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JEAN-FRANCOIS AND GUILLAUME DENIERE (FL. 1820-1901): A THIRD QUARTER 19TH CENTURY FRENCH GILT BRONZE AND GLASS FIGURAL MANTEL CLOCK
the arched case surmounted by a flaming torch, quiver of arrows and laurel wreath, the front and sides with bevelled glass panels, applied with a gilt mount of a vase of flowers, on a shaped plinth base surmounted by a pair of classical maidens, the white enamelled dial with Arabic numerals and five minute markers, signed 'Deniere Ft de Bronzes A Paris', the twin train movement signed 'J.X. DENIERE A PARIS 2356', and 'JAPY FRERES & CIE, GRD. MED D'HONNEUR', 'JUVENAUX', striking on a bell, with sunburst mask pendulum, 48cm high
The movement is ticking but not fully tested or guaranteed.
The distinctive Japy Freres stamp dates this clock to between 1867 and 1873. Jean-François Dénière, the renowned bronze founder and clockmaker set up business in Paris as a bronzier in 1803 and is recorded at 58 rue de Turenne in 1813 and at 9 rue d'Orléans au Marais by 1820. During this period he supplied clocks and candelabra for the French palaces, most notably Versailles and the Grand Trianon. A clock dating to 1810 by Deniere is now in the Frick Collection, New York. In 1844 his son Guillaume went into partnership with him and in the following years they exhibited at numerous exhibitions including the Great Exhibitions of 1851 and 1862 in London. At the time they were favourably compared to the great ormolu master Thomire.
Related Literature: P. Kjellberg, 'Encyclopedie de La Pendule Francaise du Moyen Age au XX Siecle', Les Editions de l'Amateur, Paris, 1997, p. 226. For an example sold at auction see Sotheby's New York, 25 April 2012 lot 107.
£3,000-£5,000
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A FINE AND IMPORTANT EARLY 19TH CENTURY FRENCH EMPIRE GILT BRONZE MANTEL CLOCK BY VANDERCRUZE LACROIX, THE CASE BY FRANCOIS-LOUIS SAVART: 'THE LOVE LETTER' CIRCA 1810
the arched case surmounted by a figure of a classical maiden holding a tablet inscribed 'Ce Messager D'amour Fait Couler D'heureux jours', (This love letter brought happy days), a carrier pigeon perched on her lap and holding a small envelope in its beak, raised on a plinth base set with a relief depicting a reclining shepherd in a pastoral setting receiving her letter by carrier pigeon, the base with mounts depicting sheep and scrolling foliage, the white enamelled dial signed 'V. LeCroix A PARIS', the flat-bottomed twin train movement with silk suspension and outside countwheel, striking on a bell, 50cm high
This clock is illustrated on the front cover of the book 'French Bronze Clocks' by E. Niehuser, Schiffer, 1999. It is also featured on page 120 which states the case is by Savart, design at the Bibliotheque nationale, Cabinet d'Estampes 30, (Ottomeyer / Proschel, p. 376). A further example of this clock is in the Kunsthandel Michael Nolte, Munster, Germany. The horologist Vandercruze Lacroix is recorded at Rue Neuve des Petits Champs in 1806 in Tardy, 'Dictionnaire des Horlogers Francais, p.340.
£4,000-£6,000
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A LARGE AND IMPRESSIVE MID 19TH CENTURY GILT AND PATINATED BRONZE FIGURAL MANTEL CLOCK GARNITURE BY HENRI PICARD AND RAINGO FRERES, PARIS
the clock modelled as a twin handled urn surmounted by a floral spray, raised on a lappet and acanthus cast socle and flanked by a pair of putti adorning the handles with laurel wreaths, over a shaped base with further acanthus mounts and four toupie feet, signed to the back 'H. PICARD', the white enamelled dial signed 'RAINGO FRES A PARIS' with Roman numerals and Arabic five minute markers, the twin train movement with silk suspension and outside countwheel, also stamped 'RAINGO FRERES PARIS' and numbered 3362, the back of the case also numbered 3362, the pendulum also numbered 3362, striking on a bell, the garniture candelabra each modelled as putto holding aloft a cornucopia issuing numerous flowers, six with candle nozzles, raised on reeded bases with floral garlands, the clock 65cm high x 52cm wide, the candelabra 68cm high (3)
The movement winding, ticking and striking but not fully tested or guaranteed. The Parisian fondeur and doreur Henri Picard was recorded at 6 rue Jarente in 1831, and moved to 10 rue de la Perle in 1839. The firm was renowned for the production of decorative items of the highest quality, a reputation confirmed by their commission to supply furniture and works of art for Emperor Napoleon III's apartments in the 1860's. Raingo Freres were widely considered to be one of the finest horologist firms during that period and so the combination of these two greats in one clock is a rare find. For another example of a clock by Picard and Raingo Freres see Bonhams, Los Angeles, 10 July 2013 lot 4126.
£8,000-£12,000
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HENRY DASSON (FRENCH, 1825-1896): A FINE AND IMPORTANT GILT AND PATINATED BRONZE AND PORPHYRY FIGURAL CLOCK GARNITURE SIGNED AND DATED 1880
the drum case with beaded bezel and surmounted by a sprig of roses held aloft by a kneeling putto, raised on a circular porphyry plinth with laurel wreath mount over a square base and four foliate cast feet, the white enamelled dial signed 'HRY DASSON', with Roman numerals and Arabic five minutes, the twin train movement stamped 'JAPY FRERES MED D'HONNEUR 4678' with original pendulum also numbered 4678, the matching garniture modelled as winged putti holding aloft a floral sprig, raised on conforming plinths, the clock and both candelabra signed to the bottom right corner of the plinth 'henry Dasson 1880', the clock 58cm high, the candelabra 56cm high (3)
The movement is winding, ticking and striking but not fully tested or guaranteed. Unlike many of the other famous Parisian bronzier ébénistes, Dasson began his career as a bronze sculptor, a talent he refined throughout his career and immediately apparent in the exceptional quality of the bronze figures of the present lot. The very fine modelling, surface treatment and minute chiselling to areas of the hair and clouds are all signs of a master at work. His shop was based at 106 rue Vieille-du-Temple, where he specialised in the production of Louis XV and XVI style furniture, works of art, candelabra and clocks using the finest gilt bronze and marble. The use of porphyry, one of the most expensive and highly prized materials of the day, in the present garniture is an indication that this piece may have been produced for either a specific commission or for one of the exhibitions that Dasson was involved with. He exhibited at the 1878 and 1889 Paris Expositions Universelles, in 1878 he included a table entirely in gilt-bronze, purchased by Lord Dudley. His copy of the celebrated Bureau du Roi sold at the same exhibition to Lady Ashburton. He is also known to have provided pieces for the royal family.
Related Literature: C. Mestdagh, 'L'ameublement d'art français', 2010. 'Henry Dasson (1825-1896), ébéniste et bronzier parisien', L'Estampille l'objet d'art, October 2006.
£6,000-£8,000
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A FRENCH NAPOLEON III PERIOD GILT BRONZE AND WHITE MARBLE FIGURAL CLOCK GARNITURE
the white marble pedestal case surmounted by a figure of Venus leaning on a small bird cage, the door open and the cage empty, Cupid beside her looking for the bird, over an oval base with beaded decoration and four toupie feet, the white enamelled dial with Arabic numerals, the twin train movement striking on a bell, stamped 'VINCENTI & CIE MEDAILLE D'ARGENT 1855', the garniture urns with scrolling handles hung with floral garlands, over spreading socles and square plinths, the clock 38cm high, the urns 27cm high (3)
The movement is winding, ticking and striking but not fully tested or guaranteed. The Vincenti & Cie stamp was in use from 1855 when the won the silver medal at the Paris Exposition until 1870 and we can therefore date this clock to this period.
£2,500-£3,500
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A FINE THIRD QUARTER 19TH CENTURY FRENCH GILT BRONZE AND ALGERIAN ONYX MANTEL CLOCK GARNITURE BY RAINGO FRERES, PARIS
the clock modelled as a fluted pedestal surmounted by a quiver of arrows and laurel wreath, raised on an oval shaped base with floral cornucopiae and acanthus mounts, the Roman white enamelled dial with Arabic five minute markers, signed 'RAINGO FRES PARIS', the twin train movement with outside countwheel, numbered 2537, the original pendulum also numbered 2537, striking on a bell, with winder, the matching garniture candelabra on conforming bases, each with four scrolling acanthus wrapped branches centred by a shorter fifth, the clock 45cm high, the candelabra 45.5cm high (3)
The movement is currently ticking and striking but not tested or guaranteed.
£2,500-£3,500
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A LATE 19TH CENTURY GILT BRONZE FIRESCREEN BY CHARLES CASIER, PARIS
of arched rectangular form, the leaf and berry cast supports surmounted by fruiting finials, raised on acanthus wrapped, scrolling feet, the central mesh with a mount depicting a laughing satyr mask flanked by C scrolls, foliage and surmounted by an urn of flowers, stamped twice 'CASIER' with the entwined CC, 82cm high x 62cm wide
£400-£600
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A LATE 19TH CENTURY FRENCH GILT BRONZE 'JAPONISME' STYLE FIRESCREEN IN THE MANNER OF EDOUARD LIEVRE (1829-1886)
the edge modelled as stylised bamboo, with a scrolling naturalistic handle and scrolling feet, the mesh mounted with a gilt bronze stork chasing a beetle, with a pond scene below with lilies and a frog, 67cm high x 73cm wide
£1,200-£1,800
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A FINE LATE 19TH CENTURY LACQUERED BRASS AND PORCELAIN MOUNTED GRANDE SONNERIE CARRIAGE CLOCK WITH PUSH REPEAT BY HENRI JACOT, PARIS
the case surmounted by a swing handle, with porcelain panels to the front and sides depicting courting couples within gilt and light blue borders, the dial with Roman numerals and Arabic five minute track, the twin barrel movement striking on two coiled steel gongs, with the Jacot stamp and numbered 13608, with lever platform escapement, the underside with a three position lever for 'full striking', 'silent', 'quarters', 18cm high
The clock is ticking and striking but not fully tested or guaranteed.
£1,200-£1,800
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A FINE MID 19TH CENTURY FRENCH GILT BRONZE MANTEL CLOCK WITH PERPETUAL CALENDAR, EQUATION OF TIME AND MOONPHASE BY BROCOT & DELETTREZ, PARIS
the engraved and pierced case modelled as a pair of columns surmounted by a scrolling dome, raised on an ebonised plinth with glass dome over, the white enamelled dial with Roman numerals with exposed Brocot escapement and moon hands, over the calendar dial with equation of time, moonphase, day and date, the twin train movement also signed 'A. BROCOT & DELETTREZ PARIS', striking on a bell, linked via a cam to the calendar mechanism, the pendulum with similarly engraved bob, the clock 42cm high, 50cm high overall
The clock is currently ticking and striking but not fully tested or guaranteed. Achille Brocot and J.B. Delettrez were based at Rue Charlot, Paris from 1850 to 1870. The engraved dial apparent in the present clock dates it to around 1850-1860. A similar clock by Brocot and Delettrez with perpetual calendar was sold at Sotheby's, 16 April 2007, lot 629.
£2,200-£2,800
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A MID 19TH CENTURY FRENCH GILT BRONZE AND PORCELAIN MANTEL CLOCK BY GRIGNON-MEUSNIER, PARIS
the skeletonized movement raised on a fluted spreading foot, over a cylindrical porcelain base depicting putti and doves flanked by volute scrolls over a shaped base and toupie feet, the white enamelled dial with Roman numerals signed 'GRIGNON MEUSNIER A PARIS', with recessed centre revealing part of the movement, the twin train movement with outside countwheel striking on a bell, with deadbeat escapement, also signed 'GRIGNON MEUSNIER Paris', and stamped 'Marti & Cie MEDAILLE DE BRONZE', raised on an ebonised plinth under a glass dome, with pendulum, the clock 37cm high, 43cm high overall
The movement is ticking and striking but not fully tested or guaranteed. The Parisian clockmaker Grignon-Meusnier is recorded working on the rue d'Anjou between 1840 and 1850, and on the rue Charlot in 1860.
£3,000-£5,000
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A MID 19TH CENTURY FRENCH GILT BRONZE MANTEL CLOCK BY DENT A PARIS AND CAILLY <\n>in the Rococo revival style with rocailles, foliage and C scrolls, the white enamelled dial with Roman numerals signed ‘DENT A PARIS’, the twin train movement with silk suspension and outside countwheel striking on a bell, signed ‘DENT A PARIS’ and ‘JB Cailly’ 1590, with pendulum, raised on a giltwood and velvet cover plinth over a further wooden plinth, 46cm high overallThe movement is currently ticking and striking but not fully tested or guaranteed.
£300-500
122
A RARE AND FINE LATE 18TH CENTURY DERBY BISQUE PORCELAIN MANTEL CLOCK MODELLED AS DIANA AND A HOUND CIRCA 1785 <\n>the white enamelled dial with Roman numerals and Arabic outer track set within a gilt bezel in the rocky naturalistic base, Diana leaning on the rocks and holding her bow, a hound beside her, raised on a shaped plinth with gilt bronze mounts and toupie feet, the French twin train movement with silk suspension and outside countwheel, with pendulum, lacking bell, the porcelain marked with incised crown, crossed batons and D mark, incised number 17B, 34cm highThe movement is ticking but not fully tested or guaranteed.
£2,000-3,000
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EMILE GALLÉ (FRENCH, 1846-1904): TWO FAIENCE CERAMIC CATS CIRCA 1900
a mirrored pairing, both glazed in bright yellow with blue and white decoration, and inset green glass eyes, heights 33.6cm and 33.8cm (2)
£800-£1,200
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A LATE 19TH CENTURY FRENCH ALGERIAN ONYX, GILT BRONZE AND CHAMPLEVE ENAMEL MOUNTED JARDINIERE IN THE MANNER OF FERDINAND BARBEDIENNE
of rectangular form, the top with scrolled edge to the centre, over a plinth base and four paw feet, the planter with lead lining, 40cm wide x 16.5cm high
£800-£1,200
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A LARGE MID 19TH CENTURY FRENCH GILT BRONZE AND MARBLE INLAID MANTEL CLOCK THE BRONZE BY JEAN JULES SALMSON (FRENCH, 1823-1902)
the gilt bronze figure of a Bacchic maiden holding a lyre, signed 'SALMSON 1857', raised on a black Belgian marble plinth, with painted and inlaid floral decoration, raised on gilt bronze feet, the enamelled dial with Roman numerals, the twin train movement stamped 'A1' and striking on a bell (nut missing), with balance wheel escapement, 44cm high x 64cm wide
£1,000-£1,500
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A RARE MID 19TH CENTURY FRENCH GILT BRASS CALENDAR CARRIAGE CLOCK BY GEORGE MOSER, PARIS MOUNTED ON AN INKSTAND
the horizontal case with bevelled glass top and sides, the front door hinged to allow for winding, the back door also hinged, the white enamelled dial with Roman numerals flanked by subsidiary dials for day of the week and date, the twin train movement with outside countwheel striking on a bell, signed 'MOSER A PARIS 1937', with balance wheel escapement, surmounted by an urn and raised on a black marble shaped plinth base with recessed pen tray, with two ceramic barrels. one void, one with rotating plunger to draw up ink, the carriage clock case 9cm high, 23cm high x 38cm wide overall
The case and dial of the present carriage clock are almost identical to one by George Moser that was inscribed to the rear door "This clock was Exhibited at the GREAT EXHIBITION of all Nations held in the Crystal Palace, HYDE PARK, Anno 1851", sold at Bonhams, Fine Clocks, London, 10 December 2014 lot 47. Moser was known to have exhibited at the Great Exhibition and the subsidiary calendar dials visible on both clocks would have attracted spectators to his clocks.
£1,000-£1,500
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A THIRD QUARTER 19TH CENTURY FRENCH ROUGE GRIOTTE MARBLE AND BRONZE MANTEL CLOCK BY FERDINAND BARBEDIENNE, PARIS
the fluted column case surmounted by a classical bust looking down and to dexter, signed to the side 'F. BARBEDIENNE FONDEUR', the back with 'REDUCTION MECHANIQUE A COLLAS BREVETE', the dial with applied gilt Roman numerals, the twin train movement stamped 'JAPY FRERES', and 'GUYENOT A PARIS', striking on a bell, with pendulum, 52cm high
The movement winding, ticking and striking but not fully tested or guaranteed.
£3,000-£5,000
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GASTON GUITTON (FRENCH, 1825-1891): A LARGE BRONZE FIGURE OF A CLASSICAL MALE
the semi-clad figure looking into the distance, resting on a rock, over a naturalistic base, signed 'Gaston Guitton Roma 5154', mid brown patination, 54cm high
£1,000-£1,500
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JEAN-BAPTISTE BELLOC (FRENCH, 1863-1919): A LARGE BRONZE FIGURE OF A MALE NUDE CAST BY SUSSE FRERES, PARIS
the male figure holding a forging hammer in his right hand and a number of swords in his right on a naturalistic base cast with the title 'JE CHANGERAI L'EPEE EN UN SOC DE CHARRUE TEMPS FUTURS' and signed 'J.B. Belloc' and with a foundry stamp to the back 'COPYRIGHT SUSSE FRES', raised on a later moulded wood base, the bronze 65cm high, 74cm high overall
£1,500-£2,000
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A LATE 19TH / EARLY 20TH CENTURY FRENCH GILT BRONZE MOUNTED KINGWOOD, TULIPWOOD AND PARQUETRY GUERIDON ATTRIBUTED TO FRANCOIS LINKE, PARIS
the circular marble top over the parquetry frieze with gilt bronze mounts, each depicting a Bacchic mask flanked by a pair of cornucopiae and flowers, the front fitted with a drawer, on cabriole legs with gilt mounts depicting a flaming torch and trailing roses, the X frame stretcher mounted with a scrolling basket, 76cm high x 61cm diameter
This gueridon is of very similar form to one that was signed 'F. Linke', sold at Christie's, London, 9 March 2008, lot 99 (£23,000). The distinctive scrolling basket uniting the stretchers and the gilt bronze mask mounts are both apparent in both examples. A further example produced by Linke for Maison Sormani with almost identical basket and frieze mounts was sold at Christie's, 19 March 2009, lot 133 (£16,000).
£4,000-£6,000
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A VERY FINE PAIR OF LATE 19TH CENTURY SEVRES STYLE PORCELAIN AND GILT BRONZE MOUNTED URNS / VASES BY THE IMPORTANT DESIGNER JOSEPH RENE BINET (FRENCH, 1866-1911)
of baluster form with elongated necks, with stylised acanthus handles terminating in satyr masks, raised on pierced circular bases with scrolling flowers and foliage, the bodies decorated with 18th century style scenes of noblemen and ladies within Arcadian backgrounds,the reverse with scenes of putti, the painted scenes signed 'Binet', on a dark blue ground with gilt decoration, the interiors of the vases also signed 'Binet 8 rue de la Jussienne Paris', 43cm high (2)
Joseph Rene Binet was a famous architect, designer and painter during the Belle Epoque period in Paris. He initially studied architecture at the Ecole des Beaux-Arts in 1882 but rejected the traditional classicism of Italian architecture in favour of the Eastern Moorish style of Algeria, Spain and Tunisia. It was this grand Moorish style that influenced his most famous work, the Porte Binet which was the entrance gateway to the 1900 Paris Exposition Universelle. He was not only a designer, but a decorator who had experience working for both the Sevres porcelain factories and the Gobelins tapestry workshops, a true Renaissance man creating master works in many different artistic fields.
Related Literature: D. Silverman 'Art Nouveau in Fin-de-siècle France: Politics, Psychology, and Style', University of California, pp. 289-291.
£5,000-£8,000
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A RARE SECOND QUARTER 19TH CENTURY GILT BRONZE AUTOMATON CLOCK DEPICTING THE TORRE DE BELEM, LISBON BY PONS OF PARIS
the defensive tower beside the river Tagus, the dial at the base of the tower, with a harbour scene depicted beside featuring two automata rocking ships, activated when the handle to the mahogany and ebonised plinth base is pulled, the clock movement with silk suspension and outside countwheel striking on a bell, stamped 'PONS PARIS MEDAILLE D'OR 1827', the ship's mechanism stamped 'Oilaine Arri & Solon Crerrier, De Dieppe, no. 466', 46cm high x 47cm wide
The clock movement is winding, ticking and striking and the ship's movement is winding and functioning but not fully tested or guaranteed. Both winders and pendulum present. This beautiful clock is a model of the 16th Century Torre de Belém in Lisbon, Portugal. The original tower was commissioned by King John II of Portugal, and was intended to act both as a defensive building on the river Tagus and as a ceremonial gateway to Lisbon. Today, the Torre de Belém still stands and is classified as a UNESCO World Heritage site. This interesting insight into the clock's identity possibly indicates a specific commission by a prestigious or noble Portuguese client. Pons used the 1827 Paris Medaille d'Or stamped between 1827 and 1834, in 1834 they won the gold medal again.
£5,000-£8,000
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A RARE PAIR OF MEISSEN MODELS OF BEARS CIRCA 1740-45
modelled by J.J. Kändler, free-standing, one with head up and mouth slightly open, the other with head lowered, their fur naturalistic painted, raised on gilt bronze Rococo style bases (possibly later), cast naturalistically to the top and with C scrolls, foliage and rocailles below, (restorations), the bears 12.5cm and 13cm long, 10.5cm and 11cm high overall (2)
Very few of these bears have ever come to auction, in the last fifty years the following were sold at auction - Sotheby's London, 22 November 2005, lot 15, Sotheby's, 7 December 1971, lot 176, and Christie's New York, 23 April 1998, lot 214. Kandler produced several models of bears with slight variations, the earliest dating to 1741.
£4,000-£6,000
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A PAIR OF MID 19TH CENTURY FRENCH PAINTED PORCELAIN VASES DEPICTING THE FOUR SEASONS ATTRIBUTED TO JACOB PETIT
the narrow foliate necks over panels painted with allegorical goddesses representing Spring, Summer, Autumn and Winter within heavenly backgrounds with blue sky and clouds, over a border of flowers, raised on scrolling base, with gilt decoration throughout, unmarked, 33cm high
£1,500-£2,000
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A VERY LARGE LATE 19TH CENTURY BERLIN KPM PORCELAIN PLAQUE DEPICTING A PASTORAL SCENE OF CHILDREN IN A HAY CART AFTER LUDWIG STURM (GERMAN, 1844-1926)
the rectangular plaque painted with seven children and a female figure with trees in the background, the reverse inscribed 'Kinder Lust v. Lasch 4,Sturm, Wien, and incised K.P.M., mounted in a later gilt frame, the panel 49cm high x 40cm wide
£10,000-£15,000
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A LARGE LATE 19TH CENTURY FRENCH PORCELAIN AND GILT BRONZE MOUNTED CLOCK GARNITURE IN THE ORIENTAL STYLE
the domed cover surmounted by a pair of putti, the baluster bodies with stylised blue foliage on white ground and decorated with Chinese dragons, the shoulders with satyr mask mounts, over similar plinth bases with pierced strapwork decoration, the twelve piece enamelled dial with Roman numerals, the twin train movement stamped 'S. Marti & Cie MEDAILLE DE BRONZE' with outside countwheel striking on a bell, the garniture candelabra of conforming form, each urn issuing four scrolling branches centred by a shorter fifth, the clock 64cm high, the candelabra 70cm high (3)
The movement is winding, ticking and striking but not fully tested or guaranteed.
£3,000-£5,000
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A LATE 19TH CENTURY PORCELAIN AND GILT METAL MANTEL CLOCK IN THE JAPONISME STYLE
the pagoda top surmounted by a stylised beast, the front, sides and back with porcelain panels with trellis work, butterflies, birds and cherry trees, with an Arabic dial, the single train timepiece movement with vertically mounted platform escapement, 25cm high
£1,500-£2,000
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AFTER CHARLES CRESSENT (FRENCH, 1685-1768): A PAIR OF LOUIS XV STYLE ORMOLU WALL LIGHTS
modelled as three scrolling acanthus branches, one with a parrot resting on the branches, his tail forming the backplate, with faceted nozzles, on painted wood mounts, fitted for electricity, 63cm high overall (2)
The present wall lights are based on a model designed by Cressent between 1740-1750. See A. Praderè, 'Charles Cressent', Dijon, 2003, pp. 206-207 and 307-308. For a pair of the same design at auction See Christie's, London 10 June 2015, lot 50 and Christie's, London, 30 September 2015 lot 182.
£3,000-£5,000
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A FINE 19TH CENTURY RUSSIAN SILVER AND SILVER GILT TEA GLASS HOLDER (PODSTAKANNIKS) AND SPOON BY GUSTAV ALEXANDER SOHLMAN, ST PETERSBURY, 1878
the cup with stylised scrolling handle, engraved 'A.R.' below a crown to one side, the spoon similarly engraved 'A.R.' in a cartouche flanked by foliage, with spirally turned stem, both marked for Gustav Alexander Sohlman, St Petersburg 1878, with glass liner, mounted within a wooden and velvet lined presentation box, 12cm high excluding box,
£1,000-£1,500
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A FINE EARLY 20TH CENTURY RUSSIAN ROYAL WINE GLASS FROM THE ROMANOV TERCENTENERY SERVICE CIRCA 1913, BY THE IMPERIAL GLASSWORKS IN ST PETERSBURG
the round funnel bowl faceted at the base, gilded and engraved with the crowned cypher monograms 'HA II' for Emperor Nicholas II (Nikolay II Vtoroy) and his consort Empress Alexandra Feodorovna (Alix of Hesse), flanked by martial trophies, the reverse with the double-headed black Imperial eagle beneath a crown, flanked by floral sprays, set on a multi-knopped and faceted hollow baluster stem, over a domed foot, 15.5cm high
This glass is one of an extraordinarily large service of 1,050 pieces commissioned from the Imperial Glassworks for the celebrations of the Tercentenary of the Romanov Dynasty in 1913. Nicholas II (1868-1918) was the last Emperor of Russia. His forced abdication in 1917, followed by his infamous execution by the Bolsheviks in 1918, together with his wife and children, saw the fall of the Russian Empire.
£2,000-£3,000
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A PAIR OF CHINESE QING DYNASTY TURQUOISE GLAZED ELEPHANT CANDLESTICKS ON GILT BRONZE BASES
each standing elephant supporting a vase shaped nozzle, raised on later French gilt bronze Rococo style bases cast with pierced foilage and C scrolls, the elephants 20cm high, 24cm high overall (2)
£2,000-£3,000
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A LARGE AND IMPRESSIVE PAIR OF GILT AND PATINATED BRONZE, CUT GLASS AND MALACHITE CANDELABRAS 'A L'ELEPHANT'
in the Louis XVI style, each modelled as a bronze elephant supporting a baluster spirally twisted stem, issuing eight upward scrolling acanthus wrapped branches, with leafy collars and trumpet shaped nozzles, centred by a ninth straight branch of conforming form, hung with chains of beaded drops, flowerhead drops, pear shaped pendants and faceted arrowheaded lustres, raised on gilt bronze and malachite plinths with foliate stylised mounts and four lotus leaf cast feet, fitted for electricity, 135cm high (2)
£20,000-£30,000
| General Gordon - A Master Work in Bronze | |
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SIR WILLIAM HAMO THORNYCROFT (ENGLISH, 1850-1925): A RARE AND IMPORTANT LARGE BRONZE FIGURE OF GENERAL GORDON
depicting standing at ease, with one foot resting on a broken cannon. his chin sunk in his right hand and his left hand clasping his pocket bible, tucked beneath the left arm his short cane and at his back a pair of field glasses, dark brown / greenish patination, signed 'HAMO THORNYCROFT R.A. SC 1888', 92cm high
Provenance: Purchased by the current vendor's father, John Powell, at least twenty years ago. Major-General Charles George Gordon, CB (1833-1885) Gordon of Khartoum, was a British army officer and major figure in military history, glorified at the time by the Victorians as a great hero. He began his military career in the Crimea, on the front line mapping Russian trenches, which was one of the most dangerous and demanding duties at the time. He was present at the siege of Sevastopol and was awarded Chevalier of the Legion of Honour by the Government of France in 1856 for his services. His next post was in China as part of the Allied Expeditionary Force that was fighting the 2nd Opium War. Having made peace with the Chinese Emperor he was made commander of the "Ever Victorious Army," a force of Chinese mercenaries led by European officers that defeated the Taiping Rebellion, a victory which lead to him being known as 'Chinese Gordon'. He reputedly led the E.V.A. into battle carrying nothing but his cane, whether true or not this idea of Gordon as a brave and almost nonchalant character certainly added to his heroic reputation at home and is alluded to in the present composition where he is shown deep in thought, holding his cane rather than a rifle or other arms. His cane became known as his 'wand of victory'. Gordon entered the service of the Khedive in 1873 with British government approval and later became the Governor-General of the Sudan, where he did much to suppress the slave trade which helped to confirm his reputation as an honourable, heroic commander, admired by the native troops in whichever region he was appointed. In 1880 he was appointed Private Secretary to the Viceroy of India, and also became known for championing the cause of native rule in many countries such as Botswana, South Africa and Ireland. His final posting was to the Sudan, the organise the removal of British and Egyptian troops down the Nile after the revolt there. He arrived in Khartoum in 1884 under orders to arrange the evacuation, however he ignored these orders believing the evacuation to be too dangerous due to a lack of suitable boats. When Khartoum was besieged a public outcry demanded a relief mission be sent to rescue Gordon and the troops, however this was refused by Gladstone until it was too late and Gordon and many of his troops were killed. To the general public it seemed that their revered hero had been deserted in his time of need and there was a huge backlash against Gladstone and a great outpouring of grief for the valiant General. It was against this dramatic backdrop that the question of a memorial to the General was discussed by the government along with prominent members of the Royal Academy. Several members of the Royal Academy advised that the monument should take the form of an allegorical subject, however this advice was ignored and the Office of Works formally commissioned Thornycroft to produce the statue. It was to be erected in Trafalgar Square at a cost of £3,600. The ten foot eight inches high bronze figure was to be raised on an elaborate pedestal eighteen feet high (3.3 meters and 5.5 meters high respectively). The whole aspect of the statue explained Thornycroft, 'I wished to be resolute, solitary, but not sad'. The monumental bronze was cast by the Thames Ditton foundry under the direction of James Moore. It was no coincidence that the sculptor selected this foundry, as Moore had been a foundry assistant to Thornycroft during the 1870s and had maintained links with the sculptor over the following years. In fact Thornycroft described Mr Moore of Thames Ditton as his bronze founder in a court case in 1882 (Reynolds's Newspaper 17 December 1882). By 1882 Moore had taken over the Thames Ditton foundry and it became 'Moore & Co.' until 1897. James Moore was also responsible for the second monumental bronze that was commissioned and paid for by public subscription in Melbourne, Australia and unveiled in June 1889. The ideals Gordon was felt to imbue, those of courage, self sacrifice, faith and charity, as well as the fact that he died doing his duty made him an important figure in Australian culture as well as in Great Britain, leading one newspaper at the time to describe the unveiling of the statue in Melbourne as 'rather the canonising of a saint than the crowning of a hero'. Gordon is depicted in a crumpled army jacket, his belt undone and lacking a sword or weapon, ignoring all of the usual conventions of how to depict a military figure. This arguably expresses Gordon's dislike of bloodshed and the human suffering of war, he is instead portrayed as thoughtful, and with bible in hand, saint-like, his cane as his attribute. In 1943 the London statue was removed from Trafalgar square to make way for a Lancaster bomber as part of a 'Wings for Victory' display. The statue was returned after the war but in 1947 it was proposed to move the statue permanently to make way for the new fountains being built as part of the Beatty and Jellicoe memorials. The government suggested moving the monument to Sandhurst but there was a public outcry, and it was subsequently agreed that the sculpture should move to the Victoria Embankment by the new Air Ministry offices where it was installed in 1953 and remains today. Both the London and Melbourne bronze monuments are signed 'HAMO THORNYCROFT ARA SC. 1887', as Thornycroft was not admitted to the R.A. until the year after, 1888. The present bronze is signed 'Hamo Thornycroft RA SC. 1888' and so was cast the same year as he was made R.A. and that the memorial was unveiled. However the maquette for the present bronze reduction may have been produced whilst the sculptor was designing the full size version, as is demonstrated by the existence of the contemporary photograph reproduced here.
This photograph dated 15 October 1887 is now in the National Portrait Gallery and shows the sculptor seated beside his full size monumental figure, with a reduction of the same sculpture in the background. We know that the monumental figure is 330cm high, and so using this figure as a reference point, the size difference between the larger and smaller sculptures can be calculated giving us an approximate height for the reduced figure in the background. Using two reference points on each of the two figures, of the ankle on the right leg and the top of the head, the smaller figure is approximately 20.5% the height of larger. Based on the height of the larger figure (330cm) this would make the smaller figure approximately 70cm high. This however does not take into account the perspective distortion of the Victorian photograph; the further back into the background of the photograph the smaller the item will appear on the image. Using an approximate estimate of the photograph perspective reduction of 15-25% this would put the actual size of the reduced sculpture much closer to the 92cm of the present lot. It is therefore probable that this is the maquette for the present bronze. We Know that Thornycroft produced his own reductions of the figure because records show that in 1889 he exhibited a bronze reduction of General Gordon at the Royal Academy, marked for sale at £10. The sculptor was praised at the time by both 'Portfolio' and 'Magazine of Art' for reviving an interest in sculpture among the art loving public, by producing reductions of the famous monumental works of the day, the artist was allowing those 'with shallow purses and narrow homes' to benefit from his work. 'Magazine of Art' wrote 'If sculpture is to become a popular art, there can be no doubt that it will become so through the publication of reductions of well-known works such as these'.
Other reductions of the monument are known but they are all of small size (37cm high) and were cast as part of a series in 1889 by Arthur Leslie Collie. This small series of limited edition bronze reductions of famous works also included Onslow Ford's figure of 'Peace' and were sold at Collie's gallery. These casts are signed 'PUBLISHED BY ARTHUR LESLIE COLLIE, 39B OLD BOND ST LONDON MAY 6 1889' and numerous examples have come to auction in recent years (for example, Bonhams, London, lot 274, 21 June 2016) and an example is in the Ashmolean Museum, Oxford.
Related Literature: S. Beattie, 'The New Sculpture', p.187 - 191 and p. 203 - 206.£20,000-£30,000
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JULES MOIGNIEZ (FRENCH, 1835-1894): A LARGE BRONZE GROUP OF A PHEASANT AND A LIZARD ON A FREESTANDING OAK PEDESTAL
on a naturalistic base, dark brown patination, signed 'Jules Moigniez 1857', together with a 19th century carved oak pedestal seemingly purpose made, with shaped top over a frieze carved with acanthus leaves and fruit over two fluted, Corinthian columns, carved with oval paterae to the column bases over a plinth of spreading, shaped form, the bronze 75cm wide x 31cm high, the pedestal 115cm high (146cm high overall)
£2,500-£3,500
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MANNER OF ÉMILE-CORIOLAN-HIPPOLYTE GUILLEMIN (FRENCH, 1841-1907): A LATE 19TH CENTURY CAST IRON FIGURE OF A NORTH AFRICAN MAIDEN CAST BY A. DURENNE, SOMMERVOIRE
the Moorish female figure holding a vessel above her head and adorned with jewellery, signed to the base 'A. DURENNE, SOMMERVOIRE', 146cm high
Antoine Durenne (1822-1895) was educated at l'Ecole des arts et métiers and l'Ecole des Beaux-Arts. He became director of the the Sommevoire (Haute-Marne) foundry in 1855, the foundry became renowned for bronze and ironwork of the finest quality, often producing pieces in collaboration with well known, prize winning sculptors of the day. For a further cast iron figure cast by Durenne see Sotheby's, Billingshurst, 25 September 2007, lot 181. An identical example is in the Musee Municipal Saint-Dizier, France.
£1,500-£2,000
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A RARE PAIR OF 15TH / 17TH CENTURY EGYPTIAN MARBLE MOSAIC PANELS, EARLY OTTOMAN / LATE MAMLUK
the various polychrome marbles inlaid in a stylised geometric design, 124cm x 43cm each (2)
Provenance: Reputedly removed from the Cairo residence of the family of Egyptian Prime Minister Nubar Pasha (1825-1899).
Related Literature: Similar coloured marble panels dating from the 15th to the 18th century can be seen illustrated in 'Prisse d'Avennes', Arab Art, Paris 1877, pl.52. A similar panel was sold at Sotheby's, London, 19 October 2016, lot 233.
£30,000-£50,000
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A 19TH CENTURY MUGHAL ROCK CRYSTAL AND STEEL DAGGER
with stylised gilt decoration of scrolling flowers and foliage, 30.5cm long
£2,000-£3,000
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A 10TH / 11TH CENTURY EGYPTIAN FATIMID IVORY RELIEF
of rectangular form, carved with stylised beasts, 14.5cm high
£200-£300
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AN 18TH CENTURY ANGLO-INDIAN MOTHER OF PEARL, TORTOISESHELL AND BRONZE TRAY, PROBABLY GUJARATI
of oval form with a pieced upright gallery, veneered in pinned mother-of-pearl and tortoiseshell panels on a hardwood base, mounted with bronze ringed and turned handles, 54cm wide
The Gujarat region had numerous workshops producing fine mother of pearl objects of this type during the 16th, 17th and 18th centuries. Much of the output was purchased by Portuguese dealers who shipped the pieces back to the continent where the nobility of Europe eagerly acquired them; they were prized for their fine quality, workmanship and use of rich materials. A George III harewood Pembroke table with very similar Gujarati mother of pearl panels to the present lot, having belonged to the Lords Dungannon and Trevor, was sold at Sotheby's London, 19 January 2017, lot 354.
Related Literature: J.J. Felgueiras, 'A Family of Precious Gujarati Objects, in Nuno Vassallo e Silva (ed.) - "A Herança de Rauluchantim, Ourivesaria e Objectos Preciosos da Índia para Portugal nos Séculos XVI-XVIII", Lisbon, 1996, p.128-155
£2,500-£3,500
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A 17TH CENTURY OTTOMAN (TURKISH) BRASS TULIP CANDLESTICK
of typical form, the rippled and knopped neck supporting the tulip shaped nozzle and raised on a deep drip tray also with rippled decoration, over a bell-shaped, ringed base, 18cm high
This candlestick is typical of those produced during this period; there are similar examples with tulip nozzles that are dated, such as that inscribed 1499 in the name Husayn Agha, an official in the Galata district of Istanbul.
Related Literature: Y. Petsopoulos (ed.),'Tulips, Arabesques & Turbans: Decorative Arts from the Ottoman Empire', London, 1982, pp.46,60-1, no.33. For a similar candlestick at auction see Sotheby's, London, 5 October 2011, lot 356.
£500-£700
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A SMALL SILVER GILT FILIGREE CASKET, POSSIBLY GOA 17TH CENTURY
with a swing handle over a domed, hinged top, raised on filigree bun feet, 6cm wide
Related Literature: A.J. Gschwend & K.J.P. Lowe, 'The Global City', Fig. 44. For a larger example at auction see Christie's, London, 10 July 2008, lot 101.
£2,000-£3,000
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A LATE 19TH CENTURY MOTHER OF PEARL AND GILT BRONZE MOUNTED CAMEO PORTRAIT RELIEF OF A TURK
shown in profile, wearing a turban and with beard on a black marble ground, mounted in a gilt bronze oval frame with ribbon tied crest and beaded border, 11cm high
£600-£800
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THEODORE DECK (1823-1891): A CIRCULAR ENAMELLED CERAMIC 'IZNIK' STYLE DISH CIRCA 1880-1890
the white ground decorated with stylised flowers and foliage within a blue border with floral motifs, the reverse signed 'T.H. DECK', 30cm diameter
£800-£1,200
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AN 18TH / 19TH CENTURY INDIAN (MUGHAL) GILT BRASS FILIGREE ROSEWATER SPRINKLER
the body of baluster form with flattened sides, with stylised foliate shoulders and faceted neck above, surmounted by an elongated faceted cover surmounted by a fruiting finial, on a domed and pierced foot, 35cm high
A similar rosewater sprinkler is in the Clive Collection, Powis Castle, (R. Skelton et al., 'Treasures from India: The Clive Collection at Powis Castle', no. 86, p. 74 and illustration).
£800-£1,200
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AN EARLY 20TH CENTURY 14K GOLD AND ENAMELLED POCKET WATCH DEPICTING A PORTRAIT OF A TURK BY TAVANNES WATCH CO.
the front with enamel portrait within an engine turned border, opening to reveal the white enamelled dial with Arabic numerals and subsidiary seconds dial, the inside of the back and front of the cases marked 56 14K 0.585, the back of the pocket watch inscribed '15 RUBIS ANCRE DE PRECISION SPIRAL BREGUET COMPENSATEUR GRAND PRIX BRUXELLES 1910', 7cm high
£400-£600
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A LATE 19TH CENTURY FRENCH MARBLE AND GILT BRONZE MOUNTED 'ALHAMBRA' STYLE MANTEL CLOCK
modelled as a Moorish style tower, with domed top and fluted pilasters to the corners over a plinth base, the white enamelled dial with Arabic numerals, the twin train movement stamped 'JAPY FRERES MEDAILLE D'OR', with outside countwheel striking on a bell, with pendulum, 55cm high
The movement is winding, ticking and striking but not fully tested or guaranteed.
£1,000-£1,500
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A PAIR OF 19TH CENTURY PERSIAN QAJAR LACQUERED AND GILT DECORATED DOORS
each door with a central long moulded panel with a smaller panel below and above, decorated throughout with birds amongst fruit and foliage within scrolling arabesques, each door 171cm high x 48.5cm wide (2)
See Sotheby's, London, 19 October 2016, lot 309 for a similarly decorated window frame.
£2,000-£3,000
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A LARGE LATE 19TH CENTURY FRENCH ALHAMBRA STYLE MARBLE, GILT AND PATINATED BRONZE CLOCK GARNITURE
the clock of architectural form with domed top and finial above, the side with elephant head mounts, the front with a finely engraved panel of scrolling flowers and foliage, raised on a plinth base, the dial with gilt incised Arabic numerals, signed 'HAMANN & KOCH NEW YORK', the twin train movement striking on a gong, with pendulum, the garniture urns also with elephant mounts and conforming bases, the clock 62cm high, the urns 35.5cm high (3)
£5,000-£8,000
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A LARGE PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE AND COLOURED MARBLE LAMP BASES IN THE MOORISH STYLE
of architectural form, with onion shaped domes over baluster bodies, decorated with incised decoration of scrolling arabesques in silver and gilt over a bronze panel of strapwork, raised on four freestanding columns over a plinth base, fitted for electricity, with silk shades, the lamps 60cm high, 88cm high including the shades (2)
£2,500-£3,500
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A SMALL LATE 19TH CENTURY FRENCH BRONZE FIGURE OF AN ARAB WATER CARRIER
the female figure with headdress and robes, carrying an urn on her left shoulder, on a naturalistic base, signed 'Besserdich', 16cm high
£200-£300
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MANNER OF LOUIS HOTTOT (FRENCH, 1829-1905): A PAIR OF LATE 19TH CENTURY COLD PAINTED SPELTER FIGURAL ROUNDELS
each modelled as a male and female figure protruding from a moulded circular frame, the male figure playing a guitar the female holding a fan, 45cm high
£500-£800
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