AFTER WILLIAM HOGARTH THE LADY'S LAST STAKE Oil on canvas 87.5 x 102.5cm (34¼ x 40¼ in.) In a Kentian frame The Lady's Last Stake was originally entitled Piquet: or Virtue in Danger and was one of Hogarth's last works. It depicts a domestic scene with a man and a woman who have been gambling on the card game piquet. The woman has lost her fortune to the army officer, and he offers to play one more game. If she wins, he will return her assets, including the money and jewels in his tricorne hat; but if she loses, she must accept him as her lover. She clasps the edge of a fire screen as she considers his offer and make a fateful decision: to be ruined financially, or morally.The details in the interior are rich in symbolism. These include a small dog, representing faithfulness, which is hiding under the table. There is a painting of a Penitent Magdalene over the fireplace. The mantelpiece bears a clock with the usual figure of Father Time replaced by Cupid , but still carrying a scythe. The cards are being burned in the fire.The painting is a copy of after the original in the Albright-Knox Art Gallery, Buffalo, New York.Provenance: The Hon. Claude J. Yorke, and thence by descent Literature: The Connoisseur, May 1965, p.6Illustrated: The Connoisseur, May 1965, p.6 Condition Report: Condition report available upon requestCondition Report Disclaimer
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A collection of miscellaneous items to include; Brass Regimental Bugle, Oak Cased Mantelpiece barometer, ARP Tin Helmet, Assorted cutlery in associated box In Box, Small Toby Jug, Blue Pottery Vase, Maling Basket and Another Bowl, Silver Plated Salt and pepper holder With Spoon, Wall Barometer And A Porcelain Figure Of An Old Man. (1)
FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W (SCOTTISH 1883-1937) PINK AND GOLD Signed, oil on canvas 102cm x 76cm (40in x 30in) Presented by Miss M. K. Muir McKean, 1932. The Scottish Colourist F C B Cadell’s Pink and Gold epitomises the celebration of feminine elegance and a sophisticated lifestyle for which he is renowned. Even its title is the essence of modernity, focussing on the high notes of colour within the image, namely his sitter’s headscarf, floral accessories and the gilt of the mirror in which they are reflected.Having trained in Paris and Munich, Cadell made his name in pre-World War One Edinburgh with paintings such as Reflections (Glasgow Life) and The Black Hat (Edinburgh Museums & Galleries). They featured fashionable ladies in the stylish interiors of the capital city’s New Town, often depicted in the artist’s own impressive studio at 130 George Street.Pink and Gold reveals how Cadell’s work developed following his move in 1920 to an imposing residence at nearby 6 Ainslie Place. He took great pains over the decoration and furnishing of his new quarters. The distinctive lilac of the painting’s background reveals it to have been created on the first floor, where front and back drawing-rooms were linked by double doors and he brought painted black floorboards up to a high polish. Cadell revelled in the original features of the house, such as the white marble mantelpiece glimpsed in Pink and Gold, its colour used to signify a feminine space in the vocabulary of Georgian architecture.During a landmark trip to Venice in 1910, Cadell’s imagination was captured by experiencing the city in mirror image in its watery surroundings. This led to an interest in reflections that became a defining characteristic of his work. Set to the centre-right of the background of Pink and Gold, the mirror reveals the space in front of the sitter, almost to where Cadell must have been positioned at his easel, its cropping also hinting at the room beyond. Furthermore, the device of the mirror allows Cadell to present his model in two poses, one looking directly at the viewer, the other seen in profile gazing beyond the realm of the canvas.The present painting also shows how Cadell’s practice progressed from the bright palette, tight technique and suppression of volume of the works made during his first years at Ainslie Place. Portrait of a Lady in Black (National Galleries of Scotland) defines this phase, which gave way to lower-toned works such as The Embroidered Cloak (Ferens Art Gallery) and then to the calmer atmosphere, more gentle palette and broader technique apparent in Pink and Gold. Cadell devoted decades to exploring an idealised portrayal of womanhood. Although his favoured model, Miss Bethia Hamilton Don Wauchope, sat for him for over fifteen years, his images of elegant, modish ladies – most often dressed in black, with carefully chosen luxurious accessories from broad-brimmed hats, glinting gold-hoop ear-rings and long white gloves – are not about the identity of a specific sitter. In Pink and Gold, Cadell contrasts his model’s fair complexion with the darkness of her outfit. The delicate defining of her facial features matches the treatment of the diaphanous nature of her headscarf as it falls over her back. In addition, freely-painted passages, such as the realisation of her be-gloved hands, verge on the abstract.Pink and Gold was presented to Paisley Art Institute (PAI) in 1932, by Miss Margaret Kathleen Muir MacKean (1879-1969) of Auchenlodment House, Elderslie and of the town’s soap then starch manufacturing family. They were leading citizens of Paisley, not least its artistic circles, with her uncle James Anderson Dunlop MacKean (1849-1932) becoming an Honorary President of the Institute. As a major collector, J. A. D. MacKean gave several important works to the PAI’s holdings, including George Henry’s The Banks of Allan Water: Spring, Autumn and Winter series (lots 76, 77 and 78).It is believed that Miss MacKean inherited Pink and Gold from her uncle, who died in the year of her gift. At the same time, her father William Muir MacKean gave Henry’s Beauty and the Beast to the PAI, whilst one of her other uncles, Major Norman MacKean, presented George Pirie’s The Hen Roost (lot 89); perhaps all three were given in memory of their recently deceased relative.Our thanks are due to Colin C. MacKean, Miss MacKean’s first cousin once removed and PAI’s current Treasurer, for his help with our research.
Drawings & Prints.- Richardson (Charles James, pupil of Sir John Soane, 1806 - 1871), Attributed to. Five original plans and drawings, including a large drawing of a stylised leaf, another of a fragment of a Roman statue, a plan of large house with study for mantelpiece verso, plans for a two-family house, and a plan of a town house by Palladio, the latter inscribed 'Plan from Palladio/ ?by C.J. Richardson/ when pupil of/ Sir John Soane', pen and inks, watercolours, variously inscribed in pencil, probably by Sir Albert Richardson, various sizes between 485 x 650 mm (19 x 25 1/2 in) and 740 x 540 mm 29 1/8 x 21 1/4 in), numerous repairs to nicks and losses, some backed, handling creases and surface dirt, rough edges to each, all unframed, [circa 1830s or slightly later] (5)Provenance:Sir Albert Richardson (1880-1964)*** Richardson was a pupil of Sir John Soane from 1824-1830, following which he became Soane's assistant, holding the position until 1837 and Soane's death.
A FINE AND RARE ORMOLU MOUNTED BLACK MARBLE MANTEL TIMEPIECE OF IMPRESSIVE PROPORTIONSBENJAMIN LOUIS VULLIAMY, LONDON, NUMBER 1921, 19th CENTURYThe circular eight-day four columnar pillar single chain fusee movement with plates measuring 5.25 inches in diameter and Vulliamy type half deadbeat escapement regulated by heavy disc bob half-seconds pendulum stamped with serial number 1921 and with transverse pivoted beam rise/fall regulation to the suspension, the backplate signed VULLIAMY, LONDON over No. 1921 to centre, the 5 inch circular silvered dial with fine engine-turned centre within narrow Roman numeral chapter ring incorporating engraved signature VULLIAMY, LONDON flanking the XVII numeral centred with the regulation adjustment square, with dot minute markers to outer track and blued steel Breguet type moon hands set within parcel frosted and burnished complex moulded bezel surround, the substantial ormolu mounted black marble case of 'drumhead' design centred with a large cast ormolu surmount modelled as an eagle opening its wings and looking to the left whilst grasping a baton issuing flames from each end draped over the drum housing the movement and dial, the rear of the drum with brass circular brass cover secured by blued steel turn screws, raised via a stepped block-shaped cradle over a wide plinth base applied with finely cast and chiselled fire-gilt bronze figures of recumbent lions modelled after Canova flanking the dial, the front applied with generous apron mount centred with a bearded male mask issuing scrolling acanthus over a stepped skirt.42.5cm (16.75ins) high, 61.5cm (24.25ins) wide, 15cm (16ins) deep. Provenance:Previously sold at Bonhams, Sydney, sale of The Owston Collection, 25th June 2010 (lot 464) for $30,000 AUD where it was noted that the timepiece was acquired from Algy Rothman, Winchester, in 1986. Benjamin Lewis Vulliamy is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1780 to Benjamin Vulliamy and gaining his freedom of the Clockmakers' Company in 1809. He worked from 52 Pall Mall, served as Warden 1821-5 and was appointed Master five times. He was the last of the celebrated dynasty of Royal clockmakers which started with his grandfather, Justin, forming a partnership with George II's clockmaker, Benjamin Gray (see previous lot). Benjamin Lewis Vulliamy was perhaps one of the most influential horologists of his time publishing many works and undertaking numerous high profile public commissions as well as holding the Royal Warrant. He supplied many clocks to the Royal family including the turret clock for Windsor Castle in 1829 (replacing an earlier movement by Joseph Knibb); however his horological legacy is perhaps somewhat slightly blighted by his tendency to undertake controversial alterations to earlier important clocks by makers such as Tompion. The Vulliamys started numbering most of their clocks from 1788 until 1854. Two of the original Vulliamy workbooks still survive in the library of the British Horological Institute at Upton Hall, these often can provide valuable information regarding the manufacture and provenance of many clocks made by the workshop. Unfortunately the records are incomplete hence only note clocks with serial numbers 296-469 and 746-1067. There is also a third surviving Vulliamy workbook, relating only to repairs and servicing dating to the period 1846-53. Interestingly this volume records at least sixty-five clocks being in the possession of the government 'Office of Works' and another forty being in the possession of Queen Victoria at Buckingham Palace. Roger Smith in his article entitled Vulliamy Clock Numbering, A Postscript, published in Antiquarian Horology Vol. 21 No. 5 (September 1994), used surviving data in the records of the British Horological Institute at Upton Hall and known documented examples to compile a graph from which unrecorded clocks can be dated. According to this chart number 1921 would appear to date to the end of the second quarter of the 19th century. The general design of the present timepiece follows the 'lion' form made popular by Vulliamy during the early years of the 19th century. Vulliamy's earliest models utilised lions with balls either between or under one of the front paws no doubt inspired by the ancient Roman 'Medici Lion' in Florence. Later models also incorporated eagle surmounts modelled alongside those applied to the smaller pedestal drumhead timepieces also made popular by Vulliamy. The current timepiece is unique in both its unusual large scale and the provision of fine recumbent lions modelled after those sculpted by Antonia Canova for the tomb of Pope Clement XIII at St. Peters Basilica in 1792. From this it would be appropriate to speculate that it was most likely a one-off commission no doubt for a mantelpiece of an important mansion house or palace interior.
λ DUNCAN GRANT (BRITISH 1885-1978) STILL LIFE WITH JUG Oil on panel Signed with initials (upper right) 26.5 x 19cm (10¼ x 7¼ in.)Provenance: Belgrave Gallery, London Painted in Grant's studio at Charleston, the Italian jug is seen on the mantel shelf, viewed from below. The work shows the decorated mantel from the studio of Duncan Grant & Vanessa Bell at Charleston Farmhouse in East Sussex. The ceramic is very similar to the work sold by Dreweatts in October 2023, Vanessa Bell's Still Life of Narcissi which was also perched on the corner of the mantelpiece, from the collection of Robert Kime. We are grateful to Richard Shone for his kind assistance in cataloguing this lot. Condition Report: There is a fine vertical line of craquelure running through the cream jug and fireplace, approximately 15cm long. There is a crack to the panel running vertically top to bottom through the handle of the jug. Associated retouching is visible in natural light. Some light rubbing to the extreme edges with a small loss to the lower section of the left edge. Inspection under UV reveals a thick layer of varnish and retouching to the aforementioned long vertical crack. Condition Report Disclaimer
A French three-piece mantelpiece with mantel clock in gilt bronze decorated with young girl and playing children, floral garlands and porcelain plaques decorated with putti, candlesticks with arms in the shape of swinging flower stems with a flower as a candle holder, 19th century, dial marked Lassalle & Cie à ParisEen Franse driedelige schouwgarnituur met pendule in verguld brons versierd met jong meisje en spelende kinderen, bloemenguirlandes en porseleinen plaquettes versierd met putti, kandelaars met armen in de vorm van slingerende bloemstengels met een bloem als kaarsenhouder, 19e eeuw, wijzerplaat gemerkt Lassalle & Cie à ParisH 31.5 - 43 cm
Seven various watercolours and prints relating to the theatre to include a watercolour of characters from 'A Midsummer Night's Dream', and 'The Tempest' both initialled 'RM', dated '94, Sara Dunton engraving, 'Mantelpiece with Doorstop', signed, titled and no. 16/20, Peter S Smith, 'Mr Punch' signed and dated 1987, titled and no. 17/30, watercolour, 'Exit the Stage' initialled EP and dated 1987, and KM Lundsley, artist proof, 'The Theatre Tavern', Peter Forrester, 'Mrs Siddens', colour lithograph no. 09/50, various sizes, all framed and glazed (7).Condition Report: From the estate of actor Dean Sullivan, most known for playing Jimmy Corkhill in the TV series Brookside.
A large painted mahogany Adam-style fire surround - late 20th century, the inverted breakfront mantelpiece over a tablet frieze with applied floral and husk swags, raised on pairs of fluted columns headed by floral ovals, 198 cm wide, 28.5 cm deep, 128 cm high, the fireplace inset 89.5 cm wide, 89 cm high, chip to wood to lower right of inset, some paint loss.
Claude Galle, 1759 – 1815, zug.FRANZÖSISCHE KAMINUHR IN FEUERVERGOLDETER BRONZEHöhe: 45 cm. Breite: 45 cm. Tiefe: 20 cm.Werk: 14-Tage-Gehwerk, Pendel an Fadenaufhängung, Regulierung oberhalb der XII. Schlossscheiben-Schlagwerk für Halb- und Stundenschlag auf Glocke. Gehäuse: Imposanter, großformatiger Gehäuseaufbau in Form einer mit einem Laken überhangenen Kline, darauf eine jugendliche Frauenfigur, Allegorie der Venus, umgeben von vier Amoretten, die zur Tätigkeit der Liebesgöttin aufrufen. Die Kline prächtig gestaltet mit Löwentatzenfüßen, Draperien und Quasten, auf einem gerade ziehenden Sockel auf Spindelfüßen. Die plastische Gestaltung von hoher Qualität, nicht ohne Witz und Charme – wenn etwa einer der Amoretten sich hinter dem Laken verbirgt. Wie bei den meisten dieser französischen Pendulen ist der Entwerfer und Sculpteur nicht ermittelt worden. Zifferblatt: Das weiße Emailziffernblatt in die Draperie eingefügt, mit Bezeichnung „a Paris“, mit römischen Stunden, arabischen Viertelstunden und vergoldeten, durchbrochen gearbeiteten Zeigern. A.R.Literatur: Vgl. Pierre Kjellberg, Encyclopédie de la pendulum francaise du Moyen-Age au XXe siècle, S. 390. (1390992) (11)Claude Galle,1759 – 1815, attributedFRENCH MANTELPIECE CLOCK IN FIRE-GILT BRONZEHeight: 45 cm.Width: 45 cm.Depth: 20 cm.14-day movement, pendulum on silk suspension, regulation above the XII. Locking disk striking mechanism for half and hour strike on bell.
Giovanni Battista Piranesi (Italian 1720-1778)Cross section showing the Egyptian decoration of the Caffè degli Inglesi (Wilton-Ely 874); Cross section showing the Egyptian decoration of the Caffè degli Inglesi (Wilton-Ely 875); Design for a chimneypiece with Egyptian theme, featuring a scarab beetle above the mantlepiece and seated figures at each jamb (Wilton-Ely 871); Design for chimneypiece with Egyptian design, sphinxes, hieroglyphs and bulls (Wilton-Ely 872); Design for a chimneypiece with Egyptian figures playing a harp-style instrument, hieroglyphs and sphinxes (Wilton-Ely 867); Design for a chimneypiece with hieroglyph tablets, two sphinxes on the mantelpiece and standing figures on each jamb (Wilton-Ely 864)Six, each etching, from Diverse Maniere d'adornare i cammini...Largest 25.1 x 39cm; 10 x 15¼in; Smallest 24.1 x 28.1cm; 9½ x 11in (plate) (6)Exhibited:Three in Norwich, Sainsbury Centre, Visions of Ancient Egypt, September 2022 - January 2023
A RARE CHINESE MARKET GILDED BRONZE EQUESTRIAN TIMEPIECE QIANLONG/JIAQING C.1780-1800Cast in the form of a stallion, standing with his head lowered and slightly tilted to one side, the front right and rear left legs raised; his back with tasselled trappings and leaf scrolls supporting a thirty hour timepiece by Samuel Biddulph, No.3661, the white enamel dial within red and white paste brilliants, with an eagle finial and a pale yellow marble rectangular plinth, 27cm. (29.5cm overall).Provenance: from the collection of The Hon. Nellie Ionides, (1883-1962), of Buxted Park, sold by Sotheby & Co., London, The Ionides Collections, Part I, 31st May 1963, lot 50.Published:H Alan Lloyd, English Clocks for the Chinese Market, The Antique Collector, January / February 1951, where the above example and nine further clocks from the Ionides Collection are illustrated. Also Christopher Hussey, Buxted Park, The Home of Mr and the Hon. Mrs Basil Ionides, Country Life, 18th August 1950, p.519, where this equestrian timepiece is illustrated on the mantelpiece in the Chinese room together with others, including one in the form of a stag, (see overleaf).Cf. Sotheby & Co., London, The Ionides Collections Part II, 1st November 1963, lot 13 for a related musical clock by James Cox in the form of a stag, and lot 14 for a related watch stand by Joseph Silver, cast as a lion. Later sold, Sotheby's New York, 25th September 2012, lot 495.The Honourable Nellie Ionides (1883-1962), was the daughter of the Shell Oil magnet Sir Marcus Samuel, 1st Viscount Bearsted, and Lord Mayor of London, 1902-3. After her first husband, Walter Henry Levy, died in 1923, Nellie married the architect Basil Ionides and they lived at the fine Palladian estate in Sussex, Buxted Park, where they were great entertainers and friends of George V and Queen Mary. Nellie amassed an important collection of Chinese art, part of which was left to the British Museum, and part of which was sold in four sales at Sotheby’s in 1963 and 1964. For further details about Nellie Ionides as a collector, see R Davids & D Jellinek, Provenance, pp.251-255.清乾隆/嘉慶 銅鍍金馬馱鼓式鐘來源: The Hon. Nellie Ionides (1883-1962) 收藏, 購於倫敦蘇富比，1963年5月31日，The Ionides Collections, 第一部分，編號50。出版：H Alan Lloyd, English Clocks for the Chinese Market, The Antique Collector, 1950年一/二月, 上述的馬馱鼓式鐘和Ionides收藏中的另外九個時鐘都有在圖錄中記載; 另見Christopher Hussey所著, Buxted Park, The Home of Mr and the Hon. Mrs Basil Ionides，發表於1950年8月18日的Country Life雜誌的第519頁，該書亦記載了這個馬馱鼓式鐘及其他的時鐘收藏，當中包括一個鹿形時鐘(見後頁)。
These tiny creations are hand-cast finely detailed, made of pewter. They are the right size to pop in your pocket for a good luck charm or displayed in pride of place on a mantelpiece. Largest is the starfish which measures 1.75 in. D. Collection includes kiwi, abalone, rabbit, turtle, dog, starfish, owl, lamb, dolphin, sheep, two penguins. Manufacturer: William SturtCountry of Origin: FranceCondition: Age related wear.
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