Arts Council England has received notifications of sale for the following items which have previously been exempted from capital taxation. Please note that the price given is intended as a rough guide only, and does not constitute an offer to sell at this price. The practice of the auction houses is usually to pitch this at their high auction estimate or, sometimes, even higher.

 

1.No Item

2.No Item

3. No item

4. POMPEO GIROLAMO BATONI Lucca 1708 - 1787 Rome 

PORTRAIT OF JOHN, 3RD BARON MONSON OF BURTON (1753-1806), WITH A STATUE OF ROMA BEHIND AND A SPANIEL AT HIS FEET
signed and dated lower right: POMPEO DE BATONI PINX ROMAE MDCCLXXIV
oil on canvas
249 by 175.2 cm.; 98 by 69 in.

PROVENANCE:
Commissioned by the sitter in Rome in 1774;
Thence by descent.   

LITERATURE:
J. Steegman, 'Some English Portraits by Pompeo Batoni', The Burlington Magazine, LXXXVII, March 1946, p.63, no.65;

A. Denney, Burton Hall, privately published, 1950, photographed in the Dining Room B. Barsali, 'Pompeo Girolamo Batoni', Dizionario biografico degli italiani, Rome, vol. VII, 1965, p.201;

E.P. Bowron and F. Russell, 'A list of Pompeo Batoni's British sitters', in the exhibition catalogue, Pompeo Batoni and his British Patrons, London, Kenwood House, 1982, p. 92, no. 116;

A.M. Clark, Pompeo Batoni, Oxford 1985, p.332, no.375;

J. Ingamells, A Dictionary of British and Irish Travellers in Italy 1701-1800, New Haven and London 1997, p. 668  

 

5. Sir Stanley Spencer, R.A. (1891-1959)

Hilda and I at Burghclere

oil on canvas

30 x 20 in. (76 x 51 cm.)

Painted in 1955.

 

Provenance:   

Purchased by Mr and Mrs G. J. ff. Chance at the 1955 exhibition.

Their sale; Christie’s, London, 28 February 1975, lot 94.

Private collection since circa 1975

 

Sale: Christie's King Street in the auction of Modern British and Irish Art Evening Sale on 25 June 2015.

Guide price: £1,800,000

 

6. Workshop of Dieric Bouts
Haarlem c. 1420 - 1475 Leuven
St Luke drawing the Virgin and Child
oil and tempera on canvas, transferred from panel in 1899
109.2 by 86.4 cm.; 43 by 34 in.


Provenance
Josse-Pierre Geedts (1770-1834), Leuven by 1818;
William, Prince of Orange, later King William II of the Netherlands (1792-1849) by 1824;
His deceased sale, The Hague, de Vries, Roos, Brondgeest, 9 September 1851, lot 7 (as style of Memling) for 105 Dfl. to J.A. Brondgeest;
Purchased shortly afterwards by William Scoltock (c. 1823-86);
Purchased from the above c. 1851 by a forebear of the present owner;
Thence by descent.

 

Exhibited
Bruges, Provinciaal Hof, Exposition de tableaux Flamands des XIVe, XVe et XVIe siècles, 15 June - 5 October 1902, p. 28, no. 115 (as Dieric Bouts, c. 1450);

London, Guildhall, Examples of the Flemish and Belgian Schools, 1906, no. 22 (as Dieric Bouts);
London, Grafton Galleries, Exhibition of Old Masters, 1911, p. 96, no. 92 (as probably by Albert Bouts);
London, Royal Academy of Art, Flemish and Belgian Art, January - February 1927, Memorial Volume ed. M. Conway, pp. 31-32, no. 68 (as Albert Bouts);
London, Royal Academy of Art, Exhibition of Flemish and Belgian Art 1300-1900, 1927, p. 34, no. 68 (as Dieric Bouts);
London, Royal Academy of Art, Flemish Art 1300-1700, 1953-54, p. 12, no. 12, reproduced p. 17 in Souvenir ed. (as Albert Bouts).

Literature
Baron de Keverberg, Ursula, princesse britannique, Ghent 1818, pp. 234-35 (first recorded as in the collection of 'Monieur Geets', Leuven);
G. Hulin de Loo, in Exposition de tableaux Flamands des XIVe, XVe et XVIe siècles, Ghent 1902, p. 28, no. 115 (as Dieric Bouts, c. 1450);
Bruges K. Voll, Die Altniederländische Malerei von Jan van Eyck bis Memling, Leipzig 1906, pp. 121-23 (as by D. Bouts. Close to Van der Weyden);
H. Wölfflin, Principles of Art History, 1915; Engl. transl. 1932 New York 1950, pp. 77 and 79;
Sulpiz Boisserée, 'Notizien zur Sammlung des Prinzen von Oranien 1824', in E. Firmenich-Richartz, Die Brüder Boisserée, vol. I, Jena 1916, p. 505;
M. Conway, The Van Eycks and Their Followers, 1921, p. 166 (as Dirk Bouts; the representation of St Luke thought to be a self-portrait by the artist);
L. Baldaß, 'Die Entwicklung des Dirk Bouts: eine stilgeschichtliche Untersuchung', Jahrbuch der Kunsthistorischen Sammlungen in Wien, vol. 6, 1932, p. 112 (as copy by A. Bouts, after a painting of c. 1460 of the Bouts school);
W. Schöne, Dieric Bouts und seine Schule, Berlin and Leipzig 1938, p. 208-09, no. 133, pl. 89a (as Master of the Rotterdam St John on Patmos, c. 1500);
Smith College Museum of Art Bulletin, 1958, no. 38, reproduced (as follower of Dieric Bouts);
M. J. Friedländer, Early Netherlandish Painting, vol. III, Dieric Bouts and Joos van Ghent, Leiden and Brussels 1968, p. 71, no. 84, reproduced pl. 94 (as D. Bouts, follower [?]; An excellent painting, close to Dieric, but a bit coarse, and dead in some of its parts, notably the Virgin's face. Cannot be accepted as an original without reservations);
J. Rivière, 'Réflexions sur les Saint Luc peignant la Vierge de Campin à Van Heemskerck', Jaarboek Koninklijke Museum voor Schone Kunsten, Antwerpen, 1987, p. 60-62, reproduced fig. 22 (as Dierick Bouts, c. 1462);
D. de Vos, Rogier van der Weyden. Das Gesamtwerk, Munich 1999, under no. 8, p. 206 (as follower of Bouts).

Guide Price: £3,300,000

 

7. GEORGE ROMNEY (Dalton 1734 - 1802 Kendal)
PORTRAIT OF ELIZABETH CAPELL, LADY MONSON (1755-1834)
oil on canvas
249 by 175.3 cm.; 98 by 69 in.

PROVENANCE:
Commissioned in 1778 by the sitter's husband John, 3rd Baron Monson of Burton (1753-1806);
Thence by descent.

EXHIBITED:
London, Agnew's, The (Twelfth) Annual Exhibition on behalf of the Artists' General Benevolent Fund, 1906, no.19.

LITERATURE:
H. Ward and W. Roberts, Romney, London and New York 1904, vol.II, p.107 ;
A. Denney, Burton Hall, privately published, 1950, photographed in the Dining Room;
A. Kidson, George Romney 1734-1802, exhibition catalogue Liverpool, Walker Art Gallery and London, National Portrait Gallery, 2002, p. 191, under cat 113;
To be included in the forthcoming catalogue raisonné of George Romney's paintings by Alex Kidson.

SALE:
Sotheby’s Old Master Paintings Evening Sale on 9 July 2015

GUIDE PRICE:
£1,500,000

 

Items 8-12 to be sold at Sotheby's 'Treasures' sale of 8 July 2015

8) A large grey mottled stone twin-handled vase, Egypto-Roman, circa 1st century A.D., the heavy handles with leaf-shaped terminals attached to the rim and shoulders, with short neck and flattened rim, on pedestal foot, 2ft 2 in high

 

PROVENANCE

Bessborough sale 1801 acquired by Frederick Howard, 5th Earl of Carlisle 1882;

thence by family descent

 

LITERATURE
Dr. Waagen, Treasures of Art in Great Britain, 3 vols., London, 1854, vol. III, p. 328

Guide Price: £600,000

 

9) A pair of Italian Pietre Dure mounted, inlaid ebony cabinets, Roman, early 17th century, on a pair of Regency rosewood and parcel-gilt stands of architectural form, the upper parts with pediments surmounted by standing classical figures and putti flanked by female figures with summer and autumn attributes, fitted with drawers, each with a central cupboard enclosing a fitted interior, with an arcaded alcove, inset with panels of lapis lazuli, agate, quartz and various Roman marbles, the pilasters formed of four gilt bronze standing figures and with gilt bronze capitals with rams heads, on plinths supported by four gilt bronze crowned eagles, the rosewood and parcel gilt stands with a moulded top with gadrooned edge above a central frieze with Greek key decoration above two parcel gilt caryatid supports with floral drop swags, the back panel with a central plaque of a female mask centred by gilt wood sun rays, on lion paw feet

124.5cm. high, 92cm. wide, 43.5cm. deep; 4ft. 1in., 3ft., 1ft. 5¼in.

 

PROVENANCE

Possibly commissioned by a member of the Borghese family (based upon the iconography of the crowned eagles);
Probably acquired by Henry, 4th Earl of Carlisle (1698 – 1758) and his son Charles, Viscount Morpeth (1719-1741) on their grand tour of Italy in 1739;
Thence by descent to Frederick, 5th Earl of Carlisle who probably added the Regency stands;
Thence by descent.

 

LITERATURE

A New Display of the Beauties of England, London, 1787, II Volumes, recorded in the Drawing Room as ‘two most curious cabinets formed of precious stones’.
Paget Toynbee ed., ‘Horace Walpole’s journal of visits to country seats & c.’ Walpole Society, vol. XVI, 1928, pp. 72.
Simon Swynfen Jervis and Dudley Dodd, Roman Splendour and English Arcadia: The English taste for pietre dure and the Sixtus Cabinet at Stourhead, London, 2015, reproduced pp. 22-3.

Guide Price: £1,000,000

 

10 ) Workshop of Jacopo Sansovino (1486-1570)

Italian, 16th century

Relief with the Virgin and Child

carta pesta, mounted on wood, within a wood frame
136 by 112cm., 55 ½ by 44in.

 

PROVENANCE

Raffaelle Pinti, Venice, Italy, before 1882;
acquired by the Rosalind Frances Howard, 9th Countess of Carlisle, 1882, Castle Howard, North Yorkshire (the Chapel);
thence by descent

 

LITERATURE
Castle Howard Archives,
Rosalind, 9th Countess of Carlisle, personal account book, J23/105/14, p.35, ‘Pinti, Bas Relief of Madonna & child by Sansovino, £40’;
Bruce Boucher, The Sculpture of Jacopo Sansovino, New Haven and Yale, 1991, no.47, pp. 346-349

Guide Price: £600,000

 

 

11) Italian, early 17th century
Bust of a Man
white marble, on a veined dark grey marble socle
76.3cm., 30in. overall.

 

PROVENANCE

Probably acquired by the 5th Earl of Carlisle, Castle Howard, North Yorkshire;

Thence by descent

 

Guide Price: £150,000

 

12) Netherlandish or French, circa 1640-1650
Bust of a woman, possibly Anne of Austria as Minerva

white marble, on a veined grey marble socle
73.5cm., 29in.

 

PROVENANCE

Probably acquired by the 5th Earl of Carlisle, Castle Howard, North Yorkshire, c. 1805;

Thence by descent

 

LITERATURE
Castle Howard Archives, Frederick Howard, 5th Earl of Carlisle, MS Listing of Sculptures, c. 1805, p.14, no.162, 'Anne of Austria';

Castle Howard Archives, MS Listing, c. 1815, p.5, Busts in the New Passage, [Antique Passage], 'Anne of Austria';

Castle Howard Archives, MS 5th Earl Probate Inventory, p.35, White Passage in the Main House [Antique passage], 'Anne of Austria';

Castle Howard Archives, MS 6th Earl Probate Inventory, 1849, p.145, Front Hall and Passages, 'Busts of Ann of Austria upon a Pedestal';

Castle Howard Archives, MS 7th Earl Probate Inventory, 1865, p.207, no.100, Grecian Hall Staircase, 'Marble Bust Ann of Austria on covered pedestal';

Castle Howard Archives, MS Duthie Sculpture Catalogue, 1882, p.19, no.113, Passage at back of Drawing Room......to foot of large staircase, 'Bust of Ann of Austria'

 

Guide Price: £70,000

 

13) no item

 

 

Items 14-17 to be sold at Sotheby's 'Old Master Paintings Evening sale' of 8 July 2015 

 

14) Bernardo Bellotto
Venice, a view of the grand canal looking south from the Palazzo Foscari and Palazzo Moro-lin towards the Church of Santa Maria della Carità, with numerous Gondolas and Barges
oil on canvas
23½ in by 35¼ in

 

PROVENANCE
One of the Venetian views acquired by Henry Howard, 4th Earl of Carlisle (1694-1758), through his agent Antonio Maria Zanetti  during or shortly after his trip to Venice in 1738-39;
Recorded as having arrived safely at Castle Howard by 3rd June 1740;
Thence by descent at Castle Howard.


EXHIBITED
Padua, Palazzo della Ragione, Luca Carlevarijs e la veduta veneziana del Settecento, 25 September-26 December 1994, no. 85.


LITERATURE
Inv. Duthie, 1878-1880, no. 63;
H. Brigstocke, in Masterpieces from Yorkshire Houses, Yorkshire Families at Home and Abroad 1700-1850, exhibition catalogue, Yorkshire, City Art Gallery, 29 January-20 March 1994, p. 72, under cat. no. 32;
D. Succi, in Luca Carlevarijs e la veduta veneziana del Settecento, Padua, Palazzo della Ragione, 25 September-26 December 1994, pp. 54 and 266, cat. no. 85, reproduced in colour p. 270;
D. Succi, "Bernardo Bellotto nell'atelier di Canaletto e la sua produzione giovanile a Castle Howard nello Yorkshire", in Bernardo Bellotto detto il Canaletto, Mirano, Barchessa di Villa Morosini, 23 October-19 December 1999, p. 52;
B.A. Kowalczyk, in Bernardo Bellotto and the Capitals of Europe, exhibition catalogue, Venice, Museo Correr, 10 February-27 June 2001; Houston, Museum of Fine Arts, 29 July-21 October 2001, p. 50, under cat. no. 3;
B.A. Kowalczyk, in Canaletto e Bellotto: l'arte della veduta, exhibition catalogue, Turin, Palazzo Bricherasio, 14 March-15 June 2008, p. 62, under cat. no. 4.

 

Guide Price: £3,500,000



15) Ferdinand Bol
Portrait of a Boy, said to be the Artist's Son, aged 8
Standing near a Table, holding a Roemer, Lemons on a Silver Dish, the Table Covered with a Red Fringed Rug
Signed and dated lower left: bol.1652. and inscribed: ætatis 8. sua
oil on canvas
67 in by 59 in

PROVENANCE
Griffiers Fagel;
His sale London, Coxe, Burrell, Foster, 22nd-23rd May 1801, lot 32, where bought by Lord Carlisle for 42 pounds;

Thence by descent


EXHIBITED
London, Royal Academy of Arts, Winter Exhibition, 1952-53, Dutch Pictures 1450-1750, no. 268, as the artist's son


LITERATURE
Dr. Waagen, Galleries and Cabinets of Art in Great Britain, London 1854-7, vol. III, p. 326;
Albert Blankert, Ferdinand Bol, 1982, cat. no. 138;
Werner Sumowski, Gemälde der Rembrandt-Schüler, 1983, vol. I, cat. no. 169

 

Guide Price: £3,000,000

 

 

16) Circle of Hans Holbein
Portrait of Henry VIII
Three-quarter length, wearing a wide velvet surcoat, holding a stick
Bears initials and dated 1542
oil on panel
36½ in by 26¾ in

 

PROVENANCE

First recorded at Castle Howard in 1759;
Thence by descent

 

Guide Price: £1,200,000



17) Sir Thomas Lawrence, P.R.A.
Portrait of William Spencer Cavendish, 6th Duke of Devonshire

Inscribed with the identity of the sitter, upper left
Oil on panel
30in by 25in

 

PROVENANCE
Given by Lawrence to the sitter's sister, the Hon. Mrs George Howard, whose husband, George Howard, succeeded as 6th Earl of Carlisle in 1825;
Thence by descent.


EXHIBITED
Probably London, Royal Academy, 1824, no. 146.


LITERATURE
Dr. Waagen, Treasures of Art in Great Britain, 3 vols., London 1854, vol. III, p. 325 ('very like');
Lord Ronald Gower, Sir Thomas Lawrence, London 1900, p. 133;
Sir Walter Armstrong, Lawrence, London 1913, p. 127;
Kenneth Garlick, Lawrence, London 1954, p. 34;
Kenneth Garlick, `A Catalogue of the Paintings, Drawings and Pastels of Sir Thomas Lawrence', in The Walpole Society, 1964, vol. XXXIX, p. 68;
Kenneth Garlick, Sir Thomas Lawrence, Oxford 1989, p. 179, no. 248(b).

Guide Price: £600,000

 

18. A PAIR OF GEORGE I GILT-GESSO OPEN ARMCHAIRS

ATTRIBUTED TO JAMES MOORE, CIRCA 1720

Each with a rectangular padded back and seat covered in blue and red wool and silk needlework edged with silver gilt woven lace, the scrolled arms above acanthus-carved supports, on cabriole legs headed by Indian masks with stylised acanthus headdresses, above foliate-carved pad feet, with original webbing, the chairs numbered in pencil '6' and '12' to the seat rail, the gilding refreshed with original gilding visible underneath, with later crimson silk to the reverse with traces of original crimson wool underneath

Size:   41 in. (104 cm.) high; 32 in. (81.5 cm.) wide; 29 in. (73.5 cm.) deep

 

Provenance:  The set of twelve armchairs was almost certainly commissioned by Sir Richard Child, 3rd Baronet, later Viscount Castlemaine and Earl Tylney of Castlemaine (d. 1750), for Wanstead House, Essex, and thence by descent.

 

Monson family tradition has it that the armchairs were in the collection of Other Lewis Windsor, 4th Earl of Plymouth (d. 1771), and his spouse, Catherine Emma (née Archer), Countess of Plymouth (d. 1790) who worked the needlework covers. The chairs were subsequently inherited by their eldest daughter, Catherine Sydney Windsor (d. 1823), second wife of Sir James Tylney-Long (née Long), 7th Baronet (d. 1794), and thence by descent to their daughter, Catherine (d. 1825), and her husband, William Pole-Tylney-Long-Wellesley, from 1857, 4th Earl of Mornington (d. 1857) until sold at the 1822 Wanstead House sale.

 

In February 1795, at Wanstead House in the collection of Sir James Tylney-Long, and thence by descent to his daughter, Catherine, and her husband, William Pole-Tylney-Long-Wellesley, from 1857, 4th Earl of Mornington. The set was sold in pairs from Wanstead House at the house sale conducted by Mr. Robins on 10 June 1822 and 31 following days, seventeenth day's sale; lots 23 and 27 are the present chairs, acquired by 'Lane' for £27.6, and £26.15.6. The remaining eight chairs were acquired by Philip John Miles for Leigh Court, Somerset (see below).

 

Given to William John Monson, 6th Baron Monson (d. 1862) by 'Anna' Wakelin for Burton Hall possibly in the mid-1850s, and thence by descent; this is almost certainly Hannah Wakelin (d. 2 October 1859) of Tottenham, formerly of Whips Cross, Walthamstow, Essex and Ham Common, Surrey.

 

Literature:      THE MONSON CHAIRS:

An Inventory of the Household Furniture, Linen, China, Glass, Books, Wines and Effects of the Late Sir James Tylney Long Bart. deceased at Wanstead House in the County of Essex appraised Feb'y 23 1795 & Following Days, in the 'Dressing Room' of the 'Crimson Bed Chamber'.

A. Denney, Burton Hall, privately published, 1950, two of the chairs in the Stone Drawing Room.

 

THE LEIGH COURT CHAIRS:

P. Macquoid, A History of English Furniture, The Age of Mahogany, London and New York, 1906, pl. 1 and p. 40.

A pair (from Leigh Court) in the collection of Phyllis Lapham, illustrated 'Foreign Correspondence', House & Garden, vol. 157, no. 1, January 1985, pp. 81-83, subsequently sold Christie's, London, 19 November 1992, lot 59, and also probably the pair in the Mallett Year Book, 1993.

 

Sale: Christie's King Street Exceptional Sale 9th July 2015

Estimate: £400,000

 

 

19. A PAIR OF GEORGE I GILT-GESSO OPEN ARMCHAIRS

ATTRIBUTED TO JAMES MOORE, CIRCA 1720

Each with a rectangular padded back and seat covered in blue and red wool and silk needlework edged with silver gilt woven lace, the scrolled arms above acanthus-carved supports, on cabriole legs headed by Indian masks with stylised acanthus headdresses, above foliate-carved pad feet, with original webbing, the chairs numbered in pencil '4' and '10' to the seat rail, the gilding refreshed with original gilding visible underneath, with later crimson silk to the reverse with traces of original crimson wool underneath

Size:   41 in. (104 cm.) high; 32 in. (81.5 cm.) wide; 29 in. (73.5 cm.) deep

 

Provenance:  The set of twelve armchairs was almost certainly commissioned by Sir Richard Child, 3rd Baronet, later Viscount Castlemaine and Earl Tylney of Castlemaine (d. 1750), for Wanstead House, Essex, and thence by descent.

 

Monson family tradition has it that the armchairs were in the collection of Other Lewis Windsor, 4th Earl of Plymouth (d. 1771), and his spouse, Catherine Emma (née Archer), Countess of Plymouth (d. 1790) who worked the needlework covers. The chairs were subsequently inherited by their eldest daughter, Catherine Sydney Windsor (d. 1823), second wife of Sir James Tylney-Long (née Long), 7th Baronet (d. 1794), and thence by descent to their daughter, Catherine (d. 1825), and her husband, William Pole-Tylney-Long-Wellesley, from 1857, 4th Earl of Mornington (d. 1857) until sold at the 1822 Wanstead House sale.

 

In February 1795, at Wanstead House in the collection of Sir James Tylney-Long, and thence by descent to his daughter, Catherine, and her husband, William Pole-Tylney-Long-Wellesley, from 1857, 4th Earl of Mornington. The set was sold in pairs from Wanstead House at the house sale conducted by Mr. Robins on 10 June 1822 and 31 following days, seventeenth day's sale; lots 23 and 27 are the present chairs, acquired by 'Lane' for £27.6, and £26.15.6. The remaining eight chairs were acquired by Philip John Miles for Leigh Court, Somerset (see below).

 

Given to William John Monson, 6th Baron Monson (d. 1862) by 'Anna' Wakelin for Burton Hall possibly in the mid-1850s, and thence by descent; this is almost certainly Hannah Wakelin (d. 2 October 1859) of Tottenham, formerly of Whips Cross, Walthamstow, Essex and Ham Common, Surrey.

 

Literature:      THE MONSON CHAIRS:

An Inventory of the Household Furniture, Linen, China, Glass, Books, Wines and Effects of the Late Sir James Tylney Long Bart. deceased at Wanstead House in the County of Essex appraised Feb'y 23 1795 & Following Days, in the 'Dressing Room' of the 'Crimson Bed Chamber'.

A. Denney, Burton Hall, privately published, 1950, two of the chairs in the Stone Drawing Room.

 

THE LEIGH COURT CHAIRS:

P. Macquoid, A History of English Furniture, The Age of Mahogany, London and New York, 1906, pl. 1 and p. 40.

A pair (from Leigh Court) in the collection of Phyllis Lapham, illustrated 'Foreign Correspondence', House & Garden, vol. 157, no. 1, January 1985, pp. 81-83, subsequently sold Christie's, London, 19 November 1992, lot 59, and also probably the pair in the Mallett Year Book, 1993.

 

Sale: Christie's King Street Exceptional Sale 9th July 2015

Estimate: £400,000

 

20. Dominic Serres (1722-1793) 

The Capture of Havana, 1762: The Morro Castle and the Boom Defence Before the Attack              

oil on canvas

83.8 x 175.3 cm (33 x 69 in.)       

 

21. Dominic Serres (1722-1793) 

The Capture of Havana, 1762: the English Battery Before Morro Castle                    

oil on canvas

84 x 122 cm (33 x 48 in.)

 

22. Dominic Serres (1722-1793) 

The Capture of Havana, 1762: Storming of Morro Castle, 30 July,

oil on canvas

127.0 x 189.0 cm (50" x 74" in)

 

23. Dominic Serres (1722-1793) 

The Capture of Havana, 1762: Taking the Town, 14 August,

oil on canvas

125.7 x 188 (49½ x 74 in.) 

 

24. Dominic Serres (1722-1793) 

The Cathedral at Havana, August-September 1762

oil on canvas

81.3 x 119.4 cm (32 by 47 in)  

 

25. A PAIR OF PIETRE DURE TABLE TOPS

AFTER DESIGNS BY ANTONIO CIOCI (c.1732-92) DATED 1775

MADE IN THE GRAND DUCAL WORKSHOP, FLORENCE, c.1784

EACH IS MOUNTED ON ORMOLU AND ROSEWOOD BASES

Table tops: 29 ½ x 57 ¼ x 2 ¼ inches

Table bases: 34 inches tall

 

Provenance

Commissioned by George Nassau Clavering-Cowper, 3rd Earl Cowper (1738-89)

Thence by descent

 

Guide Price

£1,500,000

 

 

 

 

 

 

 

 

 

For further details please contact:

Anastasia Tennant
Acquisitions, Exports, Loans and Collections Unit 
Arts Council England
21 Bloomsbury Street
London WC1B 3HF
Direct Line: 020 7268 9553
Email: anastasia.tennant@artscouncil.org.uk