'THE ROTHSCHILD CHEVAUX MARINS CHENETS' A RARE PAIR OF LOUIS XV ORMOLU SEAHORSE CHENETS, CHEVAUX MARINS FRENCH OR GERMAN, C.1745-50 each surmounted with a prancing horse with webbed hooves, on a Rococo scrolling leaf base, with chased and punched decoration, stamped '2', with a bronze scroll support (2) 43.5cm high, 35.3cm wide Provenance Alfred de Rothschild (1842-1918) the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Catalogue Note This wonderful pair of sculptural chenets derive from a drawing attributed to Lambert-Sigisbert Adam (1700-1759) for a chenet designed with Triton astride a sea horse. Chenets incorporating 'chevaux marins' are recorded in the inventory at the chateau of Passy which belonged to A-G Bernard de Saint-Saire, the grandson of Samuel Bernard, Louis XVI's banker. Listed as 'a high-firing copper representing a mythical sea horse leaning on ornaments ... all gilded with ormolu'. Other examples can be found in the Kunsthistoriches Museum, Vienna, in the collection of the Dukes of Buccleuch and Queensberry at Boughton House, Northamptonshire, a pair formerly in the collection of Dr. Anton C. R. Dreesman, sold at Christie's, 10th April 2002, lot 250 for £91,750 and a pair formerly in the Riahi Collection sold at Christie's, 6th December 2012, lot 6, for £109.250. A further pair of chenets with the same base but lacking the horses is at Waddesdon Manor, Buckinghamshire, see The James A. de Rothschild Collection at Waddesdon Manor, vol. II, Furniture, pp.726-7, no.184. Our chenets share the same pounced decoration as the Waddesdon and Riahi pairs.
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A RARE SET OF FOUR FRENCH ORMOLU 'AUX CORS DE CHASSE' WALL LIGHTS IN LOUIS XVI STYLE AFTER A MODEL BY EDME-JEAN GALLIEN AND PIERRE BUREAUX, EARLY 19TH CENTURY each with a tasselled ribbon, oak leaf and acorn backplate, issuing three hunting horn shaped candle-arms, with urn sconces, later drilled and fitted for electricity (4) 98cm high, 44cm wide, 23cm deep Provenance Alfred de Rothschild (1842-1918) the South Drawing Room / Lawrence Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as two pairs, described as 'A pair of Louis XVI wall lights, chased with oak branches and the branches designed as hunting horns, £150.0.0.' Catalogue Note This set of four wall appliques are based on the model by the bronziers Edme-Jean Gallien (1720-1797) and Pierre Bureaux (b. 1728). The design was very popular during the Empire period and a similar set of four wall lights was supplied by Claude Galle for the Salon de Compagnie du Petit Trianon on the 23rd December 1809 (see D. Ledoux-Lebard, Le Petit Trianon, p.98). Other sets of wall lights can be found at various chateaux and palaces, including: Bagatelle, Pavlosk, Saint-Hubert and Le Raincy. For recent sale comparisons, see Sotheby's Paris, 20th April 2012, lot 173 for a very closely related set of four which sold for EUR 264,750, also Christie's Paris, 23rd November 2021, lot 117 for a pair which fetched EUR 87,500.
A small quantity of posters comprising four Star Wars examples, 'Return of The Jedi', C3PO and R2D2 etc, Guns n Roses, 'Use your Illusion II', Ford advertising posters for, The Ford Capri 3.0S, The Ford Fiesta 1.1L, and The New Ford Escort, A Century of Motoring, The Plaistow Pictorial Fact Sheet No.2 A vro Type 683 Lancaster Mk.1, a blueprint-style drawing of the Spitfire, and a Plaistow Pictorial Fact Sheet No.1 for the Supermarine Spitfire Mk.1. CONDITION REPORT: All rolled with some signs of wear to the edges, with small tears commensurate with use and age
ADRIAN HILL (active 1923); pen and ink sketch, 'Notre Dame Paris', signed, titled and dated 1923 lower right, approx 17.3 x 24cm, mounted and a sepia coloured pen and ink architectural sketch, indistinctly signed lower right, approx 28.3 x 40cm (image has slipped in mount), framed and glazed (2). CONDITION REPORT: The second drawing has slipped in the mount.
WW2 Mount with limited edition (9 / 50) Black and White Pencil Drawing Signed by the Artist and Signature Piece Signed by Douglas Bader approx. size 14 x 22. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
WW2 Mount with limited edition (3 / 225) Black and White Pencil Drawing Signed by the Artist L Ortega plus Signature Piece Signed by Field Marshal Bernard Law Montgomery with replica medal The Africa Star approx. size 18 x 15. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
A Pigment Of Your Imagination Artist:Ellie HignettEllie studied art and product design at school as well as AS-Level. She is mostly creative in her spare time by drawing, painting and primarily digital illustration Sponsor:ReachReach offers bespoke support for individuals or groups through its unique blend of counselling, coaching, supervision and training. reach will help you move forward in a way that's right for you.https://reachfortheway.com/ Measurements (approx.)Length 95cmHeight 45cmWidth 30cm
Hogcutt's Wildlife Garden Artist:Ian LastIan has been a wildlife and Landscape artist for over 20 years painting and drawing Suffolk’s wildlife, particularly birds. He works in most mediums, pencil, acrylics, oils and now even sculpture. He has a realistic style and tries to portray the beauty of our country’s wildlife. To celebrate the Platinum Jubilee, there are an amazing 70 species in Ian's sculpture. They are: Grey squirrel, Tawny owl, Painted lady butterfly, Cow parsley, Mallow, Oxeye daisy, Buttercup, Common blue butterfly, Comma butterfly, Swifts, Badger, Brimstone moth, Cinnabar moth, Blackbird, Stag beetle, Twig pile, Common frog, Lilac, Turtle dove, Wood pigeon, Sunflowers, Dormouse, Mole, Bullfinch, Blackbird nest, Elephant hawk moth, Garden snail, Earthworm, Green woodpecker, Goldfinch, Wren, Grasses, Forget me nots, Wild rose, Holly blue butterfly, Robin, Ladybird, Brimstone butterfly, Gatekeeper butterfly, Garden Bumblebee, Buddleia, Small tortoiseshell butterfly, Poppies, Common darter dragonfly, Goldcrest, Orange tip butterfly, Foxglove, Ivy, Shrew, Nuthatch, Holly, Blackberries, Red admiral butterfly, Autumnal oak leaves, Hedgehog, Swallows, Redwing, Fieldfare, Fly agaric mushrooms, Common toad, Apple, Echinacea, Long tailed tit, Birch trunk, Honeysuckle, Peacock butterfly, Crow, Blue tit, Great spotted woodpecker and Fox. How many can you spot? Sponsor:NotcuttsNotcutts is family owned group of garden centres each with their own unique local character. Notcutts was founded in 1897 and since then our name has stood for garden inspiration offering expertise and friendly service to help our customers.https://www.notcutts.co.uk/ Measurements (approx.)Length 165cmHeight 75cmWidth 40cm
Sido and François TheveninImportant, monumental and unique 'Musique au Paradis' wall-mounted sculpture, 1974Bronze, brass, iron.Overall: 131 x 234 x 5.5 cm Tree root collar impressed SIDO AND FRANÇOIS/THEVENIN/GTS/FT/CANNES/1974.Together with a certificate of expertise from Nicolas Thevenin.Footnotes:ProvenanceGalerie Drouant, Paris, 1974Aga Khan IV, acquired from the aboveAndré Malizard, Villefranche-Sur-Mer, France, 1970sAcquired from the above, private collection, Villefranche-Sur-Mer, France, 2002Thence by descent to the present ownerExhibitedGalerie Drouant, Paris, 1974A FEW THINGS ABOUT SIDO AND FRANÇOIS THEVENIN. Nicolas Thevenin François Thevenin was born in Aix-en-Provence, France in 1931, and Sido (Gisèle Sidoti), Casablanca, Morocco in 1934. Sidoti was her maiden name, which led to her artist's pseudonym Sido and is the reason why some works are impressed GTS: Gisèle Thevenin Sidoti. Both artists' careers began from an early age. François achieved first place for modelling clay in year two, sculpting spontaneously and ambitiously the impressive 'Montagne Sainte-Victoire'. At age five, Sido made local news headlines for a sandcastle contest at the beach, having sculpted a shepherd and her sheep that measured a monumental four meters long, commenting 'It is fun shaping forms!' In 1952, François and Sido met at the Beaux-arts de Paris, where they studied under the direction of the sculptor and painter Louis Leygue. Following an un-official marriage celebrated with close friends, who described how, 'these two spend too much time together', François and Sido officially married in 1954. After welcoming their first child Dominique in 1955 in Paris, they settled in Cannes in the French Riviera between 1957-1958. In 1961, François and Sido worked with the artist Jean Cocteau on the sundial 'Les Lézards' for the village Coaraze in the Alpes-Maritimes above Nice. This commission comprised one of François and Sido's earliest artistic collaborations and works in metal. François and Sido had progressed toward working in metal following an overwhelming and precarious disappointment. For many months, they had shaped and sculpted hundreds of raw terracotta figures, a 'real pacific and sympathetic army'. When it came time to bring the works to be fired at a kiln in Vallauris, they carefully packed up every figure into the car and set off. Alas, a sneaky bump at the entrance of the facility reduced their fastidious three months of artistic production to utter dust and detritus. However, this unfortunate event led to a fortunate outcome, convincing François and Sido to turn towards the far more durable medium of metal. Another collaboration began after meeting Jacques Couëlle, acknowledged as 'the architect of billionaires', whose ideas and appreciation for execution appealed to François and Sido. In 1962, they began working with the architect on Castellaras Estate in Mouans-Sartoux, France, applying their artisanal skill within the space to create door furniture, lighting, among other interior fittings and fixtures. Whilst working with Couëlle, François and Sido became close friends with the actor Marcel Duhamel, who subsequently introduced them to the brothers Jacques and Pierre Prévert, Pablo Picasso (who often visited their workshop, commenting that it reminded him of Bateau-Lavoir, his workshop in Montparnasse), Yves Tanguy, Brassaï, and many others. In 1966, Sido gave birth to their second son Nicolas in Cannes. During this time, François and Sido worked on several international commissions, including work in Montreal, New York, and Santiago del Chile. François and Sido also collaborated with Couëlle's son Savin, the architect for Porto Cervo, Sardinia, which was initiated by the Aga Khan IV. The artists and architect worked together for decades, becoming a symbiotic alliance, that could be thought of as almost genetic, as Savin would incorporate François and Sido's sculpture and objects into his architecture, while the two artists would intricately form Couëlle's volumes into their sculpture. This close collaboration developed through many projects across several continents, resulting in sculptural pieces of furniture that includes tables, seating, lighting, doors, grills, and handrails, many of which were unique works of art. Together François and Sido created a vast collection of work and exhibited at prestigious galleries, including Drouant, Paris in 1972, and Cartier in 1980. Their work, which extends from furniture to sculpture, painting, drawing and etchings, was continually inventive and conveyed an organic, unexpected, and enchanting world for their viewers. In 1986 Sido passed away at age 52, followed by François in 2016 at age 85, both in their shared house-workshop in Cannes.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
David PowellUnique 'Heal's' two-part sideboard, designed 1964Brazilian rosewood, ebony, fabric upholstered doors. 84 x 220 x 51 cm Produced by David Powell, London, United Kingdom. Brass label impressed DESIGNED AND MADE BY DAVID POWELL.Footnotes:ProvenanceAcquired directly from the designer, London, mid-1960sThence by descent to the present ownerLiterature'David Powell Designs', Furniture, London, 1960s, n.p.Bonhams wishes to thank Kristina Madsen, who holds the David Powell archive, for her assistance cataloguing the present lot.David PowellKristina MadsenFurniture maker and former student of David PowellDavid Powell (born 1926, Tunbridge Wells) was raised in a family and community of highly-skilled artists and craftsmen. His great-uncles, Alfred and Oswald Powell, were prominent figures within the British Arts and Crafts Movement, and his father, Roger Powell OBE, a celebrated bookbinder. David trained as a furniture maker with Edward Barnsley, and later attended the Royal College of Art. He established his furniture making business in London in the late 1950s and, over the course of the next decade, worked from several locations. When he built this sideboard in 1964, his studio-workshop was located at 3 Jubilee Place, Kings Road, London, S.W.3. Most of the furniture he produced during this prolific period was for boardrooms and dining rooms, with rosewood being his wood of choice. His vision as a designer-craftsman was to produce functional furniture of exquisite design and superb craftsmanship, and by offering some pieces as stock items, make the work available to a broad audience; a vision difficult to realise due to the number of hours required to build each piece. Notable commissioned works from this era included pieces for Windsor Castle; Shell International, London; and Burlington House, Piccadilly, to name a few. In 1969, David emigrated to the United States, where he continued to take commissions for furniture of his design. In 1977, he and businessman and designer, John Tierney, established Leeds Design Workshops in Easthampton, Massachusetts. In addition to marketing their furniture, they ran a training program that was modelled after David's own training in the Barnsley workshop. After the school's closure in 1989, David and John continued to promote their work under the LDW name. Masterful, and passionate in his commitment to functionality and exquisite design, David dedicated his life to creating fine and beautiful furniture. He died in 2001 in Northampton, Massachusetts.There are two known sideboards of this design. The original was built for an exhibition at Heals, London. Constructed in two halves for ease of transport, the original was attached to a single, four-legged base. For the present sideboard, David designed a split base, rendering each half a free-standing unit. It is likely that a commission for this piece resulted from the Heals exhibition. Both sideboards are made of rosewood with ebony handles. The working drawing, dated 1964, specifies vertical-grain rosewood veneer on the door fronts. It is unclear when or why David decided to substitute fabric. Although he repeatedly used fabric and leather on his seating, the upholstered doors on these two sideboards are unique within his oeuvre. David's notes regarding a 1965 dining set indicate that a rosewood sideboard of comparable scope required 685 hours to complete.This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
STATUETTE DE BOUDDHA DE MÉDECINE EN ALLIAGE DE CUIVRE DORÉTIBET, XVE SIÈCLEHimalayan Art Resources item no. 4617 17 cm (6 3/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF MEDICINE BUDDHATIBET, 15TH CENTURY西藏 十五世紀 銅鎏金藥師佛像Provenance:With Claude de Marteau, Brussels, by 1970sThe cult of the Medicine Buddha started in Northern India before spreading to the Himalayas, East Asia, and Southeast Asia. He is widely worshiped in both Vajrayana and Mahayana Buddhism to assist practitioners in overcoming physical, mental, and spiritual sickness, and to purify karmic debt. According to the Bhaisajyaguru sutra, he resides in the Eastern Pure Land of Vaiduryanirbhasa, which in Sanskrit literally means 'Pure Lapis Lazuli', drawing a parallel to his blue body that shines brighter than the sun.The Medicine Buddha, here, wears an elegant sanghati with a beaded hem which cascades over the left shoulder, displaying punch marks along the edge indicating the interior patterning of the hemline. This alternating use of beading and punching is also seen in the treatment of the robes of Gampopa from the Portraits of the Masters sale at Bonhams, New York, 14 March 2017, lot 3225. The widened lotus leaves along the front which have been flattened and articulated with hatch marks at the back are stylistic elements linked to the workshop of Sonam Gyaltsen from the Tsang province of Shigatse in Central Tibet during the 15th century and can be closely compared to a Buddha image in the Rubin Museum of Art (HAR 700092).For further information on this lot please visit Bonhams.com
TANGKA REPRÉSENTANT VAJRADHARA ET LES QUATRE-VINGT-QUATRE MAHASIDDHASTIBET, XVIE SIÈCLEDistemper on cloth; verso with an ink drawing of a stupa and a Tibetan, 'om, ah, hum' incantation behind the central figure.Himalayan Art Resources item no. 89904 Image: 76 x 59.5 cm (29 7/8 x 23 3/8 in.);With silks: 117 x 75 cm (46 x 29 1/2 in.)Footnotes:A THANGKA OF VAJRADHARA AND THE EIGHTY-FOUR MAHASIDDHASTIBET, 16TH CENTURY西藏 十六世紀 金剛總持與八十四大成就者唐卡Provenance:With Claude de Marteau, Brussels, by 1970'sThe thangka depicts the Primordial Buddha, Vajradhara, seated on an elaborate throne defended by roaring snow lions and surrounded by registers of individualized portraits of the Eighty-Four Mahasiddhas. The linear arrangement of these canonical Tantric masters, the bold, opaque aureoles behind most, and the overall predominance of red betray a Newari style of painting adopted throughout Tibet up to and including the 16th century (c.f. Jackson, The Nepalese Legacy in Tibetan Painting, 2010, p. XX, fig. 0.3). Meanwhile, the inclusion of mountains and rivers staging a few mahasiddhas speaks to the Tibetan thangka painter's growing affinity with the Chinese landscape painting tradition.For further information on this lot please visit Bonhams.com
▴ Mary Newcomb (1922-2008)'Damp bee';Bird's nesttwo, both signed 'Mary Newcomb' l.r., the first inscribed with title verso, pencil and watercolour12.7 x 19cm and 14 x 9.5cm, framed as oneCondition ReportFramed together, size: 45.3 x 33cm.Unexamined out of glazed frame, each drawing loosley stuck to backing at corners, a little bit of yellowing to inside edges of the mount but overall each of the works appear to be in good condition.
▴ Joan Warburton (1920-1996)Sailors at the barsigned with initials and dated 1941 l.r., pen and ink20 x 24.5cmProvenance: The estate of the artist;with Sally Hunter Fine Art.Condition ReportFramed size 36.5 x 40.5cmNot viewed out of glazed frame. Some spots of foxing at lower part of drawing and rippling to sheet, a knock to frame along top edge. Please see images.
▴ Elsie Marian Henderson (1880-1967)Study from nature of a lionesssigned 'Miss Elsie Henderson' l.l. on mount and inscribed 'A Study from Nature' u.r. on mount, charcoal and pastel heightened with white23.3 x 31cm, unframedCondition ReportOverall sheet: 31 x 39.5cmThe drawing is stuck down at the corners to a larger piece of paper, a few creases in corners, light time staining, handling creases and tears to larger piece of paper that drawing is attached to. Please see images.
▴ Attributed to Mervyn Peake (1911-1968)Standing nude, Westminster School of Art, 1939with later inscription 'Demonstration watercolour by Mervyn Peake at Westminster School of Art 1939' verso, watercolour 48 x 31cm, unframedProvenance: Collection of the artist Gwendolyn Jackson;the artist.Condition ReportUnframed. Pin holes in corners, uneven edges and light handling creases concurrent with this being a life drawing. A few small specks of foxing, otherwise colours are generally strong.
A PAIR OF STAINED WOOD AND PARCEL GILT PEDESTALS IN GEORGE III STYLE20TH CENTURYPOSSIBLY DESIGNED BY OLIVER MESSELEach of square section tapered form and with acanthus mouldings to the angles122cm highProvenance: Formerly the collection of Oliver Messel at Pelham Place Supplied by Messel to Frederick and Phyllis Watkins for the Bow Drawing Room Condition Report: Each with Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses,The stands have been fitted with lot 99 for the view, there are small brackets to the tops of these pedestals to attach either these or a similar fitting. There are scratches, knocks, chips, rubbing to the surfaces of the pedestals indicative of their age and usePlease refer to additional images for visual reference to conditionCondition Report Disclaimer
A GEORGE III MAHOGANY SIDE TABLECIRCA 1800The rectangular top above blind fretwork carved frieze fitted with a drawer on pierced channelled square supports74cm high, 96cm wide, 47cm deep Provenance: Probably the Messel family collection at NymansUntil removed to the Drawing Room at Holmstead Manor and thence by descent to Oliver MesselSupplied by Oliver Messel to Frederick and Phyllis Watkins for Flaxley Abbey Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, one spandrel has a broken element that is present but detached from the lotThe drawer may well have been an after addition, cut from the frieze and later linedThe top is a little wide for the base, there are plug holes along the leading edgeThere are no feet, the angle section supports terminating on the groundOverall solid and stablePlease refer to additional images for visual reference to condition Condition Report Disclaimer
A PAIR OF GEORGE III GILTWOOD MIRRORSIN THE MANNER OF MATTHIAS LOCK, CIRCA 1750The shaped rectangular plates in pierced frames carved with C-scrolls, acanthus and bulrushes surmounted by a broken swan-neck pediment centred by a pierced scallop shell, the aprons with confronting C-scroll clasps headed by further scallops155cm high, 76.5cm wideProvenance:Possibly from the Messel family collection Supplied by Oliver Messel to the Bow Drawing Room at Flaxley AbbeyThis pair of mirrors are in the manner of Matthias Lock as published in his Six Sconces (1744), plate 2 (ed. E. White, Pictorial Dictionary of British 18th Century Design, Woodbridge, reprinted 2000, p. 325). The double scroll top features in Lock's designs of the 1740s, and marks the seamless transition from the late baroque to rococo styles (A. Bowett, Early Georgian Furniture 1715-1740, Woodbridge, 2009, p. 294). Such mirrors are known as 'tabernacle frames'; 'tabernacle' being a term for a niche in a wall housing a statue or bust. The first known tabernacle frame designs originated in James Gibbs' drawings of 1721-22 when they were associated with the neo-Palladian style although as in this example they could equally be interpreted with greater freedom.Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, chips and losses,Joints opening to the frame, elements lifting in these areasThe mirror plate appears to be laterDirt and discolouration to the giltwood frame Signs of previous hanging hooks and brackets having been fitted to the rearPlease refer to additional images for visual reference to condition Condition Report Disclaimer
AN ITALIAN WALNUT AND MARQUETRY CABINETLATE 17TH CENTURYThe arched ebonised cornice above an inlaid frieze classical scene within an arch, above a panelled door, similarly inlaid and surrounded by eleven short drawers on moulded plinth base86cm highAtop an associated, later, stand base with tapering hexagonal legs ending in bun feet and joined by a platform stretcher178cm high, 90cm wide, 33cm deep overallProvenance: Formerly the Messel family collection in the Long Drawing Room at Nymans and thence by descent to Oliver Messel Supplied by Oliver Messel to Frederick and Phyllis Watkins for Flaxley AbbeyFor a smaller cabinet incorporating closely related marquetry, see Bonham's, Los Angeles, The Elegant Home, 26th June 2018, Lot 52 (£3,340). Condition Report: Overall scratches, knocks and abrasions consistent with age and use.The stand is 20th century.There are losses, observations and restorations including: evidence of worm throughout; some veneers and mouldings missing, replaced and torn; the crest is bowed, tilting back slightly; specimen woods veneered to the interior of the door with fine stylised metalwork; pine drawer linings; an indistinct handwritten label to the back. Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
A BRUSSELS BIBLICAL TAPESTRY 'THE DISCOVERY OF MOSES' EARLY 18TH CENTURY, FRANS VAN DER BORGHT WORKSHOP BRUSSELS Probably after designs by Jan Van Orley and Augustin Coppens, woven in silk and wool with Moses in a basket being saved by the Queen of Egypt, with attendant figures, verdure setting, townscape beyond, Brussels town mark and signed to lower margin F V D Borght approximately 315cm high, 376cm wideProvenance: Formerly the Messel family collection at Nymans Removed to the Drawing Room at Holmstead Manor in 1947 after the disastrous fire and thence by descent to Oliver Messel Supplied by Oliver Messel to Frederick and Phyllis Baden Watkins for Flaxley AbbeyWhilst the figural designs are traditionally attributed to the Flemish artist Jan Van Orley- it would seem likely that the landscape setting may have been the work of Augustin Coppens. In this collaboration they were echoing the work of Nicholas Poussin and Charles Le Brun at the royal tapestry works at Gobelins from the 1680s. This particular design is known to have been woven by various members of the Borght weaving dynasty but signed examples are rare. A similar example, catalogued as being from the "workshop Van der Borcht, Brussels, 1737" hangs in the Princes' Chamber in the Maastricht Town Hall.For a similar tapestry depicting this exact scene "MOISE SAUVE DES EAUX"- attributed to Peter and Frans Van Der Borght but unsigned and reduced in width, see Christie's Paris 'Important Mobilier Et Objets D'art, Tableaux Et Ceramiques', 7th December 2005, lot 144 sold EUR 36,000.Literature: N. de Reniès, 'Jean van Orley Cartonnier: La Tenture d'Achille au Musée Jacquemart- André', Gazette des beaux Arts, February 1995, p. 172Condition Report: EXTRA IMAGES TAKEN IN DAYLIGHT ADDED 16 September Lacking original border, edges trimmed and now with plain blue material border and later backing. The signature and town mark look to have been extricated from the margins of the original piece and dropped back in to the lower right hand margin. The stitching and weave are a match for the main panel but they are now held in with yellow thread and have variances of design at odds with their new location. Overall the tapestry has colour muting and loss. The surface is slightly rumpled and creased from folding and will benefit from smoothing out before display. Some pulling to threads and sections- these may again benefit from remedial work. With the fixed later backing it is impossible to determine the extent to which there may have been repairs but from the the front there are indications of scattered small spot repairs, tightening and remedial work throughout the surfacePlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A GEORGE III MAHOGANY SOFACIRCA 1780With arched padded back, upholstered seat with Gainsborough fabric, and outscrolled armrests on square legs with brass caps and castors, joined by square stretchers, 112cm high, 229cm wide, 85cm deepProvenance: Probably the Messel family collection at Nymans In the Drawing Room at Holmstead Manor in 1947 after the disastrous fire and thence by descent to Oliver Messel Supplied by Oliver Messel to Frederick and Phyllis Watkins for Flaxley Abbey Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, chips and losses,The fabric is later, this has some mould and growth to the deeper recesses, it would benefit from a clean overallThe frame appears to be solid and stable overall, the upholstery is later applied, Dreweatts can make no comments or give any guarantees as to the condition or originality to the frame beneath this later upholstery.the pair of cushions presented alongside have rips and tearsPlease refer to additional images for visual reference to condition Condition Report Disclaimer
A FLEMISH TAPESTRY FRAGMENT WOVEN WITH A UNICORN MID/LATE 17TH CENTURY With central depiction of lion and unicorn, part section of griffin to right, in verdure forest setting, possibly Enghien or Felletin approximately 305cm by 315cm Provenance: Formerly the Messel family collection at Nymans Removed to the Drawing Room at Holmstead Manor in 1947 after the disastrous fire and thence by descent to Oliver Messel Purchased from Oliver Messel by Frederick and Phyllis Baden Watkins for Flaxley Abbey Condition Report: The overall surface is quite loose and 'baggy'- when pulled taught on the ground the tapestry measures 312cm high and 316.5cm wide as best as we can measure.As per cataloguing- this is a fragment from larger tapestry. It has undergone restoration to include numerous areas of reweaving and stitch repairs to tighten the surface, repair old insect damages and loose threads. The borders are later. The surface is fragile, colours muted and dirty and has a musty smell. The colours have faded and later backing is very fragile and torn. Reverse showing numerous patch repairs. Please refer to additional images for visual references to condition which forms part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A BLACK AND GILT LACQUERED LONGCASE CLOCK With eight-day bell striking movement, the 13inch arched brass dial with silvered Roman numeral chapter ring and subsidiary date dial, inscribed Daniel Kedden, Little Britain, London, the arch with automaton panel inscribed 'Sic transit Gloria Mundi', the case with arch and moulded cornice surmounted by three flaming torch finials, the blind fret carved frieze with arched glazed door above an arched rectangular trunk door on panelled base with moulded plinth255cm high overallProvenance: Formerly the Messel family collection in the Long Drawing Room at Nymans Removed to the Drawing Room at Holmstead Manor in 1947 after the disastrous fire and thence by descent to Oliver Messel Supplied by Oliver Messel to Frederick and Phyllis Watkins for Flaxley AbbeyCondition Report: Movement is complete but in dirty neglected condition hence requires a clean/overhaul before putting to use. Although the movement is contemporary with the dial and case there is evidence in the dial plate indicating that the dial was originally drilled/laid-out for a different movement hence it is most likely that the present movement is a replacement fitted early in the clocks life. The dial has visible dial feet/filled holes as well as some slight casting cracks to the matted centre and there is an additional calendar aperture behind the signature plaque. The arch spandrels have spare holes behind suggesting that they may be replacements. The dial finish is dull/tarnished otherwise dial is in sound condition.The case is probably original to the dial but not to the movement. The hood is lacking its domed caddy superstructure and the left hand section of fret to the arched frieze. The base would have had a double moulded skirt which is now no longer present. The left hand throat moulding is currently detached; the trunk door is lacking its upper clamp (applied to the inside of the panel behind the arch) - does not affect the appearance/integrity of the door. Otherwise case is in sound original unrestored condition but with overall wear, flaking, bumps, scuffs shrinkage and wear commensurate with age and use.Clock has two lead weights, case key, pendulum but no winder. Condition Report Disclaimer
A CONTINENTAL WALNUT AND TAPESTRY UPHOLSTERED SETTEELATE 17TH AND LATERThe arched padded back and seat covered in blue ground verdure tapestry, the moulded scroll armrests supported by acanthus carved scroll stiles on cabriole legs and paw feet headed by harebells, the apron with scrolled foliate centre127cm high, 124cm wide, 65cm deepProvenance: Formerly the Messel family collection in the Long Drawing Room at Nymans Removed to Holmstead Manor in 1947 after the disastrous fire and thence by descent to Oliver Messel Purchased from Oliver Messel by Frederick and Phyllis Watkins for Flaxley AbbeyLiterature:'Nymans - II, Sussex: The Residence of Lieut.-Colonel Leonard Messel', Country Life, 17 September 1932, p. 323, fig. 7. This settee was acquired around 1960 by Frederick and Phyllis Watkins from their interior decorator, Oliver Messel (1904-78), for Flaxley Abbey. It was photographed by Country Life in September 1932 at Oliver's family home, Nymans House, West Sussex, in the Long-Drawing Room. It formed part of Oliver's inheritance, either after 1947 when Nymans burnt down, or after 1960, when his mother, Maud Frances, daughter of the well-known Punch artist, Linley Sambourne, died. Messel's parents, Lieutenant-Colonel Leonard Messel and Maud Frances succeeded to Nymans in 1915. They set about Nymans' external reconstruction from what appeared to be a Victorian house to its original antecedents as a medieval manor house aided by architects, Norman Evill, and from 1920, Walter Tapper. The furniture at Nymans was acquired by Colonel and Mrs. Messel to complement the 'medieval' exterior and interiors. This walnut settee is in the baroque-style of the late 17th/early 18th-centuries. It has the tall arched, sloping and upholstered back, scroll arms and 'horsebone' or 'broken' reverse scroll legs fashionable in this period, reflecting the style of Daniel Marot (1663-1752), the French emigré designer who worked closely with William and Mary both in Holland and England. However, it is almost certainly a pastiche of several period features probably made in the late 19th/early 20th centuries. It is unusual for seat-furniture of supposedly this period to have scroll legs terminating in lion paw feet and forward-facing back legs break every rule of English chair design. The earliest design of such legs identified to date can be seen on a console table by William Jones from The Gentlemens or Builders Companion (1739), plate 29 (ed. S. Weber, William Kent: Designing Georgian Britain, New Haven and London, 2014, p. 517, fig. 18:70). Furthermore, unlike chairs from this period, the arm-uprights scroll outwards rather than inwards (see A. Bowett, English Furniture 1660-1714: From Charles II to Queen Anne, chapter 8), and there is a gap between the chair back and seat which seems to be uncharacteristic for settees of this period. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses,Overall in a fragile condition, the tapestry to the seat with balding, splitting, opening to the weave, the back in slightly better condition, the rear is torn and open with wadding falling out and rails visible, the underside also with openings to the lining materialThere is looseness to joints, signs of old repairs, there are numerous wordworm holes and associated losses and damagesOverall will require some level of restoration before use in a domestic settingPlease refer to additional images for visual reference to conditionCondition Report Disclaimer
A SPANISH WALNUT AND METAL MOUNTED VARGUENO18TH CENTURYThe fall flap decorated with metal panels backed on faded red velvet, with sides with wrought iron bell handlesThe interior fitted with an arrangement of drawers with bone mounts and parcel gilt decoration, the central cupboard door enclosing further drawers74cm high, 112cm wide, 44cm deepNow on a later oak stand base with turned tapering supports joined by square stretchers142cm high overall Provenance: Formerly the Messel family collection in the Long Drawing Room at Nymans Removed to The Staircase Landing at Holmstead Manor in 1947 after the disastrous fire and thence by descent to Oliver Messel Supplied by Oliver Messel to Frederick and Phyllis Watkins for Flaxley AbbeyIllustrated:'Nymans-II, Sussex: The Residence of Lieut.-Colonel Leonard Messel', Country Life, 17 September 1932, p323, fig.7.A Spanish Vargueno is a piece of furniture of Spanish and Oriental origins. They first appeared in Europe in the late Middle Ages and became a common article of furniture in the Spanish colonial empire from the late 16th century onward. Its major component is a chest with a drop front. The interior is divided into an intricate arrangement of drawers and recesses for holding jewels, documents, and other valuables. The drawers and recesses are often inlaid with bone, silver, or gold and are occasionally stained in bright colours. The exterior is elaborately mounted at the corners and elsewhere in iron or silver, and the front is secured by a heavy padlock or conventional lock.A virtually identical example, displaying the same locking mechanisms, escutcheons and bone and gilt decorated fitted interiors, exists in the collection at Castle Drogo, Devon. A related example, is housed at Parham House, West Sussex Condition Report: Overall scratches, knocks and abrasions consistent with age and use.The stand is 20th century, made of oak and of simple, functional design to hold the vargueno.There are losses, observations and restorations including: there is evidence of worm; the exterior with vestiges of worn dark red velvet beneath the fretwork gilt metal bindings; with a central decorative hinged overlock, two hooks to the top corners and four side bolts to hold the fall front in place; some of the side bolts do not engage with the carcass; the exterior of the fall front with shadows and old nails suggesting that some of the decorative pierced metal sections have been moved (possibly during any restoration) or amended over time; the gilding worn to the metal fretwork and other metalwork; the interior with some signs of filler and possibly later bolts the the fall front; the drawers with multiple variously sized and configured drawers with polychrome paint, bone inlay and spirally turned bone pilasters, some of which have some movement, damage and repair.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
A SET OF THREE ITALIAN WALNUT AND PARCEL GILT ARMCHAIRSLATE 17TH OR EARLY 18TH CENTURYWith later red velvet upholsteryEach 128cm high, 70cm wide, 63cm deep Provenance: Formerly the Messel family collection in the Long Drawing Room at Nymans Removed to Holmstead Manor in 1947 after the disastrous fire and thence by descent to Oliver Messel Purchased from Oliver Messel by Frederick and Phyllis Watkins for Flaxley AbbeyIllustrated:'Nymans-II, Sussex: The Residence of Lieut.-Colonel Leonard Messel', Country Life, 17 September 1932, The Long Drawing Room Condition Report: All with marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and lossesThe fabric upholstery is worn throughout with the underlying wadding visible to the seats,The giltwork with chips and losses, rubbing and wear, some looseness to the cresting elements Frames appear overall to be fairly solid and stable Signs of woodworm and associated losses and damagesPlease refer to additional images for visual reference to condition Condition Report Disclaimer
ENGLISH SCHOOL (CIRCA 1720)A DOUBLE PORTRAIT OF WILLIAM AND NATHANIEL LLOYD WITH THEIR DOG, A FOUNTAIN IN A FORMAL GARDEN BEYONDOil on canvas114.3 x 172.7cm (45 x 67 in.)Provenance:Possibly brought to Flaxley Abbey following the marriage in May 1743 of Thomas Crawley-Boevey, (1709-69), to Susanna (née Lloyd, 1712-62), sister to William and Nathanial Lloyd, and by descent until sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1347. Literature: Arthur W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, pp. 18, 20, no. 1. J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - I: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 29 March 1973, p.845, fig.8, The Abbot's Room. William (1685-1754) and Nathaniel (1690-1774) were the sons of John Lloyd (1645-1716) and Susanna Hollier Hollyar (1657-1726) of Minsterworth, Gloucestershire. Their sister, Susanna (1712-62), married Thomas Crawley-Boevey, in May 1743. In 1912, the painting, listed as by an unknown hand, was in the Drawing Room at Flaxley Abbey (A.W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and other Notable Articles at Flaxley Abbey, co. Gloucestershire (1912), pp. 18, 20, no. 1). It has since been pictured in 1954 and 1960 in the Abbots Room Condition Report: The canvas has been relined, relined is clearly visible along upper edge. Some surface dirt and a reddish discolouration of the varnish. Some abrasions around the edges from contact with the frame. UV reveals scattered retouching and small repairs, including larger areas of retouching in the red of the left figure's garment and along the upper and lower edge. Condition Report Disclaimer
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