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.
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Renato Zevi (Italian, 1921-1999), a chrome and brass bookcase, c.1970, the chrome frame with brass edging, supporting three glass shelves,76cm wide37cm deep104cm highCondition ReportOverall good order, with minor surface wear and tarnishing in places. One small chip to the corner of one glass shelf. Please see the additional images.
Stefano Bigi (French-Italian, b.1974), a contemporary 'Infinity' coffee table, for Porada, the curved walnut frame supporting a glass top,122cm diameter 37cm highCondition ReportOne joint slightly separated. No chips to the glass. Small white mark to the frame. Please see the additional images.
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
AN ITALIAN TIERED SPIRAL MURANO GLASS HANGING LIGHTCirca 1970s Mounted opaque twisted pendants hung from a lacquered metal frame enclosing four lights, 61cm highCondition report: Good overall condition. The gilt lacquering has discoloured in areas. Dirt and dust. Some of the pendants with a yellowish discolouration at the tips, although this might be cleaned off. All pendants currently present and seemingly in good order.
A PAIR OF MARQUETRY INLAID WALNUT THREE DRAWER BEDSIDE TABLES (2)Of 18th century Italian design, on bracket feet, 58cm wide; 42cm deep; 69cm highProvenance: A House on Belgrave Square.See Bellmans website article for further details.Minor Old marks and scratches present to both, one does suffer with the veneer lifting to the top, some scuffs to the drawer fronts, both have had loose glass tops with the plastic pads/dots still present/stuck to the top, see additional images.
AN ITALIAN YELLOW TINTED AND CLEAR MURANO GLASS ‘WATERFALL’ CHANDELIERCirca 1960s Hung with three tiers of prism drops supported on a chrome-plated frame with three light fitments, 33cm wide; 66cm highCondition report:Good overall condition. There are no obvious damages, chips or breakages and all pendant drops currently present. Dirt and dust as to be expected and overall it will need cleaning and wiring for electricity, plus a PAT test.
THREE BOXES AND LOOSE GLASSWARE, to include two Dartington crystal decanters with stoppers, two cut glass decanters, aeroplane in a bottle (Spitfire), Lymington glass Mystiques, six crystal dessert bowls, two Royal Doulton crystal 'Jasmine' whiskey glasses, vintage Art Deco style quartz marble base, mirrored mantle clock, white dial with Roman numerals, 1960's Italian glass and silver plated wine claret jug with serpent handle, stamped on the base Distillerie Buton Boligna Italia, a pair of glass and silver plated smaller liqueur serpent handle jugs stamped Distillerie Buton, five J. Preziosi Lavorato a Mano Italian champagne flutes, and five wine glasses, a selection of coloured glassware, to include amber glass candle holders, a blue Dartington vase etc. (sd) (3 boxes + loose)
Francesco Ragazzi (Italian, b.1965) Glass Sculpture Undated, etch signed on underside, depicting an abstract shape Property from: a Private Collector, Muncie, Indiana Height: 18 1/2 inches, Width: 6 1/2 inches Condition: no damage or chips noted Category: Fine Art > Sculptures Estimated Sale Time: 11:12 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4
Giulio Carpioni (Italian, Venice, 1613-1678), Earth, represented by Cybele seated at the base of a tree with fruits of the Earth before her. A cupid with flaming torch approaches and a stag and hound approach from the left, etching laid on inner mount board, trimmed, circa 1640-1660,15x10cm, framed and glazed (UV filtering glass)
Master of the Die (fl. ca.1530) After Baldassare Peruzzi ((Italian, 1481-1536), Apollo chasing Daphne, from a set of four original engravings in 'The History of Apollo and Daphne', the second (final?) state, engraving on laid paper, circa 1532, 24x18.5cm, framed and glazed (UV filtering glass)
Artists & Architects etc.- Collection of letters, including: Noel Paton, John Buonarotti Papworth (1775-1847), architect and designer, asking David Roberts to dinner and requesting he brings some drawings with him; William Pickering, advising a customer that an imperfect Becke's Bible 1549, "does not exceed £1"; Samuel Drummond, Charles Cockerell, John Tenniel, Harry Furniss, Sidney Herbert to Sir George Hamilton, on the purchase of two stained glass windows from Mr Cortazzi of Cordona "stolen I supose from the Cathedral at Arezzo", and a letter in Italian on the same subject; Sir William Chase Ross, John Prescott Knight, F Gerard, Walter Hindes Godfrey, John Gilbert, George Cruikshank (signature), William Sherlock, Myles Birket Foster etc., together c. 50 letters, numerous pp., 8vo & sm. 4to, folds, 19th century (c. 50).
Registration No: KRX 599H Chassis No: PRH4567 MOT: November 20241 of just 374 Phantom VIs manufacturedSupplied new to Mrs Khashoggi, wife of Saudi businessman and arms dealer Adnan KhashoggiUsed to transport members of the Royal Family as part of Princess Diana's funeral cortègeFully repainted shortly after entering into current ownership in 2019Well maintained throughout the current ownership with head gaskets replaced at the start of this yearOffered with a history file including the RREC factory recordsBy far the most expensive car that money could buy when launched in 1968, the Rolls-Royce Phantom VI remained in production for twelve years (albeit the final few examples were not finished until 1991/1992 due to the model’s handbuilt nature). Notable as the last Rolls-Royce to employ a separate chassis, the majority were bodied by Mulliner Park Ward as seven-seater limousines. Though, a hearse and even convertible versions were constructed (the latter conceived by the Italian Carrozzeria, Frua). Equipped with independent front suspension, a leaf-sprung back axle and four-wheel drum brakes, the Phantom VI was all about passenger comfort and boasted the world’s first dual zone air-conditioning system. Powered by a 6230cc (later 6750cc) OHV V8 engine allied to automatic transmission, gearing was chosen such that it could be driven at anything from walking pace to 100mph. Customers were encouraged to tax the ingenuity of Rolls-Royce’s in-house craftsmen to the extent that very few, if any, of the 374 completed were to standard specification.This very early example of the Phantom VI boasts both Royal Family and film history. The new car order form, dated 16th January 1968, shows it was initially prepared for a M. Saady Esq. of London and was initially due to be finished in Brown with Beige interior upholstery. The order was amended, however, with PRH4567 then supplied new to Mrs Khashoggi, wife of Saudi businessman and arms dealer Adnan Khashoggi. Among the richest men in the world, the Khashoggi assets encompassed: twelve homes, fully staffed at all times, including a 10,000-acre ranch in Kenya, an estate in Marbella and houses in London, Paris, Cannes, Madrid, Monte Carlo and Manhattan. He had a stable of Arabian horses and 200 exotic animals, 100 limousines, a personal airline of three jets, and a fleet of three superyachts, including the $75m Nabila which was used in the James Bond film, ‘Never Say Never Again’.Finished when new in Masons Black with 23-carat Gold fine lines, the interior was trimmed in Beige hide front upholstery with cloth rear and Cumberland Stone carpeting to the rear. The factory specification also included Dunlop tyres, Sundym glass, hazard warning lights, safety belts to the front, air-conditioning, stainless steel sills and wheel arches, electric windows, electric division, and full-width foldaway leather occasional seats. Automatic transmission and power steering help to manage the power of the 6230cc V8 engine. It is unknown how long the Khashoggi family retained the Phantom, but afterward continued to have a fascinating history and was used to transport members of the Royal Family as part of Princess Diana's funeral cortège, and took princes William and Harry from the Royal Train to Althorp for their mother's burial, while registered 'PBC 999'.Thereafter used in the film 'The Queen' starring Dame Helen Mirren and 'The Queen and I' with David Walliams, the Phantom thus boasts fantastic provenance and previous film appearances. Most recently entering into the ownership of a specialist funeral directors through a H&H auction in 2019, the Phantom was provided with a full repaint in 2019 in the original colour, and has benefitted from regular maintenance throughout their ownership to ensure reliability. Amassing some 13,000 miles since their purchase in 2016, the total mileage on the odometer is now 91,000 miles. Serviced seven times during their ownership, the Phantom has further benefitted from new head gaskets earlier this year; a new fuel pump, uprated valve stem seals and heads skimmed last year; and significant mechanical attention/improvement in 2021.Offered with a history file that includes the RREC chassis records, a collection of previous MOTs, original handbook, full maintenance spreadsheet for during the vendor's ownership, sundry paperwork, and a current V5C document. A fantastic opportunity to secure a rare and opulent car with a wonderful history, and offered at what we feel is a sensible guide price. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
ITALIAN SCHOOL (17TH CENTURY) STUDY OF TWO SEA HORSES Red pencil 24 x 22cm (9¼ x 8½ in.) This lot to be sold without reserve Condition Report: Unexamined out glazed frame. The drawings presents undulations of the paper, as well as a few stains. A few superficial creases are present in the upper left border, as well as what seems to be a few dotted restorations. In addition, a dotted hole is present on the right left of the seahorse. Because of the reflective glass, it is difficult to analyse possible restorations under UV light. Condition Report Disclaimer
A John Rose Coalport 'Animal Service' dessert ice pail or fruit cooler, circa 1800-1805, dark blue ground with simple gilt, painted with a circular panel of a Striped Hyena, opposed by a further roundel of a gentleman watering his horse before a large country estate, likely taken from one of the smaller engravings interspersed throughout the pages, of Bewick's Quadrupeds, complete with original liner and a cover further painted with game birds in flight and winged insects, unmarked and untitled, 26cm high See Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. See footnote for further details. Footnote:The animal painting, from which this service takes its title, is inspired by Thomas Bewick's A History of Quadrupeds, published in 1800. The Bewick Society states that the extent of the original service is unknown, but it likely would have comprised a centre dish, a selection of side dishes, tureens, plates and perhaps a pair of ice pails. (1) The scope of potential inspiration was enormous, with over 200 different woodcut engravings. The most extensive known offering of pieces reached the market in 1970, including a 'Polar Bear' centre dish and 'Hartebeest' lozenge dish, all of which was secured for the nation with the V&A Purchase Grant Fund and are now on display at the Shrewsbury Museum and Art Gallery. Further plates have cropped up sporadically throughout the years.The principal decorator is not definitively known, although they were almost certainly from London and working outside the factory. Roger Edmundson, however, has proposed Charles Muss (1779-1824) as at least one of the painters of this service, of which the pieces sometimes vary in style and are perhaps by more than one hand. The reasoning for this attribution includes known pieces of this service illustrated in Messenger's Coalport book and displayed at the Shrewsbury Museum and Art Gallery to exhibit aspects of Muss's technical work. For example, the 'Tigers' stripes are carefully drawn, predominantly with two fine lines and shading alongside visible outlines to some of the legs. For this, Edmundson suggests, 'Muss probably decorated some or all of the animals'. (2) Charles Muss' father was the son of an Italian artist, Beneficio, who came to London in or around 1778. Beneficio set up as a drawing master in Newcastle-upon-Tyne when Charles was eleven years old; therefore, it is likely that Charles worked under his father's instruction. Charles exhibited several works after moving to London, including Dunkeld Castle at the Royal Academy in 1800. He later produced an enamelled plaque with a named and dated view of the Coalport China Works in 1804. After several years' break, during which time his daughter was born, he again exhibited seven further works at the Royal Academy between 1817 and 1823. He produced enamels on glass and copper, including portraits and works after old master subjects. His work extended to stained glass works, with known examples of these being Eaton Hall in Cheshire and St. Bride's Church in London, among others. References: (1) Edmundson, Roger, Charles Muss, his Painting of the Coalport Works and Decoration on Porcelain (Northern Ceramic Society, Journal 33, Volume 17) (2) Newland, Barry, The Coalport Animal Service (Cherryburn Times - Journal of the Bewick Society, Volume 6, Number 9, 2016) (3) Messenger, Michael, 1995, Coalport 1795-1926 (Antique Collectors Club, Suffolk, 1995) Condition:Main body of pail - Good condition with no damages or repairs. Rings well when tapped. Some minor wear to the gilding on the handles and around the rim.Pail liner - Good condition with no damages or repairs. Heavier wear to the gilt. Some scratches to the interior of the bowl. Rings well when tapped. Cover - Good condition with no damages or repairs. Some glaze crazing visible to the top and underside.
A Coalport 'Animal Service' coffee can and saucer, circa 1800-1805, painted with a 'Squirrel' (red)' to the coffee can and 'The Phalanger' (Cuscuses) to the saucer, titled in red to the bases, coffee cup 6.5cm diameter and 6cm high, saucer 14cm Note: This offers an interesting addition to what was historically known as a dessert service until the publication of Roger Edmundson and Kate Cadman's article on Charles Muss, Part 2 (Northern Ceramic Society), which includes several coffee cans and saucers held in private collection. It must also be noted that some other pieces do exist using the same source inspiration but with entirely different borders and overall grounds, including a 'Hyena' campagna vase with stylised purple scrolling and puce ground in Shrewsbury Museum and Art Gallery (SHYMS: C/2565). For further information, see the footnote section. See also Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. Provenance:Private collection, purchased in London. Footnote:The animal painting, from which this service takes its title, is inspired by Thomas Bewick's A History of Quadrupeds, published in 1800. The Bewick Society states that the extent of the original service is unknown, but it likely would have comprised a centre dish, a selection of side dishes, tureens, plates and perhaps a pair of ice pails. (1) The scope of potential inspiration was enormous, with over 200 different woodcut engravings. The most extensive known offering of pieces reached the market in 1970, including a 'Polar Bear' centre dish and 'Hartebeest' lozenge dish, all of which was secured for the nation with the V&A Purchase Grant Fund and are now on display at the Shrewsbury Museum and Art Gallery. Further plates have cropped up sporadically throughout the years.The principal decorator is not definitively known, although they were almost certainly from London and working outside the factory. Roger Edmundson, however, has proposed Charles Muss (1779-1824) as at least one of the painters of this service, of which the pieces sometimes vary in style and are perhaps by more than one hand. The reasoning for this attribution includes known pieces of this service illustrated in Messenger's Coalport book and displayed at the Shrewsbury Museum and Art Gallery to exhibit aspects of Muss's technical work. For example, the 'Tigers' stripes are carefully drawn, predominantly with two fine lines and shading alongside visible outlines to some of the legs. For this, Edmundson suggests, 'Muss probably decorated some or all of the animals'. (2) Charles Muss' father was the son of an Italian artist, Beneficio, who came to London in or around 1778. Beneficio set up as a drawing master in Newcastle-upon-Tyne when Charles was eleven years old; therefore, it is likely that Charles worked under his father's instruction. Charles exhibited several works after moving to London, including Dunkeld Castle at the Royal Academy in 1800. He later produced an enamelled plaque with a named and dated view of the Coalport China Works in 1804. After several years' break, during which time his daughter was born, he again exhibited seven further works at the Royal Academy between 1817 and 1823. He produced enamels on glass and copper, including portraits and works after old master subjects. His work extended to stained glass works, with known examples of these being Eaton Hall in Cheshire and St. Bride's Church in London, among others. References: (1) Edmundson, Roger, Charles Muss, his Painting of the Coalport Works and Decoration on Porcelain (Northern Ceramic Society, Journal 33, Volume 17) (2) Newland, Barry, The Coalport Animal Service (Cherryburn Times - Journal of the Bewick Society, Volume 6, Number 9, 2016) (3) Messenger, Michael, 1995, Coalport 1795-1926 (Antique Collectors Club, Suffulk, 1995) Condition:5mm long hairline to rim of saucer. The Phalanger has a scratch through one foot and a small portion of the green landscape and belly. This piece also has some slight wear to the internal gilt ring. The coffee can is good condition with no damages or repairs. There is some expected handling wear to the gilding on the handle and the upper rim.
Frédéric Boucheron, Clement Massier and Lucien Hirtz. Exceptional display case object in forged silver and glazed ceramics with iridescent surface. Paris work circa 1897.Frédéric Boucheron (Paris 1830 - 1902) jeweler, goldsmith. He started his business in 1858 under the arcades of the Palais Royal, Galerie de Valois n°150 in the center of Paris. His innovative attitude earned him a gold medal at the World Exhibition in Paris in 1867 and the "Grand Prix" at the same exhibition in 1878. Boucheron moved his business in 1893, as the first jeweler, to "the Place Vendôme" a square near the Opéra de Paris, where it is still located. (No. 26) His jewelry and objets d'art are highly valued in aristocratic circles and are worn and purchased by royal families and high society. In 1897, Frédéric Boucheron opened his first foreign business in Moscow. When Frédéric Boucheron died in 1902, his children took care of the further future of Maison Boucheron.Clement Massier (Vallauris 1845 - Golfe-Juan 1917) Ceramist, brother of the well-known ceramist Delphin Massier. Clement is considered to be the founder of the modern ceramic industry of Vallauris at the beginning of the 20th century. From 1856 he worked with his father, Jacques Massier, and was initiated by the Italian master ceramist Gaetona Gandolfi. In 1883 he founded his ceramics factory in Golfe-Juan, on the road that connects Monaco, Nice and Cannes. This would allow him to build a rich and cosmopolitan tourist clientele. In 1887, he became an official supplier to the Crown of England. Lucien Lévy-Dhurmer, who worked as artistic director for Massier from 1887 to 1895, would introduce Clement to the magnificent iridescent reflections of his Spanish-Moorish collection of ceramics, which would prompt him to conduct passionate research to develop new types of metallic reflections on the earthenware. "Enameled ceramic with an irised surface" or " Au lustre métallique". At the 1889 World Exhibition, his turquoise ceramics earned him a gold medal. Ceramics au lustre métallique can be seen in important private collections and exhibited in museums such as the Musée d'Orsay in Paris, Kirkland Museum of fine and Décorative Arts, Royal Museum of Fine Arts Belgium, Musée de la céramique de Vallauris, Musée de Reims, etc.Lucien Hirtz (Nancy 1864 - Paris 1928) designer. He worked with major jewelers such as Falize and Boucheron for whom he made jewelry and art objects. He studied at "l'Ecole Nationale des Arts Décoratifs" and at the age of 21 he joined Falize as a draftsman. In 1893 he became the first designer for Maison Boucheron.A coupe in ceramic and silver can be found in the Boucheron archives in 1897 under the name "Coupe en grès, pieds et bords en feuillages et anses têtes de loups". A similarly silver mounted and faience example by Auguste Delaherche was previously sold at Christie's, 3 June 1975, Studio Pottery Art Nouveau and Cameo Glass, lot 27. | 8 x 16 x 10 cm.
† LOREDANO ROSIN (Italian, 1936-1992); a Murano art glass Planet sculpture, worked freehand on a punty in solid glass with an internal bubble of air, cut by hand to delimit the interface of the two different types of glass, polished by hand, engraved and signed to the lower front 'Loredano Rosin', and also signed underneath 'Gerwood Sasek', height 27cm, width 22cm, with information book about the sculptor.
Irish Roman Catholic Interest. A 19th Century Italian illumination presented by Pope Pius IX to Ireland's first Cardinal, Paul Cullen, Archbishop of Dublin, to commemorate the definition of the dogma of the Immaculate Conception of the Blessed Virgin Mary, inscribed "Pius IX Pont Mar / Conceptionem Immaculatum / Beatissimae Virginis Maria / Definivit die 8th Dec 1854 / Atque / Hiberniam Sanctorum Insulam / Marimo Illustravit Honore / Paulo Cullen Archiepiscopo / Dublinensi Cum Principibus Sacri / Colleaii Cadinalum collocato / die 25 Junii 1866", with central depiction of the Annunciation, bordered by ornate scrollwork and cartouches decorated with armorials and named saints, parchment overall 70 x 49cm, housed within an ornate Florentine carved giltwood frame, overall 80cm wide, 116cm high, Paul Cardinal Cullen (29 April 1803 – 24 October 1878) was Roman Catholic Archbishop of Dublin and previously of Armagh, and the first Irish cardinal. His Ultramontanism spearheaded the Romanisation of the Catholic Church in Ireland and ushered in the devotional revolution experienced in Ireland through the second half of the 19th century and much of the 20th century. A trained biblical theologian and scholar of ancient languages, Cullen crafted the formula for papal infallibility at the First Vatican Council.Cullen paid frequent visits to Rome. He took part in the definition of the dogma of the Immaculate Conception of the Blessed Virgin Mary in 1854 and with the 18th centenary of the martyrdom of Saints Peter and Paul in 1867, when he stayed at the Irish College.He attended all the sessions of Vatican I, taking an active part in its deliberations. Towards the close of the council, at the express wish of the Central Commission, he proposed a formula for the definition of papal infallibility. It was a matter of great delicacy, as promoters of the definition were split in various factions, some anxious to assign a wide range to the pope's decisions, and others would set forth in a somewhat indefinite way the papal prerogative.He was the most important Irish political figure in the 30 years between Daniel O'Connell and Charles Stuart Parnell. In political matters, Cullen made it a rule to support every measure, whatever its provenance, conducive to the interests of his vision for the Roman Catholic Church in Ireland. Desmond Bowen considers Cardinal Cullen "a cautious, suspicious, and usually shrewd product of the Roman school of diplomacy".Cullen also started the practice of Irish priests wearing Roman collars and being called "Father" (instead of "Mister") by their parishioners. Parchment showing undulation throughout but otherwise looks to be in good fresh order, some tiny white light mould marks showing most notable on the dark blue behind the Virgin but probably also elsewhere, these look to be light white mould on the surface of the work which is under glass, main Florentine frame has suffered much rubbing over the years with losses of the original gilding, the top Irish harp motif is held on with blu-tac, presumably there were other motifs at the lower corners which are now missing, arms at the bottom of the frame are inscribed with his motto Ponit Animam Pro Amicis.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.
An Extasia buffalo horn hinged bangle with cameo and intaglio decoration. The contemporary designer hinged buffalo horn bangle having five cameos and intaglios, including German glass cameos and intaglios and Italian hand carved cameos, set in silver plated mounts to magnetic clasp. Unsigned. Weighs 91g. Measures 8cm x 6.3cm. All weights, measurements and sizes are approximate.
FOUR BOXES OF CERAMICS, GLASS, METALWARE AND RECORDS, to include a Copeland Spode's Italian fruit bowl, three pieces of Wedgwood pale blue Jasperware, a Crown Staffordshire Chelsea Manor preserve pot, a Carlton Ware three division Buttercup pattern serving dish, a Robert Harrop Designs Country Companions 'Bulldog - Winston' CC94 figure, a painted spelter figure of a cross-legged man smoking a pipe, a bronzed Japanese figure of Daikoku, figures, collectors plates, pictures and other items depicting Sir Winston Churchill, plated ware, over eighty vinyl singles by artists to include Adam & the Ants, Stevie Wonder, The Shadows, The Everley Brothers, and David Essex, an ET picture disk, etc (4 boxes) (Sd)
A 14ct yellow gold seed pearl and heart shape moonstone part brooch (wf) measures approx. 26 x 15mm, weight approx. 2gms, part platinum and seed pearl earring with 5pts of dias (wf), approx. 2.9gms; a single 9ct pearl and turquoise screw back earring; 14ct yellow gold heart shaped pendant approx. 2gms; Italian micro mozaic cameo, approx. 20 x 15mm; and an antique glass diamonte and jet hat pin, a silver vesta case, and agate intaglio depicting a roman centurion, measures approx. 25 x 20mm.
An aqua ground yellow fleck glass bowl, possibly Italian 30cm; A modern Chinese porcelain umbrella stand with floral and bird decoration, 61cm H;a group of three porcelain figurines to include, a Royal Doulton 'Alexandra' figurine, 21cm H, and two Leonard Collection figurines of ladies in purple dress, approx 20cm (5)
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