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Lot 1105
A pair of Antique Victorian coral chandelier girandole drop earrings, circa 1880, each wirework frame set with flowerhead cluster of round and oval button coral, suspending further teardrop coral, with shepherd hook fittings, 47.9mm, 9.5g1 teardrop coral missing otherwise no damage, only general surface wear
Lot 1172
Frederizianische Girandole mit zweiflammigem Aufsatz. Silber, getrieben, gegossen und ziseliert, 920 g. Rund fassonierter Fuß und Balusterschaft mit gedrehten Zügen und fein ziseliertem Rocaillendekor. Gesteckter Girandolenaufsatz mit zwei tordierten Leuchterarmen, die Tüllen mit großen, blattförmigen Traufschalen. Mz. Christoph Conrad Meyer (Amtsmeister 1752-1781), Beschau Berlin, 1763-1770. H. 39,5 cm. Lit.: Scheffler, "Berliner Goldschmiede", Berlin 1968, Nr. 787, Punzen Nr. 7 (BZ) und Nr. 159 (Mz). Erworben im Berliner Kunsthandel bei Seidel & Sohn (Beschreibung in Kopie anbei).
Lot 432
A pair of George II style giltwood girandole mirrors, 19th century, the bevelled plates within gilt moulded frames with twin branch candles arms86 x 47cmProvenance:Private collection, 58 Melton Court, London, SW7See imagesMirrored plates quite scratched and dirty under the glassKnocks to the gilt frame with minor lossesEvidence of touching up and re gilding
Lot 187
A GEORGE III CARVED GILTWOOD CONVEX GIRANDOLE MIRROR BY THOMAS FENTHAM, CIRCA 1800 Bearing maker's label to the reverse 115cm high, 68cm wideFor a closely related mirror see Christopher Gilbert, Pictorial Dictionary of Marked London Furniture 1700-1840, The Furniture History Society, 1996, pl 347. Thomas Fentham, carver, gilder, glass grinder and picture-frame-maker, occupied various addresses in the Strand between 1774 and 1825...The most frequently encountered label (as on the present mirror) dates from the period 1794-1820: 'T. FENTHAM, No. 136 STRAND, NEAR SOMERSET-HOUSE, Manufacturer of Looking-Glasses, CONVEX and CONCAVE MIRRORS, AND ALL SORTS OF PICTURE and GLASS FRAMES, GLASS for EXPORTATION'For a comparable mirror see Bonham's, London, Britain Defining the Interior, 9th March 2016, lot 193 (£4,000). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use Some old chips, splits, losses and old repairs The gilding has likely been refreshed at some point The mirror plate with some blooming and depletion, most notably to the edges Some old vacant holes to the reverse from previous hanging fixtures Please see all additional images for a visual reference to condition.Condition Report Disclaimer
Lot 1
A pair of carved giltwood and gesso girandole mirrors, second half of the 18th century, each oval plate within a moulded frame with shell and swag cresting, each fitted with twin scones, detached, 51cm wide 94cm high (2) Provenance: The selected contents of The Old House, Aspley Guise, Bedfordshire. Condition ReportSconces and fragments off but present. Further chips, cracks and losses throughout, however both are generally structurally stable. Re-gilded, with some dirt and dust. Mottling and wear to glass, with a small amount of mercury dust having gathered at the bottom of the frame. Please see additional photos.
Lot 707
Große Prunkgirandole im EmpirestilSilber. 3-flg., beschwert. Runder Stand, getreppt und umzogen von reliefiertem Lorbeerkranz, über weiteren Stufen der Schaft in Gestalt einer kannelierten Säule, endend in umlaufenden Akanthusblättern und vier Voluten. Der mittlere Leuchterarm senkrecht mit glatter Wandung und mehreren Nodi, die Seitenarme in liegender S-Form zur Seite geschwungen und mit Banddekor gefurcht. Tropfenfänger glatt und rund mit umlaufender Perlschnur-Kante, die Tüllen den Dekor des Schaftabschlusses aufgreifend. Gest. 800, Beschauzeichen. Gew. ca. 1760 g. H. 47,5 cm.A German Empire style weighted silver girandole. Standard mark 800, assay mark.Deutsch. 20. Jh.
Lot 695
Monumentale Girandole im EmpirestilSterlingsilber. Getreppter, von godroniertem Band umzogener Stand über vier Kugelfüßen, beschwert. Hoher, schmal godronierter Schaft in Form einer korinthischen Säule mit schraubbarem Aufsatz. Davon ausgehend fünf kannelierte, geschwungene Leuchterarme sowie zentral aufsteigender Schaft in reliefiertem Akanthuskapitell als Tülle endend. Eine Tülle lose. Gest. 925, unbekanntes Herstellerzeichen "E". Gew. ca. 6100 g. H. 70,5 cm.A monumental German Empire style Sterling silver weighted candlesticks. Standard mark 925, unknown maker´s mark.Deutsch. 20. Jh.
Lot 90
A Regency giltwood and simulated bronze decorated twin-light convex girandoleCirca 1815The later plate within a reeded slip and an alternating spiral reeded and beaded surround, encompassed by musket balls and a bead moulded edged frame, headed with scrolled acanthus and flowers, with a central mille raie inset pedestal-form cresting with a musket ball applied cornice, surmounted by an eagle with outstretched wings with a ring-hung ball and chain hanging from its beak, the apron comprised of scrolled foliage, a flowerhead, bellflower pendant and two opposing serpents, with two scrolled acanthus candle arms each terminating in a cut-glass dish pan with six faceted glass drops, re-gilt and re-decorated, 130cm high x 84cm wide.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 24
Adam (Robert, 1728-1792) Preliminary design for an urn in the dining room at Osterley Park, Middlesex, pen and brown ink, brown wash, traces of black chalk under-drawing, signed and dated '1766', on fine laid paper with watermark initials 'GR', sheet 305 x 175 mm (12 x 6 7/8 in), under glass, very fine small splits within one or two of the heavily inked lines, handling creases, minor surface dirt, framed, 1766 Provenance: Collection of John and Eileen HarrisLiterature: cf. Harris, Eileen, The Genius of Robert Adam: His Interiors, 2001, Chapter 10 "Osterley Park". Exhibited: Royal Academy and the V&A, Age of Neoclassicism, 1972 *** Exquisitely executed design for an urn in the dining room of Osterley Park; the 'palace of palaces' [Walpole]. A rare survival by the foremost Neoclassical architect of the 18th century. On his return from Italy in 1761 Robert Adam became a Fellow of the Royal Society, and thus established in practice, set out to revolutionize English domestic architecture. In place of the rigid grammar of the orders as described by Vitruvius and interpreted by Palladio, he substituted a new and elegant repertoire of architectural ornament based on a wide variety of classical sources ranging from antiquity to the Cinquecento. The success of the new style was immediate. The present drawing depicts a design for an urn that was intended to be one of a pair placed upon pedestals, made of carved, painted and gilded wood, with the finished examples attributed to John Linnell (1729-96) and still on display in the house today [see National Trust no. NT771750.3]. 'Osterely, Middlesex, was a botched Elizabethan pile when Adam came there in 1761; when he left in 1778 it was a 'palace of palaces... so improved and enriched that all the Percies and Seymours of Sion must die of envy' [op. cit. Harris, Eileen, 2001]. The original building on this site was a manor house built in the 1570s for banker Sir Thomas Gresham, who purchased the manor of Osterley in 1562. During the late 17th century, the estate was owned by Nicholas Barbon, a developer who mortgaged it to Child's Bank and then died in debt around 1698. As a result of a mortgage default, by the early 1710s, the estate came into the ownership of Sir Francis Child, the founder of Child's Bank. In 1761, Sir Francis's grandsons, Francis and Robert, employed the Scottish architect Robert Adam to remodel the house. Architectural drawings by Robert Adam rarely appear on the open market, despite having produced a significant number, this being due to the vast majority (nearly 9,000) having been purchased directly from the Adam family by Sir John Soane in 1833; which now forms one of the principal treasures of the museum. Unlike a relatively steady and finished "Office hand", the present drawing shows a vigour and passion that can only be by the architect himself, and is a preliminary drawing of a raw idea taking shape and being refined. The Soane Collection hold three similar preliminary drawings for different commissions, which allow for an excellent comparison of Adam's hand; see 'Preliminary design for a ceiling for the hall, c. 1773' [SM Adam volume 8/33], 'Preliminary design for a chimneypiece and overmantel mirror frame', 1787 [SM Adam volume 24/195], and 'Preliminary design for a girandole for the drawing room', 1775 [SM Adam volume 6/30]. Eileen Harris is an internationally recognised Robert Adam scholar, publishing extensively on the subject for over 40 years.
Lot 3002
BRUNO, PAUL (1874-1968), „Girandole“, Entwurf 1901-04, Messing mit Eisenkern, zeitnahe Ausführung, auf drehbar gelagerten Leuchterarmen insg. Sechs Brennstellen. HxD ca.: 57/28 cm. Altersspuren, unterseitig Korrosion. | BRUNO, PAUL (1874-1968), ‘Girandole’, Design 1901-04, brass with iron core, contemporary design, on swivelling candlestick arms, six burners in total. HxD approx.: 57/28 cm. Signs of age, corrosion on the underside.
Lot 414
A 19th century George III oval gilt wood and gesso worked girandole mirror. The mirror of rococo influence, the frame of giltwood and gesso worked construction, the top having a plaster and wire worked shell and foliate detail to the top. Scrolling decoration of gesso throughout with a three arm candelabra to the base.Measures approx. 92cm x 57cm.
Lot 42
An Antique Georgian Amethyst Brooch, circa 1820, of Girandole design, rub-over set with foil-back oval mixed-cut amethysts, with closed-back settings, suspending a further amethyst drop, unmarked mount tests as 18ct yellow gold, 75.5mm, 23.5g .Condition Report: The amethysts vary slightly in colour saturation, partly due to some tarnishing of the foil backings, all of the surrounding amethysts have obvious internal inclusions. The mount has light surface wear, with 2 small dents on drop backing, and 1 small filing mark at top of backing. Overall in good condition.
Lot 435
BLUE PASTE GIRANDOLE PENDANT/BROOCH, 1770s AND A PASTE NECKLACE, 1900s the girandole pendant/brooch set throughout with foil backed blue paste, mounted in silver, later brooch pin to the reverse, two paste deficient, the necklace of foliate garland design set with colourless paste, mounted in gilt metal, 40cm long
Lot 323
A pair of early 20th century shaped girandole mirrors, with applied carved limewood detail, shell cresting, over floral swags, each with twin carved sconces, 61cm wide, 146cm highProvenance: from the estate of the late Antonia Cole, formerly of Wyld Court, Hawkchurch. Supplied to the family by the English artist and designer Oliver Messel for Fustic House, St. Lucy, Barbados.
Lot 108
A PAIR OF AMETHYST AND DIAMOND EARRINGS Of girandole design, each oval cut amethyst centre in a single cut diamond surround, to a similarly set surmount, suspending three similarly set pear shaped drops, post fittings, earrings unmarked, butterflies stamped 15k Size/dimensions: 5.6cm long Gross weight: 15.8 grams Condition Report: Of recent manufacture. Larger amethysts a bit paler than drops, which are of a deeper hue. Good transparency with a few small natural inclusions and some surface scratches. Diamonds are of varying colour, some noticeably tinted (brownish), and varying clarity, some included to the point of affecting transparency Metals remain unmarked and untested. Butterflies stamped 15ctCondition Report Disclaimer
Lot 177
A pair of early 19th Century rock crystal girandole earrings, set with graduated round cut and marquise cut stones, in closed back settings, known as Brazilian rock crystal, approximately 7.8cm long, set in white metal assessed as silver, hinged fittings for pierced ears, total gross weight approximately 24.3gWear and tear commensurate with age, some chips and nibbles to stones. Slightly unusual in that they enter the ear from the back.
Lot 28
AUßERGEWÖHNLICH GROßE GIRANDOLE MIT AKANTHUSZIER. Robbe & Berking. Flensburg. Datierung: 20. Jh. Technik: Silber. Fuß gefüllt. Beschreibung: Quadratischer Fuß mit stark gewölbter Mitte, darauf Säulenschaft mit Kapitell. Darauf der erste Leuchteraufsatz mit vier Leuchterarmen in Volutenform. Der zweite Leuchteraufsatz fünfflammig mit erhöhter Mitteltülle. Entlang der Ränder, auf den Tropftellern und Tüllen Lanzettblattdekor. Gewicht: Ca. 3.260 (nur die Leuchteraufsätze)g. Maße: 73,5cm. Mondsichel & Krone, Feingehalt 925, MZ Robbe & Berking. Provenienz:Deutsche Privatsammlung. Erläuterungen zum Katalog Robbe & Berking Deutschland Silber 20. Jahrhundert Girandole Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.
Lot 5
A pair of early Victorian articulated drop earrings, each headed by a filigree panel with a spinning floral motif, suspending a removable elongated panel decorated with trembling floral motifs and textured vine leaves, accented with grey blister pearls and suspending three girandole pearl drops. With wire hooks and safety catch. In unmarked gold with a high carat gilding. Approximately 75mm in length, 9.80gCondition ReportIn fair condition, with a few lead solder repair marks on the reverse.
Lot 1626
Imposante Girandole Gebr. Dehyle Schwäbisch Gmünd ca.1900Schöner klassizistischer Stil mit Akanthusranken und kannelierten korinthischem Säulenschaft. Höhe 55cm, Breite 43cm, 2teilig, Marke deutsche Beschau, Firmenmarke und "800". Guter Zustand, Oberteil ohne Beschau - getestet. 2066g Silber
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