2 barocke Dessertteller mit Blumenmalerei. Meissen. Schwertermarke, um 1750. Polychrom bemalt, goldstaffiert. Ø 23,5 cm. Durchbruchteller mit korbreliefiertem Spiegel. 1x kleiner Brandriss am Rand, Malerei minimal berieben. Aufrufzeit 27. | Okt 2023 | voraussichtlich 10:43 Uhr (CET)2 baroque dessert plates with floral painting. Meissen. Sword mark, circa 1750. Polychrome painted, gold decorated. Ø 23.5 cm. Through plate with corbel-relief mirror. 1x small fire crack on the rim, painting minimally rubbed. Call time 27 | Oct 2023 | expected 10:43 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
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OAK NORTH WALES DRESSER CIRCA 1840, the wide boarded back upper rack with three shelves, shaped corbel upper decoration and shoes on a peg joined construction base section, having three upper pine lined frieze drawers over three central blind drawers, flanked by twin inset panel cupboard doors, all with brass knobs, on corner bracket feet, the drawer fronts with inlaid wooden diamond shape escutcheons, 205cms H, 155cms W, 44cms DProvenance: by descent, from a farmhouse Llyn Peninsula
WILLIAM STRANGE KINGSTON 12-INCH SQUARE DIAL LONGCASE CLOCK, the dial having pierced gilt spandrels and silvered chapter ring, set with Roman numerals, subsidiary seconds dial and date dial before a twin weight pendulum driven bell strike movement (pendulum and weights included), within a reproduction oak case, architectural capped hood with single glazed door, joined oak style four-panel long trunk door, on a carved corbel stepped base, 217cms H, 48cms WProvenance: private collection Denbighshire
A Pair of Oak Opentwist Candlesticks With Brass Sconces, 36cm high; together with an inlaid mahogany lancet form mantel clock, a gilt corbel, a carved alabaster table lamp, a pair of bronze effect table lamps of candlestick form, a pair of Japanese Satsuma style vases mounted as table lamps and a Victorian cranberry glass epergne etc (qty)
ARTS & CRAFTS OAK DRESSER, having a shaped corbel overhang to the top to a boarded back two-shelf rack, the base having a slightly shaped front top with similar corbel overhang to the rack, with two oak lined central drawers, having stylised back plates, and swing handles over a dog kennel centre, flanked by twin inset panel cupboard doors on shaped corner bracket feet, 190cms H, 137.5cms W, 46cms DProvenance: private collection Gwynedd
A FINE GEORGE III MAHOGANY BAYONET-TUBE MERCURY STICK BAROMETER WITH HYGROMETER AND THERMOMETERSAMUEL TOULMIN, LONDON, CIRCA 1775The caddy moulded case with open triangular pediment above hygrometer with independent adjustment for the beard pointer via a brass turn-screw set beneath, over inset silvered vernier scale with curved lower angles and calibrated in barometric inches to the right hand margin opposing weather observations to the left, the upper margin signed Toulmin Strand London, the trunk inset with silvered arched Fahrenheit scale mercury tube thermometer with domed brass protective cover to the bulb and decorative engraved border, the rounded base with circular moulded cistern cover and brass level adjustment screw to underside.109cm (43ins) high, 17cm (6.75ins) wide. Provenance: Property of Harry Taft Hayward (1868 - 1930) and Edith Wires (1872 - 1962) Skyring House, Worthing, and thence by descent. Samuel Toulmin is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as working from Strand, London 1757-83. Condition Report: Tube is present and appears intact however almost all of the mercury has gone. The cistern cover is securely fixed hence we are unable to establish whether the cistern is complete or the condition of the concealed part of the tube. The lever adjustment screw is present hence it is most likely the cistern is present but is no longer fluid-tight. The hygrometer is complete and the adjustment action is operational. The thermometer is complete, the tube filled and providing appropriate reading. The silvered scales have overall browning to their lacquer otherwise are in sound condition albeit with some very slight wear to the engraving (no doubt from previous re-silvering). The case is in sound original condition however the pediment is currently detached and is lacking the return mouldings to the sides. There is also a loss to the lower tip of the side 'corbel' moulding (to the left-hand side) as well as some wear/chips to the extremities of the mouldings in general. The trunk has some veneer shrinkage cracking to the front otherwise the case is in original relatively untouched condition with faults limited to minor bumps, scuffs, shrinkage and wear commensurate with age and use. Condition Report Disclaimer
A VERY FINE WILLIAM III WALNUT AND ARABESQUE MARQUETRY QUARTER-REPEATING MONTH-GOING LONGCASE CLOCK THOMAS WHITE, LONDON, THE CASE IN THE MANNER OF GERRIT JENSEN, CIRCA 1695The substantial six finned and latched two train bell striking movement with plates measuring 8.375 inches high by 6 inches wide cut with aperture for the escapement pallets at the rear, the five-wheel going train with anchor escapement incorporating inverted Y-shaped pallets regulated by one-and-a-quarter seconds pendulum incorporating a second false bob and regulation adjustment at lenticle height, the hour striking train with large diameter hammer pin wheel and internal rack gathered via a flag to the arbor behind the third wheel, the pull-quarter repeat mechanism powered by a leaf spring and sounding a peel for each quarter on a graduated nest of three bells before releasing the hour strike train, the 12 inch square brass dial with subsidiary seconds dial and chamfered calendar aperture incorporating pin-hole adjustment to the very finely matted centre, within applied silvered Roman numeral chapter ring with stylised cruciform half hour markers and small Arabic five minutes beyond the minute track, with fine scroll pierced and chased steel hands and winged cherub and foliate scroll cast spandrels to angles set within a leafy herringbone engraved border interrupted with signature Thomas White, Londini fecit to the lower margin, the case with repeating leaf inlaid lip to the ogee cornice and foliate scroll pierced fret to frieze, over hinged front veneered with fine leafy trails to the frame of the glazed dial aperture and applied with three-quarter columns with crisply cast capitals and bases to the front angles, the sides with hinged doors inset with fine scroll pierced frets and with conforming quarter columns set against bargeboards at the rear continuing up past the frieze to meet the underside of the lintel, the trunk with concave throat moulding decorated with a central stylised scallop shell flanked by leafy strapwork infill and applied with generous volute scroll-carved corbel ornaments to front angles, the 42 inch rectangular door centred with a brass-bordered circular lenticle and veneered with three shaped triple-lined edged panels decorated with further symmetrical foliate strapwork designs within a figured walnut field, bordered by a conforming line-edged band of repeating leaves and half-round cross-grain edge mouldings, the surround fronted with further conforming scrollwork and the sides with twin triple-line edged panels within crossbanded borders, the plinth base with marquetry decorated cavetto top moulding over conforming shaped panel incorporating concentric designs to the foliate scroll decoration within leaf-banded scroll trail decorated borders, on cavetto moulded skirt base.221cm (87ins) high, 55cm (20ins) wide, 27cm (10.5ins) deep. Provenance:The property of a private collector, acquired in Portugal. Literature:Dzik, Sunny and Still, Roger BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-1725 pages 558-560. Dzik notes that Thomas White was born in County Pembrook, Ireland in 1644 and trained as a clockmaker in Dublin (under John Turner) before moving to London in the early to mid 1670's. He married in London in 1674 and was made a 'free Brother' of the Clockmakers' Company in January 1683/4. Thomas White had a working association with Thomas Tompion taking-on the latter's first address on Water Lane when Tompion moved to larger premises on the corner of Fleet Street in 1678. White is thought to have retired after vacating Tompion's former premises by 1694 and probably died before 1700. Of Thomas White's work the present clock is one of only two clocks by him known. His other clock is an eight-day longcase clock (case sadly lost) incorporating full Tompion-type pull-quarter repeating illustrated in Evans, Jeremy THOMAS TOMPION, at the Dial and Three Crowns on page 52 (Figures 92 and 93). The movement of the present clock is discussed in detail by Dzik and Still and is testament to the maker's highly ingenuitive approach. The quarter-repeat work is particularly notable for the sophisticated economy of its design. Although there are some visual similarities with Tompion's system (most notably the pivoted geared tooth sector to the activation arbor) White has devised a much-distilled mechanism by simplifying and refining elements. An example of this is the quarter pinwheel, which is reduced to three pins and mounted via a ratcheted wheel so the train remains stationary during pulling. The three quarter bells are all operated by each of these three pins via a single lever which, when drawn back, releases a series of hooks to the bell hammers causing all the bells to sound in sequence. The strike train is notable in that it requires enough facility in the train to allow for reasonable operation of the repeat work throughout the month. This is achieved by gearing with a large diameter hammer pin wheel. The rack is very finely made, with an exquisite rack hook, and is released after the quarters have sounded via a carefully worked S-shaped detent engaging with the strike train rack hook in a highly controlled manner. The dial compliments the movement having particularly fine matting to the centre and well-sculpted hands. The chapter ring emulates Tompion but with slight additional flourishes to the half-hour markers; the 'herringbone' engraved border is also finely drawn and the scripted signature beautifully executed. The case of the present clock is particularly fine with details such as the bargeboards at the rear of the hood rising past the frieze to meet the underside of the lintel, extensive use of frets, and crisp gilt brass column castings, being typical of examples made to house movements by Thomas Tompion. The carved volute scroll ornaments to the throat are notably rare embellishments only seen on the highest status examples including Tompion No. 275 - a walnut grande-sonnerie striking longcase clock believed to have been made for William III, circa 1696 (See Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS pages 492-93). The marquetry veneers, however, are very unusual for a longcase clock and depart from standard 'Tompion' practice who is not known to have decorated his clocks in this manner. When considering marquetry clocks in general, those veneered with arabesque/seaweed tend to have 'all-over' decoration to the front rather than in panels. Although the use of panels is known (see Cescinsky, Herbert and Webster, Malcolm English Domestic Clocks page 157) the actual shape of the those on the current lot is highly unusual in that the upper and lower margins incorporate convex shoulders rather than being of the simpler normal break-arch profile. This shape of panel, however, is often seen on contemporary case furniture including examples attributed to the workshops of the Royal cabinet maker Gerrit Jensen. Amongst such examples are two cabinets made by Jensen for the Duke of Devonshire at Chatsworth, and a kneehole desk in the Royal Collection at Windsor. A bureau on stand, exhibiting similar shaped panels to the fall (as well as triple-line stringing and foliate banded borders), is illustrated in Bowett, Adam English Furniture 1660-1714 page 217, Plate 7.43 and on dust jacket. The individual high-quality approach to both the movement and case of the present clock is indicative of a clockmaker... TO READ MORE CLICK HERE.
VICTORIAN MAHOGANY FOUR-DOOR BOOKCASE CUPBOARD, extremely well presented, having a stepped cornice over four glazed upper doors with interior adjustable shelving on a base section of four cabinet doors, with arched beading against inset panels, on a plinth base, leaf carved corbel details to the upper and lower outer edges, 235cms H, 231cms W, 52cms max. D, 27cms upper shelving D
VICTORIAN & LATER MAHOGANY MIRROR BACK SIDEBOARD, the inverted breakfront base having segmented edge moulding and canted corners with a single central frieze drawer over twin cupboard doors and twin outer cupboard doors, all with shaped applied mouldings and various interior slides, shelves and drawers, on a plinth base, the mirror back is a later added Edwardian example having turned and carved caps with central balustrade crest over an arrangement of five mirrors and corbel supported front shelves, 208cms H, 172cms W, 62cms D, 90cms H base only
VICTORIAN ROSEWOOD MUSIC SHEET CABINET, rectangular top, with carved corbel pillar details flanking a single glazed door to a shelved and sectional interior, on a shaped plinth base with white pot castors, the top inlaid with boxwood and maple, the whole enhanced with boxwood and ebony stringing, 104cms H, 55cms W, 42cms D
12th-13th century A.D.. An architectural structural element, carved in two pieces: the upper section formed as a tulip with rounded base, the Nativity scene depicted on all sides comprising: the Virgin and Child seated on a throne, surrounded by divine light; the three wise men bearing gifts to her right, the foremost man kneeling next to the throne; behind the wise men a scene depicting Mary resting on a bed with Joseph beside her, the Child in his cradle with a donkey and an ox looking over him bathed in divine light; the last scene representing the meeting between Mary and Saint Elizabeth; the square base with spandrels. See Hack, B., Mons, I mosaici della Patriarcale Basilica di Santa Maria Maggiore (The mosaics of the Patriarchal Basilica of Santa Maria Maggiore), Rome, 1967; Schug-Wille, C., L’arte bizantina (The Byzantine Art), Milano, 1970; Little, C.T., Set in stone, The face in medieval sculpture, Madrid, 2007; Turnock, J.A., Landscapes of Patronage, Power and Salvation: A Contextual Study of Architectural Stone Sculpture in Northern England, c.1070 - c.1155, Durham University, 2018. 812 grams total, 70-78 mm (2 3/4 - 3 in.). Acquired in the early 2000s.Ex Norfolk, UK, collection.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 no.11782-205862. The treatment of the faces is similar to various English Romanesque ecclesiastical sculpture; see for example Christ in Majesty in St Andrew's Church in Bugthorpe or a loose corbel from the St Bees Priory Church of Saint Mary and Saint Bega (Cumbria). [2, No Reserve]
VICTORIAN MAHOGANY CWPWRDD GWYDR, well preserved, with shaped top cornice over twin arched top glazed doors and central glazed panel with interior adjustable shelving, over a base section having a single long top drawer and two arched top inset panel cupboard doors with flanking corbel detail on a plinth base, 226cms overall H, 139cms W, 54cms D
VICTORIAN MAHOGANY CWPWRDD GWYDR, the glazed top having two opening doors and central breakfront panel over a base section with a single long opening frieze drawer over three arched top inset panel doors, on a breakfront plinth base, corbel berry and fruit carvings applied to the front, 221cms overall H, 175cms W, 50cms D
SUBSTANTIAL ANTIQUE OAK MULE CHEST, peg joined construction with planked moulded edge lift up top, the front having four shaped top chamfered panels above stepped inverted moulding and three oak lined opening lower drawers, later oval brass back plates and swing handles, with knurled central corbel detail and reeded front supports, 106cms H, 147cms W, 52cms D
VICTORIAN GOTHIC-STYLE OAK DOUBLE LECTERN, the pitched swivel top with quatrefoil & cross detail and the words 'Be ye doers' and 'of the word' carved to the sides, on a carved corbel and capped turned column and substantial cruciform base, with further quatrefoil decoration, 152cms overall H, 56cms L, 58cms W (the top), 59 x 59cms (the base)
A George III mahogany bookcase,with a Greek key and corbel-moulded cornice over long glazed doors, five drawers to the base with brass plate handles, raised on bracket feet,156cm wide42cm deep241cm highCondition ReportEvidence of some repair and restoration throughout, with some apparent replacements to veneer and moulding. Some splits, knocks and losses. Some glass panes appear replaced. General surface wear, scratches and fading to facade. Drawer pulls later. Overall appears in fair structural and cosmetic condition and is ready for use. Please see additional images. Please see the additional images.
Medieval design ebonised corbel, the top section with a moulded scaly grotesque with mouth agape and pointed ears, the lower with concave arch surrounding an armoured knight in prayer, the sides of the corbel decorated with moulded flower heads and foliate patterns; Medieval design ebonised corbel, the cavetto top over a grotesque elf in medieval tunic with hood; Medieval design ebonised corbel, the capital moulded with arcade patterns, the scrolled body decorated with central repeating acanthus leaf design, terminating in a gryphon mask (3)Dimensions: Height: 50cm Length/Width: 22cm Depth/Diameter: 27cm
Four assorted garden planters, one square section with Tudor Rose design, 40cm square, 44cm high; one with Gothic tracery, 30cm square, 25cm high; one with basket weave design, 28cm high, 40cm diameter; and one with trailing vine design, 47cm diameter, 32cm high; and a stone corbel element Qty: 5
A pair of Regency mahogany, marble and parcel gilt low open bookcasesCirca 1820Each in three parts, the superstructure comprised of a verde antico marble top surmounted by an alternating upturned C-scroll and star motif gallery, on two reeded and channelled C-form corbel end supports, with a mirror plate inset panelled back to the centre, above two adjustable shelves flanked by Tuscan pilasters, each panelled side with a lotus-leaf moulded surround mounted with a lacquered brass scrolled lotus-leaf cast handle, terminating in a plinth base with recessed castors, each approximately: 52cm wide x 37cm deep x 114cm high, (20in wide x 14 1/2in deep x 44 1/2in high) (2)Footnotes:A pair of Regency low open bookcases that are the identical model to the offered lot sold Christie's, New York, 23 October 2002, Important English Furniture, lot 65. These very close comparables, one of which bears an old paper label to its reverse which is printed: 'Visct. Dudley', were almost certainly originally owned by Lord William Ward, 1st Earl Dudley. However, it is unclear as to whether they were supplied to the Earl Dudley's Worcestershire home at Witley Court or were intended for his London residence, Dudley House.It seems more likely that the Christie's examples were made to furnish Dudley House, the historic London home of the Ward family which is located on Park Lane, instead of their country Estate, Witley Court. The former property has gained particular renown among furniture historians, although perhaps mostly due to its later possession by Sir John Ward rather than during its period of original ownership. Although Dudley House was basically re-constructed between 1826 and 1829 on behalf of Lord William Ward, 1st Earl Dudley, the building underwent further alterations and adornments from 1855 onwards whilst it was under the care of the 11th Lord Ward.In 1895, this remarkable Park Lane home was leased by J.B. Robinson, a South African millionaire who also happened to be an avid collector. Subsequently, Sir John Ward, who had re-acquired the lease by 1912, evidently went on to reside there until 1938. Thereafter, one theory is that the Dudley bookcases may have been sold by the Wards, not long before the start of the Second Word War, as part of the sale of Witley Court Estate along with the remaining contents of the mansion, Jackson-Stops and Staff, 26 September - 6 October 1938. But of course at present their definite movements from that time remain unknown.It is possible, indeed even probable, especially given their fairly small size or diminutive proportions, that the present pair of bookcases were in fact part of a larger group or extensive set of conforming bookcases which obviously included the aforementioned ones that were evidently provided for the 1st Earl Dudley.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
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
Architectural elements 17th Century carved oak and later, including a carved cherub, pediments, column capitals, lion mask corbel etcProvenance: The property of a Gentleman, from a period Winchcombe Town House.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.
Full title: A carved stone corbel fragment of a female saint's head with traces of polychromy, The Netherlands, 15th C.Description:H.: 23,5 cm (incl. stand) Dim.: 18 x 17 x 15 cm (the sculpture) Provenance:- The collection of Mr. and Mrs. S., Gent, Belgium.- Acquired from Luc Vanonkelen, antiques dealer, Brussels, in January 2000. (according to the owner's inventory)
Medieval design ebonised corbel, the top section with a moulded scaly grotesque with mouth agape and pointed ears, the lower with concave arch surrounding an armoured knight in prayer, the sides of the corbel decorated with moulded flower heads and foliate patterns; Medieval design ebonised corbel, the cavetto top over a grotesque elf in medieval tunic with hood; Medieval design ebonised corbel, the capital moulded with arcade patterns, the scrolled body decorated with central repeating acanthus leaf design, terminating in a gryphon mask (3)Dimensions: Height: 50cm Length/Width: 22cm Depth/Diameter: 27cm
19th century pine and gesso architectural architraves and corbels; two projecting lintels (L174cm); three s-scroll corbel brackets decorated with acanthus leaf (H64cm); four rounded architrave pieces decorated with floral roundels (W41cm); two rectangular cornice pieces decorated with flower heads (W55cm); and a small egg and dart moulded piece (W41cm)
17th to 18th century oak refectory table, rectangular fold-over top over the frieze rail carved with a central cartouche with scrolling foliate and berries, sliding front rests with acanthus carved corbel mounts, turned fluted supports with foliate scroll carving, joined by moulded stretcher rails, foliage scroll and floral carved side frieze rails and plain back, the back rail with plain sliding restsDimensions: Height: 75cm Length/Width: 183cm Depth/Diameter: 60cmCondition Report:Measurements extended:183cm x 120cm
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