; for various similar examples s. Mendel, G., Catalogue des sculptures grecques, romaines et byzantines, Constantinople, 1914, nos.1151 (381), 1164-1166 (300,1152,1139), 1282-1283 (2015-2016), vol.III, pp.493-494. 98 kg, 51 cm (20 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.From an important Cambridgeshire estate; thence by descent.Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12081-213373.The bucranium was used as a prominent motif on the exterior of Graeco-Roman temples where it replaced the use of genuine severed heads from the sacrificial rites. Garlands were draped over the heads on feast-days and occasions of special religious observance. The flattened upper face suggests an architectural use, perhaps as a corbel. [No Reserve]
Lot 76
TWO ITEMS REPRODUCTION STUDY FURNITURE, comprising mahogany Davenport, lidded upper box, gilt tooled green insert slope, interior drawers, twin banks of side drawers, carved corbel front, ball feet, 86 (h) x 53 (w) x 55cms (d), Legend world globe, mahogany and gilt metal effect stand, 101 (h) x 43cms (diam.)Provenance: private collection Conwy
Lot 128
VICTORIAN WALNUT DAVENPORT, lidded top box with inner compartments, inlaid detail repeated to the slope, inset skiver writing surface, interior drawers, four opening side drawers, four blind side drawers, all with turned wooden knobs, carved and corbel front pillars, platform feet, hardwood castors, 83cms (h), 54cms (w), 53cms (d)Provenance: private collection Conwy
Lot 266
A pair of George IV mahogany caned bergeresCirca 1830Each with a curved back and dished toprail, with lotus leaf clasped and honeysuckle carved scrolled corbel arms and arm terminals, on ring turned baluster and lotus leaf wrapped tapering front legs, with splayed square section rear legs, terminating in brass cappings and castors, each approximately: 61cm wide x 75cm deep x 94cm high, (24in wide x 29 1/2in deep x 37in high) (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
Lot 3
VICTORIAN MAHOGANY SECRETAIRE BOOKCASE, twin arched top glazed upper doors, interior adjustable shelving, button release drop down front, seven drawer interior arrangement with turned brass knobs, twin inset panel base cupboard doors, plinth base, eight carved corbel details to front, 231 (h) x 128 (w) x 55cms (d)Provenance: private collection Gwynedd
Lot 361
THREE BOXES AND LOOSE CERAMICS, GLASS AND METAL WARES, to include thirty pieces of Aynsley Cottage Garden tea and gift wares, including a teapot, a coffee pot, a cream jug, a sugar bowl, a cake plate and six trios, an Aynsley Pembroke covered pot, plate and bell, a brass kettle, goblet and corbel, a modern figural table lamp, etc. (3 boxes + loose) (sd, lamp untested)
Lot 593
Six late 19th Century engineering drawings relating to Lambeth Palace, including the Frieze on the River Front with its ornamental features, including swags, spandrils and grotesques, rosettes and crowns, the stone corbel of the roof truss, and technical measured elevations, largest mount opening 54.5 x 36.8cm (frame 70 x 52cm), smallest mount opening 25.8 x 19cm (frame 40 x 33cm), all framed and glazed (6)
Lot 595
A CONTINENTAL RELIEF CARVED WALNUT FRIEZE DEPICTING FIGURES AT A FORGE (4)19th Century 68cm wide; 36.6cm high; Together with a relief carved panel depicting Amphitrite in a chariot being pulled by hippocampi, 79.5cm wide; a relief carved walnut wall bracket or corbel, with a vacant oval shield, lion mask above, scroll acanthus sides and fruiting swag below, top missing, 32cm wide; 44cm high; together with French carved walnut herm and ribbon tied acanthus, 18th Century, 84.5cm highCondition Report:Figures at forge - repair to reverse (see image). One or two pin holes. Wall bracket- various splits, cracks and small losses. Loos parts to the top. All with evidence of age, wear and small splits as expected due to age.
Lot 32
A pair of plaster corbels in Greek Revival style, late 19th century/early 20th century and later, 42cm wide18cm deep160cm high (2)Condition ReportSignificant repair and restoration throughout, with later elements and decoration. Chips, cracks and scratches throughout. Wear to finish and signs of repairs and over painting. Lacking wooden substructures to base of each corbel.
Lot 4190
Collection of Persian ceramic tiles and architectural pottery, 19th Century, to include an archway/surround comprising four tiles, moulded with shell and floral work, en grisaille, 65 x 61cm, together with an edge and two corner tiles, 14 x 76cm, two corbel panels, similar design and colourway, and other fragments (Qty)
Lot 50
VICTORIAN BIRD'S EYE MAPLE DRESSING TABLE, having a shaped cushion moulded mirror on acanthus leaf carved and turned uprights, on a rail back rounded corner rectangular top over three frieze drawers, all having turned wooden knobs, 2 x having interior sectional dividers on corbel capped carved and turned supports on splayed legs with carved knee detail and knurled ends with castors, 177cms overall H, 122.5cms W, 63cms DProvenance: private collection Denbighshire
Lot 30
An early Victorian porcelain and ormolu mounted rosewood and tulipwood jewellery coffer on stand or coffre a bijoux attributed to Johann Martin Levien (1811-1871)Circa 1845, an identical model forms part of the Royal CollectionThe quarter veneered box superstructure mounted with five oval Sevres style porcelain plaques painted with a trio of putti and four pairs of putti, variously allegorical of viniculture, geography, astronomy, literature, music and fire making, each plaque set within a shaped C- and S-scroll, floral, foliate and rocaille panel mount, the superstructure comprised of a hinged top enclosing a velvet lined interior, above a cavetto leaf mounted panelled frieze, with canted floral clasped angles, over a re-entrant panel mounted hinged fall front enclosing two pigeon holes, two short mahogany lined tulipwood veneered drawers and one shelf, on a stand with a shaped apron mounted with four oval Sevres style painted porcelain plaques, each within a ribbon tied entwined twin oak leaf branch and oak leaf wreath mount, on keeled cabriole legs each headed by a floral swagged, paterae embedded scrolled corbel, beaded and acanthus clasped mount, with guilloche cast chutes terminating in scrolled foliate sabots, approximately: 54cm wide x 49cm deep x 110cm high, (21in wide x 19in deep x 43in high)Footnotes:An identical model of jewellery cabinet on stand (referred to as a coffre a bijoux in French), which is dated 1846 and is also, as with the present lot, attributed to Johann Martin Levien, forms part of the Royal collection, see www.rct.uk, RCIN 169.Although Levien is famed for his furniture executed in assorted exotic specimen woods, the latter of which were predominantly sourced from New Zealand, the vast majority of his work was in fact made from more traditional timbers. And this seems to have been the case for his output in French styles, particularly those in the Louis XV taste as with the offered model and the Royal comparable. The latter coffre a bijoux, along with the above example, are representative of the endorsement of Queen Victoria and Prince Albert, especially during the 1840s, for French-inspired pieces. The modified or updated Louis XV (or Rococo revival) style was evidently the one preferred by the Royal couple at that time. The porcelain plaques on both of these jewellery cabinets, which are painted in the Sèvres style with scènes galantes, birds and flowers within gilded cartouches, are almost certainly of English manufacture, for more information please refer to Victoria & Albert: Art and Love, 2010, London.Johann Martin LevienLevien was born in Barth on the Baltic coast, in what is today part of Germany. During his youth he was apprenticed to a cabinet maker there before travelling extensively across Europe. Following a trip to Brazil in 1837, Levien took the decision to set himself up there as both a cabinet maker and dealer responsible for making and selling pieces comprised of or incorporating a wide array of exotic timbers. However, the trade in this area evidently proved too competitive at that time in South America and represented too difficult a prospect for the young Levien. Consequently he chose a different course, specifically by boarding an English ship destined for New Zealand in 1840. By the end of the following year, Johann Martin had established a new furniture enterprise in New Zealand. Also, even in what was a relatively brief period, the diligent cabinet maker had greatly expanded his collection of exotic specimen wood samples. And although clearly prospering there, in 1843 Levien moved once again, but on this particular occasion to England. Interestingly he would never return to New Zealand thereafter.His career and renown progressed so rapidly in London, that in hardly any time after his arrival there, Levien was able to set up workshops at New Zealand Company on Broad Street, as well as develop the main room at this location as a space in which to properly display his firm's impressive 'wares'. His most notable clients tended to be affluent and aristocratic, whilst on occasion they were even members of the Royal family, tending to be either from the British or Prussian courts.Included among Levien's most important and illustrious patrons were figures such as: the Prussian ambassador, Christian Charles Josias von Bunsen (later Baron von Bunsen); Frederick William IV, King of Prussia; Baron von Stockmar, Baron Rothschild, Stewart Marjoribanks, Lord Ilchester, John Abel Smith, Lord Ingestre and of course most significantly Queen Victoria.In 1846 a Royal appointment was bestowed upon Levien and this honour was triumphantly announced by 'The London Sun' only a couple of weeks afterwards in the following way: 'We are happy to announce that Her Majesty has been pleased to confer upon Mr Levien the appointment of cabinet-maker to Her Majesty, in token of the very elegant specimens of workmanship made by him... Her Majesty the Queen was the first to patronise him. And he has secured great favour with Her Majesty by his workmanship, his skill, and his woods.'A mere two years later, in 1848, Johann Levien was awarded both a gold medal and a further Royal appointment, albeit on this occasion from the King of Prussia. In fact that year was an especially successful one for Levien's business since they were doing well enough to re-establish themselves at the exclusive and highly sought after 10 Davies Street address, located in Grosvenor Square. Subsequently Levien submitted four pieces to the famous 1851 Great Exhibition.Despite his prolific output and widespread renown, only a very small number of stamped or documented examples of Levien's furniture are known to exist or remain. This seems particularly odd considering the fact that by the time the cabinet maker retired and subsequently sold the firm in 1868, hundreds of works must have been produced in his name. Although it does seem extremely likely that the vast majority of his output was almost certainly left unsigned or unmarked, whilst a great deal of it also went on to be later sold by retailers such as R. Lucas & Co.This lot is subject to the following lot symbols: TP YTP 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
Lot 81
A French late 19th/early 20th century ormolu mounted tulipwood, amaranth, bois satine, kingwood, sycamore and parquetry pedestal clock1890-1905, after the model by Jean-Henri RiesenerIn two sections, the hood mounted and surmounted with three cherubs amidst billowing clouds and floral pendants, with a later white enamel dial, above a triple panelled cavetto frieze with tablets of lozenge inlay mounted with ribbon tied floral and foliate garlands, over a tablet with an entwined olive leaf branch and sunburst mount centred by a relief cast Apollo mask, the panelled pedestal door inset with a central glass oval and mounted with an elaborate pendant comprised of a ribbon tied flaming torch, opposing flower-filled cornucopiae and wreath crowned urn replete with flowers, acanthus, scrolled sunflower, tasselled floral swagged stem and entwined olive branch lyre-centred musical trophy, flanked by beaded and acanthus clasped scrolled corbel mounts inset with berried rosettes and entwining floral, berried and foliate pendants, on acanthus headed hairy lion paw foot mounts, with a concave quadripartite base mounted with an entwined florid branch and wreath, terminating in four stiff leaf toupie sabots with egg-and-dart moulded collars, approximately: 63cm wide x 32cm deep x 241cm high, (24 1/2in wide x 12 1/2in deep x 94 1/2in high)Footnotes:Several pedestal clocks of the same model to the offered lot have sold at auction this century. These include the following unsigned and unstamped versions; Christie's, New York, 19th Century Furniture, lot 132; Christie's, London, 19th Century Furniture, lot 15 and Christie's, London, 23 September, 500 Years: Decorative Arts Europe, lot 343. However a stamped example, one by Henry Dasson dated 1888, sold Christie's, London, 28 October 2014, Chateau - A Distinguished American Collection of Important 19th Century Furniture, lot 14.The present lot is a copy of the celebrated model attributed to Jean-Henri Riesener (maître 1768; d. 1806), executed in 1785 and now in the Louvre (cat. C.Dr., No. 185). In the mid 19th century, a barometer version of the clock - also in the Louvre - was made by the cabinet maker, Guillaume Grohe (for an illustration of Riesener's original clock and Grohé's barometer, see P. Verlet, Les Bronzes Dorés du XVIIIe Siècle, Paris, 1987, p. 116, no. 145 and p. 384, no. 394).Arguably the most notable 19th century pedestal clocks of this type, or the equivalent 'regulateurs de parquet', are those that were executed by the celebrated cabinet makers, Emmanuel-Alfred (dit Alfred II) Beurdeley, Paul Sormani, Grohe freres and Henry Dasson. Indeed a copy of this type by Dasson is illustrated in C. Mestdagh, L'Ameublement d'Art Francais, 1850-1900, Paris, 2010, fig. 220, p. 192.Another maker, who slightly later on, revitalised this Riesener pedestal clock form was Julius Zwiener. A version of Zwiener's, which is dated 1906, appears in J. Meiner, Berliner Belle Epoque, 2014, Petersberg, Abb. 107, p. 91.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
Lot 38
CARVED OAK MIRRORBACK SIDEBOARD CIRCA 1890, having corbel detail to an inverted stepped cornice over a canopy shelf and three bevel edged mirrors with central shelf flanked by turned capped pillars, the breakfront base having deep panel outer doors and three central opening drawers, with Art Nouveau back plates and swing pull handles, on substantial corner bracket feet, 203cms H, 155cms max. W, 55cms max. DProvenance: private collection Conwy
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