OF GRAND TOUR INTEREST - A Regency or George IV mahogany centre table with an Italian early 19th century specimen marble and hardstone topthe specimen top circa 1815, the table 1820-1825 and almost certainly Scottish or Irish in originThe circular top inset with a central roundel encompassed by six concentric circles incorporating a total of one hundred and forty inlaid radiating segments of assorted marbles, hardstones and minerals, the specimens probably including verde antico, porfido verde antico, val d'aosta, granito verde antico, Spanish brocatello, jaune brocatelle, porphyry, Sicilian jasper, granito rosso antico, cipollino, lumachella nera, alabastro, portasanta, fior di pesco, rouge languedoc, breccia traccagnina, portoro, petit antique, occhio di pavone, lapis lazuli, malachite and agate, on a beaded, acanthus wrapped and lobed column with a lotus-leaf collar and fluted spreading socle, the concave tripartite base with a reeded edge, terminating in scrolled corbel-headed lion paw feet, with recessed brass castors, the table stamped: '9589', the diameter of the top: 96cm; 77cm high.Footnotes:ProvenanceThe present table previously formed part of the collection of Sir Edmond Adair Hodson, 5t Bt. (1893-1972), Hollybrook House, County Wicklow, in Ireland. Evidently the table passed by descent through the family down to the current owner and vendor, although it is not known exactly when it was first acquired by the family.The marvellous Italian early 19th century specimen marble and hardstone top surmounting the offered lot is virtually identical (and of the exact same design) to the one 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. 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 tabletops, 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 tabletop 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 offered 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 further table worthy of note, albeit a comparable with a different type of specimen marble top, is illustrated in S. Stuart, Gillows of Lancaster and London, 1730-1840, Vol. I, 2008, pl. 391, p. 337. This particular rosewood example was made by Gillows in Oxford Street and supplied to Stephen Tempest in 1821.Aside from its top, the present table has a number of elements that are reminiscent of the output of the Scottish cabinet maker, William Trotter, who was based in Edinburgh and who flourished during the period 1805-1825. The prominent reeding, or reeded bands, to both column and base along with its distinctive lotus-leaf and acanthus carved collars appear to be recurrent aspects of Trotter's output, especially of those pieces that his firm produced between 1815 and 1825.Holybrook HouseHolybrook House, where Sir Edmond Hodson resided, had been constructed in the then fashionable Tudor Revival style in 1835. It was built following the designs of the Irish architect, William Vitruvius Morrison (1794-1838). Sadly in 1969 the north-west wing of the house was largely burnt in a fire and then subsequently re-structured as four separate buildings. However, the main part of the house, although much altered from its original state, still remains to this day, see www.buildingsofireland.ieThis lot is subject to the following lot symbols: TPTP Lot 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
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A French late 19th century ormolu mounted mahogany, bois satine, amaranth and stained sycamore marquetry commode a la Greque probably by Francois Linke (1855-1946)1890-1900, in the Louis XV/XVI Transitional styleOf breakfront outline with projecting canted front angles, the breche d'alep marble top with a moulded edge, above a triple panelled sunflower head-embedded guilloche mounted frieze interspersed with acanthus sprays, the frieze incorporating one central oak lined drawer, above two long oak lined drawers inlaid sans traverse with waved trellis work inset with rosettes, flanked by acanthus clasped scrolled corbel mount and husk pendant angles, on keeled square section legs terminating in scrolled foliate and bellflower adorned sabots, the reverse of the handles stamped: 'C.L. 2251', the back with an ink stamp: '47903', 132cm wide x 93cm deep x 63cm high, (51 1/2in wide x 36 1/2in deep x 24 1/2in high)Footnotes:A very similar commode to the present lot, one made by Francois Linke, appears illustrated in C. Payne, Francois Linke 1855-1946, The Belle Epoque of French Furniture, 2003, Woodbridge, p. 504. As with the offered version, this latter commode follows index number 1688. And like many pieces executed by Linke, there are slight variations in some of the details between these actual examples and their shared source design. However, importantly the essential form, mounts, inlay and drawer configuration are closely comparable to this particular Linke design in both instances.Also, it should be noted that the handles on the present model are stamped with the initials: 'C.L.' (along with a serial number) which most likely denotes Clement Linke, who was one of the cabinet maker's younger brothers. Clement provided metalwork such as locks, keys, handles and hinges for a great deal of Linke's furniture produced during the period, circa 1896-1910, Ibid, p. 359.This lot is subject to the following lot symbols: TPTP Lot 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
12th-13th century A.D. A carved sandstone corbel with Romanesque bust of a woman to the inner face, with centre-parted straight hair, large round eyes, slightly downturned mouth evoking a mournful expression; keyed to the rear face and with a securing slot to the rear of the upper face; mounted on a custom-made display stand. See Toman, R., Romanesque Architecture, Sculpture, Painting, Cologne, 1997, for discussion. 9.9 kg total, 33 cm high including stand (13 in.). Acquired Howard Neville, Kent, 2002. Property of a Kent collector. [No Reserve]
KORBLÜSTER IM LOUIS XVI-STIL Frankreich, Anfang 20.Jh., Bronze vergoldet, 4- flammiger Lüster mit facettiertem Glasbehang, elektrifiziert, HxD: ca. 60/45 cm. Altersspuren, Funktion nicht geprüft, Fehlteile im Glasbehang.|LOUIS XVI STYLE CORBEL CHANDELIERFrance, early 20th century, gilt bronze, 4 flame chandelier with faceted glass hanging, electrified, HxD: ca. 60/45 cm. Signs of age, function not tested, missing parts in the glass hanging.
A Victorian mahogany chiffonier, the shaped raised back with a leafy crest over a single shelf raised upon 'S' shaped supports, above the rectangular top, cushion frieze drawer and pair of cupboard doors, flanked by serpentine corbel pilasters, raised upon a plinth base, 138cm H x 122cm W x 53cm D (lacking veneer to plinth, at fault)
Marble mortar, 17th-18th centuries.Measurements: 12 x 30 x 28 cm.One-piece marble mortar, with a semi-ovoid container and lateral ribs in the shape of a corbel.In ancient recipe books there are a large number of recipes based on the use of the mortar, a tool which, although it is hardly used nowadays, was so varied in its use in the past that every kitchen had a wide variety of them, from large ones for pounding meats and vegetables to smaller ones for grinding spices. Even in antiquity there were large mortars made of bronze to grind and mix marble or lime, which were used to make construction binders or plaster, such as stucco.
GROUP OF SEVEN CARVED ARCHITECTURAL PANELS 19TH/ EARLY 20TH CENTURY to include a large volute carved with a mask, a parcel-gilt cartouche carved with a lion's mask, 54cm wide; a scrolled pediment carved with a satyr's mask, 70cm wide; a square panel carved with a lion's mask and foliate scrolls, 24cm high; a square panel carved with a foliate and pomegranate roundel, 27cm high; a medieval style corbel carved with a monk, 21cm high; and a small armorial shield carved with a rampant lion, 26cm highDimensions:43cm high, 32cm wideProvenance:Provenance: The Bellamy Collection, County Down, Northern Ireland
An Oak Misericord Corbel, possibly English, 16th century, carved in relief with stylised foliage flanked by scrolling branches with trefoil leaf terminals54cm by 19.5cmPointed section at the front of the pediment broken of and re stuck. Visible signs of wood worm damage most predominantly to the left and right sides. Overall of a pleasing colour and patination.
A good Elizabeth I oak and inlaid coffer, circa 1570The boarded lid with reeded and ovolo-moulded edges, the front of two panels, each with knot pattern inlay below a guilloche-carved arcade raised on lozenge-carved pillars, centred and flanked by stiff-leaf carved full-length corbel pilasters, the nulled-carved top rail with a dentil and punch-decorated lower edge, applied and lunette-carved base rail, the twin-panelled sides each carved with a central lozenge, their design repeated to each front stile, 99cm wide, 53.5cm deep, 61cm high
Historic Arts & Crafts carved stone corbel decorated with angelic figure and bee and ash motif to the projecting frieze, rescued from C. R. Ashbee’s house, Cheyne Walk when demolished, 47cm highProvenance: . Provenance: By descent from Douglas Shepherd (1922-1989), a designer and architect working on public houses for the brewery firm Ind Coope. He was heavily influenced by and was a serious collector of Arts and Crafts and Art Nouveau, including leading designers and artists such as Charles Ashlee and Jessie M King. He assembled a large collection from the 1950s to 1970s. His book collection was subsequently sold through Sotherby’s and in 2013 his magnificent silver collection by Archibald Knox and others was sold through these rooms. An accompanying letter from the daughter of Douglas Shepherd states - 'To prove my father's determination to find important things, he came across C. R. Ashbee's house on Cheyne Walk which was undergoing serious work including the removal of a corbel, depicting an ash and a bee. Father asked what was going to happen to it. The reply was 'if you can lift it mate you can have it' true to a collector's passion and determination he got it home.'
A rare Anglo-Saxon limestone mask corbel, 10th/11th century, the smiling face carved in bas-relief to a cube-shaped block of stone, probably from the Barnack quarry,ex. Howard Neville 1995.Anglo-Saxon stone masks can be seen at the tower of St Peter’s Church, Barton-upon-Humber and to the Church of St John the Baptist, Barnack, the latter re-located following alterations around 1150. It is likely the corbel stone in this lot was once part of an abbey destroyed during the dissolution of the monasteries under Henry VII’s reign. 21cm high, 23.5cm wide, 21.5cm deep**CONDITION REPORT**PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
France, Burgundy, circa 1225-1250 A.D. A white limestone corbel-capital probably from the destroyed Cluniac priory of Moutiers Saint Jean, composed of a capital on the left decorated with deeply undercut crockets, corbel with a carved head on the right; from a carved doorway or window which carried a pointed arch. 22.8 kg, 45 cm (17 3/4 in.). Salles des Vantes Pillet, 1 July 2007, lot 168. Ex central London gallery. Accompanied by a copy of a previous four page typed and illustrated report. Accompanied by scholarly note TL05442 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11411-192174. The capital would have supported an innermost voussoir above, whilst the corbel would have supported the innermost voussoir. The base of the capital has a small diameter which would have been echoed in the column below. This relationship with the slender shaft and the capital base is characteristic of architectural carving from Moutiers Saint Jean. The carving is closely related to a group of twenty five extant sculptures, now held in American museums, which recent scholarship has demonstrated are from the priory of Moutiers-Saint-Jean, which suffered extensive damage over the course of the Wars of Religion and the French Revolution. In 1797 the remains were sold into private hands. The closed crockets on our capital suggest that the sculpture could be dated earlier than the Duke University capital; parallels between this sculpture and an additional sculpture associated with the Moutiers group dated to 1225-1250 A.D. are striking in relation to the carving of the eyes, stylised hair and 'v' shaped face. A string indication that this is another piece from the ruined abbey. In a medieval text dating from 996, Moûtiers was called Monasterium (root of the word monastery). [No Reserve]
France, 13th century A.D. A limestone corbel displaying a carved winged harpy with a human head and bird wings showing feather detailing, roundel displaying a stylised flower head encompassed by recessed circles; mounted on a custom-made display base. 6.4 kg total, 32.1 cm high including stand (12 5/8 in.). Christie's, 19 June 2018, lot 34. Ex central London gallery. [No Reserve]
Ramsey Abbey, Huntingdonshire, 12th century A.D. A limestone fragment of sub-triangular form, bearing what is possibly a fruit adorned by a wreath; possibly a roof boss or corbel element; mounted on a custom-made display stand. 3.08 kg total, 23 cm high including stand (9 in.). Collection of George Zarnecki (1915-2008). Ex central London gallery. [No Reserve]
A CARVED WOOD CORBEL TABLE LAMP Carved mythical beasts and foliage, on later wood stand 50cm high (lamp stand) Condition: Condition Report General signs of age to the carved corbel, the base with visible wear. Working at time of cataloguing This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A Martin Brothers stoneware Owl vesta by Robert Wallace Martin, dated 1877, shield shaped with an Owl below corbel, clutching a book in its talons, glazed brown, blue and green, incised 2-1877, 29, R W Martin, professional restoration to front rim, 13.5cm. high Provenance The Bess Dobi Collection of Martin Ware.
A carved oak stool,the concave seat with stylised foliate decoration, on four turned legs, the underside of the seat inscribed 'Oak used by the Saxons in Winchester. A.D. 600, stool A.D. 1888',29cm wide23cm deep33cm hightogether with a carved oak corbel with reformed Gothic decoration, and an 18th century and later table, with a carved edge to the top and carved frieze48cm wide 31cm deep60cm high (3)Stool - surface scratches, knocks, cracks, glue patch repairs to legs and metal bracing to undresideCorbel - surface scratches and knocks and glue repair to one screw holeTable - signs of old repairs and old dormant wood worm (and treatment)
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