Dreweatts 1759 | Tomasso

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A 'GREEN BRECCIA' SCAGLIOLA PEDESTAL, EARLY 19TH CENTURY

182

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1

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700 GBP

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700 - 1,000 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

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A WALNUT AND EBONISED MINIATURE CHAIR, DUTCH, MID-17TH CENTURY

183

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1

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700 GBP

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700 - 1,000 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

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λ CONSTANCE LOUISE FIDLER (BRITISH 1904-1971)

184

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1

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300 GBP

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300 - 500 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

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A LARGE BLACK MARBLE MODEL OF A BEETLE ITALIAN

185

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1

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1,500 GBP

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1,500 - 2,500 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

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A BOXED SET OF TEN SILVER & GOLD KNIVES AND FORKS, SINO-JAPANESE, LATE 19TH CENTURY

186

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1

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2,400 GBP

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2,500 - 4,000 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

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AN ANCIENT ROMAN AMBER GLASS BOWL, CIRCA 4TH CENTURY A.D.

187

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1

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2,000 GBP

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2,000 - 3,000 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

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A BRONZE FIGURE OF A WARRIOR, ANCIENT ROMAN STYLE, PROBABLY 20TH CENTURY

188

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1

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200 GBP

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200 - 300 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

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A BRONZE STANDING FIGURE OF PAN, ANCIENT ROMAN, 1ST- 3RD CENTURIES

189

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1

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500 GBP

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500 - 800 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

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A NEOLITHIC BATTLE AXE, CIRCA 2ND MILLENNIUM B.C.

190

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1

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400 GBP

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400 - 600 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

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NORTH ITALIAN SCHOOL (CIRCA 1640), PORTRAIT OF A MAN IN ARMOUR

191

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1

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7,000 GBP

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7,000 - 10,000 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

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A GILT BRONZE MOUNTED CELADON EWER, 18TH CENTURY

192

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1

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8,000 GBP

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8,000 - 12,000 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

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A GEORGE II MAHOGANY SIDE TABLE, CIRCA 1750

193

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1

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4,000 GBP

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6,000 - 8,000 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

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PIERRE-HENRI DE VALENCIENNES (FRENCH 1750-1819), FOREST LANDSCAPE WITH ELEGANT FIUGRES

194

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1

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2,000 GBP

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2,000 - 3,000 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A GEORGE IV FIGURED MAHOGANY WARDROBE, CIRCA 1830

195

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1

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800 GBP

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GBP

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800 - 1,200 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

196

Quantity

1

500 GBP

Opening bid

500 GBP

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0 GBP

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GBP

Estimate

500 - 800 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A PAIR OF REGENCY GILT BRONZE EAGLES, EARLY 19TH CENTURY

197

Quantity

1

400 GBP

Opening bid

400 GBP

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0 GBP

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GBP

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400 - 600 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

JOSEPH GOTT (1786-1860) SLEEPING BACCHANTE

198

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1

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4,000 GBP

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0 GBP

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4,000 - 6,000 GBP

JOSEPH GOTT (1786-1860) SLEEPING BACCHANTE Terracotta Breccia Africana marble base, signed J GOTT. F T 40cm wide, 28cm high including marble base The Yorkshire born artist Joseph Gott is considered to have been amongst the finest British sculptors working in the first half of the nineteenth century. He had trained under John Flaxman between 1798 and 1802 before entering the Royal Academy in 1805 aged just 20. A gifted artist who combined a skill for working in the Classical manner with an undoubted joy in portraying dogs and children, in 1822 he was awarded a pension from the Academy's then president Sir Thomas Lawrence, for travel abroad specifically to Italy as well as a personal letter of introduction to Europe's greatest living sculptor, Antonio Canova (1757 - 1822). Despite hardship, family tragedy and depression, he thrived in Rome. He forged a career ranging from monuments to public figures, portrait busts and, as with these two examples, more playful animals and children in natural harmony. " Every visitor to Rome, this half century past, has looked in at the studio of M. Gott..." The Athenaeum, 28 January 1860, p.139, in T. Friedman and T. Stevens, Joseph Gott, 1786-1860, Sculptor , exh. cat., Leeds and Liverpool, 1972, p. 56. The present terracotta portrayal of a nymph asleep is exemplary of Gott's admiration for both Canova and classical antiquity, as it draws upon the pose of the famous Sleeping Hermaphrodite - an ancient Greek composition from the Hellenistic period known through a limited number of ancient Roman copies - which had also inspired Canova's own Sleeping Nymph , commissioned by Lord Lansdowne in 1821 and completed, after the master's death, by his workshop in 1824 (Victoria & Albert Museum, London, accession number A.30-1930). The ancient original Hermaphrodite was in bronze, as described by Pliny the Elder, but the Roman versions that have come down to us are all in marble. The most famous amongst these is the statue acquired around 1620 by Cardinal Scipione Borghese and housed in Villa Borghese in Rome until purchased by Napoleon Bonaparte at the beginning of the 19th century, which is now in the Louvre Museum. Another ancient marble representing the Sleeping Hermaphrodite was restored for the Ludovisi, a prominent family of Roman collectors, around 1621-23 and in 1669 acquired by Grand Duke Ferdinando II of Tuscany for the Uffizi, where it is still on view. In the Grand Tour period, the Sleeping Hermaphrodite was mostly reproduced on a reduced scale, a tradition that had begun decades earlier with Giovanni Francesco Susini's bronze version of it from 1639 (Metropolitan Museum, New York). A small marble was made for Petworth House, without the male genitalia, which underlines how the iconography could be transformed into that of a nymph. Gott himself exhibited a marble Sleeping Nymph at the 1826 RA exhibition, which is untraced and may be connected to the present terracotta.

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

AN OVER-SCALED VICTORIAN POTTERY JUG, DATED 1888

200

Quantity

1

0 GBP

Opening bid

800 GBP

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GBP

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800 - 1,200 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

201

Quantity

1

0 GBP

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1,500 GBP

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1,500 - 2,500 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A HONGMU LOW TABLE CHINESE, EARLY 19TH CENTURY

202

Quantity

1

0 GBP

Opening bid

500 GBP

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GBP

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500 - 800 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A PARCEL-GILT AND GREY-PAINTED SIDE TABLE, ITALIAN

203

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1

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8,000 GBP

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8,000 - 12,000 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A PAIR OF IMARI PORCELAIN DISHES, EDO PERIOD

204

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1

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500 GBP

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GBP

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500 - 800 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A REGENCE GILT BRONZE WALL BRACKET, EARLY 18TH CENTURY

205

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1

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800 GBP

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GBP

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800 - 1,200 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

AN ITALIAN TERRACOTTA MYTHOLOGICAL SCENE- POSSIBLY MENELAUS AND PATROCLUS, 18TH CENTURY

206

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1

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2,000 GBP

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2,000 - 3,000 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

FRENCH SCHOOL (19TH CENTURY), SET OF ELEVEN PRINTS AFTER THE ANTIQUE (11)

207

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1

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300 GBP

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300 - 500 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

AN ITALIAN BRONZE FIGURE OF AESCHINES (290 - C.314 B.C) 18TH CENTURY

208

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1

0 GBP

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800 GBP

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GBP

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800 - 1,200 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A NEST OF FOUR HARDWOOD TABLES, CHINESE, 19TH CENTURY

209

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1

0 GBP

Opening bid

700 GBP

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GBP

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700 - 1,000 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

CHERINTO DEL VECCHIO- A LARGE AND IMPORTANT VOLUTE KRATER IN THE GREEK STYLE, NEAPOLITAN, 1828

210

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1

0 GBP

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20,000 GBP

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0 GBP

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GBP

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20,000 - 30,000 GBP

CHERINTO DEL VECCHIO (ACTIVE C. 1820 - C.1840) A LARGE AND IMPORTANT VOLUTE KRATER IN THE GREEK STYLE NEAPOLITAN, 1828 Glazed earthenware pottery, on pottery base with simulated variegated marble glaze, square plinth vase 105cm high, 180cm high overall Provenance : Private collection, Naples Exhibited Saggi Dei Prodotti dell'Industria Nazionale, Naples, 1828, silver medal Literature G. Donatone, La terraglia napoletana (1782-1860), Naples, 2001, p. 97. In 1753, Charles of Bourbon, King of Naples, established the Real Fabbrica di Maioliche in Caserta, the first royal manufacture of glazed earthenware in the Southern Italian kingdom. Among the Real Fabbrica's chief figures was maiolica painter Angelo del Vecchio, whose repertoire was characterised by exquisitely naturalistic motifs, paired with rocaille and chinoiserie elements, matching the rococo taste of the period. In 1776, two additional members of the del Vecchio family - brothers Gennaro and Nicola - were named in a payment document with the honorific title of " don ", indicating they had reached a degree of commercial success and social standing. The renown of the del Vecchio manufactory by the late eighteenth century can be gauged by the fact that in 1785 King Ferdinand IV of Naples paid them 18,000 ducats to develop a formula imitating what was described as " English yellow ware ". In the nineteenth century the del Vecchio manufactory expanded its range and technical expertise, from fired clay that imitated veined marble to painted porcelain and glazed all'antica ware such as the present krater. They participated in various exhibition notably the Saggi Dei Prodotti dell'Industria Nazionale (Samples of the products of national industry) in Naples under the patronage of the Real Istituto d'incoraggiamento di arti e manifatture (Royal Institute for the Encouragement of the arts and manufactories). Gennaro del Vecchio is mentioned in exhibition catalogues up to 1810, while from 1812 his brother Nicola is listed as head of the family manufactory, followed in 1818 by Gaetano, who belonged to the next generation of del Vecchios. It was the latter who first promoted the creation of large vessels with decorative elements, initially gilt, such as the pair of marbleised vases with handles in the shape of the Hercules Farnese, now in the Museo di Capodimonte, Naples (Silver medal, 1818). Sometime in the mid-1820s, Cherinto del Vecchio took over the manufactory and under his direction the production of vases imitating the antique flourished, alongside the more traditional one of creamware, as attested by the medals received by the fabbrica del Vecchio at the Naples exhibitions of 1826, 1828, 1836, 1838 and 1840. Such all'antica vessels responded to the antiquarian taste that had steadily developed since the rediscoveries of Pompeii and Herculaneum in the first half of the eighteenth century, first pioneered in the field of Southern Italian earthenware by the Giustiniani manufactory. The present krater is a striking example of Del Vecchio all'antica earthenware and can be identified with the vessel that won the silver medal at the 1828 exhibition. Priced at 120 ducats, it was described as " a vase of extraordinary size resting on a significantly marbled column in clay ", the support that accompanies it to this day. Additionally, its style was catalogued as "imitating the Egyptians", the common definition at the time for wares with black figures over white backgrounds, which betrays the period's lack of understanding of the classification of ancient terracotta vessels, but also underlines the fact that they were prized for their emulation of sources from a distant land and past. In actual fact, the colours used in the present krater imitate the white-ground vases first developed in Athens, predominantly in the form of funerary lekythoi, in the 5th century B.C. The shape of this vase is also based on ancient Greek models, specifically volute kraters, a type of vessel first popularised in 5th century B.C. Attica. The central register of the krater depicts two battle scenes: on one side, warriors with helmets and shields advance beside a chariot carrying two standing figures drawn by two horses, and on the other, warriors on foot and on horseback engage in battle. Whilst a specific ancient prototype has not been identified, in general terms these scenes recall popular depictions of the Trojan war on Attic black-figure pottery, such as on a krater-kylix now in the Archaeological Museum of Athens. Figures and animals similar to those on this vase appear in other del Vecchio wares, such as a plate depicting a centaur now in the Victoria & Albert Museum and plates from a set sold at Christie's New York in 2012. Among both del Vecchio and Giustiniani all'antica earthenware painted to echo the white-ground technique, the present krater stands out for its ambitious format, rich decoration, and fine quality. Its survival together with its original marbleised column represents a rarity and an important rediscovery.

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

JAMES GODSELL MIDDLETON (BRITISH ACTIVE 1826-1872), PORTRAIT OF HELEN C. BARLOW

211

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1

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Opening bid

800 GBP

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800 - 1,200 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

AFTER ALESSANDRO ALGARDI (1595-1654), TWO BRONZE FLAGELLATORS, LATE 17TH/EARLY 18TH CENTURY

212

Quantity

1

0 GBP

Opening bid

3,000 GBP

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Estimate

3,000 - 5,000 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A PAIR OF LAQUERED BRONZE POMPEIAN STYLE TRIPOD ATHENIENNES, ITALIAN, 20TH CENTURY

213

Quantity

1

0 GBP

Opening bid

600 GBP

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GBP

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600 - 800 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

214

Quantity

1

0 GBP

Opening bid

1,000 GBP

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0 GBP

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GBP

Estimate

1,000 - 1,500 GBP

JOSEPH GOTT (1786-1860) SLEEPING NYMPH Terracotta Signed and dated J. GOTT. 1826 6.5cm high, 22cm wide, 7.4cm deep Provenance Harold Julian Amery, Baron Amery of Lustleigh, PC (1919-1996), United Kingdom. The Yorkshire born artist Joseph Gott is considered to have been amongst the finest British sculptors working in the first half of the nineteenth century. He had trained under John Flaxman between 1798 and 1802 before entering the Royal Academy in 1805 aged just 20. A gifted artist who combined a skill for working in the Classical manner with an undoubted joy in portraying dogs and children, in 1822 he was awarded a pension from the Academy's then president Sir Thomas Lawrence, for travel abroad specifically to Italy as well as a personal letter of introduction to Europe's greatest living sculptor, Antonio Canova (1757 - 1822). Despite hardship, family tragedy and depression, he thrived in Rome. He forged a career ranging from monuments to public figures, portrait busts and, as with these two examples, more playful animals and children in natural harmony. " Every visitor to Rome, this half century past, has looked in at the studio of M. Gott..." The Athenaeum, 28 January 1860, p.139, in T. Friedman and T. Stevens, Joseph Gott, 1786-1860, Sculptor , exh. cat., Leeds and Liverpool, 1972, p. 56. The present terracotta portrayal of a nymph asleep is exemplary of Gott's admiration for both Canova and classical antiquity, as it draws upon the pose of the famous Sleeping Hermaphrodite - an ancient Greek composition from the Hellenistic period known through a limited number of ancient Roman copies - which had also inspired Canova's own Sleeping Nymph , commissioned by Lord Lansdowne in 1821 and completed, after the master's death, by his workshop in 1824 (Victoria & Albert Museum, London, accession number A.30-1930). The ancient original Hermaphrodite was in bronze, as described by Pliny the Elder, but the Roman versions that have come down to us are all in marble. The most famous amongst these is the statue acquired around 1620 by Cardinal Scipione Borghese and housed in Villa Borghese in Rome until purchased by Napoleon Bonaparte at the beginning of the 19th century, which is now in the Louvre Museum. Another ancient marble representing the Sleeping Hermaphrodite was restored for the Ludovisi, a prominent family of Roman collectors, around 1621-23 and in 1669 acquired by Grand Duke Ferdinando II of Tuscany for the Uffizi, where it is still on view. In the Grand Tour period, the Sleeping Hermaphrodite was mostly reproduced on a reduced scale, a tradition that had begun decades earlier with Giovanni Francesco Susini's bronze version of it from 1639 (Metropolitan Museum, New York). A small marble was made for Petworth House, without the male genitalia, which underlines how the iconography could be transformed into that of a nymph. Gott himself exhibited a marble Sleeping Nymph at the 1826 RA exhibition, which is untraced and must have been connected to the present terracotta, dated the same year. Two years before, Gott had made a small terracotta Sleeping Venus for his mentor, Sir Thomas Lawrence, which likely resembled the present composition.

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A PAIR OF GILT AND LACQUERED WOOD DEITIES, JAPANESE, 18TH/19TH CENTURY

215

Quantity

1

0 GBP

Opening bid

4,000 GBP

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0 GBP

Max bid

GBP

Estimate

4,000 - 6,000 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A HARDWOOD LOW TABLE, CHINESE, 19TH CENTURY

216

Quantity

1

0 GBP

Opening bid

400 GBP

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Max bid

GBP

Estimate

400 - 600 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A WHITE MARBLE FIGURE OF EROS, ITALIAN, 18TH CENTURY

217

Quantity

1

0 GBP

Opening bid

10,000 GBP

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0 GBP

Max bid

GBP

Estimate

10,000 - 15,000 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

217A

Quantity

1

0 GBP

Opening bid

8,000 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

8,000 - 12,000 GBP

λ &nbspPETER KING (1928-1957) FEMALE FIGURE Carved elm 1948 71cm high, base 30cm wide Provenance : The artist's estate Peter King was an exceptional young sculptor and assistant to Henry Moore. In 1953 he began to teach at the prestigious Central St. Martin's School of Art, in London, alongside Anthony Caro, Eduardo Paolozzi and Elizabeth Frink. Unfortunately, he died in 1957 at the age of just 29 and his work is all but unknown today despite his exceptional talent and the fact he was a key part of the post-war school of Modern British sculpture associated with Moore's studio and with artists living at the Abbey Art Centre in London, and also with Victor Musgrave's Gallery One in Soho. King was primarily a sculptor, one who was fascinated by the possibilities of diverse techniques and therefore made sculpture in bronze, lead, cement, aluminium and silver as well as producing a film and a large number of drawings, monotypes and gouaches. However, his large, curvaceous, polished wood carvings remain King's signature pieces. King's work eloquently explores similar themes to many of his 'modernist' mentors and contemporaries like Henry Moore and Germaine Richier. For in the most sensitive and subtle way his work expresses the doubts, fears and concern with humanity that so dominated the collective consciousness of the western world, throughout the twentieth century. His work is also fundamentally inspired by the sculptural beauty of the human body. Therefore, despite his obvious modernity, it can be strongly argued that King was also working within the classical tradition. Literature : De Berthoud, Roger, The Life of Henry Moore, London: Giles de la Mare Publishers, 2003, p. 303.Wedd, Kit, et al, Creative Quarters - The Art World in London from 1700 to 2000, (Museum of London) London: Merrell, 2001, p. 135. Mitchinson, David, et al, Hoglands - The Home of Henry and Irina Moore, Aldershot: Lund Humphries, 2007, pp. 73, 77, 90. Curtis, Penelope, et al, Sculpture in 20th-century Britain Vol 2, Leeds: Henry Moore Institute, 2003, essay by Martin Harrison, pp. 191-193. Barker, Ian, Anthony Caro - Quest for the New Sculpture, Kunzelsau: Swiridoff Verlag, 2004, p. 59

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FRENCH SCHOOL (18TH CENTURY), ACADEMY MALE NUDE

218

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600 GBP

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600 - 800 GBP

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AFTER GIAMBOLOGNA (1529-1608), A BRONZE FIGURE OF THE FLYING MERCURY

219

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500 GBP

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500 - 800 GBP

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A ROMAN CARVED MARBLE PEDESTAL, 1ST/2ND CENTURY A.D. AND LATER

220

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A SHELLWORK PICTURE, ENGLISH, 19TH CENTURY

221

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ATTRIBUTED TO PIERRE AMÉDÉE MARCEL-BÉRONNEAU 1869-1937)- A BRONZE FIGURE OF THE DEAD CHRIST

222

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800 - 1,200 GBP

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AN OAK DRESSER, LATE 17TH/EARLY 18TH CENTURY

223

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A BOXWOOD CRISTO MORTO, FLEMISH, 17TH/18TH CENTURY

224

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AFTER THE ANTIQUE- A BRONZE PORTRAIT BUST OF SCIPIO AFRICANUS (237-183 B.C) ITALIAN, 18TH CENTURY

225

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A CHINESE EXPORT PADOUK SIDE TABLE, CIRCA 1760

226

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ITALIAN SCHOOL (CIRCA 1800), SYBIL HOLDING A BOWL

227

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A HARDWOOD CENTRE TABLE, CHINESE, 18TH/19TH CENTURY

228

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A SET OF SIX NEOCLASSICAL GILTWOOD ARMCHAIRS, NEAPOLITAN, CIRCA 1775

229

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ENGLISH SCHOOL (18TH CENTURY), AFTER SIR ATHONY VAN DYCK, PORTRAIT OF LUCAS VOSTERMAN

230

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A PAKTONG STEM BOWL, CHINESE ,18TH CENTURY

231

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A CARVED OAK, FRUITWOOD AND MARQUETRY CHEST, 17TH CENTURY

232

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PATRICK NASMYTH (SCOTTISH 1787-1831), RIVER LANDSCAPE WITH FIGURES AND CATTLE

233

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A LARGE CARVED WOOD TURTLE, ATTRIBUTED TO THE PITCAIRN ISLANDS

234

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235

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AN BRONZE TREE STUMP AND QUIVER, ITALIAN, 19TH CENTURY

236

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Auction date(s): 29 Oct - 30 Oct

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A SMALL 'VERDE ANTICO' SCAGLIOLA PEDESTAL, ENGLISH, 19TH CENTURY

237

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Auction date(s): 29 Oct - 30 Oct

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A OAK, WALNUT, POPLAR AND SYCAMORE PARQUETRY FLOOR, FRENCH, 18TH/19TH CENTURY

238

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Auction date(s): 29 Oct - 30 Oct

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A GEORGE III MAHOGANY, PADOUK, MARQUETRY AND EBONISED BOOKCASE DESIGNED BY JOHN LINNELL, CIRCA 1765

239

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20,000 GBP

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20,000 - 30,000 GBP

A GEORGE III MAHOGANY, PADOUK, MARQUETRY AND EBONISED BOOKCASE DESIGNED BY JOHN LINNELL, CIRCA 1765 The arched scrolled and leaf-carved cornice centred by a shell above glazed doors with foliate clasps enclosing adjustable shelves, the concave frieze with two mahogany-lined drawers above doors with oval panels centred by inlaid foliage and with crossbanded and meander borders, enclosing two further drawers, on shaped scrolled and leaf-carved bracket feet 175 cm high, 66 cm wide, 40cm deep Provenance: Sir Sidney Hedley Waterlow Bt., (d.1906) of Fairseat, Highgate, Trosley Towers, Kent and 29 Chesham Place, London and thence by descent. Lord Constantine, sold Lyon & Turnbull, Edinburgh, 12 October 2007, lot 721. The cabinet corresponds directly to a drawing in pen and ink wash of c,1765 by the London upholsterer, carver and cabinet-maker John Linnell (d.1796) which combines elements of the rococo with the emerging neo-classical fashion promoted at the time by designers such as William Chambers James `Athenian' Stuart and Robert Adam. The drawing is among a large surviving collection held by the Victoria & Albert Museum, London (acc. no. E.291-1929, see H.Hayward and P.Kirkham, William and John Linnell , London, 1980, vol. II, p.10. fig.16), which demonstrate John Linnell's remarkable talent for design Linnell followed in the footsteps of his father William Linnell (d.1763) and together they created one of the most successful and inventive cabinet-making businesses of the 18 th century. William and probably also John worked for the architect/designer William Kent as cabinet-makers having executed a table to Kent's design for James West at Alscot Park, Warwickshire in 1750 ( ibid. vol. I, p.79). They are also credited with supplying around 1760 a remarkable suite of Kentian mahogany hall furniture, comprising four armchairs and a settee to either Edwin Lascelles (for either Harewood House or his London House in Portland Place) or his brother Daniel Lascelles (for Goldsborough Hall). Both works not only demonstrate the mastery of father and son in the execution of established, or even archaic designs but also their confidence, and particularly so John's, in embracing the more modern, forward-looking styles that reflected the emerging fashion for classicism. In the bookcase offered here displays curvaceous applied decoration including the shell cresting, C-scroll clasps at the cavetto moulded waist and the leaf clasps on the doors, all carved in boxwood, that reflect the rococo taste that was in decline in the early 1760s, while the flattened leaf pattern to the cornice and the ebony guilloche border to the lower door panels is distinctly neo-classical, the oval panels themselves are a distinctive and recurring feature of John Linnell's designs at this time, not only in door panels, but also for pier glasses, chair backs and marquetry designs, while the quatrefoils centering the lower doors are `Roman'. The design follows almost exactly the V&A drawing and relates closely to a pair of bookcases made for an unknown client, one of which bears the pencil inscription `WL' (for William Linnell?) ( ibid . vol.II, p.11, fig. 17). While the early provenance for this cabinet is unknown, it was later in the collection of the Sir Sidney Hedley Waterlow, Bt. (1822 - 1906), the entrepreneur, philanthropist and politician who served as Mayor of London 1872 - 73. A man of taste, he was a Commissioner at the Great Exhibition, 1851 and served as juror at the Paris International Exhibition in 1867 for which he was knighted. Designs for the decoration of his London house at 29 Chesham Place, 1886, by the architect George Aitchison are in the collection of the Royal Institute of British Architects. Condition Report: Generally good and structurally secure. There are the inevitable minor dents marks and scratches and shrinkage cracks due to age and use. The upper section formerly with fixed shelves, now altered for two adjustable shelves. Vertical shrinkage splits to both door panels. Slight deterioration and cloudiness to the polish. Condition Report Disclaimer

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Auction date(s): 29 Oct - 30 Oct

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A COLLECTION OF PLASTER INTAGLIOS, 19TH CENTURY

240

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300 GBP

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300 - 500 GBP

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Auction date(s): 29 Oct - 30 Oct

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ATTRIBUTED TO ISAAC DE MOUCHERON (DUTCH 1667-1744), FANTASTICAL GARDEN SCENE

241

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600 GBP

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600 - 800 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

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Buyer's premium	26 % (exc. VAT)
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