Castilian school. 16th century.‘Temperance’ and “Justice”.Pair of carved, walnut wood reliefs. 47,5 x 42,5 cm. each. This pair of incredible quadrangular white walnut wood reliefs representing Temperance and Justice must have originally belonged to a liturgical piece of furniture which would also have contained the other two Cardinal Virtues, i.e. Fortitude and Prudence. It is most likely that they were part of a set of Renaissance pews - without categorically ruling out their belonging to a cupboard or a door - as representations of the Virtues were quite common in the pews of this period due to their moralising character, as we must bear in mind that the moral conduct of the Human Being rested on them.Given the technical characteristics of both reliefs, the remarkable skill and finesse with which they are carved, and the fact that sculpting in walnut and the making of pews and other ecclesiastical furniture were not commissioned from just any master, it seems clear that their sculptor was a relevant sculptor of the Castilian school and that they were carved around the second third of the 16th century.Both Virtues have been depicted, as is often the case, as women of classical appearance, almost like Roman matrons or noble maidens with sophisticated headdresses. They wear wide, fine garments completely covered with small pleats that make the edges of the garments extremely faceted.The wet cloth technique is simulated in some areas, with which not only the plastic and volumetric values of the reliefs are highlighted but also the voluptuousness of the women, since through these fine garments the rounded forms of their bodies are suggested. As a general rule, they are worked in bas-relief, but in the most relevant areas, such as the heads, hands and attributes, the relief acquires greater volume, close to being in the round, but never quite reaching it.The heads are small, round and have expressive faces, serious in the case of Justice and more serene in that of Temperance. They have slanting eyes, carved with great detail both in the iris and the eyelids, and above them, sharp curved eyebrows that give them personality, as well as a chiaroscuro in the area of the eye sockets that enhances their volume. The facial features comprise smooth foreheads, broad, elongated noses, marked nasolabial folds, small open mouths with thick lips and bulging cheekbones. The ears are not visible due to the elaborate headdresses that almost completely obscure their hair. In the case of Justice, we can see a scarf that leaves free a couple of snaky locks that slide down her temples, and a ribbon that the anonymous sculptor models with great skill, creating a series of curves and counter-curves while displaying it from different profiles with multiple folds. For her part, Temperance also wears a kind of veil that leaves free a pair of locks of similar characteristics to those of Justice. Above the veil, the end of which seems to be moved by the wind, is a winged head of a putti, one of the most characteristic elements of Renaissance vocabulary. This same putti is found on Justice's neckline, almost like a brooch. Finally, Temperance wears a kind of cloth hanging from the ends of the buckles that cover her ears.Both women are perfectly identified both by the Latin signs carved on the upper part of the panels - ‘TEMPERATIA’ and ‘IVSTICIA’- and by the attributes they hold in their hands. Thus Justice elegantly holds a scale in her right hand - the allegory of the equality with which she must act - while in her left hand she wields a sword - the symbol of the strength with which she imposes herself - whose long blade occupies the entire height of the panel. Temperance, on the other hand, is seen pouring water from a jug over a wide goblet filled with wine in order to temper what is too stimulating.The conception of the two figures differs from each other, for while Temperance presents a closed composition, withdrawn in on itself, as well as having a calmer character as it embodies the Virtue it is representing, Justice is conceived with an open composition -see the arms- and shows a more decisive and dynamic spirit. Both differences in state, tranquillity and impetuosity, can be seen in another specific detail that they both share: the way in which the wind moves or waves the scarf or ribbon that covers their hair. We would like to thank Dr. Javier Baladrón, doctor in Art History, for the identification and cataloguing of this work.
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Imposing carved and polychromed wooden cupboard. Viceregal work. Peru. 18th century.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.
A 1970s nest of three Severin Hansen rosewood tables, of plain rectangular form on square section tapering legs, with Danish Furniture Makers Control labels, largest, 57 cm wide, 37 cm deep, 50 cm high. CITES Article 10 certificate no. 24GBA10WO2IEHThe tables are for the most part in good order and are structurally sound.The one minor thing I would mention are some faint translucent cup rings on the top of the main table.I have tried to show these in the extra images taken.
A Korean cinnabar and mother of pearl inlaid "Marriage Box" Joseon Dynasty, late 19th century, with paktong (?) lock and case furniture and inlaid with flying bats, a crane and a central Shou symbol, the lock bearing blessings for long life and male heirs. 37 cm wide x 28 cm deep x 23 cm heightThe box is generally in good order but has a few old knocks and minor scars.All of the metal fittings are present, with lock.Only one small piece of mother of pearl is missing from the top (please see the extra images)The box has had a fabric lining applied at some pointThe lacquer surface is dry and mellow with a good patina.
A carved and painted wood crest, 18th century, French,23cm wide29cm highand a carved giltwood furniture mount of a Cherub mask and wings13cm wide23cm high (2)Condition ReportCrest carved panel with moulding losses to the cresting and apronevodence of old worm, and paint lossesFurniture mount with some very small gilding losses
FURNITURE: Chippendale’s The Gentleman and Cabinet Maker's Director, 1910; Hepplewhite's The cabinetmaker and upholsterer's guide, 1910; Beveridge: English Renaissance woodwork, 1660-1730. 1921, folio; Macquoid, P: A history of English Furniture, 4 vols. Leather bound Plus others in cloth & dws; Plus several other volumes on Furniture (qty.)
Tatlock RR: A Record of the Collections in the Lady Lever Art Gallery, Port Sunlight. Formed by the First Viscount Leverhulme: THREE volumes: 1- English Painting; 2- Chinese Porcelain & Wedgwood Pottery; 3- English Furniture, Tapestry, & Needlework. Batsford, 1928, LIMITED EDITION OF 200 COPIES, with DWs & slipcase. FINE SET. (3)
*JESSIE BAYES (1890-1970): AN ARTS AND CRAFTS ILLUMINATED TRIPTYCH, the central panel showing St Francis with animals, the left wing entitled `Sister Moon`, the right wing entitled `Brother Wind`, with prayers written in illuminated calligraphy, signed to the central panel lower right, housed in the original carved oak frame with gilded decoration and gilt metal furniture, 46cm high x 30cm wide (44cm wide opened), Literature: 'Jessie Bayes Painter and Craftswoman', The Studio 1914, shows a comparable triptych of gilded mahogany painted in tempera by Jessie Bayes, illustrated page 265.
A QUEEN ELIZABETH II CORONATION CHAIR, 1953, produced by W. Hands & Son Ltd., numbered 375, covered with blue velvet bearing the monogram ER II beneath a crown, stamped and branded to the underside, one rail stamped "W.T" beneath a crown, 85cm high x 49.5cm x 43cm deepProvenance: Lady Nellie Holmes (1890-1974) and thence by descent.Born Nellie Florence Marshall in Barnsley, Yorkshire, in 1890, she married Horace Holmes in 1912. During the nearly 60 years of their marriage Nellie and Horace were active in the Salvation Army, both rising to the rank of general. She died in Bridlington, Yorkshire, in 1974. Lady Nellie Holmes attended The Coronation of Her Majesty Queen Elizabeth II along with her husband Sir Horace Holmes, in seat numbers 375 and 31 respectively. Sir Horace Holmes's chair is offered in the previous lot (259).The Coronation of Her Majesty Queen Elizabeth II was held on 2nd June 1953 at Westminster Abbey.The ceremony was a very large celebration with several thousand distinguished guests in attendance. The numbers of guests were fewer than George VI coronation, due to the reduction in seating behind the alter. Planning for such an important event took over 12 months. The design of the chairs and stools produced for the ceremony was taken from those created for the King George VI Coronation in 1937. The Ministry of Works were responsible for commissioning all furnishings for the coronation. As had been the case for George VI coronation furniture manufacturers based in High Wycombe, the centre of English chair making during this period, produced all of the chairs and stools. A range of companies manufactured the furniture including; B. North & Sons; W. Hands & Sons; Thomas Glenister Ltd.; Castle Bros. (all firms in High Wycombe); Maple & Co., and Waring & Gillow. The blue velvet coverings were made at Listers Mills in Bradford, Yorkshire.
A QUEEN ELIZABETH II CORONATION CHAIR, 1953, produced by North & Sons, West Wycombe, numbered 31, covered with blue velvet bearing the monogram ER II beneath a crown, stamped and branded to the underside, one corner block stamped "P.S" beneath a crown, 85cm high x 49.5cm x 43cm deep, Provenance: Sir Horace Holmes (1888-1971) and thence by descentBorn in Weston, Notts., Holmes received an elementary education before becoming a coal miner. During World War I, he served as a sergeant in the Leeds Rifles, and received the Distinguished Conduct Medal. After the war, he returned to mining, and from 1923 was secretary of his branch of the Yorkshire Miners' Association. From 1923 until 1946, he also served on Royston Urban District Council, and for eleven years, he additionally served on the West Riding County Council. Sponsored by his union, Holmes was elected unopposed as Member of Parliament for Hemsworth at a by-election in 1946 following the death of the sitting MP George Griffiths. Holmes held the seat at the next three general elections, each time with the largest Labour majority in the election. From 1947 until 1951, he was Parliamentary Private Secretary to the successive Ministers of Fuel and Power, Hugh Gaitskell and Philip Noel-Baker. He then became the Labour Whip for the Yorkshire members. Holmes stood down at the 1959 general election. He was knighted in 1966, and died in 1971. Sir Horace Holmes attended The Coronation of Her Majesty Queen Elizabeth II along with his wife Lady Nellie Holmes, in seat numbers 31 and 375 respectively. Lady Nellie Holmes's chair is offered in the following lot (260). The Coronation of Her Majesty Queen Elizabeth II was held on 2nd June 1953 at Westminster Abbey.The ceremony was a very large celebration with several thousand distinguished guests in attendance. The numbers of guests were fewer than George VI coronation, due to the reduction in seating behind the alter. Planning for such an important event took over 12 months. The design of the chairs and stools produced for the ceremony was taken from those created for the King George VI Coronation in 1937. The Ministry of Works were responsible for commissioning all furnishings for the coronation. As had been the case for George VI coronation furniture manufacturers based in High Wycombe, the centre of English chair making during this period, produced all of the chairs and stools. A range of companies manufactured the furniture including; B. North & Sons; W. Hands & Sons; Thomas Glenister Ltd.; Castle Bros. (all firms in High Wycombe); Maple & Co., and Waring & Gillow. The blue velvet coverings were made at Listers Mills in Bradford, Yorkshire.
Christopher Dresser (1834-1904), a rare electroplate teapot, No. 2277, circa 1880, manufactured by James Dixon & Sons, Sheffield, England, electroplated metal with ebony handle, impressed with manufacturer's mark Chr. Dresser and 2277 12.5 x 22 x 13.5cm Provenance: Georgina Bourke (née Anderson, then Greenwood), who likely acquired the teapot in the early 20th century. A socialite who mixed in avant garde circles, Bourke first married Lieutenant J F B Greenwood, Kings Own Royal Regt., who was killed in action in May 1915, before moving to Cheltenham and then later, after the war, to Southern Ireland, where she lived in Castleconnell, Co. Limerick. After her death in 1967, the teapot remained undiscovered in a trunk containing her various possessions until a recent routine valuation. Literature: H.Lyons, Christopher Dresser: The People's Designer 1834-1904, p. 7 no. 8 W.Halén, Christopher Dresser, 1990, p. 182, pl. 206 W.Halén, Christopher Dresser: A Pioneer of Modern Design, London, 1993, p. 183, pl. 206 M.Whiteway, Shock of the Old: Christopher Dresser's Design Revolution, 2004, p. 158, pl. 200 Born in Glasgow in 1834, from age thirteen Christopher Dresser effectively began his career when he commenced his training at Somerset House's Government School of Design, one of a number of state-funded centres established from 1837 to train designers specifically for industrial production. This was a period defined by a stratospheric rise in machine manufacturing, making household items more widely available and creating an entirely new market for innovative and creative designs that were suited to modern methods of manufacture. Although he was only twenty-eight years old at the time of the 1862 Great London Exposition, whilst there Dresser claimed to have designed "as much as any man"; this was likely true as he was demonstrably accomplished in all aspects of industrial design, including carpets, ceramics, furniture, glass, graphics, metalwork and textiles. By the end of 1862, Dresser had published The Art of Decorative Design (1862) and The Development of Ornamental Art in the International Exhibition (1862), followed latterly, in 1873, by Principles of Decorative Design. Though he may have designed more than any other man at the Exposition, the Japanese works he saw at there inspired a lifelong interest in the country and its aesthetic principles. Closely associated with influential design reformers including Richard Redgrave, Henry Cole, Owen Jones, and Matthew Digby Wyatt, Dresser was not only interested in the practical facets of design, but also the moral and philosophical doctrines. For Dresser and his cohort, design had the capacity to "exalt" or "debase". Establishing his principles of 'Truth, Beauty and Power', Dresser looked to the natural world to inspire. Using reduced and abstracted forms from nature, Dresser aimed to express the essence of design in its most distilled form. Despite his pioneering aesthetic, many of Dresser's designs were too complex and costly to be easily mass-produced, limiting their accessibility. The present example, catalogued as no. 2277 in 1879, is a rare example of his work, with only around twelve known to exist. One such piece forms part of the collection at the Victoria and Albert Museum, London. Also displayed internationally by institutions including the Metropolitan Museum, New York, and the Musée d'Orsay, Paris, it is difficult to overstate the importance of Christopher Dresser in the history of industrial design. One foot is slightly bent inwards and the base very slightly dished around the area, a very minor crease to the underside of the base, just visible in the right light. A couple of small marks to the cover where it has knocked against the handle. Some tarnishing and the plating slightly rubbed to finial, hinge and the rim of the cover, also to joint where spout meets body. A small dent to one side, and some other light surface wear and scratching more commensurate with age and use. Please see additional images and video online. The handle does not protrude beyond the metal at either end, but does not appear to be broken, again see images. Handle rotates freely.
Paul Matt for Brynmawr Furniture, a set of twelve Arts & Crafts oak 'Mount' dining chairs, each with lattice back design and drop-in rush seats, some labelled to underside89 x 42 x 46cmSee further images for typical condition.All chairs have some colour fading and dryness to the top of the backs, also water damage to base of legs. Rushwork generally sound with only minor (non structural) damage or rubbing and surface dirt. Waxed finish to the wood. All have ivorine makers label. Some chairs have some front to back movement, I have mentioned this where particularly noticeable. Nearly all have minor splits to the tops of the legs. Surface splashes and minor marks to the surface. No worm.chair 1 - with number eight to frame and drop in rushed seat. Ivorine makers label. Split or break to right leg has been dowelled. Ply base to seat seems to be original. chair 2 - with number O to the frame and 8 to the drop in rushed seat. Ivorine makers label. chair 3 - with number 6 or 9 to frame, and 5 to drop in seat. Ivorine makers label. Loss to top of left leg into the joint, and repaired break to both front oak corners of drop in seat frame. Squeaks and some movement in the frame.chair 4 - numbered 8 to the frame and 0 to the drop in rushed seat. Ivorine makers label. Minor split to top of right leg. Graze to top of left leg with uneven surface finish. chair 5 - numbered 1 to the frame and 1 to the drop in seat. Ivorine makers label. Minor repair to top of left leg where drop in seat has broken small piece off when dropped in.chair 6 - numbered 2 to the frame and 2 to the drop in seat. Ivorine makers label. Loss to top of right leg (shown)chair 7 - numbered 5 to the frame and 6 to the drop in seat. Ivorine makers label. Small splits to top of left leg chair 8 - numbered 4 to the frame and 3 to the drop in seat. Ivorine makers label. Small splits to tops of legs chair 9 - numbered 5 to the frame and 4 to the drop in seat. ivorine makers lable. small split to left legchair 10 - numbered 3 to the frame and 1 to the drop in seat. Ivorine makers label. Small split top of right leg runs down into the rail.chair 11 - numbered 11 to the frame with 11 drop in seat. Ivorine makers label. small splits to top of legs, surface paintchair 12 - numbered in pencil 7, incised 7 to the drop in seat. Ivorine makers label. small splits to top of the legs.
A collection of six ink and watercolour Art Nouveau furniture designs for the Owen Jones Furniture Competition, circa 1900, to include: Design for Dining Room Furniture for Country House, 52.5 x 74.5cm; Wardrobe, 48.5 x 66cm; Dressing Table and Washstand, 71 x 49cm; Details in Copper, 74.5 x 50.5cm; Pedestal Cupboard and Chair, 47.5 x 71.5cm; and Design for Fumed Oak Bedroom Suite, 51.5 x 68cmeach sheet unframed and stamped 'ESK (Examined South Kensington)Each sheet stuck down to cardboard support, all cardboard supports with varying degrees of edge damage and knocks. All sheets with discolouration and scattered foxing throughout. Please refer to images.
A selection of brass and copper door furniture including a pair of copper finger plates with raised stork decoration, three pairs of matching brass 12" finger plates with scroll decoration, three pairs of matching 9" finger plates together with a selection of various door handles and furniture
Greta Magnusson-Grossman (1906-1999)'Pathway thru the Trees', signed, oil on canvas, 71 x 54cm, with San Diequito Art Guild third place ribbon; and two further unframed oils by the same hand (3)Greta Magnusson-Grossman (1906-1999) was a renowned Swedish architect, interior and furniture designer. In 1933 she became the first woman to win the Furniture Design Award from the Swedish Society of Industrial Design, and throughout the 1960's she was a prominent figure in the world of experimental architecture. She moved to Los Angeles in the 1940's where she opened the Magnusson-Grossman studio on Rodeo Drive with stars such as Ingrid Bergman and Greta Garbo becoming her clients. Retiring in 1966 she moved to San Diego, and spent the remaining 30 years of her life painting landscapes. The collection of works in this sale are offered to the market by direct family descent.
Greta Magnusson-Grossman (1906-1999)'Back of the Quail Garden', signed, oil on canvas, 49.5 x 39.5cm, and companion, a pair (2) Greta Magnusson-Grossman (1906-1999) was a renowned Swedish architect, interior and furniture designer. In 1933 she became the first woman to win the Furniture Design Award from the Swedish Society of Industrial Design, and throughout the 1960's she was a prominent figure in the world of experimental architecture. She moved to Los Angeles in the 1940's where she opened the Magnusson-Grossman studio on Rodeo Drive with stars such as Ingrid Bergman and Greta Garbo becoming her clients. Retiring in 1966 she moved to San Diego, and spent the remaining 30 years of her life painting landscapes. The collection of works in this sale are offered to the market by direct family descent.
Greta Magnusson-Grossman (1906-1999)'My Kitchen Window', signed and inscribed verso, oil on canvas, 44.5 x 60cm Greta Magnusson-Grossman (1906-1999) was a renowned Swedish architect, interior and furniture designer. In 1933 she became the first woman to win the Furniture Design Award from the Swedish Society of Industrial Design, and throughout the 1960's she was a prominent figure in the world of experimental architecture. She moved to Los Angeles in the 1940's where she opened the Magnusson-Grossman studio on Rodeo Drive with stars such as Ingrid Bergman and Greta Garbo becoming her clients. Retiring in 1966 she moved to San Diego, and spent the remaining 30 years of her life painting landscapes. The collection of works in this sale are offered to the market by direct family descent.
Greta Magnusson-Grossman (1906-1999)'Safe Harbor', signed, oil on canvas, 54 x 71cm, with San Diequito Art Guild second place ribbon Greta Magnusson-Grossman (1906-1999) was a renowned Swedish architect, interior and furniture designer. In 1933 she became the first woman to win the Furniture Design Award from the Swedish Society of Industrial Design, and throughout the 1960's she was a prominent figure in the world of experimental architecture. She moved to Los Angeles in the 1940's where she opened the Magnusson-Grossman studio on Rodeo Drive with stars such as Ingrid Bergman and Greta Garbo becoming her clients. Retiring in 1966 she moved to San Diego, and spent the remaining 30 years of her life painting landscapes. The collection of works in this sale are offered to the market by direct family descent.
Greta Magnusson-Grossman (1906-1999)Sailing boats at a jetty, signed, oil on canvas, 61 x 50.5cm; and two further oils by the same hand, both signed (all unframed) (3) Greta Magnusson-Grossman (1906-1999) was a renowned Swedish architect, interior and furniture designer. In 1933 she became the first woman to win the Furniture Design Award from the Swedish Society of Industrial Design, and throughout the 1960's she was a prominent figure in the world of experimental architecture. She moved to Los Angeles in the 1940's where she opened the Magnusson-Grossman studio on Rodeo Drive with stars such as Ingrid Bergman and Greta Garbo becoming her clients. Retiring in 1966 she moved to San Diego, and spent the remaining 30 years of her life painting landscapes. The collection of works in this sale are offered to the market by direct family descent.
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) RUST AND HUMOUR Collage Signed (lower right) Image: 20 x 16cm (7¾ x 6¼ in.) Executed in 1960.Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 75 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: There are some possible minor areas of glue residue surrounding the lower edge of the collage. Otherwise there are no significant condition issues. The work appears to be in good original condition. Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) FOGGIA Collage Signed (lower right) 19 x 14cm (7¼ x 5½ in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 70 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: Evidence of minor glue residue to the edges of the collage. Otherwise appears to be in original condition. Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) HARP (COLLECTION OF G.A. REISNER) Collage Signed (lower right) Image: 15.2 x 12.7cm (5 x 5 in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 57 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: Glue residue causing some staining scattered across the sheet. Otherwise in original condition. Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) OTTO MASCHENFABRIK Collage Signed (lower right) 12 x 14.5cm (4½ x 5½ in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 59 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: Very slight discolouration caused by glue residue to the edges of the collage. Otherwise appears to be in good original condition. Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) TABLE OF CHARYBDIS Collage Signed (lower right) 16 x 13.5cm (6¼ x 5¼ in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 55 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: A very minor surface scratch to the lower right corner. Otherwise appears to be in good original condition. Condition Report Disclaimer
λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) WELCOME PROFESSOR RUHRBERG Collage Signed (lower right) Image: 21.5 x 15.5cm (8¼ x 6 in.) Executed in 1960.Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 71 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54)
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) RACHEL'S TOMB, NEAR BETHLEHEM, PALESTINE Collage Signed (lower right) Image: 20.2 x 25cm (7¾ x 9¾ in.)Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: Very undulation to the sheet. Two small spots of staining. One to the centre of the sheet the other to the strings of the parachute. Otherwise appears to be in good original condition.Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) SPIRIT OF THE MOTHERLAND Collage Signed (lower right) 22 x 13cm (8½ x 5 in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 25 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: Some scattered area of staining, most likely caused by glue residue around the edges of the collage. Otherwise in good original condition. Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) BEDROOM WITH PORTRAIT Collage Signed (lower right) Image 17.8 x 16cm (7 x 6¼ in.) Provenance: Freda Paolozzi and by descentLiterature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 47 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: Some light discolouration to the centre of the cupboard door. The artist appears to have changed their mind during the execution of the work and there is evidence of glue residue and minor areas of loss to both left and right sides of the work. This is evident in the original History of Nothing series. The work appears in original condition. Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) UNTITLED, HISTORY OF NOTHING Collage Signed (lower right) Image: 21.5 x 16cm (8¼ x 6¼ in.) Executed in 1960.Provenance: Freda Paolozzi and by descentLiterature: J. Drew, Photographer as Printmaker: 140 Years of Photographic Printmaking, London, 1981 M. Middleton, Eduardo Paolozzi, London, 1963, illustrated (page unnumbered) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: A crease with associated surface skinning to the lower right corner to the artist's signature. And a further minor area of surface skinning to the left side of the upper edge. Otherwise in original condition. Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) THE CITADEL, CAIRO, EGYPT Collage Signed (lower right) 20 x 25.5cm (7¾ x 10 in.) Executed in 1960. Provenance: Freda Paolozzi and by descent. Exhibited:London, Anthony D'Offay, Eduardo Paolozzi, Collages and Drawings, 23 March - 22 April 1977. Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 99 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: Slight undulation to the sheet, possibly handling creases. Otherwise work appears to be in good original condition with no significant issues. Condition Report Disclaimer
Charles Eames (American, 1907-1978) and Ray Eames (American, 1912-1988), an Eames 'DKR' chair, c.1952, for Herman Miller, in enamelled steel and Alexander Girard textured fabric, paper manufacturer's label 'Herman Miller Furniture Company',49cm wide55cm deep67cm high, seat 38cm highCondition ReportThree out of the four glides are original.
Jean Prouvé (French, 1901-1984), a 'Lampe de Bureau' or desk lamp, c.2014, by Vitra for G-Star RAW, of typical form in an olive-green finish,24cm wide15cm deep23cm highThis was part of a collection originally exhibited at the Milan Furniture Fair.Condition ReportIn good overall condition. With a 5cm hairline crack to paint on the left hand edge and some signs of rust.
▲ Isabelle Moore (b.1965), 'Prototype Amoeba Rocking Chair', produced in 1995, recycled HDPE plastic and plywood, 39.2cm wide 96cm deep 68.5cm high Provenance: Directly from the artist. This piece was produced in 1995 at Parnham College, Dorset. For a similar example, see the Brooklyn Museum, accession number 1996.133. Isabelle Moore trained at Parnham College, a renowned school in Dorset that John Makepeace established for furniture making. She has travelled and taught extensively throughout her career, offering short courses, weekend workshops and artist residencies. Isabelle produces furniture pieces to commission, speculative work for galleries, and has work represented in public and private collections at home and abroad. Her skills were recently showcased, along with two other expert furniture makers, on the BBC2 series 'Jay’s Yorkshire Workshop', fabricating gifts for local unsung heroes around the Bradford area to mark their extraordinary acts of service.
Edward Ihnatowicz (Polish-British, 1926-1988), an 'Atom' coffee table, 1950s, designed for Mars Furniture, the circular glass top supported on a wrought steel base, with a brass rim and brass spheres,66cm diameter40.5cm highCondition ReportThe glass appears to be in goo order, with no obvious scratches or imperfections. The metal frame is in good order and structurally sound. With some marks to the upper brass rim. The wrought steel base with some rubbing to the black paint commensurate with use. Please see additional images
A William & Mary oak four-drawer chest, the planked top above four panelled drawers, on bun feet, 95cm wide, 55cm deep, 88.5cm highA good functional chest. The chet is now in two sections, but probably not originally. Refurbishments include later bottom boards, later back panel (part), later bun feet, later handles and new tip to crossnails between the drawers to aid smooth running of drawers. No locks in place. Typical minor wear and tear overall. Ivorine label inside drawer 'Govett Ltd. Antique Furniture'
A Monumental Italian Cabinet with StandIn ebony and ebonized wood, featuring an architectural-inspired structure, pietra dura inlays, and gilt bronze mounts. The front of the cabinet presents a symmetrical arrangement with a central niche, flanked by two rows of six drawers richly adorned with pietra dura panels, including various semi-precious stones and different types of marble, such as lapis lazuli, agate, jasper, brocatello rosso, rosso antico, alabaster, cipollino, and porphyry, arranged in geometric patterns. The central niche, also lined with pietra dura panels depicting shell-shaped cartouches, is decorated with architectural elements, including lapis lazuli columns and a portico with a triangular pediment supported by two gilt bronze Atlas figures. The ceiling of the niche is painted in trompe l'oeil, and the base is adorned with parquetry work. The sides of the cabinet, with pietra dura panels, replicate the composition of the central panel, framed by the portico. The top, with a row of five drawers decorated with red porphyry panels, is surmounted by four putti playing musical instruments. The base, with four drawers and a small central drawer, features a carved apron decorated with carved volutes. The original construction of this cabinet dates back to the 17th century, showing evidence of alterations, possibly during the 19th century, with the addition of decorative elements and structural modifications. The stand, of later construction, with four drawers and volute-shaped front legs, maintains decorative consistency with the cabinet, featuring the same type of panels with pietra dura inlays. A small drawer at the base of the cabinet has an interior label reading 'Ant.(?) Burg(...)rgasse.Graz,' with a handwritten note in French stating: "Furniture from the imp(?) Palace of Burg(?)... brought here by Archduchess Maria of Bavaria 1571-1616, with all her luxury objects from Munich." Although uncertain, this reference seems to suggest a connection between the cabinet and Maria Anna of Bavaria (1574-1616), daughter of William V, Duke of Bavaria, and wife of Ferdinand II (1578-1637). The piece also bears two other inscriptions: one in black ink at the bottom of the left drawer of the cabinet base — "Stockholm(...) 18/8 - 1947/ H HALKJAER./ Dansk" and "HÖRN 1955-1965/ CORMÉRY"; and another handwritten in pencil in Swedish, at the bottom of the left drawer of the stand — "The cabinet was bought in the 1940s from Consul General Jean Jahnsson, formerly at the Van Der Nootska Palace, when we moved to Östermalmsgatan 21 Stockholm/ A big move when Stensund and Van der Nootska were left./ Eugène CORMERY/ Strangnäs July 1996." (minor losses and defects)193x204.5x62 cmNote: The pietra dura technique has its origins in the Florentine Renaissance, reaching its peak at the end of the 16th century. This technique is characterized by the meticulous use of semi-precious stones, such as lapis lazuli, jasper, agate, and porphyry, carefully cut and arranged to create intricate decorative patterns. The development of pietra dura as an art form was strongly promoted by the Medici family in Florence, culminating in the foundation of the Galleria dei Lavori in 1588, which became a center of excellence for the refinement and dissemination of this technique. In the context of the cabinet now presented for auction, the presence of pietra dura panels is a testament to the mastery of this technique, highly valued by the European aristocracy of the 17th and 18th centuries. This cabinet shares similarities with a distinct group of pieces produced in Rome in the 17th century. Notably, a particularly significant cabinet was sold by Sotheby's in London on 6 July 2011 for £668,450. Other comparable cabinets are part of renowned collections, such as that of the Duke of Hamilton, the Demidoff Cabinet (sold by Sotheby's in 1992), and an impressive example in the Kunsthistorisches Museum in Vienna. The central niche of the cabinet, with lapis lazuli columns and shell-shaped cartouches—likely an addition or later alteration—as well as elements like the central arched panel, its pediment, and the design and decoration of the side drawers, remain faithful to the style of the aforementioned cabinets, making it a monumental example of the extraordinary decorative craftsmanship developed in pietra dura furniture. Robert de Balkany Collection Carlucci Gallerie Antiquarie, Rome Jean Jahnssen Collection, Van der Nootska Palace, Stockholm
An 11mm Gras bolt action Model 1874 Carbine. Serial No.65547. Brass furniture, bayonet bar. Marked Manufacture D'Armes St. Etienne. Clearing rod missing. Grade 3. Brl.20 ins. Scotarms Lot No 676 FAA – Sect 58 Obsolete Calibre – can be held as a curio without any certification. Condition ReportM - D, F - D, W - D/E
A good set of three carved giltwood pelmets - George IV late 19th or early 20th century with anthemion and lotus decoration (LWH 211 x 22.5 x 25.5 cm) (Originally installed at Bramerton Hall, near Norwich. One with William Boswell label reading: 'W. Boswell - Carver Gilder Upholsterer - Cabinet and Chair Maker - Removed from Exchange Street to 37 London Street Norwich (Late Freemans). The Best House for first-class furniture, looking glasses paper hangings &c.')
A group of collectables - including a cased meerschaum pipe depicting Bacchus, modern; a late 19th century walnut Bacchus mask carved plaque or furniture mount, 30.5cm high, small loss; a hand made painted wooden perpetual motion parrot toy, probably mid-20th century, 35cm high; a 1960s HMS Sheffield gilt metal and enamel ladies compact; a small leather lidded box; two miniature white metal circus horses; a pair of Chinese soapstone jade-style lotus leaf dishes; a pair of modern Chinese cloisonné vases; a silver plate Ronson table lighter; etc.
Six reference books relating to Antique Furniture and Clocks - comprising 1. Miller (Judith and Martin, eds), The Dictionary of Antique Furniture, pub. Mitchell Beazley1985 2. Lewis Hinckley (E.), A Directory of English Furniture, pub. Bonanza Books, NY, 1953 3. Rose (Ronald E.), English Dial Clocks, pub. Antique Collectors Club, 1988 4. Shenton (Alan and Rita), The Price Guide to Collectable Clocks (1840-1940), pub. Antique Collectors Club, 1985 5. Tyler (E. J.), Clocks & Watches, pub. Hampton House, 1977 (reprint) 6. Joy (Edward T.), The Country Life Book of English Furniture, pub. 1964 together with a Sotheby's 'Wormington Manor' sale catalogue and three further antiques reference books. (10)
A CARVED GILTWOOD CONSOLE TABLE 18TH CENTURY AND LATER, IN THE MANNER OF WILLIAM KENT The rectangular Portor marble top above an acanthus-carved frieze on paired massive eagle supports with spread wings and rocky plinth bases, regilt 95cm high, 184cm wide, 74cm deep Provenance: The Hon. Claude J. Yorke, and thence by descent Illustrated: The Connoisseur, May 1965, p.3 This console table relates to a giltwood table with a rectangular black marble top inlaid with pietre dure created by William Kent (1685-1748) for the 'Lords Dressing Room and Closet' (now the Blue Velvet Room) at Chiswick House, London, in c. 1727-32, for Richard Boyle, 3rd Earl of Burlington; it is now at Chatsworth House, Derbyshire (illustrated ed. S. Soros, William Kent: Designing Georgian Britain, New Haven and London, 2014, p. 495, fig. 18.37). Another pair of similar tables with eagle supports, attributed to Kent, is in the collection of the National Trust at Hatchlands Park, Surrey (NT 1166453.1-2). The eagle supports derive from antiquity, from Ovid's Metamorphoses when the shepherd Ganymede was borne aloft by an eagle to serve as Jupiter's attendant at the banquet of the gods. The design may have been invented by Kent, who depicted a pair of warring eagles atop a low table for Alexander Pope's rendition of the Odyssey (1725-26), and again for the tailpiece at the end of the list of plates in vol. 2 of his Designs of Inigo Jones (1727) (Soros, p. 422, fig. 16.12; p. 423). The Edinburgh cabinet-maker, Francis Brodie, included an eagle table on his trade card, published in 1739 (F. Bamford, Dictionary of Edinburgh Furniture-Makers, Leeds, 1983, pl. 24a). Eagle consoles include a pair formerly at Glemham Hall, Suffolk, sold Christie's, New York, 13 April, 2016, lot 30 ($245,000 inc. premium) and a single eagle table sold by the late Sir John Gooch, 12th Bt., Benacre Hall, Suffolk, Sotheby's house sale, 9-11 May 2000, lot 163 (£10,800 inc. premium). Condition Report: Good, structurally secure with dents marks and scratches and shrinkage cracks due to age and use. The marble top in good condition with some edge chips. The frame entirely re-gilt, the carcase timbers showing traces of a yellow wash and with old labels from Maples Depository. The wholesale redecoration of the table renders it difficult to determine with confidence the age are materials used but it appears the rectangular frame supporting the marble is 18th century, the applied leaf decoration may well be later. The eagles are probably also later, they don't seem to have the spirit of the 18th century and are very close mirror images suggesting they suggesting they were produced in a very considered way (untypical of the 18th century). That said the table is a handsome and imposing piece with great presence and in `showroom condition'. Condition Report Disclaimer
A VICTORIAN OVAL GILTWOOD OVERMANTLE MIRROR BY C.NOSOTTI, 19TH CENTURY The rope-twist surround with tied cresting, supported by dolphins with looped tails and a channelled scrolled base, metal label to reverse `C.NOSOTTI, CARVER & GILDER, UPHOLSTER & CABINET MAKER, 398 & 399 OXFORD ST' 170cm high, 180cm wideIt is believed the firm of C. Nosotti began in 1822 as evidenced by an early Victorian mirror sold Christie's, London, 9 December 1992, lot 402 bearing the label 'C. Nosotti, House ... Looking Glass Manufacturer 397.398 Oxford Street 399.399, established 1822.' In 1829, Francis Nosotti, looking glass and picture frame maker, is listed at 298 Oxford St, while Andrea Charles Nosotti is listed at 2 Dean St., Soho, from 1835-40, trading as carver, gilder, upholsterer and cabinet maker. Almost certainly born in Milan, Andrea Charles Nosotti's high standard of workmanship led him to exhibit a giltwood cabinet at the 1862 London Exhibition that he had made for the Countess of Waldegrave's drawing room at Strawberry Hill. The cabinet is illustrated in J. Meyer, Great Exhibitions 1851-1900, London, 2006, p.167. Further commissions came from the millionaire industrialist John Allcroft at Stokesay Court, Shropshire. Nosotti advertised furniture in the Art Journal Catalogue of the International Exhibition, 1867, noting that his firm enjoyed the patronage of the Princess of Wales and he later collaborated with the firm Howard and Sons. Condition Report: Good, structurally secure with dents marks and scratches and shrinkage cracks due to age and use. The mirrors replaced.Condition Report Disclaimer
Y A GEORGE III SATINWOOD AND TULIPWOOD CROSSBANDED DEMI-LUNE COMMODE CIRCA 1790, IN THE MANNER OF INCE & MAYHEW 88cm high, 98cm wide, 51cm deep Provenance: Bonhams, London, Fine English & Continental Furniture and Works of Art (12067) 22nd November 2005, Lot 134 (£5,400 incl. BP). For a pair of commodes attributed to Ince & Mayhew with near identical panels to the doors, see Christie's London, Fine English and Continental Furniture (7017), 15th September 2005 (£18,000 incl. BP).The collection from Trethill House, Cornwall
Y A REGENCY ROSEWOOD AND BRASS INLAID DINING TABLE CIRCA 1820 The rectangular top with canted corners above a pedestal support and quadripartite base, the locking mechanism stamped 'BULLOCK PATENT' 73.5cm high, 158cm wide, 105cm deep Note: The stamp on the locking mechanism is thought to be that of William Bullock of Soho, who is recorded as taking out patents for various mechanisms between 1801 and 1813. A tilt-top breakfast-table also stamped 'BULLOCK PATENT' was sold anonymously, at Chrisites, 14 November 1996, lot 69, while one stamped 'BULLOCK', with massive lion-paw feet was sold from the collection of the late Mr. and Mrs. Fenton Braithwaite, Sotheby's London, 5 July 1991, lot 196 (C. Gilbert, Pictorial Dictionary of Marked London Furniture 1700-1840, Leeds, 1996, p. 20 and 123, fig. 162). Condition Report: Marks, knocks, scratches, abrasions consistent with age and use Old splits and cracks, chips and losses, the brass inlay to the edge of the tops is coming loose in places, some old losses here also, the top with splits and cracks into the main table form the edges - overall would benefit from some attention to secure and replace elements prior to use in a domestic settingDirt and discolouration to the gilt metal inlaysThe feet with chips and losses, scuffs and marks Table top sits flush to the base when down and also stands firmly when up - no reason to suspect the top and base are not original to each other, locking mechanism holding firm and again appears original overall Please see additional images for visual reference to condition and appearance Condition Report Disclaimer
A LARGE GRAND TOUR WHITE MARBLE MODEL OF THE TOMB OF SCIPIO AFRICANUS ITALIAN, LATE 19TH CENTURY 28cm high, 47cm wide, 29cm deep Provenance: Sotheby's, Important Continental Furniture, 10th December 2003, lot 188 The collection from Trethill House, Cornwall Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The lid with chips to two corners and smaller edge nibbles, bases generally good- some edge and base corner nibbles and rubbing. Dirt spotting and accretion to recesses. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
AN ITALIAN CARVED GILTWOOD CONSOLE TABLE PROBABLY ROME, 18TH CENTURY AND LATER The serpentine fronted giallo antico marble top supported by a carved figural group depicting Time Conquered by Cupid, the bearded seated figure of Chronos modelled clutching an hour glass and with attendant figure of Cupid and a rabbit by his feet 92cm high, 154cm wide, 77cm deep Provenance: The Hon. Claude J. Yorke, and thence by descentLiterature: The Connoisseur, May 1965, p.3Illustrated: The Connoisseur, May 1965, p.3This sculptural console table epitomises furniture being made at the end of the 17th and beginning of the 18th centuries for the most extravagant Italian Baroque interiors. Early designs for such sculptural and figural tables were published in Giardini's Disegni diversi (A. Gonzalez-Palacios, 'Giardini and Passarini; facts and hypotheses', The Burlington Magazine, June 2014, p. 371, figs. 22-25). One of the earliest prototypes was the Patrizi table and looking-glass frame in the Palazzo Patrizi near S. Luigi dei Francesi, Rome (ibid., p. 372, fig. 26). Enrico Colle illustrates a number of such console tables with these very sculptural figural supports (E Colle, Il Mobile Barocco in Italia, Arredi e Decorazioni d' Interni dal 1600 al 1738, Milan, 2000, pp. 114-119, no. 25). Other examples include early 18th century Roman giltwood tables in Palazzo Colonna, Rome; two of them in the Sala dei Paesaggi, which feature pairs of reclining slaves, by the hand of Isidoro Beati, while the remaining six (four in the Sala Grande and two in the Sala della Colonna Bellica), also with figures of Moors, are documented as the work of the sculptor Giovanni Battista Antonini and his atelier in the early 18th century. Another console table supported by a carved giltwood figure of Chronos is in The Cleveland Museum of Art, Ohio (). An early 18th century sculpted base for a Baroque ebony cabinet by Giacomo Herman with supports of two leaning nude youths sculpted in tutto tondo entwined with oak leaves and acorns (Sotheby's, London, 4 December 2007, lot 60). Condition Report: Generally good, structurally secure with wear and tear consistent with age and use. There is wear and tear consistent with age and use, scratches, dents and scuffing and some minor constructional shrinkage cracks. Re-gessoed and re-gilt. The redecoration means that it's almost impossible to determine what woods are used but wear and chips on or around the plinth reveal deal (possibly Baltic). Further, it's not straightforward to state with confidence the ages of different parts, but the frame supporting the marble top (covered in a yellow ochre wash) appears to be 20th century (pre 1950s), and it's likely the S-scroll supports at the back are a similar age. The reverse of the plinth is concave as though designed to fit around architecture. That said it seems plausible that the figures, rockwork and trees are 18th century with the later elements added. There are no apparent major losses or damage. The marble top is is good order with a repaired crack through its centre (visible metal rod fixed to the underside) and a small repair to front right corner. Overall a handsome and intriguing table or stand. Condition Report Disclaimer
ATTRIBUTED TO GEORGE JACK, FOR MORRIS & CO., A MAHOGANY OCCASIONAL TABLE CIRCA 1890 The underside stamped Morris & C0 / 449 Oxford STW / 530 and a paper label with ink inscription 'WILLIAM MORRIS/ used to work at his designs /for the KELMSCOT CHAUCER/ in the studio at The Grange/ on Sunday Mornings/ while my father Edward Burne-Jones/ worked at his drawings for the/ same book. Morris used this table' and further label with ink inscription 'This Table/ left/ to/ CLARE' 65cm high, 61cm wide, 61cm deep Provenance:According to paper label the table belonged to Sir Edward Coley Burne-Jones (1833-1898) and was used at The Grange, Fulham; By descent to his daughter Mrs J W Mackail (nee Margaret Burne-Jones) (1866-1953); By descent to her daughter Clare Mackail (1896-1975); Thence by family descent. This occasional table was almost certainly a popular model, designed by George Jack (1855-1931), and supplied by Morris & Co., Oxford Street, London, in the late 19th century. An identical table sold Christie's, London, 13 May 2014, lot 162. George Washington Jack, architect, furniture-designer and wood carver, was chief furniture designer for Morris & Co. from 1890 onwards. Jack was born to Scottish and Irish parents in Long Island, New York in 1855 but on his father's death in 1860 the family returned to Glasgow. Jack was articled to a number of architectural practices in Scotland and London before joining Philip Webb's firm as a draughtsman and site architect in 1882. Webb introduced Jack to William Morris and from 1885 Jack began to work for Morris & Co. as chief designer while simultaneously working for Webb. This table in Jack's preferred 18th century revival style probably dates from c. 1890 suggested by its relationship to another similar walnut table now in St. Louis Museum of Art (189:1990). Jack was elected a member of the Art Workers Guild in 1906, and exhibited at the Arts & Crafts Exhibition Society. Another table designed by Jack and exhibited as per above was described as: 'a table [with piecrust top] six carved legs, executed by Sidwell and Thatcher, carving by H. Dodd, exh. Morris & Co. (cat. no. 415). In the Morris & Co. catalogue of this year it featured as No. 376, priced at 8 guineas, and a plain version No. 370 was available in oak or mahogany for £4 10 0' (). Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Old surface marking, small water stains, rings, surface scratches throughout and small dents to legs. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer
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