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534325 Los(e)/Seite
Los 4017
Collection of alternative 80's music across 15 LPs & 7 12 inch records, The Barracudas, The Cure, Echo & the Bunnymen, Japan, The Jesus and Mary Chain, The Smiths, Timbuk 3, Velvet Elvis, and more.Condition Report: General light to medium wear to most of the sleeves and the discs are graded from VG to Excellent using the Record Collector Magazine Grading.
Los 4018
Collection of 70s / 80s Rock & Metal records.Well known acts such as Aerosmith, Anthrax, Alice Cooper, Blackfoot, Black Sabbath, The Cult, Jethro Tull, Uriah Heep, YES and some lesser known acts like Dark Star and Dedringer.29 LPS and 1 12 inch. (30)Condition Report: General light to medium wear to most of the sleeves and the discs are graded from VG to Excellent using the Record Collector Magazine Grading.
Los 4019
1970s rockpile of 73 LPS. Classics from Joe Cocker, Eric Clapton, The Flying Burrito Brothers, Humble Pie, Slade, Santana, Steely Dan and some more obscure artists such as Digalongamacs and Pete Sinfield.Condition Report: General light to medium wear to most of the sleeves and the discs are graded from VG to Excellent using the Record Collector Magazine Grading.
Los 4020
Collection of Punk / New Wave records, 12 LP's & 3 12 inch from bands such as The Clash, The Jam, Eddie and the Hot Rods, Tubeway Army, Blondie, Iggie Pop and Stiff Little Fingers.Condition Report: General light to medium wear to most of the sleeves and the discs are graded from VG to Excellent using the Record Collector Magazine Grading.
Los 4023
40+ 1970s LP records. From the much sought after Third World War II to Bob Dylan, Bob Marley, The Who, Cat Stevens, Badfinger, Elton John, Some comedy records and more.Condition Report: General light to medium wear to most of the sleeves and the discs are graded from Good + to Excellent using the Record Collector Magazine Grading.
Los 4026
11 indie vinyl records from labels like Beggars Banquet and SubPop. Acts such as The Walkabouts, Pond, Frank Black, Arrested Development and more.Condition Report: General light to medium wear to most of the sleeves and the discs are graded from VG to Excellent + using the Record Collector Magazine Grading.
Los 4056
Three Alice Cooper UK 7 inch DEMO vinyl records: Schools Out released on Warners K 16188 in 1972, Teenage Lament issued on Warners K 16345 in 1973 & Hello Hurray issued on Warners K 16248 in 1973 (3).Condition Report: the former two both appear only lightly played & very good condition, the later with several light marks but plays fine.
Los 4372
Film related items including brochures from Camelot, Wild Geese, Cleopatra, Superman II, 2010, Khartoum, Charge of the Light Brigade, Mary Poppins, Papillon, Gone with the Wind, Ben-Hur, The Longest Day, The Dirty Dozen, My Fair Lady, The Towering Inferno, and a collection of movie related photos.
Los 4463
Large collection of lobby cards including Fury at Furnace Creek, The Comedians, The Charge of the Light Brigade, S.O.S. Titanic, Rotten to the Core, Up Jumped a Swagman, Tears for Simon (accompanied by various black & white stills & a head shot of Julia Arnall), The Amazing Howard Hughes, Artists and Models, Dunkirk, The Foxes of Harrow, The Greatest Story Ever Told, Martin Luther, Always a Bride, Quentin Durward, Gideon of Scotland Yard, Arrow in the Dust, Sandokan the Great, The Magic Weaver, The Little Savage, California Suite, The Secret Invasion, The Teahouse of the August Moon, Day of the Badman, Son of a Gunfighter, Fiend of Dope Island, The Secret 7, Meteor, Gunn... Number one, Start the Revolution without Me, Atlas, Cold Turkey, It's all Happening and Not For Publication, all 11 x 14 inches.
Los 114
An English Porcelain Dish, probably Chamberlains Worcester, circa 1800, of canted rectangular form, painted with a stylised dragon within foliage borders, 31cm long; A Similar Boat Shaped Dish, with gilt eagle handles, painted with flower sprigs and floral meander, 32cm long; A Set of Four Spode Porcelain Teacups and Five Saucers, painted in brown and gilt with fruiting vine; A Coalport Oval Teapot and Cover, circa 1790, printed in underglaze blue with a chinoiserie landscape, 25cm long; A Derby Porcelain Imari Pattern Coffee Can; A Wedgwood Pearlware Coffee Can; A Wedgwood Pearlware Dessert Plate; Two Staffordshire Dessert Plates; Two Saucer Dishes; A Bat Printed Teacup and Saucer; and A Sèvres Style Cup (qty)The Chamberlain dish, no chips or cracks, gilt wear, boat shaped dish, crazed and with heavy gilt wear, no damage or restoration, four Spode teacups with gilt wear, no chips or cracks, five saucers with gilt wear, one with abraded rim, another with slight staining, teapot, rim chip to the cover, spout broken off with staple repairs, Derby coffee can, crazed and a with gilt wear, Wedgwood coffee can, tiny chip to the foot, Wedgwood dessert plate, slight glaze scratching, Staffordshire dessert plates, floral example broken and stapled, the other with light gilt were, saucer dishes, gilt example with wear, the other broken in two and stapled, Bat printed cup and saucer, one small foot chip to the saucer, Serve style cup with gilt wear
Los 134
A Japanese Two-Colour Gold Inlaid Hardwood Model of a Boat, Meiji period, with waves running along the side, 41cm long; and A Japanese Cloisonne Enamel-on-Silver Baluster Vase, Meiji period, decorated with chrysanthemums on a dark blue ground, signed, 11.5cm highThe boat, some fading and discolouration to the top, wear and light scratches throughout, the cloisonne vase, crack to the neck, two large chipped sections just under the shoulder
Los 141
A Chinese Porcelain Pear Shaped Vase (Yuhuchunping), Xuande reign mark but not of the period, painted in underglaze blue with scrolling lotus within formal arrowhead, stiff leaf and lappet borders, bears six-character reign mark in underglaze blue, 24cm highSome very light glaze scratches, no chips, no cracks, and free from repair
Los 37
A Pair of Royal Worcester Porcelain Plates, painted by Po-Hing, circa 1875, in famille rose type enamels with courtly figures and a piebald horse in garden scenes within borders of large blue bats with flies, cache, birds and flowers, impressed marks, 23.5cm diameterFor a similar example see Sandon (Henry) Royal Worcester Porcelain, colour pl.VOriginally, this type of decoration was believed to have been carried out on Worcester blanks sent to Canton, but it is now known that the Chinese artist known as Po-Hing was employed at Worcester as a principal artist by Mr R W BinnsBoth plates with evidence of re-firing, free from chips, cracks, and repair, some minimal crazing and light wear to the decoration
Los 51
A Chinese Rose Quartz Jar and Cover, 19th century, of flattened baluster form, carved in relief and pierced with peaches, 14cm high; An Inuit Carved Hardstone Penguin, 12cm high; and A Stone Carving of an Animal, 5cm high (3)Rose quartz jar and cover, cover with numerous chips and losses, the main body of the vase, slight rim chips, minor loss to the tendrolls, and with typical internal flaws, the stand with loss and a section of damage, the Penguin, some losses around the base, general wear and scratches, a stone carving of an animal, general light wear scratches
Los 6
A Dutch-Decorated Blanc de Chine Wine Cup, 2nd half 17th century, of flared octagonal form, painted in kakiemon style with a banded hedge, pine, prunus and bamboo within a bitter chocolate rim, on four stub feet, bears four character mark in red, 6cm wideAt first glance the four red Chinese characters are easily dismissible as a Western attempt at a Chinese mark, but after spending a bit of time with them, the first two characters (top and bottom right) are- with some leeway- readable. The first meaning “Ben”- a book and the second “Mi”- a river in Hunan Province. As when reading Chinese or Japanese characters there can be many interpretations which may be multiplied by inscrutable calligraphy and the lack of skill of the reader.Hair crack to the rim, one small abrasions to the rim, light enamel wear
Los 240005
Weißgold-Ring mit Solitärbrillant 1,100 ct, Handarbeit, Weißgold gepunzt 750, mit einem Diamant im Brillantschliff, ca. 1,10 ct, getönt N,O very light yellow, vvsi 1, Ringgröße 57, Gewicht 10,6 g, mit Bewertungs-Gutachten der Deutschen Gesellschaft für Edlesteinbewertung Idar-Oberstein aus 2017, Wiederbeschaffungswert 9375 €. 3184-001
Los 66
Attributed to Giuseppe Valadier (Italian, 1762-1839): A gilt and patinated bronze and marble figural three light candelabrumthe twin reeded scrolling arms centred by a corresponding upright, issuing from a leafy capital, all with fluted nozzles and swept drip pans above foliate collars, the whole supported by a classical maiden, standing on a square white marble pedestal with applied mask head and floriate mounts, on moulded stepped black and giallo antico square shallow plinth base, 42cm high overallFootnotes:Andrea and Luigi Valadier were the foremost goldsmiths and bronze workers in Rome, completing commissions for the Pope as well as numerous cardinals and others associated with the Church. Luigi was the son of Andrea and became a Master Goldsmith in 1760. Counting amongst his prestigious clients Pope Pius VI, who visited Valadier's workshop four times, and the Archduke Ferdinand of Austria, Karl IV, and Elector Palatine, he also received commissions from churches throughout the world including Mexico, Spain and Austria as well as well as throughout his native Italy.Luigi had an impressive ability to reframe examples of ancient Roman art and architecture and antique sculptures, cameos, architectural details, and ruins of ancient monuments also served as inspiration for his own works which included candelabra, tableware, altars and centrepieces in both silver, bronze, marbles and semi-precious stones. Uncommonly for the time he produced works of all sizes from large altar pieces to intricate pieces of small jewellery.Despite his distinguished clientele and acclaim, Luigi committed suicide by drowning himself in the Tiber in 1785, probably because of heavy debts to his creditors due to non-payment of invoices by his clients. On his death, his business passed to his son Giuseppe.For an illustration of an original pen and wash drawing by Valadier showing a comparable figural candlestick support and a vase candelabra with comparable twin arms, see Alvar Gonzalez Palacios, Luigi Valadier, The Frick Collection New York, 2018, Fig.5_25, p. 234.For further information on this lot please visit Bonhams.com
Los 114
Pair of Rococo cornucopias; Spain, early 20th century.Carved and gilded wood.Measurements: 72 x 39 cm (x2).The cornucopias were rich mirrors to which supports for candles were added (which usually disappears in 19th century examples), so that the light from the candles would be multiplied by being reflected on their surface. They were particularly popular in the Baroque period, during the 17th century and much of the 18th century. They were an essential ornament in the great halls of representation which, following the typical theatricality of the Baroque, were full of mirrors and candelabras that produced visual games of all kinds, as well as enriching the room. Since they were pieces of performance furniture, they were made of richly carved and gilded wood, and their frames were decorated with a multitude of delicate relief motifs, worked as if they were sculptures. Cornucopias, like the other mirrors of the Baroque period, could have frames of different shapes and profiles, but they never went beyond the inner profile of the glass, unlike the examples of the Rococo period.
Los 117
Carlos III cornucopia type mirror. Spain, mid 18th century.Carved and gilded wood.Damaged.Measurements: 28 x 20 cm (interior light); 51 x 41 cm (total frame).This pair of cornucopia-type mirrors has a beautiful frame with a regular profile, although it is characterised by an intense dynamism and abundance of decorative carving elements, partially openwork. It has a first moulded profile, itself contained in specific carvings that allow us to ascribe this mirror, without doubt, to the Spanish school of the 18th century.Cornucopias were rich mirrors to which candle holders were added so that the light from the candles would be multiplied by being reflected on their surface. They were particularly popular in the Baroque period, during the 17th and most of the 18th century. They were an essential ornament in the great halls of representation which, following the typical theatricality of the Baroque, were full of mirrors and candelabras that produced visual games of all kinds, as well as enriching the room. Since they were pieces of performance furniture, they were made of richly carved and gilded wood, and their frames were decorated with a multitude of delicate relief motifs, worked as if they were sculptures.
Los 25
Madrid School, 17th century."Christ presented to the people".Oil on canvas.Relined.Period frame.Remains of xylophages.Measurements: 43,5 x 53,5 cm; 63,5 x 54,5 cm (frame).This is one of the most represented scenes of the Passion during the Baroque period, because it concentrates a moment of maximum tension and contained dramatism. Pilate hands over to the enraged people the power to condemn Jesus, who, with his hands tied behind his back, is shown to the crowd, who will decide his fate and that of humanity. In this composition, set in an oval tondo, the body of Jesus occupies the foreground. Sculpted by a light that falls on his naked and tense anatomy, his gaze, on the other hand, conveys peace and forgiveness. His calm face contrasts with the ferocity of the individuals who insult him and brandish their arms, calling for his death. In the distance, two crosses are silhouetted against the mountain of Golgotha, awaiting the third, thus foreshadowing the coming events: the Stations of the Cross, death and resurrection. In this way, different planes of depth follow one after the other with narrative intent. The distant sierras are blurred between blue and glaucous shades. In the foreground, above the sea of agitated bodies, the instruments of martyrdom loom menacingly. The emblems of the Passion and the descriptive emphasis coexist in this singular composition which is at the same time fully inscribed in the baroque language.
Los 38
Spanish school, 18th century. After CORREGGIO (1489 -1534)."Mystical nuptials of Saint Catherine". Oil on canvas.Relined.20th century frame following 19th century models.Size: 109 x 100 cm; 132 x 123 cm (frame).The Louvre Museum houses the original work by Correggio on which the present painting is based. This is a faithful version of the Renaissance model, except for the use of somewhat more contrasting and dramatised lighting, typical of a language that has been impregnated with the plastic incursions of the Baroque. The present scene depicts the vision of Saint Catherine being betrothed by the Christ Child, who in the painting is about to place a gold ring on her ring finger. The Virgin takes the divine body in her arms, which glows with inner light, as do the faces of the figures present, with Saint Sebastian being the fourth figure to bear witness to the sacred event. Jesus gazes tenderly at Catherine, who is depicted as a beautiful young woman wrapped in golden cloths. In the background of the composition, the episode in which Sebastian is being martyred is narrated: he is tied to a tree and sawn asunder by a group of Roman soldiers. The faces in the foreground are characterised by the tremendous sweetness that emanates from barely sketched smiles, their features modulated by soft shifts of light. The atmospheric effect and the satiny sensuality of the robes are derived from the Venetian school. The same theme would be treated by other great painters, such as the Flemish genius Anton Van Dyck, and the Spanish artist Diego Ribera, master of Tenebrist naturalism.Saint Catherine de Ricci was an Italian Dominican nun, who is attributed with miraculous visions and bodily encounters with Jesus, both the infant Jesus and the adult Jesus. She is said to have spontaneously bled with the wounds of the crucified Christ. She is venerated for her mystical visions and is honoured as a saint by the Catholic Church. She was born Alessandra Lucrezia Romola de' Ricci in Florence to Pier Francesco de' Ricci, from a patrician family, and his wife, Caterina Bonza, who died shortly afterwards. At the age of 6 or 7, her father enrolled her in a Benedictine nuns' school in the Monticelli quarter, near her home, where her aunt, Luisa de' Ricci, was abbess. She was a very devout person from a very young age. There she developed a lifelong devotion to the Passion of Christ. After a short time away from the monastery she entered the Convent of St. Vincent in Prato, Tuscany, a cloistered community of nuns of the Third Order of St. Dominic. By the age of 30 she had risen to the position of prioress, and as prioress, De 'Ricci became an effective and much admired administrator.
Los 55
Circle of MATEO CEREZO (Burgos, 1637-Madrid, 1666)."Penitent Magdalene".Oil on canvas. Re-retouched.It presents repainting and restorations.Measurements: 103 x 85 cm.In this canvas, Mary Magdalene is represented as a penitent in the desert, dressed with a jet robe, on which the red tone of the cloak stands out. Although it is an unusual feature, the young woman, who appears to be absorbed in the Scriptures, does not have long, flowing hair, which alludes to the style of the young woman's life before she met Christ. The saint is depicted next to a perfumer, the Holy Scriptures and the skull. Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jesus with perfumes before his arrival in Jerusalem, so her main iconographic attribute is a knob of essences, like the one shown here. While Eastern Christianity particularly honours Mary Magdalene for her closeness to Jesus, considering her "equal to the apostles", in the West the idea developed, based on her identification with other women in the Gospels, that before meeting Jesus she had engaged in prostitution. Hence the later legend that she spent the rest of her life as a penitent in the desert, mortifying her flesh. She was most often depicted in this way in art, especially in the 17th century, a time when Catholic societies were particularly fascinated by the lives of mystics and saints who lived in solitude in the wilderness, dedicated to prayer and penance. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also tackled other genres. In this respect, the treatise writer and biographer Palomino stated that he produced "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The work of this artist from Valladolid has also been identified as Cerezo's descendant, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Thus, Cerezo developed compositions that open out into large, complex scenographies, conceived with a distinguished refinement that is evident both in the work as a whole and in the smallest details. Like the Antwerp master, he endowed his figures with a rich magnificence in their costumes, applying a fluid, light brushstroke, contrasted by a rich play of light. A superb example of all this is the Prado's The Mystical Betrothal of Saint Catherine, signed and dated 1660.
Los 58
Flemish school, 17th century."The Adoration of the Magi".Oil on copper.Measurements: 53,5 x 46 cm; 76 x 69 cm (frame).Painting of Flemish school, which is shown by the qualities printed on the sumptuous clothes, as well as the rich choreography that compose the variety of characters characterised with ingenious naturalism. The vivid agitation of the figures and the arch in the background opening towards a wide sky in which a star shines out, recall the solutions applied by Rubens to the same subject (canvas in the Museo del Prado). As in the Flemish master's painting, a clear night illuminates the scene and the light seems to emanate from the bodies, especially the bodies of Jesus, Mary and the kneeling King Melchior. But the other figures also have a personality of their own. Enraptured, they carry myrrh and incense. Their cloaks shine like satin and fine silk, as do the soldiers' helmets. A great variety of human types come to Bethlehem. This painting is fully in keeping with the Baroque style, notable for the painstaking attention to detail, the use of contrasts of light and the varied range of facial expressions.
Los 70
Attributed to JACOPO DI ANTONIO NEGRETTI, "Palma il Giovane" (Venice, 1548-1628)."The Flagellation of Christ", pp. 17th century.Grisaille on canvas adhered to panel.On the reverse there is an inscription: "grisaille par Palma".It has slight repainting.The piece will be available after a period of up to 60 days.Size: 40 x 27.5 cm; 52 x 42 cm (frame).The present work is modelled on an engraving made in 1594 by Aegidus Sadeler (1579-1629) from a drawing by Palma the Younger, an engraving now in the Museum of Capodimonte. The direct attribution to the Venetian artist is not only due to the inscription on the back of the painting, but is also reinforced by the various versions of this theme from the life of Christ that the artist produced.Its composition follows the same guidelines as his oil on canvas "The Scourging of Christ" or "Christ tied to the column", which was released in 2010. Not to forget the oil on copper in which he reworked the same scene.These patterns, executed in different media and using different techniques, reveal the importance that the Italian mannerist gave to this biblical passage. The suffering that Jesus undergoes during the moment of the scourging is reflected in his face and body, which appears to be on the verge of collapsing to the ground. While a group of spectators attend the moment taking action in the scene, such as the executioner who is about to inflict another blow on Jesus, recognising also an old man of the Council with a long beard and covered by a tunic, being one of the instigators of Christ's condemnation; as well as Pilate, represented just behind the old man.The style and workmanship of the painting is very close to Jacopo Negretti's mastery in recreating the light and shade that add volume to the painting. Furthermore, it follows exactly the structure and distribution of the figures in the scene depicted in Aegidus Sadeler's engraving.Jacopo Negretti, also known as Palma "the Younger" to distinguish him from his great-uncle Palma "the Elder", trained as a painter at the court of Urbino and in Rome, where he spent nine years. During this period he studied Michelangelo and assimilated the imperatives of the Counter-Reformation, discovering and following the pictorial principles of Zuccaro, Salviati and Santi di Tito.Through the various influences of his contemporaries and predecessors he acquired technical skill and a prominent position in the Venetian school, but he did not form any disciples. His eclecticism led him from religious to historical and mythological subjects, from painting to engraving. One of his greatest works is undoubtedly the decoration of the Ospedaletto dei Crociferi.
Los 94
Frame; Italy, 18th century.Gilded carved wood.Gilding and carving losses.Preserves xylophagous damage.Measurements: 182 x 135 cm; 154 x 106 cm (light).Italian frame with a rectangular structure made of carved and gilded wood. The piece is structured in several registers, with a filigree that runs along the inner perimeter formed by a carved ornamentation based on small balls that alternate with flat spaces, in such a way that a rhythmic pattern is created. The inner part of the frame, which is more prominent in terms of design and size, has an ornamental finish based on vegetal motifs, which have faded over time in the lower part of the frame. Finally, the design of the outer perimeter consists of a band of geometric plant motifs.
Los 73
A fine and rare mid 18 century quarter chiming table clock, chinoiserie decorated on a light yellow ochre groundEardley Norton, London, numbered 297The bell top with five cone finials over a pair of side handles, shaped and circular glazed side apertures, and a moulded base on (later) ogee brass bracket feet, decorated all over with birds, flowers, buildings and figures on a yellow ochre ground, framed by gilt and red borders with green and gilt lattice-work panels to the corners. (The figures include a lone woman carrying a basket of eggs, a man with what appears to be a fish basket, and another pair of walking figures.)The 6.75 inch arched brass dial signed in a shaped recessed panel flanked by twin subsidiaries for 'Chime/Not Chime' and choice of tune 'Minuet/Cotillion', numbered 297 in the upper right hand corner, and bearing the stamp 'E.Carrion/Orense' (a 20th century restorer?), the Roman and Arabic chapter ring framed by rococo scroll spandrels, finely matted centre with chamfered date aperture and original blued steel hands. The mask behind the door further decorated with gilt flowers within red line borders. The triple gut fusee movement with substantial plates united by six knopped pillars, rack striking the hours on a bell and chiming each quarter on a run of eight bells and 16 hammers, and playing a choice of two tunes on the hour, the going train with knife-edge verge escapement. The backplate signed in a foliate reserve Eardley Norton, LONDON' and numbered in the top right hand corner. 53cms (1ft 9ins) high.Footnotes:to comeFor further information on this lot please visit Bonhams.com
Los 110
A rare late 19th century French neo-Gothic oak table clock with calendarMathieu Planchon, Palais Royal, Paris, movement numbered 2883Surmounted by a crowing cockerel over a scroll frame housing the large bell and horizontal hammer, (with static Jack to one side), enclosed by cruciform brass strips 'rivetted' onto the carcass and twin side doors with bullseye glass and creature handles, the rear door with quatrefoil sound fret, raised on bifurcated scroll feet. The dial is divided with another 'rivetted' brass strip; above, the signed Roman chapter ring with sun centre and beetle and poker hands, the stylised Arabic calendar ring with arrow hand and clouded sun centre. The movement comprised of an upper clock movement with twin spring barrels, Brocot suspension, and an anchor escapement with outside count wheel, the back plate stamped 2883 Planchon Palais-Royal; the lower calendar movement with ratchet driven calendar wheel connected via a lever to the clock movement, and stamped with 775. The rear door carries a stamp depicting a clock and two pocketwatches within a shield, along with the number 3 595. The pendulum is stamped 2883·772. Ticking and striking, together with a a winding key. 27.5 x 26 x 60.5Footnotes:Mathieu Planchon was born in 1842 in Bourges, and served as apprentice to his father, one of the city's clockmakers, until 1862. By 1865/66, he had moved to Paris and was employed at Robert-Houdin's workshop: Robert-Houdin was a horologist and one of the most famous illusionists of all time; it seems likely that Planchon would have worked with Houdin's son, Emile Robert-Houdin who took over running the workshop after his father's retirement in 1855. After about two years he moved to work with a G. Phillippe in the Palais Royal, before taking over the business around 1870. Planchon had a strong interest in the antiquarian side of horology, and by 1896 was being described in the Horological Journal as 'the un-disputed authority in the horology of all countries, and, above all, on that belonging to the Middle Ages'. The 'Figaro' newspaper ran a competition in 1874, soliciting ideas for a watch it could give to its subscribers. Planchon entered and won with an apparently novel case design ....UNFORTUANTLEY THE DESIGN REMAINS UNKNOWN....; 22,000 of the watches were produced and Planchon became a well-known horological figure. He spent the next 15 years assembling a large collection of ancient timepieces, as well as making replicas of antique and middle ages clocks, but with modern, 19th century movements. He did not seem to regard these clocks as copies, but updates to otherwise fine clocks. By 1889, he had assembled enough to be able to exhibit at the Great Exhibition in Paris; he had a large variety of reproduction antique clocks, 75 in all, including clepsydrae and 15th century mantel clocks. He won a gold medal for this exhibition. In 1895, he relocated from the declining Palais Royal to the crossroads of Rue de la Chaussée d'Antin and the Rue Meyerbeer. He continued with his antiquarian pursuits, making, amongst other pieces, a clock in the shape of a fan, which would open to reveal the hours, before snapping shut at 6 'o' clock, which was based on a similar clock in a 16th century engraving he owned. He also extensively studied, and described, both traditional Japanese and Chinese clocks and time-keeping systems; he was the first European to publish a serious horological analysis of these timepieces. In the 1900 Paris Exhibition, Planchon not only won a Grand Prix, he was also allowed to write the official description for the horology section. This same year, in light of his accomplishments at the 1900 Exhibition, and his comprehensive book on the history of horology, L'horloge son histoire rétrospective, pittoresque et artistique published two years previously, he was made a member of the British Horological Institute. He would continue to practice horology and publish various related monographs, until his death in 1921, a few months after his latest work, La Pendule de Paris. Son évolution décorative was published. Paul Brateau, Planchon's son-in-law, employee for the past 21 years, and similarly enthusiastic antiquarian horologist, assumed control of La Maison Planchon, which he relocated to the Rue Meyerbeer proper in 1930, before his retirement, and the final closure of the shop in 1936. A very similar clock, with moon phase instead of a calendar dial and numbered 5885, was sold by Bonhams London in September 2009.Robertson, J. D. (1922) 'Mathieu Planchon', The Horological Journal, Vol. 64 (8), pp. 147-148. (Accessed: 18 May 2022)Bijou (1896) 'French Notes. From Our Special Correspondent.', The Horological Journal, Vol. 38 (9), p. 122. (Accessed: 18 May 2022)W.E.N. (1889) 'Further Notes of a Leisurely Saunter through the Horological Section of the Paris Exhibition',The Horological Journal, Vol. 32 (1), p. 6. (Accessed: 18 May 2022)Collanges, F. (2013) 'Third Lecture', Antiquarian Horology, Vol. 34 (2), pp. 259-261. (Accessed: 19 May 2022)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 10
Property from an Important Private Collection, London(Lots 9, 10, 33, 41, 53, 57, 59, 60, 61, 66 and 104) ATTRIBUTED TO CORNELIS VAN POELENBURGH (UTRECHT 1586-1667)Rest on the Flight into Egyptoil on oak panel29 x 37.8 cm (11 7/16 x 14 7/8 in)frame: 39 x 47.5 cm (15 3/8 x 18 11/16 in) CONDITION REPORT:* Oil on oak panel, framed. Not examined out of the frame. The painted surface, thinly painted, stable and varnish layer clear. Slight surface scratchs on the varnish layer at the centre of the painting and at the upper right corner. Visible under UV light: areas of retouching in the sky on the left and along the upper edge.*For high-resolution images, please contact the Paintings Department at paintings@chiswickauctions.co.uk
Los 14
ATTRIBUTED TO ESAIAS BOURSSE (AMSTERDAM 1631-1672) (AMSTERDAM 1631-1672)Portrait of a family in an interioroil on canvas, laid down on panel75.5 x 83 cm (29 3/4 x 32 11/16 in)frame: 52 x 61 cm (20 1/2 x 24 in)Only about thirty works by or attributed to Esaias Boursse survive. Compare the sensitive handling of light on the left of the present painting, along with details such as the porcelain mounted on the wall, with Boursse’s Interior with Woman at Wheel, 1661 (Rijksmuseum, Amsterdam, SK-A-767); and the overall composition of a family portrait in the present lot, with RKD Image Database img.nr. 0000145861 and 0000139101. CONDITION REPORT: Oil on a fine-weave canvas, mounted onto a cradled panel, framed. Not examined out of frame. Examined under UV light: scattered retouching and reinforcing, especially to the girl’s head on the far right, around the red skirt, around the mounted bowls and pictures. Overall, it is our opinion that the work is in good original condition.*For high-resolution images, please contact the Paintings Department at paintings@chiswickauctions.co.uk
Los 9
Property from an Important Private Collection, London(Lots 9, 10, 33, 41, 53, 57, 59, 60, 61, 66 and 104) CIRCLE OF SIMON VAN DER DOES (THE HAGUE 1653-C.1718 ANTWERP) Three studies of bull's headsoil on paper laid down on canvas19 x 30.5 cm (7 1/2 x 12 in)frame: 35 x 45.5 cm (13 3/4 x 17 15/16)For a very similar study by Van der Does in both size and composition, see Five Studies of the Head of a Sheep sold for £ 2,562 from the "The I.Q Van Regteren Altena Collection part II - Dutch and Flemish Drawings from 1500 to 1900", Christie's Amsterdam, 10 December, 2014 [Lot 261].CONDITION REPORT:* Oil on canvas, relined, framed. Not examined out of the frame. The painted surface stable and varnish layer clear. Visible under UV light: scattered retouching along the bottom edge and a few spots of retouching a the centre of the painting. *For high-resolution images, please contact the Paintings Department at paintings@chiswickauctions.co.uk
Los 3137
Eleven Kenner 1977 3 3/4" Star Wars figures, comprising Luke Skywalker with single telescope light sabre, Obi Wan Kenobi with cape and single telescope light sabre, R2-D2 2 1/4", Princess Leia Organa (lacking cape), Darth Vader with cape and single telescope light sabre GMFGI, Chewbacca with gun, Death Squad Commander with gun, Han Solo with blue blaster, Imperial Storm Trooper, Sand Person with cape, no weapon, and Jawa with cape and gun 2 1/4", (11) all GMFGI 1977 Hong Kong, guns/blasters are reproduction,
Los 3138
Nineteen Kenner 1977 vintage 3 3/4" Star Wars figures, comprising three Chewbacca, two Luke Skywalker, one blonde and one with brown hair, Princess Leia Organa, Death Squad Commander, two Sand People, R2-D2, four Darth Vaders, three Imperial Stormtroopers, and two Obi Wan Kenobi with grey hair, (19), one Chewbacca LFL 1977, all other figures GMFGI 1977, no weapons or light sabres,
Los 3188
Three Pelham puppets, comprising 'Big bad wolf', 'Foal' and 'Mouse', all boxed, Condition Report: Foal - lacking plastic window. Tears and creases in box. Some tangling of strings. light wear.Mouse - lacking plastic window. Light wear and tear to box, especially the edges and corners. Some tangling of strings. Tunic, hat and ears are grubby.
Los 3203
Five Matchbox model cars, comprising 32 E-Type Jaguar, 32 Jaguar XK140, 47 Lyons Maid Ice-Cream Mobile Shop, 53 Aston Martin, and 53 Mercedes-Benz 220 SE, all boxed, (5), Condition Report: 53 Aston Martin - a few very small paint chips. Box is lacking one large end flap and has some creasing.32 E type Jaguar - a few very small paint chips. Box is lacking one large end flap. Other large end flap is torn. Box creased.32 Jaguar XK 140 - a few very small paint chips. Tear in one large end tab. Some light creasing to box.53 Mercedes Benz Coupe - a few very small paint chips and a scuff on the bonnet. Tear in one large end tab. Box with creases.47 Commer Ice Cream Canteen - a few very small paint chips. Start of separation of large end tabs. Light wear to box.
![[Austen (Jane)] Pride and Prejudice: A Novel...By the Author of "Sense and Sensibility", 3 vol., second edition, half-titles](https://cdn.globalauctionplatform.com/5269b360-7d35-4fd1-844e-aebc010805cc/a4e8e8dc-ba27-42c3-8ae8-aebc010ce13c/468x382.jpg)
Los 101
[Austen (Jane)] Pride and Prejudice: A Novel...By the Author of "Sense and Sensibility", 3 vol., second edition, half-titles (vol.1 half-title with C. Roworth imprint to verso), titles supplied from first edition, vol. 1 & 3 half-titles, vol. 1 E7, vol. 2 C2 & D2 and vol. 3 G2 with short neatly repaired tears, vol. 2 C8 and vol. 3 title and L5 with restoration to lower margins, some foxing and light soiling, armorial bookplate of John Croft Deverell to front pastedowns, late 19th century polished calf, gilt, spines gilt in compartments with red and brown morocco labels (a little rubbed), joints cracked, t.e.g., others uncut, slip-case, [Gilson A4], 12mo, T.Egerton, 1813.⁂ Austen's most famous and best-loved novel. It was first published in January 1813 and this second edition probably in October of the same year, being advertised with the second edition of Sense and Sensibility in The Star on Friday 29th October 1813. It was entirely re-set, with some variations within the page and to spelling and punctuation.
Los 106
Nightingale (Florence).- Henslow (Fanny H.) Literary Gleanings. By an Invalid. Second Series, first edition, presentation inscription from Florence Nightingale to her sister Parthenope "Miss P. Nightingale with the best respects of the gleaner" to endpaper, occasional light dampstaining to head, ink ownership inscription of Ruth Verney to endpaper, original cloth, spine sunned, splitting to lower joint but holding firm spine ends a little chipped, 12mo, 1857.⁂ A charming association copy of this work dedicated to Florence Nightingale and gifted by her to her older sister, and one of her closest supporters and friends, Parthenope. Parthenope would marry Harry Verney in 1858 so this inscription is likely dated on or around the year of the book's publication, a year in which Florence had been invalided. Florence's reference to herself as "the gleaner" is curious and combined with the printed dedication could indicate that she assisted in some of the selections presented in the work.
Los 107
Nightingale (Florence).- Wood (Rev. J. G.) Routledge's Picture Natural History, first edition, signed presentation inscription from Florence Nightingale "For my dear little God-child Ruth [Verney] from God-mama aunt Florence. July 1882" to endpaper, illustrations, some light finger-soiling, several gatherings loose, original pictorial cloth, lacking backstrip, spine broken, rubbed, 4to, [c.1880].⁂ An excellent association copy inscribed by Nightingale to her goddaughter. Ruth Verney was the daughter of Parthenope Nightingale and Harry Verney (who had proposed to the older of the Nightingales after his proposal was rejected by Florence). Florence would play a significant role in Ruth's upbringing and her goddaughter would return the favour in continuing her godmother's legacy after her death in 1910.
Los 108
Nightingale (Florence).- Pratt (Anne) Our Native Songsters, signed presentation inscription "For my dear little god-daughter Ruth with Aunt Florence's very best love. Claydon. October 1890" to endpaper, colour plates, bookplate of Ruth Verney to front pastedown, original pictorial cloth, spine a little rubbed and dulled, light bumping to spine ends and corners, some worming to upper cover, 8vo, [c.1890].⁂ An excellent association copy inscribed from Nightingale to the daughter of her older sister Parthenope. Frances Parthenope Nightingale (1819-1890) had died 5 months prior to this inscription having suffered for several years from both arthritis and cancer. For the last five years of her life she had required full-time care, overseen by her sister Florence.
Los 109
Nightingale (Florence).- Scott (Sir Walter) Waverly or 'Tis Sixty Years Since, vol. 1 only, "For my dear God-daugher Ruth Florence Verney on her birthday Dec. 8/94 from her loving God-mother Florence Nightingale... For 'What a splendid gift is the gift of life'" to endpaper, title-page detached, plates, portrait of Scott laid onto frontispiece recto, some light finger-soiling, upper hinge cracked, bookplate of Ruth Verney to front pastedown, original cloth, light sunning to spine, extremities a little rubbed, 8vo, 1892.⁂ An excellent association copy with a touching and lengthy inscription from the aging Florence Nightingale. By 1892, Nightingale was aged 74, increasingly infirm and understandably meditating on her own mortality (a circumstance exacerbated by the death of her favourite sister, Ruth's mother, 2 years earlier).
Los 119
Tennyson (Alfred, Lord) The Poetic and Dramatic Works, 7 vol., one of 500 large paper copies, with A.L.s from Tennyson tipped in to vol. 1 front endpaper, photogravure plates in two states, partly unopened, full red morocco, delicate gilt-stamped filigree work to covers and spines, inner dentelles gilt, very light toning to spines, and a few instances of light rubbing to spines, otherwise a fine and handsome set, 8vo, Boston, Riverside Press, 1929.
Los 121
Founder of British sports science.- Abrahams (Harold M. and Dr. Adolphe) Training for Athletes, first edition, plates, light spotting to fore-edge, light browning to endpapers, original cloth, light sunning to spine, dust-jacket, light browning to spine, minor chipping to spine ends and corners, but a bright, near-fine example overall, 8vo, 1928.⁂ A superb example of this scarce book, we can trace no other copy in the dust-jacket. Abrahams (whose exploits are famously recounted in the film The Chariots of Fire) won the 100m at the 1924 Olympics. Adolphe was medical officer for the British Olympic team from 1912 to 1948 and is now regarded as the founder of British sports science.
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