text:
Q: Adding a new row with PHPExcel? How can I add a new row to an existing .xls file using PHPExcel?
Do I have to calculate the number of rows that already exist?
If so, how can I do that for an excel file?

A: The example above only adds a blank row. The example below adds data coming from a form.
<?php

        require_once '../inc/phpexcel/Classes/PHPExcel.php';
        require_once '../inc/phpexcel/Classes/PHPExcel/IOFactory.php';
        $objPHPExcel = PHPExcel_IOFactory::load("myExcelFile.xlsx");
        $objWorksheet = $objPHPExcel->getActiveSheet();

        //add the new row
        $num_rows = $objPHPExcel->getActiveSheet()->getHighestRow();
        $objWorksheet->insertNewRowBefore($num_rows + 1, 1);
        $name = isset($_POST['name']) ? $_POST['name'] : '';
        if($submit){
    //SAVING THE NEW ROW - on the last position in the table
        $objWorksheet->setCellValueByColumnAndRow(0,$num_rows+1,$name);
        }

        //display the table
        echo '
'."\n";
        echo '

            Company Name

'."\n";
        echo '
'."\n";
        foreach ($objWorksheet->getRowIterator() as $row) {
        echo '
'."\n";
        $cellIterator = $row->getCellIterator();
        $cellIterator->setIterateOnlyExistingCells(false);
        foreach ($cellIterator as $cell) {
        echo ''.$cell->getValue().'	'."\n";
        }
        echo '
'."\n";
        }
        echo '
'."\n";
        echo '
'."\n";
        ?>

A: Assuming this setup:
$objPHPExcel = PHPExcel_IOFactory::load("foo.xlsx");
$objWorksheet = $objPHPExcel->getActiveSheet();

You can get the number of rows like so:
$num_rows = $objPHPExcel->getActiveSheet()->getHighestRow();
Following this, you can look into inserting a row by using the following statement:
$objWorksheet->insertNewRowBefore($num_rows + 1, 1);
This adds 1 new row before $num_rows.


There is little doubt that the portable, battery-powered, "personal" radio was a major player in social change. It gave teenagers the opportunity to listen to rock 'n' roll music out of the home where their parents could monitor what they heard.
The very first transistor radio sold to the public was the Regency TR-1. It arrived just in time for Christmas of 1954. The TR-1 was a collaboration between Texas Instruments and an Indianapolis, Indiana company, IDEA. IDEA was responsible for creating the look and feel of the case that held the electronics and marketing the new radio. Within one year, 19,000 units were sold at $49.95, less battery. A leather carrying case was available for an additional $3.95, and the "feather-light" earphone was $7.50.
During the following decade scores of radios were manufactured by both American and Japanese companies. Brand name companies like Mitchell, Raytheon, Zenith, Sylvania, GE, Bulova, and Silvertone produced most of the U.S.-made models. One standout was the Emerson 888.
The Emerson 888 Explorer was the first portable pocket radio to have 8 transistors. The manufacturer's advertising claimed, "Indestructible transistors last for life, never need to be replaced like old-fashioned tubes," and "Up to 10,000 hours of life on nickel cadmium rechargeable batteries." But the coolest thing about the 888 was its futuristic design.
The model was named after the Explorer-1, the first satellite launched by the United States. The design, with its sleek plastic case, raised gold numerals on the dial face, gold thumbwheel, and silver mesh grill was nothing less than Space Age.
Dan, I have a very old transistor radio that I hope I can descride well enough so you can give me some idea of the year it was manufactured.I was in the busuness of selling and servicing radios at the time so I don't have an invoice.(I'm 89) These measurements are approx. 2 1/2″ wide by 4 1'8″ high by 1 1/4″ deep. No ID anywhere except on the front in the lower left corner is a square with a circle inside with a (looks like)hour-glass inside the circle. Tuning is on left side with vol. on the right. On bottom of back it says "BRITISH CROWN COLONY OF HONG KONG" Hope that is enough!


text:
La estación de Jabárovsk-1 (en ruso: Станция Хабаровск-1) es la principal estación de ferrocarril de pasajeros de Jabárovsk, en el Lejano Oriente de Rusia. La estación es la penúltima parada del Transiberiano. En la ciudad también se encuentra la estación Jabárovsk-2, destinada al transporte ferroviario de carga.

Historia
El primer edificio de la estación fue construido el 1 de noviembre de 1897. Representaba un típico edificio de madera de un piso con un área de aproximadamente cien metros cuadrados. En diciembre de 1921, se quemó como resultado de la evacuación de pánico de Jabárovsk de partes del Ejército Revolucionario Popular de la República del Lejano Oriente. En noviembre de 1926 se construyó un nuevo edificio de piedra de un piso en la arquitectura del Renacimiento ruso, y todo el complejo de la estación se completó en 1935.

La construcción del nuevo edificio en el proyecto prerrevolucionario fue un caso excepcional en la historia de la arquitectura del período soviético. La sala de la estación para el servicio de pasajeros era insuficiente. El edificio fue diseñado para alojar a 700 pasajeros por día, pero a veces más de 1500 personas usaban esta estación al día. El acercamiento a los trenes se realizó directamente a través de las vías, lo que, al mismo tiempo que detuvo varios trenes, creó inconvenientes. El proyecto para la reconstrucción de la estación se envió al Ministerio de Ferrocarriles en 1956, pero este problema no se implementó.

En 1963, comenzó la reconstrucción de la estación, completada en 1966. El edificio de la estación principal se construyó con hormigón armado de dos pisos en un estilo funcionalita. Se construyó un paso para peatones subterráneo para ir a las plataformas. En marzo de 2000, se inició la reconstrucción del edificio, que se completó en 2007: el edificio de dos pisos se convirtió en un edificio de tres pisos. Como resultado de la reconstrucción, el edificio adquirió un nuevo aspecto arquitectónico, al estilo de la modernidad rusa. La reconstrucción del complejo de la estación costó más de 670 millones de rublos. Diez mil personas pueden usar una nueva estación y casi tres millones de pasajeros al año.

Galería de imágenes

Referencias

Enlaces externos

Jabarovsk
Jabarovsk
Edificios y estructuras de Jabárovsk
Transporte de Jabárovsk
Arquitectura de Rusia del siglo XIX
Rusia en 1897
Arquitectura neorrusa

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This training brochure applies to all organisations with obligations under the Health Insurance Act 1973 (Cth).
The Health Legislation Amendment (Improved Medicare Compliance and Other Measures) Act 2018 No. 64 (Cth) (the Amending Act) has amended the Health Insurance Act 1973 (Cth) (the Act).
Schedules 2 – 5 of the Amending Act commenced on 1 July 2018.
Documents created in relation to the rendering of a professional service that is an item specified in the general medical services table, in which a claim is made for an amount under the Act, must be kept for a period of 2 years.
Referrals under sections 20BA, 23DK(1) and (2), 23DR(1) and 23DS(3) must now be kept for 2 years instead of 18 months.
A new section 20BB (confirmation of other referrals) has been inserted into the Act. The provision requires referrals in relation to a service that is taken to be a professional service because of a determination under the Act, where a claim for an amount in respect of the service has been made, to be kept for 2 years. Failure to do so may result in a fine of 5 penalty units.
A new section 129AADA (requirement to keep documents relating to notice to produce) has been inserted into the Act. This provision requires any person who has been given a notice or a request by the Chief Executive Medicare to keep any document relevant to whether an amount should have been paid under the Act in respect of the service until the time set out in section 129AADA(2)(b). Failure to do so may result in a fine of 20 penalty units for an individual, and 100 penalty units for a body corporate.
Organisations should update their policies and processes in line with the changes highlighted above and included in the NATIONAL – Medicare (General), NATIONAL – Medicare (Pathology) and NATIONAL – Medicare (Diagnostic Imaging and Radiation Oncology) modules.


Make sure you check out the BBC's cricket news feed below for up-to-the-minute cricket news headlines, results and breaking cricket stories.
Keep on top of the latest cricket news to help you make better live betting decisions.
Plus, don't forget to check out our other sports news feeds before visiting an online bookmakers website and placing that cricket bet!


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text:
Translation award honors Suh Ji-moon
Scholar given Korean Literature Translation Award for 'House with a Sunken Courtyard'
By Korea Herald
Published : Nov 18, 2014 - 20:59 Updated : Nov 18, 2014 - 21:58
When emeritus professor Suh Ji-moon first began translating Korean literature into English in the 1970s, she used to write by hand or use a typewriter, which required writing and retyping over and over again before submission.
Though times have changed, the prominent Korean scholar with a 40-year career in teaching, research and literary translation still admits that translating is difficult, often accompanied by frustration and distress. Yet, it is a fulfilling experience, just like a time-consuming and strenuous search for hidden jewelry.
Now, the 66-year-old scholar has received an award for her efforts. On Monday, Suh won the top prize at the 12th annual Korean Literature Translation Awards for translating Kim Won-il's "House with a Sunken Courtyard" into English. The award is given by Korea's state-run Literature Translation Institute of Korea.
"For me, the most difficult yet important aspect of translating is to help readers understand the context easily, while providing minimal information," said Suh during an interview with The Korea Herald before the award ceremony. "Deciding which and how much information is necessary to convey the right meaning is critical."
Suh believes that literature has to be fun. "Each sentence should carry charm and wit for the readers, and in order to do that, overcoming the cultural context is crucial," he said.
The winners of the 12th Korean Literature Translation Award pose for a photo at the news conference before the awards ceremony in Seoul, Monday. From left: Mahmoud Abdel Ghaffar, Cho Hee-sun, Suh Ji-moon, Im Yun-jung and Maria Kuznetsova. ( LTI Korea)
"Translating sentence by sentence alone cannot deliver the unique cultural context and rich traditions," the scholar added. "That is where the role of the translator's judgment comes in. Depending on the translator, the meaning of the context can change drastically."
"House with a Sunken Courtyard" is one of many works translated by Suh. She translated this story about the tumultuous lives of Koreans after the Korean War while she was going through the hardest time of her life in 2008, receiving chemotherapy after cancer surgery. For this reason, this award feels even more personal for her.
When asked what experiences contributed to her translation, she credits her experience of living in the U.S. for seven years during her graduate studies and research. More important was the literature that introduced her to different cultures and the English language at a young age.
"When I was in college, I enjoyed reading English literature so much, more than eating sometimes," Suh said with a smile. "Through literature, I learned about the roles of tradition and how people's consciousness is formed and developed into different cultures. It is important to understand other cultures in order to communicate my culture to them."
"Because amid all the cultural differences, I have to discover the common aspect of human nature and communicate it through literature," said Suh.
Suh agreed that though we live in a time when mass culture and popular literature prevail over pure literature, it is important to keep translating enriched Korean literature that is lesser-known in other countries. "It is very difficult for pure literature to become popular. Nevertheless, it is important to raise awareness that Korea is popular for not only K-pop but also Korean literature."
Four other translators shared the prize at the award ceremony on Monday. Russian scholar Maria Kuznetsova received an award for translating Lee Seung-woo's 2000 novel "The Private Life of Plants" into Russian. She stated that Russian people, with their fondness of philosophical works by authors such as Dostoevsky, will be able to connect when reading Lee's novel.
Korean scholar Cho Hee-sun, who currently teaches Arabic language and culture at Myongji University, and Egyptian scholar Mahmoud Abdel Ghaffar, who translated poet Ko Un's anthology "Abiding Places, Korea North and South," received the honor for cotranslating "A Journey to Seoul," poet Kim Kwang-kyu's poem collection, into Arabic.
Translator Im Yun-jung, who immigrated to Brazil at 10, received an award for translating Han Kang's 2007 novel "A Vegetariana" into Portuguese.
By Ahn Sung-mi (sahn@heraldcorp.com)

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text:
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The Communication Trust
Inspired by communication champions and best practice
Last Friday, a team of 25 judges came together to decide the results of this year's Shine a Light Awards.
This year Pearson Clinical Assessment and The Communication Trust, were once again incredibly lucky to have an exceptional panel of judges from across the education and speech and language sector.
We welcomed back past experts who now know our judging process extremely well, new members whose understanding of Augmentative and Alternative Communication (AAC) and local practices helped to inform and guide our decisions, and past Shine a Light award winners whose stories have clearly gone on to inspire others.
Secreted away in the basement with a supply of coffee and croissants, our three panels turned their attention to the unenviable task of deciding this year's winners and highly commended finalists. Tears and tantrums at the ready….!
There were certainly a few tears as we made our way through the shortlisted applications; and the applications that we read left many of us feeling humbled and inspired. We heard about the exceptional best practice taking place across England – strategic activities that have had demonstrable impact on students' lives; watched our young people nominees who have speech and language difficulties and have worked tirelessly to overcome them, inspire other young people and give back to those who have supported them; as well as exceptional innovative and community-based projects that have improved children's opportunities to learn, and helped them to participate fully in society.
For now, that is as much as I am going to tell you about this year's winners. We're keeping the results a secret and in true Oscars style announcing them on the 24th September. So make a date for your diary, and follow #SAL2015 on twitter, as we'll soon be shining a light on the outstanding work of these settings and individuals.
'time to talk' Countywide Conference 2014 - Guest Blog Post
This week's guest blog post is from Deborah Powers, Speech and Language Therapist from 'time to talk'.
'time to talk' were recipients of The Shine a Light Award 2013/14 for Children's Workforce. We caught up with them to see what other activities the team had undertaken since winning this prestigious award.
'time to talk' Countywide Conference
Following the success of previous years, we held a conference for this year and secured a top venue and some great speakers. The conference took place in November 2014 and we welcomed 70 Early Years and Children's Centres practitioners who are involved in implementing the 'time to talk' strategy across Warwickshire.
Celebrating the winners of the Shine a Light Awards
On the 3rd April, Pearson Assessment in partnership with The Communication Trust announced the results of the Shine a Light Awards 2013/14.
These awards, now in their third year aim to celebrate innovative work and excellent practice in supporting children and young people's communication development.
Shine a Light 2012 - a night to celebrate
It's hard to believe that just over a year ago we launched the first ever Shine a Light Awards as part of the Hello, national year of communication campaign. Now in their second year the Awards have proven to hold a special place in the industry; a fact recognised at last week's award ceremony.
After months of preparation, research into helium balloons, how to download acceptance videos and the inner workings of bubble machines...the hard work has paid off! On the 21 November over 120 individuals came together at 80 Strand, with celebrity host Paul Ross, to hear the results of this year's awards, which included exciting new categories such as Communication Champion and Youth Justice.
The Shine a Light Awards were established to honour individuals, teams, projects and communities which have demonstrated excellence in supporting the needs of all children and young people's communication, particularly those with speech, language and communication needs (SLCN). This year we were delighted to honour some of the following, including the nursery setting Haven 2000 Nursery Ltd as our Early Years' Setting of the Year, community‐wide Every Sheffield Child Articulate and Literate (ESCAL) for the Communication and 17‐year‐old Jack Fradgley as Young Person of the Year and winner of our Outstanding Achievement award. The look of surprise and delight on Jack and his families face is one to remember.
It was also a particular treat to honour Mr Tumble/Justin Fletcher as another Outstanding Achievement Winner, along with Jean Gross CBE, the government's Communication Champion during the national year.
There were many highlights at this years awards, but some particular moments stand out including Justin Fletcher aka Mr Tumble's acceptance video filmed at Justin's House, Jack Marshall - last years' young person of the year and a judge for 2012 - congratulation speech to this year's young person - inspiring is not a grand enough word, and of course some Shine a Light cupcakes!
Find out about this year's winners and highly commended finalists in our mini video, (many thanks to Tentacle Media for putting this together - amazing as always!), and reminder to look out for Shine a Light 2013! www.shinealightawards.co.uk
Shining a light on communication champions
The Shine a Light awards for the Hello, national year of communication have been a milestone mark in our calendars over the course of this year, and yesterday the inaugural event finally arrived!
On the 10th Floor of the Strand, over 120 people came together to celebrate their achievements and hear the anticipated results of their applications, submitted back in August. The setting offered fantastic views over the Thames where the lights from surrounding buildings and the London Eye lit up over the afternoon as the sun disappeared. We were also lucky to have a surprise celebrity host, TV and radio presenter Vanessa Feltz who brought to the ceremony enthusiasm and warmth for the subject, and worked to really make every award winner and finalist feel special.
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text:
Archives de Tag: Charles II
A life's passion: Incredible collection of vernacular antiques to sell at Bonhams Oxford
Posted by alaintruong2014 in Auctions, English Furniture
17th Century, bronze mortar, Burford, carved and polychrome-decorated oak heraldic finials, Charles I, Charles II, circa 1520-40, circa 1580-1600, circa 1583, Circa 1610, circa 1620, circa 1625, circa 1630-40, circa 1660, circa 1670, circa 1670-80, circa 1730-60, Edward Neale, Elizabeth I, English, Francis Keble, George II, Henry VIII, James I, Lancashire, late 16th-early 17th century, Mercer, North Wales, oak and inlaid court cupboard, oak and marquetry inlaid tester bed, oak boarded chest, oak joint stool, oak livery cupboard, oak panel-back open armchair, oak refectory table, oak six-leg refectory table, reeded broad-rim pewter charger, Somerset, West Country, Yelford Manor, yew-wood Cwpwrdd tridarn
OXFORD.– A fascinating selection of early vernacular furniture and works of art is to go under the hammer at Bonhams Oxford, in 'The Oak Interior: including the Collection of Roger Rosewell FSA of Yelford Manor, Oxfordshire', on 21 January 2015.
An impressive oak and marquetry inlaid tester bed, dating to the late 16th/early 17th century and estimated at £8,000-12,000, is a highlight of the sale, and comes from a 130-strong collection of pieces from Yelford Manor, former property of the medievalist and writer Roger Rosewell.
An impressive oak and marquetry inlaid tester bed. Elements late 16th-early 17th century. Estimate £8,000 – 12,000 (€10,000 – 15,000). Photo Bonhams.
The tester with six deep recessed panels, each within a carved and dentil-moulded frame and centred by applied geometric inlaid mounts, the headboard with a pair of finely arch-carved panels flanked by figurative terms, headed by delicate floral marquetry, inlaid initials RM over EM and the date 1605, each end-post with a large bulbous cup-and-cover turning supporting a strap-work carved tapering Corinthian pillar, all raised on stiff-leaf carved plinths,(mattress size 5ft x 6ft 2in); 169cm wide x 219cm deep x225.5cm high, (66 1/2in wide x 86in deep x 88 1/2in high)
Provenance: Purchased Mary Bellis Antiques, Hungerford, Berkshire, 17 September 1986.
Other items from Yelford Manor include:
A rare and impressive James I oak panel-back open armchair, Somerset, circa 1625. Estimate £6,000 – 8,000 ç€7,500 – 10,00). Photo Bonhams.
With notable back rack, the arch-enclosed ornately floral-carved back-panel below a characteristic deep and similar carved top-rail, the carved and pierced cresting of two well defined scrolls, the back-uprights each carved with a single stylized stiff-plant above the downswept arm, the boarded seat with moulded edges wrapping around the underarm supports, the seat-rails typically carved with lunettes, raised on inverted-baluster turned legs joined by plain stretchers,72cm wide
Provenance: Purchased Mary Bellis Antiques, Hungerford, Berkshire, 15 November 1982.
Literature: A near identical chair illustrated Victor Chinnery,Oak Furniture: The British Tradition, (1993), p. 455, fig. 4:81; and a similar example, fig. 4:82. The author makes reference to the enriched arch found here and in general the high-quality carved furniture to be found in the area, which may be attributed to the cathedral city of Wells, or more likely to nearby larger regional centres such as Bristol. See pages 454 – 457.
See also Oak Furniture from Gloucestershire and Somerset, exhibition catalogue, St. Nicholas Church Museum, 2 April – 1 May 1976 and Stable Court Exhibition Galleries, Temple Newsam, Leeds, 12 May – 12 June 1976, (nos. 20 & 21).
A James I oak and inlaid court cupboard, circa 1620 and later. Estimate £3,000-5,000 (€3,800 – 6,300). Photo Bonhams.
The strap-work carved frieze to three sides, raised on Ionic capital cup-and-cover turned column supports each profusely leaf carved, enclosing a pair of cupboard doors each with complex geometric line inlaid decoration within a deep cushion moulded S-carved frame, the conforming central fixed panel centred by an ebonized boss, a pair of triple-panelled cupboard doors below, each with lunette-filled carved upper panel and two knot-pattern inlaid panels, the knot-pattern design repeated on the top side panels, restorations 141.5cm wide x 54.5cm deep x 167.5cm high,(55 1/2in wide x 21in deep x 65 1/2in high)
Provenance: Purchased Mary Bellis Antiques, Hungerford, Berkshire, 18 October 1984.
Literature: This cupboard is illustrated Percy Macquoid, A History of English Furniture – The Age of Oak, (1925) p. 153, fig. 127. It is noted as the property of Messrs. Gill and Reigate, and dated to 1618.
A large, finely cast and important Commonwealth leaded bronze mortar, dated 1659, made for Francis Keble of Burford, Mercer [1637 – 1686], by Edward Neale of Burford [fl. c. 1640 – 1695]. Estimate £8,000 – 12,000 (€10,000 – 15,000). Photo Bonhams.
The rim with wire mouldings above a band of delicate 'S'-scrolls and crosses, above the maker's mark for Edward Neale, a chevron between three bells, flanked by the initials 'EN', between a pair of angular bead-embellished lug handles, above further wire mouldings and the inscription 'I WAS MADE FOR FRANCIS KEBLE 1659', all spaced by a line of three triangular pellets, two cord mouldings below, the foot with recessed flange, 36.5cm rim diameter x 27.5cm high (14 3/8in rim diameter x 10 13/16in high)
Provenance: – Francis Keble of Burford [1637 – 1686]
– Thence to the collection of J. H. Fitzhenry, Esq. [d. 1912]
– Sold Christie's, 18th – 24th November 1913, Lot 603, and purchased by a Mr Sutton
– Thence acquired by Arthur G. Hemming, chemist and scholar of English mortars, before 1929
– Sold Sotheby's, 22nd April 1988
– Thence to the collection of John Fardon, and soldChristie's, 1st May 1996, Lot 239
– Thence to the collection of Michael Finlay
– Purchased by the current vendor in November 1997
(one of six named and dated 17th century English mortars in Mr. Rosewell's collection)
Exhibited: – With the Victoria & Albert Museum, 1892 – 1902 (on loan from the Fitzhenry Collection)
Illustrated: – Arthur G. Hemming, 'Dated English Bell-Metal Mortars', in Connoisseur (March, 1929), 166, No. IX.
– P. Hornsby, Collecting Antique Copper & Brass (1989), p. 14, Figure 6.
– M. Finlay, 'Who was Francis Keble?, in The Journal of the Antique Metalware Society Volume 7 (June, 1999), 35 – 38.
– M. Finlay, English Decorated Bronze Mortars & their Makers (2010), Colour Plate 6a.
Francis Keble of Burford: Francis Keble's biographical details are discussed in Michael Finlay's 1999 article (cited above). Francis Keble is believed to have been born to Toby and Mary Kibble and baptised on 24th August 1637 at All Saints, Gloucester. His parents were probably the Toby Kibble and Mary Purnell who married on 21st August 1636 in Gloucestershire, parish unknown. Given that Francis Keble was buried at Eastleach in 1686, and left a bequest to the poor of that parish by his will, it is likely that he was born and/or raised there, and was thus a member of the Keble family who resided in that parish, and the surrounding parishes of Lechlade, Southrop and Fairford. John Keble, after whom Keble College, Oxford is named, was born at Fairford, and would later become curate of St. Michael's and St. Martin's Church in Eastleach Martin.
Francis Keble married Sarah Bartholomew, the daughter of one of Burford's leading citizens and mercers, in February 1658. They lived in what is now called Wysdome House on the main street in Burford. Apparently childless, Francis Keble willed the bulk of his property – after bequests – to his wife, Sarah, who survived him by some seventeen years, dying in 1703. Her name is recorded on the Bartholomew memorial tablet in the church at Burford.
A rare Henry VIII oak boarded chest, circa 1520-40. Estimate £3,000-5,000 (€3,800 – 6,300). Photo Bonhams.
The lid and frieze with applied edge moulding to imply panelled construction, whilst taking account the position of the lock-plate, the pointed-arched apron with leaf-and-berry carved spandrels, 147.5cm wide x 48.5cm deep x 74.5cm high, (58in wide x 19in deep x 29in high)
Literature: A virtually identical, but smaller example, from the Lygon Arms, Broadway, Worcestershire, illustrated R. Edwards, Dictionary of English Furniture, (1986), Vol. II, Fig. 15.
An English mid-16th century oak boarded chest with leaf-carved frieze, comparable to the spandrel carving found here, sold Sotheby's, 'The Clive Sherwood Collection', 22 May 2002, Lot 70, (£8,460).
A Charles I oak six-leg refectory table, possibly West Country, circa 1630-40 and later. Estimate £4,000-6,000 (€5,000 – 7,500). Photo Bonhams.
Having a triple boarded cleated top, the front frieze carved with lunettes and with integral scroll shaped spandrels, raised on bulbous and flattened ball-turned legs, joined by plain stretchers, each front upper leg block unusually carved and with the turned feet still partly intact, replacements, 287cm wide x 72.5cm deep x 80cm high, (112 1/2in wide x 28 1/2in deep x 31in high)
Provenance: Purchased Mary Bellis Antiques, Hungerford, Berkshire, 22 February 1983.
Literature: Cescinsky & Gribble, Early English Furniture and Woodwork, (1922), Vol. II, p. 115, illustrates a refectory table of similar date with carved upper leg blocks to each front leg, (fig. 143), and another refectory table, (fig. 144), with a comparable carved frieze as found here.
Yelford Manor is a timber-framed, late-15th-century, Grade II listed property that has only had five owners in 500-odd years. Practically derelict by the 1950s, it was sold to and rescued by Oxford professor Bernard Babington Smith OBE. Nowadays Yelford Manor has been extensively renovated by its recent owner, the medievalist and writer Roger Rosewell who, in 1984, heard that Professor Babington Smith was thinking of selling, went to see the house and bought it the very same day.
A staunch supporter of the SPAB (Society for the Protection of Ancient Buildings) and its principles of 'conservative repair', Mr Rosewell spent the next 16 years gradually restoring the roof, removing modern partitions to open up the first floor, installing new plumbing and heating systems, and creating an enclosed courtyard with a cloister linking a 19th-century dairy block to the house. Mr Rosewell also laid out Yelford's exquisite landscaped gardens.
As Mr. Rosewell writes in his introduction to the sale, one of his life's great passions from a young age has been medieval art, including timber-framed houses and their interiors. Having purchased Yelford Manor, he writes: "Over the next thirty years I scoured antiques shops finding pieces of sixteenth and seventeenth-century furniture which would complement the house and create a marvellously evocative and inspirational atmosphere in which I could write books about medieval wall paintings and stained glass, collect contemporary objects, such as mortars, and design intricate Elizabethan-style knot gardens and parterres.
Despite the age and rarity of many items, the house was always a home, not a museum. We ate at the refectory table daily; I told my children stories in the imposing four poster bed every morning before they went to school; coffers, such as the late medieval and almost sculptural, iron bound 'standard' chest housed our library of maps and Michelin guides."
In the main body of the sale are a further 500-plus lots, ranging from furniture to metalware and textiles. Two rare items dating to the reign of Elizabeth I are on offer; an oak joint stool, circa 1580-1600, is estimated at £7,000-10,000, and an oak livery cupboard, circa 1583 and later, carries an estimate of £4,000-6,000.
A rare Elizabeth I oak joint stool, circa 1580-1600. Estimate £7,000 – 10,000 (€8,800 – 13,000). Photo Bonhams.
The seat with a double reeded and thumb-moulded edge, the rails carved with lunette-shaped stylized foliate motifs over a gauge-carved lower edge, each leg with deep gadrooned-carved parallel-baluster turning over a plain linear-incised ball, united by stretchers with fine central run-moulding to each outer face, on turned feet, 46cm wide x 27.5cm deep x 57cm high, (18in wide x 10 1/2in deep x 22in high)
his particular design of joint stool belongs to a small select group of other known examples, which all exhibit similar lunette fan or foliate-carving to the frieze-rails, along with the distinctive deep gadrooned-carved legs. One such example sold, Sotheby's, 'The Clive Sherwood Collection', 22 May 2202, Lot 189, (£12,300); another Sotheby's, 'Nyetimber Manor', 27 September 2001, Lot 1080, (£3,600). A further example Sold Sotheby's, 'The Shaw Collection', 13 September, 2006, Lot 42, (£13,800), and was formerly in the 'Mary Bellis Collection', sold Christie's, 21 May, 1987, Lot 205.
Literature: Tobias Jellinek, Early British Chairs and Seats 1500 to 1700, pp. 218-219, pl. 271 and 272. Victor Chinnery,Oak Furniture: The British Tradition, (1993), p. 184, fig. 2:207.
Illustrated: Essentially English: The Renaissance in Tudor, Elizabethan and Jacobean England, Beedham Antiques Ltd., BADA 90th Anniversary Exhibition Catalogue.
A rare Elizabeth I oak livery cupboard, circa 1583 and later. Estimate £4,000-6,000 (€5,000 – 7,500). Photo Bonhams.
With six cupboard doors, each typically of boarded construction, with applied heavy edge mouldings to simulate framed panels, further decoration to all upper doors in the form of deep gauge-carving and simple punched-decoration to all mouldings, along with linear interlaced-inlay, which is centred to the left-hand door with the initials F A and to the right with the date 1583, both inlaid in mastic-composition, restorations, 143.5cm wide x 45cm deep x 135cm high, (56in wide x 17 1/2in deep x 53in high)
Further items include:
A Charles II oak refectory table, circa 1660. Estimate £5,000-7,000 (€6,300 – 8,800). Photo Bonhams.
Having a removable triple boarded cleated top, each frieze-rail with pairs of stained run-mouldings and all with scroll-cut spandrels, the long frieze also with a conforming centralapron, raised on ring-turned legs, joined by plain stretchers,286cm wide x 81cm deep x 75cm high, (112 1/2in wide x 31 1/2in deep x 29 1/2in high)
Provenance: Purchased Beedham Antiques Ltd., Charnham Close, Hungerford, Berkshire, November 1990, (£18,775). Sold with a copy of the original receipt.
The top of this table appears never to have been fixed in place. Instead, two of the upper leg blocks, at opposing corners, have a small integral raised extension which locates into a cut-out on the underside of the top. It appears to have been unusually made this way.
It is also worth noting how the lower-edge moulding on each frieze takes account the positions of the spandrels and central apron; it stops above each decorative device.
An exceptionally large and rare 17th century reeded broad-rim pewter charger, English, circa 1670. Estimate £6,000-8,000 (€7,500 – 10,000). Photo Bonhams.
The rim engraved with the mantled arms of BORLASE, ermine, on a bend sable, two arms armed issuing out of the clouds argent, rending a horse-shoe or, the augmentation of a baronet being an inescutcheon, a sinister hand erect couped at the wrist and appaumé, within a mantling, and engraved with the mantled crest of BORLASE, on a wreath a wolf passant regardant argent, in the mouth an arrow or, vulning the neck, hallmarks to the front rim of Stephen Lawrance, London, working (1661-1708), (OP5729, PS5729), rim diameter 4 3/4in., 12cm, overall diameter 28 1/2in., 72.4cm, (33%)
Provenance: Engraved with the arms of Sir John Borlase (1619 – 72), first Baronet of Bockmer, Buckinghamshire, or his son Sir John Borlase (1640 – 89), second Baronet.
Ex. Carl Jacobs Collection.
Possibly Ex. Isher Collection.
Literature: Discussed in an article written by Dr Robinson, Journal of the Pewter Society, Vol. 4, No. 2, Autumn 1983, p. 40. It is described as exceptional. A further Journal article, Vol. 28, Autumn 2008, p. 3 – , co-written by Dr. Robinson, lists all current known chargers with a diameter of 23in., or above. This lot is listed as the joint fifth largest example. It remains the largest recorded charger in private hands, and is possibly the largest 17th century pewter charger which has not been altered.
The survey lists the following larger examples:
36 1/8in example in the Fitzwilliam Museum, Cambridge, made by extending the rim of a 29 1/4in charger.
34 3/8in example in the Colonial Williamsburg Museum, Virginia, again possibly made by extending the rim of a smaller charger.
30in 19th century example, whose present whereabouts are unknown, but is noted in an original list made by Dr. Robinson in 1977.
A 19th century oval example, 36in x 23in.
A Romano-British example, the same size as this lot.
The survey records five other chargers by Stephen Lawrance I; diameters 25 1/4in; 23 1/2in and two 23in.
The Borlase Baronets of Bockmer: The baronetcy of Borlase of Bockmer existed from its creation in 1642 to its extinction on the death of the second baronet without an heir in 1689.
The first Baronet, Sir John Borlase, was born at Littlecote House, the son of Sir William Borlase and his wife Amy Popham, daughter of Sir Francis Popham. In April 1640, Borlase was elected Member of Parliament for Great Marlow in the Short Parliament. His re-election as MP for Marlow to the Long Parliament in November 1640 was declared void after a dispute. Instead Borlase was returned as MP for Corfe Castle in 1641. On 4 May 1642, he was created baronet of Bockmer, in the County of Buckingham. He was disabled from sitting for his Royalist tendencies in 1644. In 1645, he was imprisoned by order of Oliver Cromwell, but released for a fine of 2400 £ a year later. After the Restoration, Borlase represented Wycombe in the Cavalier Parliament from 1661 until his death in 1672. Borlase died, aged 52 in Bockmer in Buckinghamshire and was buried in Little Marlow four days later. Borlase married Alice Bancks, daughter of Sir John Bancks, Lord Chief Justice of the Court of Common Pleas, at St Giles in the Fields, London on 4 December 1637. They had seven children, six daughters and one son. He was succeeded in the baronetcy by his only son John.
John Borlase, 2nd Baronet, succeeded his father as Baronet in 1672. In 1673, he entered the House of Commons as MP for Wycombe, representing the constituency until 1681. Borlase died unmarried and was buried in Stratton Audley in Oxfordshire. With his death the baronetcy became extinct.
Both baronets lived at Bockmer in Buckinghamshire, which their family had possessed since the mid-16th century. Their estates included the manor of Stratton Audley, Oxfordshire and Davers in Little Marlow, Buckinghamshire. William Borlase was knighted by James I in 1603, and founded the Borlase School in 1624 as a memorial to his eldest son. Sir John Borlase, First Baronet, was married to Alice (1621 – 1683), eldest daughter of Sir John Bankes. Van Dyck painted her portrait and that of her husband, Sir John. Tradition has it that they entertained Charles II and Nell Gwyn at Bockmer in 1665.
A rare George II yew-wood Cwpwrdd tridarn from North Wales, circa 1730-60. Estimate £5,000-8,000 (€6,300 – 10,000). Photo Bonhams.
Typically in three parts, the open-canopy with baluster-silhouette side slats and baluster-turned column-supports, the middle-section having a triple tablet and pendant-hung frieze, enclosing a pair of recessed flattened ogee-arched cupboard doors later centred by an open mirror-backed recess, over three drawers and a pair of conforming cupboard doors centred by a fixed pointed-arched fielded panel, 144cm wide x 52cm deep x 143cm high, (56 1/2in wide x 20in deep x 56in high)
It is exceptionally rare for a Cypwrdd tridarn to be constructed in yew-wood, rather than using traditional oak. Even the drawer-linings and backboards found here are made in yew.
A rare pair of James I carved and polychrome-decorated oak heraldic finials, circa 1610. Estimate £7,000-10,000 (€8,800 – 13,000). Photo Bonhams.
Each beast modelled as a sejant erect supporter with pricked ears, realistically rendered argent fur with or spots, with delineated ribs and musculature, and erect phallus, seated on a hemisphere, each with tail curved over a haunch, and holding between each paw a scroll-ended cartouche with sunken oval centre, one painted with the coat of arms of WARREN, chequy or and azure, the other lacking paint,51cm high, (2)
These finials – modelled as beasts with square, canine features, and without protruding lower incisors – are not the same as, but bear close relation to, the leopard finials that adorn both the staircase and Great Hall screen at Knole, the home of the Sackvilles in Kent, built between 1605 and 1608, during 're-edifying' works undertaken by Thomas Sackville, 1st Earl of Dorset.
The current decorative scheme of these finials was revealed after the removal of several layers of paint, but it is entirely possible that the paint remaining is not the original. It is thus difficult to determine for whom these finials were made, where they stood or, indeed, exactly which beast they represent. In heraldry, few beasts are tinctured as they are here, with yellow or gold spots [the heraldic tincture or] against white or silver [argent] fur. Leopards, the most likely candidate, are usually tinctured with a non-metallic colour in combination with a metallic one and are often, like the Sackville leopards, more feline in appearance. The panther, more dog-like, is rendered with spots in a variety of colours, and with flames issuing from its mouth and ears.
The painted coat of arms – chequy or and azure – is that of WARREN, earlier DE WARRENE. This family had become extinct by the 17th century, but their coat of arms was quartered by their descendants, most notably the Howards. Thus, chequy or and azure was one of the quarterings of the arms of Anne Boleyn when she was made Marchioness of Pembroke, and her dexter supporter was a leopard. In the later 16th and 17th centuries, the Howard Dukes of Norfolk and the Howard Earls of Surrey and Arundel quartered these arms with their own. If these finials were used as part of a decorative scheme in one of the many Howard properties which were re-modelled or newly built in the 17th century – the most notable of these being Northampton House, Audley End and Arundel House – the other finials would have to have been painted with different quarters, in order for the staircase, taken as a whole, to display the owner's entire coat of arms. A 19th century Gothic staircase at Arundel Castle, which was razed during the Civil War in 1644, shows different quarters of the Howard arms on different finials. One of them bears the arms of WARREN.
A rare pair of Charles II oak joint stools, Lancashire, circa 1670-80. Estimate £5,000-8,000 (€6,300 – 10,000). Photo Bonhams.
Of elongated form, each seat with thumb-moulded edge, unusually carved to just one long frieze-rail with interlaced and leaf-filled lunettes, the remaining rails all with channel-moulded lower edge, raised on elongated ball-turned and gently splayed legs, joined by plain stretchers, 60.5cm widex 28.5cm deep x 55.5cm high, (23 1/2in wide x 11in deep x21 1/2in high) (2)
Provenance: Each with former stock label which probably refers to H. W. Keil, Broadway, Worcestershire.
Although the majority of joint stools were possibly made in sets of six or more it is now relatively scarce to find more than a single example from a larger set. This pair are rarer still for their elongated proportions and carving to just one frieze-rail. The fine straw-colour, to the underside of the seat and the rear of the frieze-rails should also be noted; a distinctive feature often found on the underside of late 17th century seat furniture from Lancashire and the surrounding areas.
Christie's to offer a varied array of rare and beautiful masterpieces from across the ages
13 jeudi Nov 2014
Posted by alaintruong2014 in Chinoiserie, European Ceramics, Old Master Paintings, Silver, Gold Boxes & Objects of Vertu
1713-1717, 1776-1777, Apostle Spoon, Augsburg, Charles II, Charles Louis Fouché, circa 1686-1690, circa 1750, circa 1790, Dresden, Emperor Napoleon I, English Delft, Etruscan -style, Frédéric Dubois, German silver, Henry VII Parcel-Gilt Silver, Jean-Laurent Mosnier, Johann-Christian Neuber, John Smart, Joseph-Etienne Blerzy, Lisbonne, Lord Rothschild Collection, Louis XVI, Mayer Carl von Rothschild, Meissen, Paul Gerhard Zachoun, Peter Rahm, Pierre-Nolasque Bergeret, Portuguese faience, Richard Edgcumbe, Robert Garrard, Robert King, Romsey/Ashburnham gold spoon, Rundell Bridge and Rundell, Saxon Snuff Box, Sèvres, snuff box, St. John, Swedish enamelled gold, temple table centerpiece, wall-sconce, William and Mary silver
Saxon Snuff Box, Johann-Christian Neuber. Photo: Christie's Images Ltd 2014.
LONDON.- Christie's Centuries of Style sale on 25 – 26 November 2014 will offer collectors a varied array of rare and beautiful masterpieces from across the ages. Comprising 497 lots, including Silver, European Ceramics, Portrait Miniatures and Gold Boxes, the sale is expected to realise in excess of £3 million.
GOLD BOXES
The auction showcases a fine selection of gold boxes from the 18th and 19th centuries, each displaying outstanding craftsmanship from celebrated European goldsmiths. Of particular note is an important Saxon gold-mounted stein-cabinet snuff-box by Johann-Christian Neuber circa 1790 (estimate: £150,000-200,000). This exquisite lot demonstrates the skill and imagination with which Neuber employed the technique of zellen mosaic lapidary, utilising hardstones that were mined in Saxony, to international acclaim.
An important Saxon gold-mounted stein-cabinet snuff-box by Johann-Christian Neuber (1736-1808), Dresden, circa 1790, struck with a later French guarantee mark for small items. Estimate: £150,000-200,000 ($238,800 – $318,400). Photo: Christie's Images Ltd 2014.
rectangular box with rounded corners, the cover, sides and base inlaid with 48 numbered rectangular specimens of semi-translucent and opaque Saxon hardstones, including a variety of agates, carnelian, jasper and amethyst mountedà jour within narrow peaked gold bands, the cover numbered 1 to 9, the sides numbered 10 to 39 and the base numbered 40 to 48, within chased gold borders;3 5/8 in. (90 mm.) wide
Notes: Johann-Christian Neuber (1736-1808) and his father-in-law, Heinrich Taddel are credited with the development of the technique Zellen mosaik lapidary, in which hardstone panels are suspended à jour within a fine geometric cagework of gold. This technique, which is similar to creating cloisonné enamel, is highlighted by the juxtaposition of opaque and translucent panels in the present box.
Born in Neuwunsdorf on 7 April 1736, Johann-Christian Neuber was apprenticed at the age of seventeen to Johann Friedrich Trechaon. On 13 July 1762 he became a master of the goldsmith's guild in Dresden, and in 1769 he succeeded his father-in-law Heinrich Tadell as director of the Green Vaults. By 1775 he had been appointed Hofjuwelier to the court of Friedrich Augustus III.
In an advertisement in the Journal der Moden of April 1786, Neuber praised his stock-in-trade which sold 'at the cheapest prices', and the present box must have been in the category of 'boxes for gentlemen and ladies, as stone-cabinets, mounted in gold and lined with gold, of all Saxon country-stones, such as carnelians, chalcedonies, amethysts, jaspers, agates and petrified wood, numbered, together with an inventory of names, and where they can be found; a box for gentlemen (Manndose) costs 150-300 Reichsthaler, a box for ladies (Damesdose) 90-150 Reichsthaler', W. Holzhausen, Johann Christian Neuber, ein sächsischer Meister des 18. Jahrhunderts, Dresden, 1935, p. 12.
Neuber sometimes provided an accompanying handwritten specification booklet with his boxes which would list the stones used in the construction of the box and the geographical areas from where the stones were collected or could be found. The engraved number above each panel would correspond to the number in the booklet. The stones used in the present example are identified below:
The cover; 1 Jasper, 2 Psaronius, 3 Banded agate, 4 Quartz agate, 5 Agate, 6 Agate, 7 Jaspilite, 8 Jasper, 9 Petrified wood
The sides; 10 Agate, 11 Petrified wood, 12 Agate, 13 Psaronius, 14 Banded agate, 15 Agate, 16 Jasper, 17 Agate, 18 Agate breccia,
19 Gand stone, 20 Amethyst, 21 Agate, 22 Jasper, 23 Jasper, 24 Agate, 25 Jasper, 26 Agate, 27 Agate, 28 Jasper, 29 Jasper,
30 Agate, 31 Jasper, 32 Agate, 33 Petrified wood, 34 Amethyst, 35 Banded agate, 36 Petrified wood, 37 Petrified wood,
38 Jasper, 39 Agate
The base; 40 Jasper, 41 Quartz, 42 Jasper, 43 Petrified wood, 44 Jasper, 45 Moss agate, 46 Agate, 47 Hornstone, 48 Jasper
Of distinguished provenance is a beautifully decorated Louis XVI snuff-box by renowned Parisian goldsmith Joseph-Etienne Blerzy, previously in the collection of Mayer Carl von Rothschild (estimate: £80,000-120,000).
A Louis XVI enamelled gold snuff-box by Joseph-Etienne Blerzy, Paris, 1776-1777, previously in the collection of Mayer Carl von Rothschild. Estimate: £80,000 – £120,000 ($127,360 – $191,040). Photo: Christie's Images Ltd 2014.
oval box, the cover, sides and base with panels of guilloché enamel painted to simulate ocelot fur within opaque white enamel frames and beading, with translucent red and green enamel berried foliage outer borders and similarly decorated pilasters, the cover centred with an oval enamel plaque depicting Jason taking leave of King Pelias, after Le Brun; 3¼ in. (83 mm.) wide
Provenance: Mayer Carl von Rothschild (1820-86), Frankfurt to his daughter Emma Louise (1844-1935) who married her cousin, Nathaniel Mayer of the London branch, the first Lord Rothschild and then by descent to Victor, 3rd Lord Rothschild by whom sold
The Lord Rothschild Collection, Christie's, London, 30 June 1982, lot 32.
Literature: Included in an inventory of the collection of Freiherrlich Carl von Rothschild at his house at No. 15 Untermainkai, Frankfurt.
In translation the description reads:
127 Ditto (i.e. an oval gold and enamel box), ground in speckled tiger skin colour. Edges in polychrome enamel, the centre an enamel, suspended from a green ribbon, depicting 'farewell scene of a Turk'. 8 cm long, 6 cm wide.
Notes: Lord Rothschild's collection of gold boxes was inherited principally from Baron Carl von Rothschild of Frankfurt. On Baron Carl's death in 1886 his remarkable collection, housed in his mansion at Untermainkai in Frankfurt, was divided amongst his five daughters, the second of whom, Emma Louise, married Nathan Mayer, 1st Lord Rothschild. The boxes and other works of art, augmented by the inheritance of Lady Rothschild's father-in-law, Baron Lionel de Rothschild, were housed at 148 Piccadilly. The contents of 148 Piccadilly were sold in 1937, but the boxes were retained by Lord Rothschild and subsequently sold in these rooms 30 June 1982. They formed an important group of the finest examples of the works of the great Paris goldsmiths of the 18th century and also exceptional boxes from Germany, Austria and Switzerland, and reflected both the range and quality of the taste for so long associated with the Rothschild family. See the essay by P. Shirley , 'The Rothschilds as Collectors of Gold Boxes' in ed. T. Murdoch and H. Zech, Going for Gold , London, 2014, pp. 236-7. We are grateful to the Rothschild Archive for allowing access to the Untermainkai inventory.
The auction also features a spectacular Swedish enamelled gold snuff-box by Paul Gerhard Zachoun (estimate: £100,000-120,000) offered directly from a descendent of Charles Louis Fouché, 6th Duc d'Ortrante. Swedish gold boxes displaying this standard of quality rarely come to market and this is an exceptional example of the craft that existed among the very few goldsmiths that were working in Stockholm during this period.
A spectacular Swedish enamelled gold snuff-box by Paul Gerhard Zachoun (Fl. 1753-1784), marked, Stockholm, 1764, from a descendent of Charles Louis Fouché, 6th Duc d'Ortrante. Estimate: £100,000-120,000 ($159,200 – $191,040). Photo: Christie's Images Ltd 2014.
rectangular box, the cover, sides and base each decorated en plein with putti playing musical instruments amidst floral sprays and garlands in translucent blue basse taille enamel against an engine-turned gold ground, the borders chased with scrolls, with slightly raised integral thumbpiece, in original tooled red leather case;2¾ in. (70 mm.) wide
Provenance: Charles Louis Fouché d'Otrante, 6th Duc d'Otrante (1877-1950).
Thence by family descent to the present owner.
Notes: Another Swedish snuff-box by Andreas Almgren, Stockholm, 1759, with very similar chasing and basse taille enamel decoration is in the Rosalinde and Arthur Gilbert Collection on loan to the Victoria and Albert Museum, LOAN:GILBERT.329-2008. The use of basse taille enamels appears to have been popular in Stockholm during this period. Other examples of gold boxes which utilise the technique include boxes by Frantz Bergs, goldsmith to the King, Frederick Fabritius and Anders Zachoun. The process involves chasing or engraving metal in low relief and then applying translucent enamels to the design to produce a richness and subtlety of tones. Gold boxes made in Stockholm in the eighteenth century were particularly susceptible to the strong influence emanating from the goldsmiths of Paris. The high quality of their execution, the equal of many French boxes, show that the goldsmiths working in Sweden were clearly outstandingly skilled craftsmen.
EUROPEAN CERAMICS
The European ceramics section offers a range of English and European pottery and porcelain including a Portuguese faience bottle dated 1635 (estimate: £4,000-6,000) and an unusual group of English delft drug-jars (estimate: £2,000-3,000).
A Portuguese faience polychromed dated bottle, 1635, Lisbonne. Estimate: £4,000-6,000 ($6,368 – $9,552). Photo: Christie's Images Ltd 2014.
The oviform body painted in blue and enriched in yellow with a crowned lion passant to the right holding a key, within a wreath above the date 1635, the reverse with stylised Oriental flower-sprays and foliage, the loop handle with a band of stylised leaves, on a short spreading foot (replacement handle, restoration to neck and footrim, glaze crazing and hairline crack to body); 11 in. (28 cm.) high
Notes: The present lot is an important addition to a small group of early 17th century Portuguese faience and appears to be the earliest dated piece of polychrome decorated Portuguese faience that we know of. Portugal became one of the leading trading centres through which Chinese porcelain was disseminated in Europe from the late 15th and 16th centuries. Some of the earliest porcelain commissioned by Europeans in China include pieces decorated with the coat-of-arms of King Manuel I and the Portuguese royal coat-of-arms. Portuguese naval and trading dominance was not to last however, following the rise of the Dutch East Indies Company (the V.O.C.) in the early 17th century. The V.O.C. transported large quantities of Chinese blue and white porcelain to Europe, dominating trade in the East. Portuguese potters took this as an opportunity to produce their own unique interpretations in faience using traditional motifs from Chinese Wanli and Transitional period blue and white porcelain. Motifs such as Buddhist emblems, 'precious objects' and stylised flowers and foliage were used by Portuguese potters in combination with exotic animals and coats-of-arms intended for a European market.
The earliest recorded piece of Portuguese faience is a bowl, dated 1621 in the collection of the Museu Nacional de Soares dos Reis, Porto which is decorated in blue with panels of flowers and Chinese scrolls, see João Pedro Monteiroet. al., Oriental Influence on 17th Century Portuguese Ceramics, Exhibition Catalogue, Museu Nacional do Azulejo, Lisbon, 20 July – 16 October 1994, p. 60, Cat. No. 6. The present lot predates the earliest recorded piece of Portuguese polychrome faience, a ewer dated 1638, see João Pedro Monteiro et. al., Ibid., 1994, p. 102, Cat. No. 55. A pewter-mounted armorial bottle of similar form is illustrated by Annika Martens, Porzellan, Fayence, Majolika, Berlin, 2012, p. 391, table XXXI. The crowned lion passant holding a key appears to be unrecorded. The lion motif is used as both a decorative and armorial device on Portuguese faience and can be seen on faience decorated with the arms of the Da Silva family and other noble Portuguese families.
Three English Delft blue and white drug-jars, circa 1760, probably London. Estimate: £2,000-3,000 ($3,184 – $4,776). Photo: Christie's Images Ltd 2014.
The sale also includes a collection of colourful trompe l'oeil English porcelain boxes (estimates ranging from £1,000-1,500 to £5,000-8,000) and a group of boldly decorated botanical wares (estimates ranging from £2,500-4,000 to £3,000-5,000).
Exemplifying the quality and breadth of extraordinary ceramics in the sale is a spectacular Meissen temple table centerpiece, circa 1750 (estimate £30,000-50,000), which is a very rare survival. This classical temple made from porcelain is decorated with military trophies which likely allude to the original owner's military success. By the second quarter of the 18th century porcelain had replaced sugar as the material of choice for table decorations as it was suitably expensive but more durable. Previously sugar-paste was moulded to create all manner of table decorations including figures, temples and even gardens and carriages. Centerpieces were usually designed to mark important state or ceremonial occasions, and they frequently depicted mythological or military themes.
A Meissen temple table centerpiece, circa 1750 and later, blue crossed swords marks, one section with blue crossed swords, star and ii mark, three balustrades with incised letters, the wooden base perhaps 19th century. Estimate: £30,000-50,000 ($47,760 – $79,600). Photo: Christie's Images Ltd 2014.
Of arched rectangular form, with four arches surmounted by tied palm branches, resting on rectangular supports each formed as two corinthian columns and pedestal bases marbled in puce surmounted with military trophies on scroll supports, linked by a pierced balustrade, the centre with a silvered military trophy, enriched in gilding, on a stepped giltwood and ebonised base (areas of restoration and replacement, some retouching and in-filling to wooden base);29 in. (73.7 cm.) high
Notes: The role of the porcelain centrepiece in 18th century Germany was to impress and it would have formed the central part of the table decoration for a grand dinner or celebration, particularly for the dessert. The centrepiece would have been flanked by a series of figures, groups, flowers, fruit and architectural features made from an endless variety of materials and forming an elaborate display down the centre of the table. See Ulrich Pietsch and Claudia Banz (ed.)Triumph of the Blue Swords Meissen Porcelain for Aristocracy and Bourgeoisie 1710-1815, Dresden, 2010, p. 127, for a drawing of the 'Confect Aufsaz zur Mittags Taffel' showing the design for the dessert mounted in Warsaw on 8th February 1736 for the celebration of Empress Anna Ivanova's birthday (this and further drawings are held in the Sachsisches Hauptstaatarchiv, Dresden).
The Hof-Conditorey or Court pantry was responsible for the table decorations at the Saxon Court and they specialised in both designing and producing the ceremonial dessert. Alongside a skilled team of chefs they produced spectacular pastillage table decorations, see Maureen Cassidy-Geiger, 'Hof Conditorei and Court Celebrations in 18th century Dresden', International Ceramics Fair Catalogue, London 2002, pp. 20-35 for a full discussion. Originally central table decorations had been produced in sugar or a sugar based dough and the skill of the chefs was a long standing tradition in the European courts but it was not until 1744-48 that Meissen figures were used on the table and these proved more durable than their sugar counterparts.
The earliest porcelain temples were commissioned around 1727-1728 as decoration for the interior of the Japanese Palace. They were almost certainly inspired by the Temple of Venus erected in the Grosser Garten in Dresden in 1719 during the Venus festival for the wedding of the son of Augustus the Strong, the Crown Prince Augustus to the Hapsburg Princess Maria Josepha, daughter of Joseph I of Austria, held on 23 September 1719. These wedding celebrations were very influential across Europe and formed the basis for celebrations twenty years later for their own children. For a full discussion of porcelain temples and their uses see Patricia F. Ferguson, 'Felbrigg's folly: the Meissen 'Temple of Honour' in Dresden,' Apollo supplement, Historic Houses and Collections Annual, 2010, pp. 12-17. Porcelain temples were first documented for use as Tafel-Aufsatz in 1747 for the wedding celebrations of Augustus III's children. The first example mentioned is in an account of the state dinner held to mark the marriage of Princess Maria Josepha of Saxony to the Dauphin of France in early 1747. The temple was dedicated to Apollo and set in a classical landscape with allegorical figures and the temple's porcelain columns alluded to Versailles and the French royal court. Two more of Augustus III's children were married the same year and both celebrations involved temples: for Maria Anna Sophia and Elector Maximillian III Joseph, Duke of Bavaria a temple dedicated to Diana which included trophies of arms and quivers, and for the third wedding of the Crown Prince, Friedrich Christian to Maria Antonia of Bavaria a pagan temple was created.
Patricia Ferguson ibid., 2010, pp. 12-17 discusses the centrepiece formerly at Felbrigg Hall, Norfolk and now in the Porzellansammlung, Staatliche Kunstsammlungen, Dresden, which is related to the present example by the similarity in construction of the columns and bases and with the military torsos on the pedestals before the columns. These torsos of 'Armaturen', perhaps resembling the military trophies on the present lot, are mentioned in the 1748 inventory of the contents of the Konigliche Hof-Conditorei. Few other porcelain temples are known. There is a spectacular example in the Museum fur Kunsthandwerk in Frankfurt, see Hermann Jedding, Meissener Porzellan des 18 Jahrhunderts, Munich 1979, p. 69, no. 132, modelled by Kändler in about 1750 and another in the collection of the Marquis of Bath, at Longleat, see Patricia Ferguson, ibid., 2010, p. 13.
Elements of a temple closely related to the present lot formed part of the Gustav and Charlotte von Klemperer Collection and were sold by Bonham's in London on 8 December 2010, lot 65; see also Schnorr von Carolsfeld, Gustav Klemperer Collection, Dresden, 1928, no. 498.
Additional star lots from this category include an important and exceptionally rare Sèvres Etruscan style vase from 1807 (estimate: £60,000-80,000), which was given by Emperor Napoleon I to Prince Wilhelm of Prussia in 1808. Napoleon sent the vase as an act of diplomacy after the signing of the Treaty of Paris following Prussia's defeat. It was painted by Pierre-Nolasque Bergeret and his Etruscan style decoration refers to Napoleon's military success in Egypt and Syria between 1798 and 1801. An important piece of Imperial propaganda, the vase portrays in Napoleon in the guise of Asclepius, the Greek God of medicine, endowing himself with the power to heal the people of the city of Jaffa.
A Sèvres two-handled Etruscan -style vase (Vase Etrusque 'à Larmier'), 1807, printed red M. Imple/de /Sèvres twice to underside of foot, neck incised No. 15. Estimate £60,000 – £80,000 ($95,520 – $127,360). Photo: Christie's Images Ltd 2014.
With upright handles, painted in the Attic-style in red and black by Pierre-Nolasque Bergeret, each side with a scene from Napoleon's Egyptian campaign, one side with Les pestiférés de Jaffa, showing Napoleon standing before Egyptian figures in an arcaded interior, within panels of Vitruvian scrolls and palmettes, the reverse with Bonaparte remet un blessé aux Soins d'Esculape, showing Napoleon in the act of healing a man standing before him with a crutch and Asclepius at his side (foot cracked and with later metal repair, minor chipping to handles and slight surface scratching;20 ¼ in. (51.2 cm.) high
Provenance: Given by Emperor Napoleon I to Prince Wilhelm of Prussia on 15 September 1808.
Probably acquired by Prince Frederick Emil August of Schleswig-Holstein-Sonderburg-Augustenburg, Prince of Noër (1800-1865) or by his son Prince Frederick Christian Charles August, Count of Noër (1848-1912), Schloss Noër, Eckernförde, Germany.
Thence by descent to the present owner.
Notes: This vase was part of an important Imperial commission by Emperor Napoleon I and was intended as a gift for Prince Wilhelm of Prussia (1783-1851), the fourth son of King Friedrich Wilhelm II of Prussia and Princess Frederika Louisa of Hesse-Darmstadt. The vase is recorded as one of a pair in the Sèvres sales registers on 15 September 1808: '2 vases forme étrusque sujets tivrés de la campagne d'Egypte, les sujets et le decor traités dans le genre étrusque en rouge et noir' listed under the heading 'Livré par ordre de l'Empereur a S A M. Le Prince Guillaume de Prusse'. The pair cost of 3,200 livres. 1
Pierre-Nolasque Bergeret (1782-1863) was the artist responsible for the design and decoration on this vase and the original pen and ink drawings by him from the series 'Bonaparte et la campagne d' Egypte' are in the Sèvres archives. Both drawings are signed; 'Les pestiférés de Jaffa' is dated 1805 while 'Bonaparte remet un blessé aux Soins d'Esculape' is dated 1804. The painters' work records of 1807 under 'Mr. Bergeret Peintre' record two separate entries for the vase. The first in February: '1 Vase Etrusque Denon porcelaine peinte des sujets Egyptiens', for which he received 200 livres, and the second recorded in September of the same year '1 Vase étrusque…Denon pour deux sujets de figure au traits noir représentant un sujet de la campagne d'Égypte et un alégorie, Vu et mémoire livré fin de septembre 1807.', for which he was paid 350 livres which included payment for the decoration of eleven plates in the same month (Vj'14, under the year 1807, p. 116).
Bergeret was a painter, pioneer lithographer and designer who studied with Jacques-Louis David. He was born in Bordeaux but moved to Paris where he worked in the atelier of François-André Vincent and met Ingres. He is recorded as working at Sèvres in 1806, 1807 and 1811. A large closely related Sèvres vase 'à Bandeau' also painted by Bergeret in the Attic style entered the sales registers on 21 April 1806 and was delivered to Château de Saint-Cloud for the Emperor on 4 May of that year. It is decorated with similar Etruscan-style scenes depicting Napoleon in an Etruscan guise leading the Battle of Austerlitz in a chariot. Bergeret received 300 francs for his 'Etruscan drawings of the conquest of Germany' and a further modest payment for the decoration of the vase itself. By 30 April 1805 Bergeret had produced three 'Egyptian' designs for the Sèvres manufactory, two of which are likely to be the design source for the present vase, and he continued to work sporadically for Sèvres until 1814 when he stopped decorating porcelain. For the ink and watercolour drawing of the Allegory of the Battle of Austerlitz by Bergeret, 1806, see Tamara Préaud, The Sèvres Porcelain Manufactory, Alexandre Brongniart and the Triumph of Art and Industry, 1800-1847, Bard Graduate Centre, New York, 1997, p. 180, fig. 14 and p. 84, figs. 6-10 for the Sèvres vase 'à Bandeau', now in the Musée de Malmaison.
The fashion for Etruscan-inspired decoration was first seen at the Sèvres manufactory in 1785 but it was so successful that it continued to be adapted for Imperial propaganda purposes during the Empire period. Napoleon's military successes in Egypt and Syria (1798-1801) which are referenced on this vase were used to propagate Napoleon's Imperial powers and in combination with a classical form lend an antique 'authenticity'. Very few pieces of Sèvres porcelain in this Attic-style exist and it is also exceptionally rare to see depictions of Napoleon in the guise of Greek God. In this case in the scene 'Bonaparte remet un blessé aux Soins d'Esculape' he associates himself with Asclepius, the Greek god of medicine, endowing himself with the power to heal. Tamara Préaud records Alexandre Brongniart's comment that 'this sort of painting is not rich, but it is severe, monumental, and the only kind that can be executed quickly,' see Tamara Préaud, ibid., 1997, p. 84, note 52. The scene depicting Napoleon visiting the plague stricken city of Jaffa is probably inspired by a painting of the same subject in the Louvre which was commissioned in 1804 by Napoleon from Antoine-Jean Gros and shows Napoleon in Jaffa on 11 March 1799, when the General Bonaparte made a daring and spectacular visit to his sick soldiers.
Prince Wilhelm of Prussia (3 July 1783 – 28 September 1851) had a distinguished military and diplomatic career. He served in the Guards from 1799 and was present at the battle of Auerstädt on 14 October 1806. After the Prussian defeat by the Napoleonic armies and a demand by France for full payment of war reparations a desperate King Frederick Wilhelm III of Prussia sent his brother Prince Wilhelm to Paris to plead his case for him with Napoleon in a bid to reduce the war burdens imposed upon his country. The Prince had his first audience with the Emperor on 8 January 1808 and is said to have offered himself and his wife as hostages for the payment of the debt. An astonished Napoleon is believed to have replied 'That is very noble but I cannot accept, never, never'. On 23 February they met again, Napoleon having employed delaying tactics to put off the meeting. Prince Wilhelm used his time to study the French army and wrote some valuable reports on the topics of education and training. On 8 September 1808 the Treaty of Paris was signed; it marked the most humiliating point of Prussia's history. On 7 October Prince Wilhelm shared a coach with Napoleon as they travelled to Erfurt, Weimar and Jena. This gift from the Emperor Napoleon to the Prince seems unusual given the circumstances but perhaps was intended to mark a mutual respect and admiration as the two men sought to maintain a relationship, one as the victor, the other representing a nation defeated.
The Sèvres archives first records the vase Etrusque 'a larmier' in 1804 though the designer is unknown.
1. See Vbb: Présents et ventes à crédit, mentioned in the register Vbb 2: crédit au gouvernement, an 8-1810, p. 87. Other than the two vases Etrusque the delivery to the Prince comprised: '2 Vase Clodian…1 cabaret de 16 piecès fables de la Fontaine…1 cabaret a 'café' de 15 piecès vert et chrome…I Buste de l'Empereur Napoleon, couranne en bronze' at a total cost of 19,270 livres, see sales register, Vbb: Présents et ventes à crédit', Vbb 2: crédit au gouvernement, an 8-1810, p. 89.
PORTRAIT MINATURES
Presenting 134 portrait miniatures including royal sitters such as King Louis XIV, Napoleon II, King Charles X and King Louis XVIII of France, this remarkable offering displays the artistry of some of the most prominent names in portraiture including Jean-Laurent Mosnier, Ferdinando Quaglia, François Dumont, John Smart, George Engleheart and Richard Cosway, R.A. Of exceptional interest is a charming array of English miniatures, last seen on the market in the 1940s. The collection is led by John Smart's portrayal of Richard Edgcumbe, 2nd Earl of Mount Edgcumbe (estimate: £12,000-18,000). Edgcumbe was a member of the society Antiquaries and a keen performer, best known for his involvement in theatre and opera, and as a result inspired one of the characters depicted in Zoffany's Tribuna of the Uffizi. Additional outstanding examples include a portrait miniature of a young lady by the French artist Frédéric Dubois (estimate: £15,000-25,000), painted during the artist's sojourn in Russia between 1804 to 1818 and a lady writing a letter by French artist Jean-Laurent Mosnier (estimate: £15,000-25,000), from the celebrated collection of Félix Panhard.
John Smart (British, 1741-1811), Richard Edgcumbe, 2nd Earl of Mount Edgcumbe (1764-1839), in blue coat with brass buttons, white cravat. Estimate: £12,000 – £18,000 ($23,880 – $39,800). Photo: Christie's Images Ltd 2014.
Signed with initials and dated 'J.S. / 1808.' (lower left). On ivory. Oval, 82 mm. high, gilt-metal frame, the reverse engraved 'Earl / Mount Edgcumbe. / Painted / by John Smart. / June / 1808.'
Provenance: Thomas Hugh Cobb; (\+) Sotheby's, London, 12 October 1944, lot 33 (£72 to Papier).
Mikel Papier (1889-1948) Collection, and by descent.
Literature: D. Foskett, John Smart. The Man and his Miniatures, London, 1964, p. 71.
Notes: The sitter was the son of George Edgcumbe, 1st Earl of Mount Edgcumbe and Emma, daughter of John Gilbert, Archbishop of York. He was a member of the Society of Antiquaries and a keen actor. By the time this miniature was painted Edgcumbe's opera, Zenobia, had been produced at the King's Theatre, London (1800). He was also author of the popular text Musical Reminiscences of an Old Amateur chiefly respecting Italian Opera in England 1773 to 1823(1825). In the year the present portrait was painted he served as Captain of the Honourable Band of Gentlemen Pensioners, a position he held until 1812. Also in 1808 he became a member of the Privy Council and was elected a Fellow of the Royal Society. He is depicted in Zoffany's 'Tribuna of the Uffizi'. Edgcumbe's family seat was Cotehele in Cornwall, now a National Trust Property.
Frédéric Dubois (French, FL. C. 1780-1819), A young lady, in décolleté white dress, red Cashmere shawl draped around her shoulders, curling dark hair. Estimate: £15,000-25,000 ($23,880 – $39,800). Photo: Christie's Images Ltd 2014.
Signed 'Dubois' (lower left). On ivory; 71 mm. diam., octagonal gold mount.
Provenance: Paul A. Scholz Collection, Berlin; Lempertz, Cologne, 24 November 1976, lot 28.
Christie's, London, 22 November 1999, lot 194.
Notes: The present miniature is a superlative example of the artist's period in Russia from 1804 to 1818.
Jean-Laurent Mosnier (French, 1743/1744 – 1808), A young lady, seated on a red upholstered chair writing a letter, in pale lilac dress with frilled sleeves, peppermint green bow at corsage, ostrich plumes and foliage in her powdered upswept hair, a quill in her right hand and a letter inscribed 'n'écrivez / plus et / venez', a quill and inkstand on the table to her right. Estimate: £15,000-25,000 ($23,880 – $39,800). Photo: Christie's Images Ltd 2014.
Signed and dated 'mosnier / 1778' (mid-left). On ivory; 68 mm. diam., in silver-gilt réverbère frame with white enamel border, burgundy moiré silk reverse stamped in gold 'MOSNIER / 1778'. One of the backing cards with the collection label of Alphonse Maze-Sencier (1831-1892).
Provenance: Alphonse Maze-Sencier (1831-1892) Collection, in 1885.
His sale, Paris, Hôtel Drouot,19-20 March 1886 (then on a box, sold 2,900 Gold Francs).
Leboeuf de Montgermont Collection, sold Paris, Galerie Georges Petit, 25 May 1891, lot 103 (4,500 Gold Francs).
Félix Panhard (1842-1891) Collection, Paris.
His nephew Hippolyte Panhard.
Thence by family descent until sale of the Panhard Collection, part I, Palais Galliéra, Paris, 5 December 1975, lot 135 (17,000 FF).
Literature: A. Maze-Sencier, Le Livre des collectionneurs, Paris, 1885, p. 543 (praised as 'délicieux portrait' and 'portrait séduisant').
L. R. Schidlof, Die Bildnisminiatur in Frankreich im XVII., XVIII. und XIX. Jahrhundert, Vienna and Leipzig, 1911, pp. 37-38.
J.-E. Darmon, Dictionnaire des peintres miniaturistes sur vélin, parchemin, ivoire et écaille, Paris, n.d. [ca. 1925], p. 89.
E. Bénézit, Dictionnaire critique et documentaire des peintres […], Paris, 1976, p. 565 (mentioned twice).
N. Lemoine-Bouchard, Les Peintres en miniature actifs en France 1650–1850, Paris, 2008, p. 393.
Exhibited: Paris, Bibliothèque nationale, Oeuvres d'art du XVIIIe siècle, 1906, no. 367 (lent by Hippolyte Panhard).
A spectacular assembly of over 180 pieces of silver is led by two important collections. The first presents an enduring tale of friendship marrying together two inspiring collections, whereby the silver collected by Gregory de Ligne Gregory (d.1854), a wealthy Lincolnshire landowner, was bequeathed to his friend Sir Glynne Earle Welby 3rd Bt. Gregory's passion for the Baroque style and his search for the historic resonate throughout the collection. Seeking works with superior provenance, the lots offered include a pair of silver sconces by the Augsburg silversmith Peter Rahm (estimate: £30,000–50,000) along with two sets of four wall sconces originally from the Royal Collection (estimates: £50,000–80,000).
A pair of German silver wall-sconces, Mark of Peter Rahm, Augsburg, 1713-1717. Estimate: £30,000 – £50,000 ($47,760 – $79,600). Photo: Christie's Images Ltd 2014.
Each of cartouche form, the borders chased with floral diaperwork within scroll borders and pendant swags of flowers, the centre chased with a scene of Venus and Cupid, the leaf-capped scroll branch with fluted circular drip-pan and similarly decorated nozzle, all below a cresting chased with a basket of flowers on a matted ground, each marked near branch and on drip pan, numbered 5 and 6; 23 3/8 in. (59.3 cm.) high; 77 oz. 8 dwt. (2,408 gr.)
Provenance: Possibly Gregory de Ligne Gregory (1786-1854) of Harlaxton Manor, Lincolnshire, by bequest to,
Sir Glynne Earle Welby-Gregory 3rd Bt. (1806-1875) and then by descent.
Literature: Inventory of articles (heirlooms, including library and works of art) at Harlaxton New Manor House, 1864-66, National Archives, Kew, Ms. J 90/1217, possibly p. 58, nos. 44-45, 'Plate and Silver Gilt':
Possibly no. 44, 'An Antique Sconce Slightly damaged – 39 oz. 12 dwt.'
Possibly no. 45, 'An Antique Sconce Slightly damaged – 41 oz. 2 dwt.'
Notes: Born in Hamburg in 1661, Peter Rahm became a master in 1694 and married Susanna Pepfenhauser in the same year. Rham's recorded works are nearly all sconces. Lorenz Seling records an early set of six made between 1692 and 1697, now in the Schatzkammer der Hohen Domkirche, Cologne. A silver gilt sconce of 1717-1721 and a set of four of 1729-1733 at Schloss Pillnitz (inv. nos. 46 776 and 36 430- 36 433). A pair of 1729-1733 are in the collection of the Kunstgewerbemuseum, Dresden (Inv. No. 36 434 and 42 222). Two pairs of sconces by Rahm sold, The Moritzburg Treasure: Silver and Works of Art from the Royal House of Saxony, Sotheby's, London, 17 December 1999, lots 64 and 65.
A Set of four William and Mary silver wall-sconces, apparently unmarked, circa 1686-1690, perhaps adapted by Rundell Bridge and Rundell after 1823, the branches with mark of Robert Garrard, London, 1850. Estimate: £50,000 – £80,000 ($79,600 – $127,360). Photo: Christie's Images Ltd 2014.
Provenance: Ordered for Queen Mary (1662-94) by Royal Warrant either 12 March 1686 as part of 'seaven new silver sconces with two socketts' or 5 September 1686 as part of 'three new silver sconces of the same manner and largesse as the other seven' or for King William III and Queen Mary 20 September 1689 as part of 'five acorn sconces of the fashion as those that were made therefore' or a final pair delivered the following September.
Used to furnish the Queen's Drawing room at Whitehall Palace and later the velvet draped bedchamber at Whitehall Palace where the Queen lay in state in 1694 (PRO LC9/46 11 February 1694/5).
In the Jewel House of the Royal collection until 1812 when they were 'taken to Carlton House… for the Prince Regent to see' (PRO LC9/351, f.1).
Presumably among those sold to Rundell, Bridge and Rundell 1816-17 along with at least eight other sconces from the set and other plate totalling 4,286 oz. as part payment for a service of plate for Princess Charlotte of Wales (1796-1817) (PRO LC9/351, f.91).
Gregory de Ligne Gregory (1786-1854) of Harlaxton Manor, Lincolnshire, by bequest to
Literature: Inventory of articles (heirlooms, including library and works of art) at Harlaxton New Manor House, 1864-66, National Archives, Kew, Ms. J 90/1217, p. 58, nos. 40-43, 'Plate':
No. 40, 'A Richly Chased Sconce Surmounted by A Crown and two Boys – 81 oz. 5 dwt.'
No. 41, 'A Richly Chased Sconce Surmounted by A Crown and two Boys – 96 oz. 17 dwt.'
No. 43, 'A Richly Chased Sconce Surmounted by A Crown and two Boys – 104 oz. 2 dwt.'
Notes: This set of four sconces, known as the 'Oken' or Acorn sconces after the distinctive outer border which the present pair, and others from the series now lack, are from a set of similar examples ordered between 1686 and 1689 by William and Mary. They are discussed by Matthew Winterbottom in Royal Treasures A Golden Jubilee Celebration, London, 2002, p.255-256, no.175.
Other known examples include a set of four in the Royal Collection, which are each capped with a Royal crown and applied with the cypher of William and Mary. They were gilt and improved by Rundell, Bridge and Rundell in 1816 at the request of the Prince Regent, later King George IV. A set of eight, which like the present examples are missing their oak leaf and acorn festoons, and each with an added second branch by Robert Garrard, 1856, that formed part of the Sneyd Heirlooms which were sold in 1924, passed through the collection of William Randolph Hearst and are now in the Collection of Colonial Williamsburg (J. Davis, English Silver at Williamsburg, Virginia, 1976, pp. 15-17, cat. no. 2) and a pair sold Christie's, London, 10 June 2008, lot 253.
The sale will also feature a selection of extraordinary spoons as part of The Runnymede Collection. Many of the lots have notable provenances such as the 2nd Earl of Warrington along with the Ellis, Biggs and Patterson collections and have been sourced from across the globe through auctions and specialist silver dealers including the legendary spoon dealer and collector Mrs. How of How of Edinburgh. The wonderfully broad chronological range of spoons, dating from the 14th to 18th centuries, include all of the main types. Of special interest is the Romsey/ Ashburnham spoon, considered to be of the very few gold spoons to have survived, it is thought to be the earliest hallmarked example (estimate: £30,000-50,000). An additional highlight of the sale includes a Henry VII Parcel-Gilt Silver Apostle Spoon featuring St. John, 1498, (estimate: £30,000-50,000). Apostle spoons traditionally would have been made in groups of twelve, one to represent each apostle, to which the Master was added to make a set of thirteen. However, given the relatively small number of complete sets to have survived, it is likely that they were intended to be given as gifts, either individually or in pairs.
The Romsey/Ashburnham gold spoon, a Charles II gold trefid spoon, Mark of Robert King, London, 1681. Estimate: £30,000-50,000 ($47,760 – $79,600). Photo: Christie's Images Ltd 2014.
With trefid end, the back of the bowl engraved with a coat-of-arms within foliage mantling, fully marked on stem; 5 ¾ in. (14.5 cm.) long:1 oz. 5 dwt. (39 gr.)
The arms are those of Romsey impaling Ashburnham for Colonel John Romsey (d.1689) and his wife Elizabeth (1641-1697), daughter of John Ashburnham (1656-1710), Groom of the Bedchamber of King Charles I. Elizabeth was the widow of Sir Hugh Smith, 1st Bt. (1632-1680), of Long Ashton, co. Somerset. She was married to Colonel Romsey on 3 August 1681.
Provenance: Colonel John Romsey (d.1689) and his wife Elizabeth (1641-1697), widow of Sir Hugh Smith, 1st Bt. (1632-1680) and then by descent to her son by her first marriage
Sir John Smith, 2nd Bt. (1659-1726) and then by descent to his son
Sir John Smith, 3rd and last Bt. (1699-1741) and then by descent to his sister and co-heir
Florence (1701-1767) and her 2nd husband Jarrit Smith (d.1783), later 1st Bt. of Long Ashton of the 2nd creation, and then by descent to
A Lady; Sotheby's London, 25 July 1935, lot 38 (£245).
Sir Andrew Noble, Bt., K.C.M.G., John Noble Esq. and Michael Noble; Christie's London, 28 March 1962, lot 71 (£1,450 to Lumley).
Nathaniel Mayer Victor, 3rd Baron Rothschild (1910-1990).
A Gentleman; Christie's, London, 20 November 2001, lot 17.
with J. H. Bourdon-Smith, December 2001.
Literature: A. Grimwade, 'A New List of Old English Gold Plate', The Connoisseur, 1951, part I, p. 81, p. 79.
Christie's Review of the Season, London, 1961-62, p. 32.
T. Schroder, 'English Gold', The Handbook of the Grosvenor House Antiques Fair, 1985, p. 9, fig. 1.
M. Clayton, The Collector's Dictionary of the Silver and Gold of Great Britain and North America, Woodbridge, 1985, p. 382, fig. 558a.
T. Kent, 'Gold', The Finial, June/July 2002, p. 198.
Exhibited: London, Victoria and Albert Museum, 1997-2000.
Notes: Colonel John Romsey (d.1689) had been a colonel in Cromwell's army but is chiefly remembered for being one of the Rye House Plot conspirators. In the Spring of 1683 it was alleged that William, Baron Howard, Arthur, Earl of Essex, Algernon Sidney, Lord William Russell, Sir Thomas Armstrong, Robert Ferguson and others planned to murder King Charles II and the Duke of York, later King James II, on their was back to London from Newmarket. Another of the group, Richard Rumbold (d.1685), who had also fought with Cromwell, had married the widow of a maltster and it was at their place of business, The Rye House, near Hoddesdon, Hertfordshire that they planned to attack the Royal party with forty men. It was through Rumbold that Romsey became involved with the group. The conspirators were betrayed by Howard. Russell, Sidney and Armstrong were each tried, convicted and beheaded. Essex is thought to have committed suicide while imprisoned in the Tower. Romsey together with Howard gave evidence against their fellow plotters and escaped prosecution. He later gave evidence against the London Alderman, Henry Cornish (d.1685), and it was his testimony, together with that of Richard Goodenough, that led to Cornish's trial and subsequent execution in 1685.
St. John, a Henry VII Parcel-Gilt Silver Apostle Spoon, London, 1498, maker's mark a cypher. Estimate: £30,000-50,000 ($47,760 – $79,600). Photo: Christie's Images Ltd 2014.
The gilt finial cast as St. John standing on a baluster and stepped plinth, with his right hand held up in blessing and holding the cup of sorrow in his left hand, the bowl later prick engraved 'IW to WW' and dated '1652', marked in bowl with leopard's head and on stem with maker's mark and date letter; 7 ¼ in. (18.5 cm.) long; 1 oz. 19 dwt. (60 gr.)
Provenance: with Spink and Son, London, by 1976.
Anonymous sale; Sotheby's, London, 5 June 1997, lot 36.
Literature: M. Snodin, English Silver Spoons, London, 1976, p. 19, pl. 3.
H. Mallalieu, 'Around the Salerooms', Country Life, 31 July 1997, pp. 62-63, pl. 1.
Apostle Spoons
The apostle spoon is an example of the next development in pre-Restoration spoons with the appearance of a finial cast as a full figure. The earliest examples of this form are the Wodewose spoons, with finials cast with a wild man figure, which appear in the 13th and 14th centuries (The Benson Collection, Christie's, London, 4 June 2013, lot 320, £85,875).
Spoons with cast apostle finials were probably made as early as the 14th century, though the earliest examples which can be definitely dated are a number of examples, presumably once part of a set, which have London hallmarks for 1490 (The Benson Collection, op. cit., lot 329, £59,475). Traditionally they would have been made in groups of twelve, one to represent each apostle, to which the Master was added to make a set of thirteen, however, given the relatively small number of complete sets to have survived it is perhaps as likely that they were intended to be given as gifts, either individually or in pairs.
Comparisons have been drawn between the finial on the present spoon, representing St. John, and the cast figure of St. John on a ceremonial instrument case, dated circa 1500, in the collection of the Worshipful Company of Barber Surgeons. Commander and Mrs How note that the cast figures on the case could easily be used as the finials on spoons (Commander G. E. P. How and J. P. How, English and Scottish Silver Spoons, Mediaeval to Late Stuart and Pre-Elizabethan Hallmarks on English Plate, London, 1953, vol. II, p. 36).
'Bernini's Souls: Art in Rome for the Spanish Courts' at the Museo del Prado
09 dimanche Nov 2014
Posted by alaintruong2014 in European Sculpture & Works of Art, Exhibitions, Old Master Paintings
Anima beata, Anima dannata, Charles II, Diego Velazquez, Equestrian sculpture, Gian Lorenzo Bernini, Museo del Prado, Philip IV, The Ecstasy of Saint Theresa
Anima beata, 1619. Gian Lorenzo Bernini. White marble, 57 x 30 x 30 cm. Rome, Embassy of Spain in Vatican City, Holy See. Photography: Carolina Marconi.
MADRID.- The Prado Museum opened the doors of the exhibition entitled « Bernini's Souls: Art in Rome for the Spanish Court » to the general public. In addition to offering us an opportunity for the first time to contemplate a series of exceptional works that the artist created for Spanish patrons, the exhibition traces Bernini's complex and fascinating relationship with Spain.
Anima dannata, Gian Lorenzo Bernini. Marble, 54 x 25 x 31 cm, 1619. Rome, Spanish Embassy at the Vatican City, Holy See.
Some 23 works by Gian Lorenzo Bernini, including sculptures, oil paintings, prints and drawings, together with sixteen works by other artists such as Codazzi and Velázquez, loaned by different Spanish and foreign institutions and private collectors, eloquently illustrate Bernini's links with Philip IV, Charles II and other Spanish patrons in Rome, ranging from ambassadors to cardinals and prelates.
Philip IV, Diego Velázquez. Oil on canvas, 69 x 56 cm, ca. 1654. Madrid, Museo Nacional del Prado.
In short, this exhibition seeks to explore the political conflicts and power games that were played out and reflected so frequently in artistic and architectural terms, and in which Bernini played such a key role, both conscious and decisive, based on the changing interests of his patrons.
As a sculptor, architect, painter, stage designer, playwright, designer for festivals and religious and pagan ceremonies, and creator of fountains and other ornamental and luxury items, Bernini received commissions from both Spanish patrons in Rome and from the Spanish Monarchy itself, together with its representatives in the city. Some of these commissions are on show at this exhibition, including Anima beata (« Blessed Soul ») and Anima dannata (« Damned Soul »), two magnificent sculptures of extremely high quality made of marble in 1619, when the artist was still a young sculptor, created upon the behest of Pedro Foix de Montoya. The small and extremely beautiful Equestrian Bronze Sculpture of Charles II (1680), which was commissioned by the Marquis of Carpio is being exhibited for the first time in Spain. The works also includes other architectural and sculptural projects, such as the following: the Monument to Philip IV at Santa María Maggiore di Roma; drawings portraying canonisation ceremonies, such as that of St. Thomas of Villanueva at St. Peter's Basilica; (1658) and various ephemeral architectural items, such as those that adorned the firework machines created to celebrate the Birth of the Infanta Margarita (1651) or those designed to commemorate the Peace of Aachen (1668). Alongside these creations, visitors can find the Bust of Cardinal Scipione Borghese, the nephew of Paul V, who recognised Bernini's extraordinary talent at a very early stage and provided unconditional support for his brilliant career as a sculptor.
Equestrian sculpture of Charles II, Gian Lorenzo Bernini. Gilt bronze, 41 x 49 x 19 cm, 1680. Brentwood, Tennessee, private collection.
One of the most important pieces in Bernini's corpus of work and a key creation with regard to his conception of art as the « unity of the visual arts », is the Ecstasy of Saint Theresa (1647-1651), which focused on a religious theme of a marked Spanish origin, having been commissioned for the Cornaro Chapel at the Church of Santa Maria della Vittoria in Rome. At the exhibition visitors can contemplate the terracotta sketch Bernini produced for this sculptural group, loaned by the Hermitage Museum, as well as a series of magnificent preparatory drawings for the decoration of the Chapel, which are preserved at the Biblioteca Nacional, the National Library of Spain.
Autorretrato, Gian Lorenzo Bernini. Óleo sobre lienzo, 46 x 32 cm, h. 1635 – 1638. Madrid, Museo Nacional del Prado
Amongst the important works contributed by the Prado Museum to the exhibition are the controversial but unmistakeable Self-Portrait of Bernini, together with a previously unseen drawing for an intriguing variation of his famous Equestrian Sculpture of the Emperor Constantine, which was finally placed in the Scala Regia of the Vatican Palace at the Basilica portico end. This equestrian sculpture is also depicted in a splendid drawing, the first known version of the work, produced when the Constantine sculptural group was to be (1654) placed inside St. Peter's Basilica. This drawing is preserved at the San Fernando Royal Academy of Fine Art, together with an intermediate sketch in terracotta, on loan from the Hermitage Museum, which can be placed between the two drawings mentioned and the final version of the sculpture at the Scala Regia.
The Ecstasy of Saint Theresa, Gian Lorenzo Bernini. Terracotta, 45 x 35 x 22 cm, ca. 1647. St Petersburg, State Hermitage Museum
In relation to this symbolic and heroic theme of princes and monarchs on horseback, visitors will come across various other examples at the exhibition, such as the controversial project for the Equestrian Sculpture of Louis XIV, together with the deliberately altered version of this work, which became the Bronze Equestrian Statue of Charles II, effectively replacing the face of one monarch with that of another. This work comes from a private American collection, having previously formed part of the Collection of the Marquis of Carpio in 1680.
Charles II on Horseback, Giovanni Battista Foggini. Gilt bronze, 66 x 27.5 x 60 cm (not including pedestal), 1698. Madrid, Museo Nacional del Prado
The exhibition also presents an extraordinary and previously unseen album of architectural drawings on the theme of Baroque Rome, which comes from a private Spanish collection. This album brings together several virtually unknown projects undertaken by Bernini, such as the Poli Chapel at the Church of San Crisogono in Rome. Finally, the exhibition offers a virtual recreation of the architectural project for the space where the monumental Bronze Statue of Philip IV was due to be placed, originally created by Bernini for the portico of the Basilica of Santa Maria Maggiore in Rome, the church traditionally linked to the Spanish Monarchy, although the monument was not created in the end exactly as the artist had envisaged.
6 November 2014 – 8 February 2015. Monday to Saturday from 10am to 8pm. Sunday and holidays from 10am to 7pm. Museo del Prado
Some 23 works by Gian Lorenzo Bernini, including sculptures, oil paintings, prints and drawings, together with sixteen works by other artists such as Codazzi and Velázquez, loaned by different Spanish and foreign institutions and private collectors, eloquently illustrate Bernini's links with Philip IV, Charles II and other Spanish patrons in Rome, ranging from ambassadors to cardinals and prelates. © Museo Nacional del Prado.
Delfín Rodríguez, curator, in the exhibition galleries © Museo Nacional del Prado