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Los 199
Two Galotta piano accordions. One is a seventy-two 'Ideal' bass model and the other a forty-eight bass. Cases are included for both accordions. (2)The red Galotta is in fantastic condition. No holes in the bellows, all the keys and buttons play well, next to no cosmetic ware.The black Galotta is also in good condition, with no holes in the bellows and the keys and buttons playing well. There is some rust to a couple of screws and the Galotta badge is missing.
Los 15
Naim UnitiLite. Multi-streaming system with an integrated amplifier and CD player. The remote, power cable, and original box and packaging are all included.The UnitiLite powers on and appears to be in working order, it has also passed its PAT test. Cosmetically, there are no signs of any marks, the condition is very good. Looking at the serial number, we believe it to be a 2014 model.
Los 197
Maestro piano accordion. A one-hundred-and-twenty bass model with the original case. Purchased from J. T. Forbes in 1961, the original receipt is included and the shop's label is affixed to the back of the instrument.In need of some restoration with the buttons and keys sticking. The bellows are working well with no holes.
Los 276
HMV Model 101 Portable Gramophone. Originally manufactured in 1926, the HMV 'Model 101' is equipped with the original No.4 soundbox. The gramophone also includes a tin of unused 'Columbia Soft Tone' needles and a single 78, Hal Munro; Good Golly Miss Molly/Don't (WB 278, 1958).Both the gramophone and the 78 are in good working order. There are light marks and some general wear from use throughout, however, we feel these are very minor and the gramophone is in good condition for its age.
Los 198
Three piano accordions. A twelve bass model made by Bell and a forty-eight bass accordion with no sign of a maker's mark, together with a Francesco Modello accordion in need of restoration. A single case is included. (3)Red bell- Some condition issues. The keys are sticking, lacks screw to the grill above the keys, the buttons and the bellows have no condition issues. The Francesco Modello- Again some condition issues, some valves seem to be blown, rust to corners of bellows although no holes.The red forty-eight bass- Is in a very good condition, although one button sticks.
Los 288
Rare 1970s Maxwin 100C electro-acoustic guitar. A Japanese-made bowl back model, Finish: natural.Dents and dings can be found throughout the guitar, together with a damaged bridge pin. The neck appears to be straight with no signs of warping and the guitar plays well.The guitar has been fully tested and plugged in, sonically there are no issues.
Los 155
David Vinckboons, 1576 Mechelen – 1629 Amsterdam, zug.DORFKIRMES MIT DEM STADTHAUS VON OUDENAARDE IM HINTERGRUNDÖl auf Holz. Parkettiert.55,5 x 74,2 cm.Ungerahmt.Links im Vordergrund ein hoher das Bild rahmende Repoussoirbaum. Der gesamte Mittelgrund wird dominiert von mehreren Menschengruppen, Schaustellerbuden, Verkaufsständen und rechts einer Dorfwirtschaft, vor der ein Tisch für die reichlich vorhandenen Gäste steht. Das Gemälde bezieht sich auf den Kupferstich „De Boire Cermis“ von Nicolaes de Bruyn (1571-1656). Nach diesem Druck sind mindestens drei prächtig ausgeführte polychrom staffierte Gemälde entstanden: eines von Bartholomeus Grondonck (RKD Nr. 20524), eines nach David Vinckboons annähernd unserer Darstellung entsprechend jedoch etwas kleiner (RKD Nr. 1448) und und ein weiteres Gemälde nach David Vinckboons mit verringerter Figurenstaffage (RKD Nr. 38970).Anmerkung: Zu dem Kupferstich als Vorbild vergleichbar Rijksmuseum, Amsterdam, Inv.Nr. RP-P-OB-16.150. (1371481) (13)David Vinckboons, 1576 Mechelen – 1629 Amsterdam, attributedVILLAGE FAIR WITH TOWNHOUSE OF OUDENAARDE IN THE BACKGROUND Oil on panel. Parquetted.55.5 x 74.2 cm.The painting refers to a copper engraving titled De Boire Cermis by Nicolaes de Bruyn after 1602. At least three excellently executed polychrome paintings were created from this print: one by Bartholomeus Grondonck (RKD no. 20524), one by David Vinckboons that is similar to our depiction, however of somewhat smaller dimensions (RKD no. 1448) and another painting after David Vinckboons with fewer figures (RKD no. 38970).Note:To compare the copper engraving as a model, see:Rijksmuseum, Amsterdam, inv. no. RP-P-OB-16.150.
Los 96
Bronzestatue: Allegorie der ArchitekturHöhe: 42 cm.Frankreich, 17./ 18. Jahrhundert.Nach Modell von Giambologna (1529 Douai-1608 Florenz). Braune Patina, erkennbare feine Kaltarbeitsspuren. Die Bronzefigur in schwerem Hohlguss geschaffen, in Kaltarbeit nachziseliert und braun patiniert. Als Allegorie der Architektur ist die Frauengestalt unbekleidet gezeigt, lediglich ein Tuch zieht den Sockel herab. Die Körperhaltung dem manieristischen Stil entsprechend stark gedreht. In Sitzhaltung auf einem Rechtecksockel, Oberkörper und Arme nach rechts, der Kopf dagegen stark nach links gewandt, mit Blick nach unten. Das rechte Bein über das angezogene linke gelegt. Der linke Arm greift nach unten, die Hand liegt einer hochrechteckigen Platte auf, während die Rechte Winkel und Reißstift hält. Das Haar zu Zöpfen gedreht und hochgebunden, mit Bändern durchflochten, besetzt mit einem Lorbeerkranz.Die in der Sammlerwelt weitgehend unbekannte Bronzefigur ist formidentisch mit einem weiteren Exemplar, das sich im Pariser Louvre befindet. Die Maße sind identisch, was einen Nachguss von dort so gut wie ausschließt.Giambologna schuf eine Erstausführung in Marmor wohl um 1580, widmete sich dem Thema aber noch einmal. So existiert eine weitere Version „Architektur“ in unterschiedlicher Sitzposition: die Beine dort im Gegensinn übereinandergelegt, der Kopf nach rechts gewandt, die Attribute auf dem Schoß. Dieselbe Gestaltung findet sich in großer Marmor-Ausführung im Bargello-Museum Florenz.Ein Exemplar in Marmor, ebenfalls nahezu lebensgroß, das jedoch mit der uns vorliegenden Version übereinstimmt, ist im Walters Art Museum, Baltimore, USA zu sehen (Inv.Nr. 27.458).Ein weiteres in Bronze gegossenes gleichgroßes Exemplar, wie hier und im Louvre, hält das Philadelphia Museum of Art (Gallery 357). Dort ist der Guss als französisch, um 1675 – 1725 datiert.Das Exemplar im Musée du Louvre, ist unter der Nr. TH 108 in der Abteilung „Département des Objets d’art du Moyen Age, de la Renaissance et de temps modernes“ inventarisiert.Mit dem Vermerk: 2Statuette: l’architecture, Bologne, Jean Bologne dit aussi Giambologna, Jean de Bologne“, D’après un modèle de“Vermächtnis von Dosne-Thiers, Elise, Donateur Thiers, Louis Adolphe Collectioneur. Acquisition 1881.So dürfte es sich bei der uns vorliegenden Bronze um ein dem Louvre- und dem Philadelphia-Exemplar nahestehendes Werk handeln. A.R. (1362243) (11)Bronze statue: Allegory of ArchitectureHeight: 42 cm.France, 17th/ 18th century.After a model by Giambologna (1529 Douai–1608 Florence). Brown patina, visible fine traces of cold work.
Los 20
Jack Butler Yeats RHA (1871-1957) On a Western Quay/ Sligo Quay (1923) Oil on panel, 23 x 35.5cm (9 x 14”) Signed Provenance: Sir Patrick Ford, London; With J. Leger & Son, Old Bond Street, London, November 1942 label verso; Sale, these rooms 16 March 1978, lot 114; Private Collection, Dublin.Exhibited: Dublin, Stephen’s Green Gallery, April/May 1923, Drawings and Pictures of Life in the West of Ireland, cat. no.24; New York, Society of Independent Artists, Annual Exhibition, March 1924; London, Tooth, Pictures of Irish Life, cat. no. 33; London, Leger Galleries, October 1942, London Group 4th Wartime Exhibition.Literature: Listener (6 April 1942); Hilary Pyle, A Catalogue Raisonné of The Oil Paintings, Andre Deutsch, 1992, cat. no. 193.Bounded by a spectacular West of Ireland landscape, a sailor leans against a wooden building, its planked construction giving a sense of structure and solidity to the right hand side of the painting. Its starkness makes the surrounding scenery appear even more fantastical. A high mountain dominates the vista with a large ascendancy house to its left. In the centre huddled along a causeway are a line of comparatively tiny cottages. Hilary Pyle has identified the location as Drumcliffe, the area north of Sligo town, under the shadow of Ben Bulben, where W. B. Yeats was later buried and where the Yeats’s paternal grandfather was once the clergyman.¹ The rugged shaped mountain has also been identified as Knocknarea, to the south of Sligo town, on a note on a label on the reverse. It is not possible to identify the specific location. Yeats seems to have exaggerated the details of the view for dramatic effect as he did in many of his later epic paintings such as On Through the Silent Lands (1951, Ulster Museum) and Two Travellers (1942, Tate Gallery), both of which feature similar glacial peaks. Here the juxtaposition of the large house and the sheer limestone cliff face of the mountainside convey a familiar congruence of manmade splendour and the more sublime beauty of nature as it exists in the West of Ireland. This, as in all Yeats’s work, is painted from memory and may combine different elements in the one composition. The details are probably gleaned partly from the perusal of earlier sketches. The man is dressed in a dark double breasted, marine style jacket and a peaked cap, like that of the pilot, a recurring figure in the work of Yeats. The pilot is based on Michel Gillen, who worked at Rosses Point when Yeats was a child living with his grandparents in Sligo. Gillen’s job was to guide merchant ships from Rosses Point along the Garavogue River to the quayside in Sligo town. The pilot’s job required great skill in navigation and sailing as well as a deep knowledge and understanding of the geography and conditions of the Garavogue and its environs. He appears in several of Yeats’s drawings and paintings, often in or near the Pilot House, a look-out hut, which was located on the headland at Rosses Point, and from where he could watch for the arrival of ships into the river mouth. In a contemporary work, Pilot Comes Ashore, (1923, Private Collection) the pilot stands on a quay in front of Knocknarea.² In Sligo Quay, he appears as an outsider in the depths of the countryside, his pose retaining a nautical stance. This solitary male figure in an expansive landscape that moves between water and mountain becomes a major theme in Yeats’s later work. Here the traveller is the pilot man who waits patiently for his boat to arrive rather than the nomads of the later work. He contemplates the incoming tide instead of the magnificent landlocked world beside him. The mixture of the building types in this space – the large colonial mansion and modest dwellings - denotes the complex history of rural Ireland. When the painting was made in 1923, the conflict generated by this past was raging throughout the land, and the solemn pose of the figure and the quiet calm of the view could be seen to reflect contemporary political and social tension. It shares the clarity of vision, psychological intensity, and rich colour with such other work of this period as the Island Funeral (1923, Model Sligo), Liffey Swim (1923, NGI) and Early Morning, Glasnevin (1923, Private Collection). The stone bollard on the quayside demarcates the foreground of the painting. Its solid form casts a shadow across the stone blocks of the quay, leading to the pilot. Touches of red in the sky suggest the slow dissent of the sun which casts its intense light on the gables of the houses and on the mountain cliffs in the distance, also heightened in red tones. Movement is conveyed by the blue turquoise torrent of the water and the cloud strewn sky above, a subtle indication of change and energy in the otherwise tranquil scene. The painting was exhibited in Dublin in 1923, at the Society of Independent Artists in New York in 1924, at the Goupil Gallery, London in 1925 and in the Leger Galleries in London in 1942. It belonged to the Scottish politician and art collector, Sir Patrick Ford for many years. Dr Róisín Kennedy (July 2023) H.Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil paintings, l, p.169H.Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil paintings, l, p.170
Los 7
Basil Blackshaw RUA HRHA (1932-2016) Seated Figure Oil on canvas, 183 x 122cm (72 x 48") Signed and inscribed verso Provenance: From the Artist's EstateTo some extent it’s true to say that, periodically throughout his life, Basil Blackshaw tended towards dramatically spare simplicity and understatement in his work. But then, first glances can be deceptive, and apparent understatement in his case was in fact a sure sense of not over-elaborating. Like Velasquez, he never used one brush-stroke too many. Once the picture was there, he stopped, something that takes great discipline when the temptation might be to show off in a more obvious way. His habitual model was Jude Stephens, and this elegant painting is in keeping with his later, radiantly lit compositions, often focused on windows or walls and nothing else, sometimes with words, or the evidence of words, inscribed on the surface. Here, the biscuity flesh tones float against an amorphous, cloudy space and it is as if the warmth of the figure radiates into that space.Born in Co Antrim, the son of a horse trainer, Blackshaw was thoroughly at home in a rural world of horses, dogs and farmyards. Feted as a young prodigy, he backed away from a conventional trajectory in his artistic career, quietly quitting a teaching job for example (he never returned after a cold snap temporarily closed the school) and moving from the city back to the country. His core subject matter included animals, the human figure, landscape and portrait subjects. He excelled in all these areas and built a wide, faithful following, as well as being greatly esteemed by his peers.Aidan Dunne, 2023
Los 137
ARP Little Brother Model 2952. Expansion module for any ARP-System monophonic or polyphonic synthesizer. It has its own built-in VCO oscillator and LFO. OPERATIONAL STATUS: (B) Tested and working - powers up and appears to work as intended, not all functions checked. No guarantee or warranty implied. Operational status may change during shipping. See the main Buying Page for further important information.
Los 41
Alpha Recording Model 3-Band Crossover. High quality Japanese audio gear. OPERATIONAL STATUS: (C) Tested. Powers up, passes signal but has various faults and definitely needs a service. Missing some screws 100v unit. No guarantee or warranty implied. Operational status may change during shipping. See the main Buying Page for further important information. For UK bidders only this item will be subject to 20% VAT on the hammer price and on the Buyer’s Premium (this amount is included in the Total Fees percentage attached to this item). For all bidders outside the UK there will be no VAT on the hammer price but VAT is charged on the Buyer’s Premium.
Los 62
Valley People Dyna-Mite Model 410-2 Dual-Channel Limiter / Expander / GateOPERATIONAL STATUS: (B) Tested and working - powers up and appears to work as intended, not all functions checked.No guarantee or warranty implied. Operational status may change during shipping. See the main Buying Page for further important information.a 2-channel multi-function dynamics processor. High quality and versatile, it has a total of 18 modes including Limiting, Expansion, De-essing, Noise Gating, Ducking and Keying. For UK bidders only this item will be subject to 20% VAT on the hammer price and on the Buyer’s Premium (this amount is included in the Total Fees percentage attached to this item). For all bidders outside the UK there will be no VAT on the hammer price but VAT is charged on the Buyer’s Premium.
Los 160
ARP Odyssey Model 2821. OPERATIONAL STATUS: (C) Tested. Powers up, passes signal but has various faults and/or dirty controls and sockets and definitely needs a service. No guarantee or warranty implied. Operational status may change during shipping. See the main Buying Page for further important information.
Los 5
Dynacord Echocord Super S62. Untested. No valves, pinch roller or top cover. 220v model. For UK bidders only this item will be subject to 20% VAT on the hammer price and on the Buyer’s Premium (this amount is included in the Total Fees percentage attached to this item). For all bidders outside the UK there will be no VAT on the hammer price but VAT is charged on the Buyer’s Premium.
Los 24
Keio/Korg Doncamatic DE-11. Very early Japanese preset drum machine - the first model that Keio produced. Extremely rare. Assessed: safe, set to 120v. Needs full electrolytic recap as there are missing sounds + existing sounds have no bass. Unit sounds good though despite the obvious issues. Recapped PSU apart from 2 caps which are a large size. Replaced mains cable, introduced 2 P clips for safety. Earthed metal chassis inside unit. No guarantee or warranty implied. Operational status may change during shipping. See the main Buying Page for further important information. For UK bidders only this item will be subject to 20% VAT on the hammer price and on the Buyer’s Premium (this amount is included in the Total Fees percentage attached to this item). For all bidders outside the UK there will be no VAT on the hammer price but VAT is charged on the Buyer’s Premium.
Los 115
ARP Solus Synthesizer Model 2351. OPERATIONAL STATUS: (C) Tested. Powers up, passes signal but has various faults and/or dirty controls and sockets and definitely needs a service. No guarantee or warranty implied. Operational status may change during shipping. See the main Buying Page for further important information.
Los 65
Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)Study of a nude standing woman leaning against a rock with a flaming staff in her left hand for Venus in Venus Epithalamia signed with initials 'EBJ' (lower left)coloured chalk on paper43.8 x 30cm (17 1/4 x 11 13/16in).Footnotes:ProvenancePrivate collection, USA.The present work was made circa 1869 during a transitional period in which the artist underwent a serious reappraisal of his work. Moving from a medieval bias into a period more influenced by the later Italian Renaissance, he emerged from the more restricted Pre-Raphaelite circles and the inhibitions of family under the influence of his affair with Maria Zambaco. These new elements indicated his growing maturity as man and artist.Made at the height of the passionate relationship, this drawing reflects the intensity that the artist felt. It is one of the most sensual drawings that he made and portrays Venus in a rocky alcove, which was transformed in the final painting into an interior with her standing beside an altar. The figure holds a bridal torch which was associated with Hymen, the God of Weddings, which is later explained in the painting Venus Epithalamia, where Venus is by an altar upon which a figure of Cupid stands. A bridal procession is in the background. An epithalmium was a poem composed on the event of a wedding. The model was one that Burne-Jones had used throughout the 'Cupid and Psyche' series of illustrations to William Morris's The Earthly Paradise. There she is represented as sweetly innocent, in contrast to the eroticism contained in the present drawing. In the subsequent painting Maria's head has been super-imposed upon the body of the model.It is interesting to note that in the background of the painting of Venus Epithalamia is a procession of maidens descending stairs. It would appear therefore to be a precursor of the huge painting The Golden Stairs, begun two years later. First entitled The King's Wedding, the idea of the later work would seem to have arisen from this project. It postulates a depth of meaning for the artist not initially apparent to the viewer. Usually The Golden Stairs is seen as an aesthetic work without such debate regarding the quality of innocence. When compared, the two paintings reveal the all too obvious absence of Maria in the later work and the inter-relation suggests more significance for the painting than initially is evident.The are grateful to William Waters for compiling this catalogue entry. The work is listed in the Burne-Jones catalogue raisonné, www.eb-j.org.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 75
Sir Alfred James Munnings, PRA, RWS (British, 1878-1959)Jogging on signed and dated 'A. J. MUNNINGS/1912' (lower left)watercolour and bodycolour35.5 x 51cm (14 x 20 1/16in).Footnotes:Alfred Munnings arrived in Cornwall in late summer 1911, 'curious to see this country which attracted artists'1 eventually settling to live and work in the Lamorna Valley. Munnings was a great hunting enthusiast and upon arriving in Cornwall he began to ride with the Western Foxhounds. Led by Thomas Robins Bolitho, the Western was considered excellent hunting country with no wire and a plentiful supply of foxes. Hound bloodlines come from a number of the Leicestershire packs.2 Bolitho, the oldest huntsman in England at the time, having been master since 1864, was painted by Munnings on his favourite hunter, Barum, in 1920, on the occasion of his Golden Wedding Anniversary.Munnings enjoyed his days out hunting and often was inspired by what he saw, noting in his autobiography that 'Hunting became part of my life, and I saw many things on those days: bright winter sunlight on clipped horses and scarlet coats; on bare trees; stacks; on farmhouse gables; the riding out after a slight frost; the riding home with a frost beginning and a young moon in the sky; puddles already crisping over as I said good night to friends. Such were needed to freshen my mind and vision'3 This scene appears to depict hunt followers and the huntsman bringing the hounds to the meet prior to setting off. The principal rider is most likely Ned Osborne- 'simple soul, who grew into a useful combination of groom-model, and posed for many picture'4 and the scene is set in Lamorna, with the properties 'Riverside Cottage' and 'My Rosary' in the background. Munnings often used his own horses and groom as models and the central horse in the present composition was most probably the brown mare that the artist brought down from Norfolk with him when he settled in Lamorna in 1911. On this grey day, the artist used a subdued palette yet adds life and brightness by juxtaposing the scarlet of the huntsman's jacket with the close vivid hues of green making each colour more vibrant. As a result, the central figures of horse and rider, as they are also painted in sharper focus, emerge from the background. This use of optical effects was a hallmark of his style even early in his career. Although Munnings painted in watercolour during the first quarter of the 20th century, critics at the time noted his mastery of the medium. Munnings was a member of both the Royal Institute of Painters in Watercolour and the Royal Society of Watercolour Painters. A similar watercolour, The End of the Day depicting a head-on view of a huntsman returning home, was exhibited at National Museum of Racing and Hall of Fame, Saratoga, New York in 1999.1Sir Alfred Munnings, An Artist's Life – Autobiography, Museum Press, London, 1950, p. 270.2Sporting Life and Sportsmen, 1925 p. 123.3 An Artist's Life, p. 258.4Ibid, p. 273. We are grateful to Lorian Peralta-Ramos for compiling this catalogue entry. We are also grateful to David Tovey for supplying supplementary information regarding Munning's time in Cornwall.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 90
Henry Scott Tuke, RA, RWS (British, 1858-1929)Expectant signed and dated 'H. S. TUKE. 1923' (lower left), inscribed with title and artist's name and address (on an old label attached to the reverse)oil on canvasboard 45.5 x 30.5cm (17 15/16 x 12in).Footnotes:ProvenancePurchased by the current owner's great uncle, Roland Turnell of Birmingham (1865-1946)Thence by descent.Private collection, UK.The present painting is an exciting discovery. It was probably begun in the summer of 1921, on Newporth beach, Falmouth, the home of Henry Scott Tuke. It features the artist's dog Chippy, a spaniel, along with a young male model wearing a pink shirt and white breeches and round brimmed hat. It is typical of Tuke's later confident impressionist style of painting in a lively fresh way using bold brushwork and creating a sense of movement by capturing the changing light.Chippy the dog appears in several paintings by Tuke of groups of bathers on the beach at that time including Comrades (1923, R1043) and Companions (1924, Auckland Art Gallery, New Zealand, R1125). The title of the painting, taken from a label on the reverse, relates to the endearing way the dog is looking up at the boy waiting expectantly for either play, a reward, or both. The boy appears to be holding something in his right hand between his thumb and forefinger.The model for the boy who has his eyes closed, which is unusual and rare for Tuke to paint, seems to relate to a photograph of Donald Rolph with Chippy the dog which is in the Tate archive dated circa 1921 (see fig. 1). Donald, who is also wearing a similar round brimmed hat as in the painting, is photographed with his eyes closed. The series of photographs in the Tate archive are of Rolph in the nude playing with Chippy on the beach in Falmouth. It is unusual to find a photograph relating to Tuke's posed models as he was always recorded as being a painter from life and didn't use photographs to paint from.Rolph (born 1905) was someone Tuke got to know through Stanley Towsey who was an English teacher at St. Paul's School where Rolph was a pupil. Towsey was acting as guardian to Rolph as both of his parents had died when he was young. Rolph and Towsey came to Falmouth in 1921 to stay with Tuke and were frequent visitors in the 1920s. Tuke used Rolph to model for the figure on the left in his Royal Academy painting of 1922 Lovers of the Sun and Tuke also painted Rolph's profile portrait as a Study for Lovers of The Sun (R1023a). Later in 1922 when visiting Stanley Towsey at Parkgate in Petersham, Richmond, Tuke also painted a portrait of Rolph in jacket and tie. It is clear from these paintings and other photographs of Rolph that his physical appearance changed in the five years that Tuke knew him. As with so many of Tuke's portraits of young men, he is trying to capture his model in those few elusive years of post-pubescent beauty when they transition from boys into men.This is possibly why the painting looks unfinished, as Tuke needed the model in front of him to get a true likeness. Tuke probably started this painting in the summer of 1921 when Rolph was sixteen, and maybe added to it in the summer 1922. Tuke then used the photograph to work on the painting later. It also could have been that Tuke could not find a model to pose for this particular picture and found painting from a photograph too difficult. Rolph went to study at Trinity College, Cambridge. We know from Tuke's diaries of 1925 that Tuke visited him at Cambridge but Rolph had by that time grown up. There is an intriguing sketch of a man in a blue and white strip on the back of the painting, probably painted by Tuke when he was watching a rugby match.The fact that Tuke signed and dated the painting 1923 is typical of his practice of dating a painting a year after he painted it for exhibition purposes although it is not clear when or where this painting was shown.A label on the reverse is from The Graves Art Gallery at 44 Cherry Street, Birmingham, which operated between 1895 and 1907. The painting was probably bought from elsewhere and the sticker was on an old backing board either recycled by Tuke or the dealer from another painting.References:Brian D. Price's notes on H.S.Tuke and his associates, (unpublished) notes 203 and 224, 'Interview with Rolph 1st October 1981'.Brian D Price (ed), The Registers of Henry Scott Tuke, Royal Cornwall Polytechnic Society, 1983.David Wainwright & Catherine Dinn, Henry Scott Tuke 1858–1929: Under Canvas, London, 1989.Catherine Wallace, Catching the Light: The Art and Life of Henry Scott Tuke, Atelier Books, 2008.We are grateful to Catherine Wallace for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Los 186
A pair of French gilt and patinated bronze figural twin-light candelabra, after the model by Emile Joseph Nestor Carlier, French, 1849-1927, late 19th/early 20th century, each in the form of a Greek acrobat balancing on an amphora, holding a pole with two jars and hung with laurel wreaths, on a square slate base with lion's paw feet, signed E. Carlier to the amphora, 24 cm high (2)Provenance: The Collection of Lord and Lady WeinstockFootnotes: Note: Carlier was a pupil of Henri Chapu (1833-1891) at the Ecole de Beaux Arts in Paris. He débuted at the Paris Salons in 1875 with a statuette of a historian. He was awarded a gold medal at the Exposition Universelle of 1889 and medals at the Antwerp and Amsterdam exhibitions at the turn of the century.Condition Report: The thread of one vase candle nozzle is slightly defective and the nozzle to that side is slightly loose. The gilding to the laurel wreaths and nozzle inserts is largely rubbed away. The gilded urns and paw feet with tarnishing. Minor miniscule nicks to the leading edges of the base.
Los 228
A pair of French gilt-bronze figural candlesticks, in the manner of Corneille van Clève (1646-1732), second half 19th century, one modelled with a seated and draped male figure holding a cornucopia, the other with female figure holding a foliate and ribbon-tied floral cornucopia, each with gadrooned spreading and foliate drip-pan and scaled nozzle, above a gadrooned spreading base with entrelac and rosette border, the underside of one marked H, 35cm high (2)Footnotes: Note: These candlesticks are a variant of the celebrated model by Corneille van Clève (1646-1732). The original drawings were once originally attributed to Charles Le Brun (1619-1690) but are now thought to be by van Clève and are held in the Staatliche Museen zu Berlin. These designs were first executed by Clevé's brother-in-law, the goldsmith Nicolas de Launay in 1702 in silver-gilt. The strapwork and entrelac bases of these candlesticks are identical to those on a pair of early 18th Century candlesticks in the Wallace Collection, illustrated in F.J.B. Watson, Wallace Collection Catalogues, Furniture, London, 1956, pl. 20, F22.Condition Report: Generally in good, ready to place condition. Inevitable wear in areas to the gilded surface, such as the knees, shoulders of the figures and the extremities overall to be expected with age and use. Dark dirt to the recesses of the casting. Both lacking drop-in drip pans.
Los 240
After Emmanuel Fremiet, French, 1824-1910, a bronze model of Char de Minerva (Minerva's Chariot), early 20th century, cast by Ferdinand Bardbedienne, depicting Diana on the back of a chariot pulled by three horses, inscribed E. FREMIET and F. BARBEDIENNE Fondeur, 54cm high, 53cm wideCondition Report: Some missing reins, the existing rein is detached at the shield. The patina with some rubbed highlights to be expected with age and use.
Los 418
A pair of Regency mahogany library bergere armchairs, in the manner of Gillows, first quarter 19th century, the arched top rail and arms centred by a roundel motif, on sabre legs to brass caps and castors (2) Footnotes: Note: A remarkably similar pair of chairs are present as part of the furnishings of Tatton Park, Cheshire. (see N.Goodison and J.Hardy, Gillows at Tatton Park,Furniture History, 1970, Plate 16A) . Gillows supplied five chairs of this model between 1811 and 1812 to Wilbraham Egerton for Tatton Park. For a similar pair of chairs see Christie's London, English Furniture, 28 November 2002, lot 83, (£20,315).
Los 242
After Isaak Duchemin, French or Italian, fl. late 19th century, a large bronze model of the Dancing Faun, after the Antique, c.1900, the oval base inscribed DUCHEMIN, 58cm highFootnotes: Note: The Dancing Faun or Faun with the Clappers, was housed in the Tribuna of the Uffizi and was considered to be one of the most beautiful marble sculptures remaining from antiquity. It is not known precisely when the ancient marble reached Florence, or indeed where or when it was originally excavated, but it swiftly established itself in the popular imagination, and enjoys a prominent situation in Zoffany's celebrated painting of the Tribuna of the Uffizi in the Royal Collection.
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628707 Los(e)/Seite